View source for Cyclic form

{{Short description|Compositional technique}}
{{about|the musical form|the cyclic isomers of monosaccharides|Monosaccharide#Structure and nomenclature}}
{{Lead too long|date=October 2024}}
{{Use shortened footnotes|date=April 2021}}
'''Cyclic form''' is a technique of [[musical form|musical construction]], involving multiple [[Section (music)|sections]] or [[Movement (music)|movements]], in which a [[Theme (music)|theme]], [[melody]], or thematic material occurs in more than one movement as a unifying device. Sometimes a theme may occur at the beginning and end (for example, in [[Felix Mendelssohn|Mendelssohn]]'s [[String Quartet No. 2 (Mendelssohn)|A minor String Quartet]] or [[Johannes Brahms|Brahms]]'s [[Symphony No. 3 (Brahms)|Symphony No. 3]]); other times a theme occurs in a different guise in every part (e.g. [[Hector Berlioz|Berlioz]]'s ''[[Symphonie fantastique]]'', and [[Camille Saint-Saëns|Saint-Saëns]]'s [[Symphony No. 3 (Saint-Saëns)|"Organ" Symphony]]).

The technique has a complex history, having fallen into disuse in the [[Baroque music|Baroque]] and [[Classical period (music)|Classical]] eras, but steadily increasing in use during the nineteenth century.{{r|Randel2003}}

The [[Renaissance music|Renaissance]] [[cyclic mass]], which incorporates a usually well-known portion of [[plainsong]] as a [[cantus firmus]] in each of its sections, is an early use of this principle of unity in a multiple-section form.{{r|Grove2001_Borrowing}} Examples can also be found in late-sixteenth- and seventeenth-century instrumental music, for instance in the [[Canzona|canzonas]], [[Sonata|sonatas]], and [[Suite (music)|suites]] by composers such as [[Samuel Scheidt]], in which a [[ground bass]] may recur in each movement{{r|Grove2001_CyclicForm|Randel2003}} When the movements are short enough and begin to be heard as a single entity rather than many, the boundaries begin to blur between cyclic form and [[variation form]].{{Clarify|date=October 2017|reason=What does this mean, exactly?}}

Cyclic technique is not typically found in the instrumental music of the most famous composers from the Baroque and "high classical" eras, though it may still be found in the music of such figures as [[Luigi Boccherini]] and [[Carl Ditters von Dittersdorf]].{{r|Grove2001_CyclicForm|Taylor2011}}

Nevertheless, in the Classical period, cyclic technique is found in several works of [[Wolfgang Amadeus Mozart|Mozart]]: In [[String Quartet No. 15 (Mozart)|String Quartet in D minor K. 421]], all the four movements are unified by the motif, "F-A-C-C-C-C".{{Citation needed|date=March 2020}} In [[String Quartet No. 18 (Mozart)|String Quartet No.18 in A major K. 464]], different rhythmic motifs of the concept "long-short-short-short" of the first movement and second movement combine in the finale.{{Clarify|date=March 2020|reason=Can "different" rhythmic motifs be a single "theme, motif, or thematic material"?}}{{Citation needed|date=March 2020}} Mladjenović, Bogunović, Masnikosa, and Radak state that Mozart's [[Fantasia in C minor, K. 475|Fantasia, K. 475]], with its multi-movement structure inscribed in a one-movement sonata form, started something later finished by Liszt in his [[Piano Sonata (Liszt)|B minor Piano Sonata]].{{sfn|Mladjenović, Bogunović, Masnikosa, and Radak|2009|pp=103–4}}{{Clarify|date=March 2020|reason=Does this mean that the Mozart is or is not an example of cyclic form?}} [[Joseph Haydn]] uses cyclic technique at the end of the [[Symphony No. 31 (Haydn)|Symphony No. 31]], where the music recalls the horn call heard at the very opening of the work.{{r|Webster2002}}

