Page:The New International Encyclopædia 1st ed. v. 18.djvu/394

* SONATA. 340 SONGEESH. movement. Of the popular dance forms, the minuet survived the longest but was ultimately supplanted by the scherzo, while the gigue and thaconne, of which Bach left so many examples, were succeeded by the finale or rondo. The first noteworthy advance is in a set of seven sonatas for the clavier, Frische Klavierfriichte (1703), by Johann Kuhnau, in which he shows a partial recognition ol the relation and balance of keys. Johann Mattheson chose the gigue for the concluding movement of his sonatas, and both he and Alessandro Scarlatti did much to define and unify the sonata form. In the works of Domenieo Scarlatti are found the first traces of a distinct secondary subject in the first al- legro. The domain of the sonata was long mo- nopolized by writers for the violin, and through the advances made by Locatelli. Geminiani, and Tartini the sonata finally reached the four-move- ment type. Johann Sebastian Bach wrote many sonatas for various instruments and for com- binations of instruments, but he did not aid in the direct development of the form. His son, Philipp Emanuel Bach, established the number of movements as three. Haydn is important principally for having clearl.y indicated the out- lines and for having made the use of the minuet and the rondo imperative. IMozart adds to Haydn's unemotional forms symmetry, grace, and more mature and elaborate themes and hai"- monies. Beethoven brought the sonata to its greatest perfection. In the Kreutzer .sonata, for violin and pianoforte, and in the pianoforte sonatas, in D minor (Op. 31), C major (Op. .53), F minor (Op. 57 ) . B flat (Op. 106), and C minor (Op. Ill), he attains to such a command of technical resource and emotional expression that the form seems incapable of fvirther develop- ment. Sonata Foeji is a term applied to the form of the first movement of a sonata, symphony, or chamber-nmsic composition. The first movement of a sonata or kindred cyclical form consists of three sections: (1) the exposition, (2) the de- velopment, (3) the re])etition. The first section begins w'ith the principal subject in the tonic key. An episode consisting of some development of the principal sidiject leads into the secondary subject. This appears in the key of the dominant, if the movement is in major. If the movement is in minor the secondary subject is aimounced in the key of the relative major. Then follows some slight develojnnent of the secondary subject. After this the entire exposition section is re- peated literally. The second or development sec- tion is devoted to a full thematic working out of either one or both the themes announced in the previous section. In the development section episodes built upon new themes may also be in- troduced. The third or repetition (also re- capitulation) section is a repetition of the exposition section, though composers generally vary the instrumentation. In this section the secondary subject appears in the key of the tonic. A more or less extended coda, constructed either upon the material already introduced or iipon new material, closes the movement. Fre- quently the movement is preceded by a shorter or longer introduction in slow tempo. (See In- TEODITCTION.) The essential features of this form have not been changed since Beethoven's time. Consult Shedlock, The Pianoforte Sonata (Lon- don, 1805). SONATINA^ so'na-te'mi (It., little sonata, diminutive of nonata, sonata). In music, a short sonata. There are generally two or three move- niepts, and the themes are much lighter in char- acter than tluxse of the regular sonata. Sonatinas are designed especially for young players as a preparaticin to the study of a sonata. SONDERBXJND, zon'der-bnnt. A league formed in the fall of 1843 by the Swiss cantons Lucerne, Fribourg, Zug, Uri, Schwyz, and Un- terwalden for the protection of the interests of the Church, then tlucatened by a powerful lib- eral movement in many cantons of the Confed- eration, The Canton of Valais joined the league in 1845. In 1847 the Liberal majority in the National Assembly decreed the dissolution of the Sonderbund, and this was accomplished by force of arms in the same year. See Switzerland. SONDEEBTJKG, zon'der-boorK. A town on the island of Alsen (fj.v.). SONDERSHAUSEN, zon'ders-hou'zcn. The capital of the Princi]iality of Schwarzburg-Son- dershausen, Germany. 33 miles northwest of Weimar, on the Wipper (Map: Germany, D 3). The Prince's castle, in a beautiful park, contains a natural history collection and a museum of antiquities. Sondershausen was founded in 525 and passed to Schwarzburg in 1248. Population, in 1900, 7054. SONG (AS. song, sanri. Goth, sarir/irs, OHG. sitiiii. Gcr. Gesang, song, from AS. siiigan, Goth. siggican, OHG. siiigan. Ger. singen, to sing). A short lyric or narrative poem set to music in svich a manner that the music reprodiices the mood of the poem, and at the same time lends more impassioned utterance to the words. The term song should properly be applied only to compositions for one or two voices with instru- mental accompaniment. The art-song (Kunst- lied) was developed in Germany from the folk- song. The form has been received with universal favor. See Bai,l.d ; Folk-Mustc : Lied ; Meis- teesingee; minnesingeb ; music ; national Hyjix.s : Romance. SONG-BIRDS. The song-birds of the world lu'long almiist entirely to the order Oscines, which is that of the highest organization, and distinguished as a group by the possession of vocal organs of a specialized and peculiar sort. Yet all Oscines are not callable of singing, and some birds which utter melodious notes are to be found in other groups. The principal singers are to be found among the thrushes, wrens, warblers, pipits, larks, starlings, and in the great family of finches. These are largely birds of temperate climates, and the popular idea that the birds of the tropics are not singers has a basis in fact, though it is by no means true that no tropical birds utter melodious strains, SONGEESH, son-gesh'. A tribe of Salishan stock (q,v,) occupying a territory on the south- eastei'u end of Vancouver Island. B. C. Their proper name is Lkitngen, the other being a cor- ruption of one of the subtribal names. Their general culture is that of the coast Salishan tribes. Their houses are large communal dwell- ings of cedar planks, carved and painted with symbolic figures, and divided inside into family