The IU Department of Music Theory is delighted to congratulate Ph.D. student Joey Grunkemeyer on winning the 2025 Best Student Paper Award at the Annual Meeting of the Rocky Mountain Society for Music Theory and the Rocky Mountain Chapter of the American Musicological Society. Joey’s paper, titled “Form as Topic? Reframing Formal Deformation in Haydn’s Piano Trio in E-flat Major, Hob. XV:30,” was recognized for its outstanding scholarship and insightful approach to Haydn’s formal innovations.
Abstract
Haydn’s Piano Trio in E-flat Major, Hob. XV:30 contains a number of formal and topical surprises. Hepokoski and Darcy’s Sonata Theory and Caplin’s theory of formal functions both contain several exceptions that account for the originality of this movement. However, the application of Burstein’s neo-Kochian analytical framework, alongside a sensitive labeling of musical topics, produces an analysis much closer to the surface of the work. I argue that Haydn topicalizes form itself through his usage of a historically nuanced, Galant approach to sonata form. My methodology consists of a tripart comparison of Sonata Theory, form-function theory, and neo-Kochian theory, alongside an analysis of musical topics.
The first movement is characterized by its loose-knit first theme, two-part transition, and two second themes, which are topically painted with gavottes, contradances, ombra, and marches. Sonata Theory dramatizes the two-part transition as a formal deformation, and the form-function approach is left confused by the loose-knit main theme and tightly knit transition. The double half-cadence structure is normative in the Galant, neo-Kochian approach, erasing the supposed issues. I argue that Haydn is topicalizing this Galant approach to sonata form. In a sense, this is a reference for learned connoisseurs of chamber music to take in. Most interestingly, Haydn removes the second half cadence in the recapitulation, effectively “modernizing” this sonata form. Without this historically nuanced approach to form as topic, one might portray this quirk as some dramatic deformation or loosening of the structure, when in fact it seems to be a subtle wink to those in the know. This large, abstract topic serves as a frame within which Haydn presents a more moment-to-moment topical drama of ombra-tinged high styles and rustically content low styles. The result is a varied musical surface that uses deeper structure for the purpose of expressive discourse.
About Joey
Joey Grunkemeyer is a Ph.D. student in Music Theory from Canton, Georgia. He completed his BA in Music Theory at Kennesaw State University before coming to IU. His primary research interest is narrative ambiguity in the music of Brahms, with additional interests in rhythm and meter in Brahms, musical hermeneutics, musical narrative, and the music of 20th-century Russian composers. Beyond his theoretical pursuits, Joey enjoys hiking, playing cello and chamber music, and spending time with his dog, Lily. Since arriving at IU, he has enjoyed exploring campus, discovering Bloomington’s many hiking trails, and sampling the local restaurant scene.
Please join us in congratulating Joey on this well-deserved honor!
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