In sacred vocal music of Baroque and Classical periods, there are several examples of cyclic technique, such as [[Johann Sebastian Bach]]'s [[Mass in B minor]] and Mozart's [[Coronation Mass (Mozart)|Mass in C major, K.&nbsp;317]], [[Mass in C major, K. 220 "Sparrow"|Spatzenmesse in C major K. 220]], [[Litanies (Mozart)|Litaniae de venerabili altaris sacramento K. 243]],{{citation needed|date=March 2020}} and especially [[Requiem (Mozart)|Requiem in D minor K. 626]], where the "DNA"{{Clarify|date=March 2020|reason=What is the "DNA" of a hymn motif, and does its "permeation of the entire work" mean it is somehow cyclic?}} of the Lutheran hymn motif, "D-C#-D-E-F", permeates the entire work.{{r|Sapsuev2014_5012}}{{Failed verification|date= March 2020|reason=Sapsuev merely says Mozart opens the Kyrie with a figure similar to the G minor fugue from Bach's Well-Tempered Clavier. The D-C#-D-E F sequence is not attributed to Mozart at all, but rather to Bach and Handel.}} 

Although other composers were already using this technique, it is [[Ludwig van Beethoven|Beethoven]]'s example that really popularised cyclic form for subsequent [[Romantic music|Romantic]] composers.{{r|Taylor2011}} In Beethoven's [[Symphony No. 5 (Beethoven)|Fifth Symphony]], a large part of the [[scherzo]] movement is recalled to end the finale's [[development section]] and lead into the [[Recapitulation (music)|recapitulation]]; the [[Symphony No. 9 (Beethoven)|Ninth Symphony]]'s finale rapidly presents explicit reminiscences of the three preceding movements before discovering the idea that is to be its own principal [[Theme (music)|theme]]; while both the [[Piano Sonata No. 28 (Beethoven)|Piano Sonata Op. 101]] and [[Cello Sonatas Nos. 4 and 5 (Beethoven)#Sonata No. 5, Op. 102, No. 2|Cello Sonata Op. 102 No. 2]] similarly recall earlier movements before their finales.

In the 1820s, both [[Franz Schubert]] and the young [[Felix Mendelssohn]] wrote numerous important cyclic works: Schubert, in the ''[[Wanderer Fantasy]]'' (1822) created a "4-in-1" [[Double-Function Form|double-function]] design that would leave its mark decades later on [[Franz Liszt|Liszt]], while Mendelssohn, in such works as the [[Octet (Mendelssohn)|Octet]] (1825) and [[String Quartet No. 2 (Mendelssohn)|String Quartet No. 2]] (1827) created highly integrated musical forms that proved influential for later Romantic composers.{{r|Taylor2011}} Another significant model was given by [[Hector Berlioz]] in his programmatic ''[[Symphonie fantastique]]'' of 1830, whose "[[Leitmotif|idée fixe]]" serves as a cyclic theme throughout the five movements. By the 1840s, the technique is already quite established, being found in several works by [[Robert Schumann]], [[Fanny Hensel]], [[Niels Gade]], [[Franz Berwald]], and the earliest compositions of [[César Franck]].{{r|StruckenPaland2009}}

Mid-century, Franz Liszt in works such as the [[Piano Sonata (Liszt)|B minor Piano Sonata]] (1853) did a lot to popularize the cyclic techniques of thematic transformation and double-function form established by Schubert and Berlioz. Liszt's sonata begins with a clear statement of several thematic units and each unit is extensively used and developed throughout the piece. By late in the century, cyclic form had become an extremely common principle of construction, most likely because the increasing length and complexity of multiple-movement works demanded a unifying method stronger than mere key relation.{{Citation needed|date=February 2014}} At the beginning of the twentieth century, [[Vincent d'Indy]], a pupil of Franck, promoted the use of the term "cyclic" to describe the technique.{{r|StruckenPaland2009}}

The term is more debatable in cases where the resemblance is less clear, such as in the works of Beethoven, who used very basic fragments. Beethoven's Symphony No. 5 is an example of cyclic form in which a theme is used throughout the symphony, but with different orchestration. The "short-short-short-long" four-note motive is embedded in each movement.{{Citation needed|date=October 2017|reason=Claim of cyclic form needs verifying, not merely that the short-short-short-long motive is found throughout.}}

==Examples==
Examples of cyclic works from the classical era and afterwards are:

