Conclusion

Kapitel in diesem Buch

1. Frontmatter i
2. Contents vii
3. Acknowledgments ix
4. Introduction 1
5. 1 Context and Composition 5
6. 2 Concerto as Catalyst 32
7. 3 Analytical Tools and Recurring Elements 51
8. 4 Counterpoint and Tonality in the First Movement 67
9. 5 Tetrachords and Tritones in the Largo 95
10. 6 Points of Imitation in the Finale 111
11. Conclusion 129
12. Appendix 139
13. Notes 141
14. Bibliography 149
15. Index 153