Burstein, L. PoundieKotta, Kerri, koostaja2024-02-282024-02-2820212382-8080https://doi.org/10.58162/YP43-J309https://hdl.handle.net/10062/95606Musicians have long disagreed about how to parse the exposition of Ludwig van Beethoven’s Piano Sonata in C, Op. 2/3/I, particularly as regards determining the formal function of the G minor theme of mm. 27–46. Many of these disagreements result from viewing the form of this exposition primarily through concepts that developed during the nineteenth century and formal models that are particularly well suited for Beethoven’s later works. However, especially considering the relatively early date of its composition, it might be more fruitful to consider the form of the exposition of Op. 2/3/I in relation to layouts discussed by eighteenth-century theorists, layouts that may be witnessed in many works composed during this era. When viewed in relation to these earlier frameworks, the form of the exposition of Op. 2/3/I may be understood to be quite conventional. Furthermore, such a historically based vantage point can significantly impact the understanding of this exposition’s voice-leading structure.enAttribution-NonCommercial-NoDerivs 3.0 EstoniaArticle