*[[Wolfgang Amadeus Mozart]]
**[[Symphony No. 40 (Mozart)|Symphony No.40 in G minor K.550]]: similar descending chromatic pattern shared by two outer movements in their second themes
**[[Symphony No. 41 (Mozart)|Symphony No.41 in C major K.551]]: similarities in the principal rising dotted-rhythmic motifs of the first movement and the second movement; the dotted-rhythmic motif of the second movement develops into a theme that resembles one of the five themes of the finale; the minuet foreshadows the "C-D-F-E" motif of the finale
**[[String Quartet No. 15 (Mozart)|String Quartet No.15 in D minor K. 421]]: "F-A-C-C-C-C" motif heard in all four movements
**[[String Quartet No. 18 (Mozart)|String Quartet No.18 in A major K. 464]]: different rhythmic motifs of the concept "long-short-short-short" of the first movement and second movement combined in the finale.
**[[Piano Sonata No. 14 (Mozart)|Fantasie & Sonata for Piano in C minor K. 475 & 457]]: motivic similarities between the preceding fantasie and the sonata
**[[Piano Concerto No. 20 (Mozart)|Piano Concerto No.20 in D minor K. 466]]: The entries of the soloist in the outer movements share the same chord structure
**[[Mass in C major, K. 220 "Sparrow"|Spatzenmesse in C major K. 220]]: theme of the Kyrie recalled in the Dona nobis pacem 
**[[Litanies (Mozart)|Litaniae de venerabili altaris sacramento K. 243]]: theme of the Kyrie recalled in the Miserere 
**[[Coronation Mass (Mozart)|Mass in C major, K.&nbsp;317]]: theme of the Kyrie recalled in the Dona nobis pacem
**[[Vesperae solennes de Dominica|Vesperae solennes de Dominica K. 321]]:  A setting of the Minor Doxology (Gloria Patri et Filio) concludes all movements, with a rhythmic similarity in "Gloria"
**[[Vesperae solennes de confessore|Vesperae solennes de confessore K. 339]]:  A setting of the Minor Doxology (Gloria Patri et Filio) concludes all movements, with a rhythmic similarity in "Gloria"
**[[Great Mass in C minor, K. 427|Mass in C minor K.427]]: The soprano melody of Quoniam tu solus in measure 96 (F-E-D-C#-C-...) resembles that of Cum sanctu spiritu in measure 98 (G-F#-E-D#-D-...)
*[[Joseph Haydn]]
**[[Symphony No. 31 (Haydn)|Symphony No. 31]]: material from start of first movement recalled at the end of the finale
**[[Symphony No. 46 (Haydn)|Symphony No. 46]]: material from the menuetto third movement recalled in the finale
*[[Ludwig van Beethoven]]
**[[Piano Sonata No. 13 (Beethoven)|Piano Sonata No. 13]]: the opening theme of the sonata is recalled at the end of the finale
**[[Piano Sonata No. 28 (Beethoven)|Piano Sonata No. 28]]: the transition from the third movement to the finale quotes the main theme of the first movement
**[[Piano Sonata No. 31 (Beethoven)|Piano Sonata No. 31]]: the fugue subject in the finale is derived from the main theme of the first movement
**[[Symphony No. 5 (Beethoven)|Symphony No. 5]]: material from scherzo movement recalled in the finale
**[[Symphony No. 9 (Beethoven)|Symphony No. 9]]: all three movements are briefly revisited in the finale
*[[Franz Schubert]]
**''Divertissement a la Hongroise''
**''[[Wanderer Fantasy]]'': entire piece based on [[thematic transformation]]
**[[Piano Trio No. 2 (Schubert)|Piano Trio No. 2]]: materials from the second movement recalled in the finale
**[[Schubert's last sonatas|Piano Sonata No. 20]]: the final measures of the sonata quote the beginning of the first movement, but played in reverse.
*[[Felix Mendelssohn]]
**[[Piano Sextet (Mendelssohn)|Piano Sextet]]: material from scherzo movement recalled in the finale
**[[Octet (Mendelssohn)|Octet]]: material from scherzo movement recalled in the finale, plus allusions to first and second movements
**Piano Sonata in E, Op. 6: opening of first movement recalled at end of finale
**[[String Quartet No. 2 (Mendelssohn)|String Quartet in A minor, Op. 13]]: introduction to first movement recalled at end of finale, first movement and second movement recalled during finale.
**[[String Quartet No. 1 (Mendelssohn)|String Quartet in E-flat, Op. 12]]: first movement recalled in finale
**[[Symphony No. 3 (Mendelssohn)|Symphony No. 3]]: thematic transformation across all four movements
*[[Hector Berlioz]]
**''[[Symphonie Fantastique]]'': "idée fixe" heard in all five movements
**''[[Harold in Italy]]'': "idée fixe" heard in all four movements
*[[Robert Schumann]]
**[[Symphony No. 2 (Schumann)|Symphony No. 2]]
**[[Symphony No. 4 (Schumann)|Symphony No. 4]]: thematic transformation across all four movements
**[[Piano Quintet (Schumann)|Piano Quintet]]
*[[Niels Gade]]
**Symphony No. 1: first movement recalled in finale
*[[Franz Liszt]]
**[[Sonata in B minor (Liszt)|Sonata in B minor]]
**''[[Faust Symphony]]''
*[[Joachim Raff]]
**[[Symphony No. 4 (Raff)|Symphony No. 4]]: first movement recalled in finale
**Symphony No. 11: first movement recalled in finale
*[[Camille Saint-Saëns|Saint-Saëns]]
**[[Symphony No. 3 (Saint-Saëns)|Symphony No. 3]]: thematic transformation across all four movements
**[[Cello Concerto No. 1 (Saint-Saëns)|Cello Concerto No. 1]]: two key first movement themes repeated in finale
*[[César Franck]]
**[[Symphony in D minor (Franck)|Symphony in D minor]]
**[[Violin Sonata (Franck)|Violin Sonata]]
**[[String Quartet (Franck)|String Quartet]]
*[[Johannes Brahms]]
**[[Piano Sonata No. 1 (Brahms)|Piano Sonata No. 1]]
**[[String Quartet No. 3 (Brahms)|String Quartet No. 3]]
**[[Symphony No. 3 (Brahms)|Symphony No. 3]]: The melody opening the first subject in the first movement is recalled in the codas of the first & fourth movements.
**[[Clarinet Quintet (Brahms)|Clarinet Quintet]]: The melody opening the first movement is recalled just after the 5th variation in the fourth movement, but in the subdominant. The codas in the first & fourth movements are almost the same, except for how it finally closes (first movement closes with quiet B minor chords while fourth movement closes with a loud one and then a quiet one).
*[[Bedřich Smetana]]
**''[[Má vlast]]'', cycle of 6 symphonic poems: The opening from the first work ''Vyšehrad'' recalled in the second ''Vltava'' and the sixth works ''Blaník'', shortly before the latter two end.
*[[Anton Bruckner]]
**[[Symphony No. 4 (Bruckner)|Symphony No. 4]] - the opening perfect fifth motif is recalled in the finale. 
**[[Symphony No. 5 (Bruckner)|Symphony No. 5]] - the finale recalls themes from both the first and the second movements. 
**[[Symphony No. 8 (Bruckner)|Symphony No. 8]] - during the coda of the finale, the main themes of all four movements are played simultaneously.
*[[Pyotr Ilyich Tchaikovsky]]
**[[Symphony No. 4 (Tchaikovsky)|Symphony No. 4]]: "motto" of first movement recalled in the finale
**''[[Manfred Symphony]]'': Material from the beginning of the first movement recalled halfway in the third movement. Material from the ending of the first movement used in the middle section of the second movement, and just before the organ sounds in the fourth movement.
**[[Symphony No. 5 (Tchaikovsky)|Symphony No. 5]]: "motto" of first movement recalled in all later movements; first movement's first subject recalled in the finale
**[[Serenade for Strings (Tchaikovsky)]]: Opening chorale in first movement is recalled in the coda of the finale
*[[Anton Arensky]]
**[[Piano Trio No. 1 (Arensky)|Piano Trio No. 1]]: Material opening the first movement recalled shortly before the finale ends. Material in the middle section from the third movement recalled halfway in the finale.
*[[Antonín Dvořák]]
**[[Symphony No. 9 (Dvořák)|Symphony No. 9:]] the theme of the first movement returns in all four movements
*[[Arnold Schoenberg]] – [[Violin Concerto (Schoenberg)|Violin Concerto]], Op. 36
*[[Carlos Chávez]]
**[[Symphony No. 3 (Chávez)|Symphony No. 3]]
**[[Symphony No. 4 (Chávez)|Symphony No. 4]]
*[[Edward Elgar]]
**[[Symphony No. 1 (Elgar)|Symphony No. 1]]: "motto" theme from the 1st movement returns in the scherzo and finale
**[[Symphony No. 2 (Elgar)|Symphony No. 2]]: "motto" theme from the 1st movement returns in the slow movement and finale
*[[Sergei Rachmaninoff]]
**[[Piano Sonata No. 1 (Rachmaninoff)|Piano Sonata No. 1]]
**[[Piano Sonata No. 2 (Rachmaninoff)|Piano Sonata No. 2]]
**'' [[Trio élégiaque No. 2 (Rachmaninoff)|Trio éléguiaque No. 2]]''
**[[Symphony No. 1 (Rachmaninoff)|Symphony No. 1]]
**[[Piano Concerto No. 3 (Rachmaninoff)|Piano Concerto No. 3]] - the opening theme of the first movement is briefly quoted in the other two movements.
*[[George Enescu]]
**[[Chamber Symphony (Enescu)|Chamber Symphony]] in E major, Op. 33
**[[Octet (Enescu)|Octet for Strings in C major]]
**[[Piano Quartet No. 1 (Enescu)|Piano Quartet No. 1]], Op. 16
**[[Piano Quartet No. 2 (Enescu)|Piano Quartet No. 2]], Op. 30
**[[Piano Quintet (Enescu)|Piano Quintet]] in A minor, Op. 29
**[[Piano Sonata No. 3 (Enescu)|Piano Sonata No. 3]], Op. 24, No. 3
**[[String Quartet No. 1 (Enescu)|String Quartet No. 1]], Op. 22, No. 1
**[[String Quartet No. 2 (Enescu)|String Quartet No. 2]], Op. 22, No. 2
**[[Symphony No. 1 (Enescu)|Symphony No. 1]], Op. 13
**[[Symphony No. 3 (Enescu)|Symphony No. 3]], Op. 21
**[[Symphony No. 4 (Enescu)|Symphony No. 4]]
**[[Symphony No. 5 (Enescu)|Symphony No. 5]]
**[[Violin Sonata No. 2 (Enescu)|Violin Sonata No. 2]], Op. 6
*[[Sergei Prokofiev]]
**[[Piano Concerto No. 1 (Prokofiev)|Piano Concerto No. 1]]: Main opening theme reappears midway and at end of work, differently orchestrated each time.
**[[Piano Sonata No. 6 (Prokofiev)|Piano Sonata No. 6]]: The opening of the first movement recalled in the "Andante" of the fourth movement.
**[[Symphony No. 6 (Prokofiev)|Symphony No. 6]]: A theme from first movement is recalled in the finale.
**[[Symphony No. 7 (Prokofiev)|Symphony No. 7]]: Both the second and third themes from the first movement return at the climax of the finale.
*[[Vasily Kalinnikov]]
**[[Symphony No. 2 (Kalinnikov)|Symphony No. 2]]
*[[Dmitri Shostakovich]]
**Suite for 2 Pianos in F-sharp minor, Op. 6: The main theme of the prelude is used in every movement.
**[[Suite for Variety Orchestra (Shostakovich)|Suite for Variety Orchestra]]: Material opening the March is recalled at the very end of the Finale.
**[[Symphony No. 7 (Shostakovich)|Symphony No. 7 "Leningrad"]]: The opening theme of the symphony is briefly recalled at the end of the fourth movement.
**[[Piano Trio No. 2 (Shostakovich)|Piano Trio No. 2]]: The finale recalls material from the first and third movements.
**[[Symphony No. 10 (Shostakovich)|Symphony No. 10]]: The finale incorporates both material from the Scherzo and the [[DSCH motif|"DSCH" motiv]] from the third movement.
**[[String Quartet No. 8 (Shostakovich)|String Quartet No. 8]]: The [[DSCH motif|"DSCH" motif]] is used in all four movements as a unifying aspect.
*[[Ralph Vaughan Williams]]
**''[[A London Symphony]]'' (Symphony No. 2)
**[[Oboe Concerto (Vaughan Williams)|Oboe Concerto]]
**[[Symphony No. 4 (Vaughan Williams)|Symphony No. 4]]
**[[Symphony No. 5 (Vaughan Williams)|Symphony No. 5]]
*[[Heitor Villa-Lobos]]
**[[Symphony No. 2 (Villa-Lobos)|Symphony No. 2]]
**[[Symphony No. 3 (Villa-Lobos)|Symphony No. 3]] (cyclic only with relation to the following Symphony No. 4)
**[[Symphony No. 4 (Villa-Lobos)|Symphony No. 4]]
*[[Benjamin Yusupov]]
**Cello Concerto

==Sources==
* {{wikicite|ref={{harvid|Mladjenović, Bogunović, Masnikosa, and Radak|2009}}|reference=Mladjenović, Tijana Popovi, Blanka Bogunović, Marija Masnikosa, and Ivana Perković Radak. Spring–Fall 2009. "[http://musicstudies.org/wp-content/uploads/2017/01/Popovic_JIMS_0932106.pdf untitled essay W. A. Mozart's Phantasie in C minor, K. 475: The Pillars of Musical Structure and Emotional Response]". ''Journal of Interdisciplinary Music Studies'' '''3''', no. 1–2: 95–117. (retrieved 5 March 2020).}}
* {{cite book |date=2001 |editor1-last=Sadie |editor1-first=Stanley |editor1-link=Stanley Sadie |editor2-last=Tyrrell |editor2-first=John |editor2-link=John Tyrrell (professor of music) |title=[[The New Grove Dictionary of Music and Musicians]] |edition=2nd |location=London |publisher=Macmillan |isbn=9780195170672 |ref=CITEREFNew Grove Dict. M&M2001
}}

'''Footnotes'''
{{reflist|refs=
<ref name=Randel2003>[[Don Michael Randel|Randel, Don Michael]]. 2003. "Cyclic Form". ''[[The Harvard Dictionary of Music]]'', fourth edition, Cambridge, Massachusetts: Belknap Press. {{ISBN|978-0674011632}}.</ref>

<ref name=Grove2001_Borrowing>{{harvnb|New Grove Dict. M&M|2001|loc="Borrowing" (§5: Renaissance Mass Cycles) by J. Peter Burkholder}}.</ref>

<ref name=Grove2001_CyclicForm>{{harvnb|New Grove Dict. M&M|2001|loc="Cyclic Form" by [[Hugh Macdonald (musicologist)|Hugh Macdonald]]}}.</ref>

<ref name=Taylor2011>{{cite book |last=Taylor |first=Benedict |date=2011 |chapter=The Idea of Cyclic Form |title=Mendelssohn, Time and Memory: The Romantic Conception of Cyclic Form |publisher=Cambridge University Press |pages=6–51 |doi=10.1017/CBO9780511794384.002|isbn=9780511794384 }}</ref>

<ref name=Webster2002>[[James Webster (musicologist)|Webster, James]]. 1991. ''Haydn's 'Farewell' Symphony and the Idea of Classical Style: Through-Composition and Cyclic Integration in his Instrumental Music''. Cambridge: Cambridge University Press.</ref>

<ref name=Sapsuev2014_5012>Sapsuev, Andrey Yu. 2014. "[https://web.archive.org/web/20190226082257/http://pdfs.semanticscholar.org/6af6/33accaf3a001543aa19428dbf45b5a75a07c.pdf Once Again on Mozart's Requiem (Issues of Intonation-and-Style Analysis)]". ''Journal of Siberian Federal University: Humanities & Social Sciences'' 3, no. 7:498–509. (pp. 501–2). (retrieved 5 March 2020).</ref>

<ref name=StruckenPaland2009>Strucken-Paland, Christiane. 2009. ''Zyklische Prinzipien in den Instrumentalwerken César Francks''. Kassel: Bosse.</ref>

}}

==Further reading==
* <!-- {{wikicite|ref={{harvid|Chusid|1964}}|reference= -->Chusid, Martin. 1964. "Schubert's Cyclic Compositions of 1824". ''[[Acta Musicologica]]'' 36, no. 1 (January–March): 37–45.<!-- }} -->
* <!-- {{wikicite|ref={{harvid|Proksch|2006}}|reference= -->Proksch, Bryan. 2006. "Cyclic Integration in the Instrumental Music of Haydn and Mozart." Ph.D. Diss. Chapel Hill: University of North Carolina at Chapel Hill.<!-- }} -->
* <!-- {{wikicite|ref={{harvid|Rosen|1995}}|reference= -->[[Charles Rosen|Rosen, Charles]]. 1995. ''The Romantic Generation''. Cambridge, Massachusetts: Harvard University Press.<!-- }} -->
* <!-- {{wikicite|ref={{harvid|Saffle|1982}}|reference= -->Saffle, Michael. "Liszt's Sonata in B minor: Another Look at the 'Double Function' Question." ''JALS: The Journal of the American Liszt Society'' 11 (June): 28–39.<!-- }} -->
* <!-- {{wikicite|ref={{harvid|Tucker|2002}}|reference= -->Tucker, G. M., and Roger Parker. 2002. "Cyclic Form". ''[[The Oxford Companion to Music]]'', edited by Alison Latham. Oxford and New York: Oxford University Press.<!-- }} -->
* <!-- {{wikicite|ref={{harvid|Vande Moortele|2009}}|reference= -->Vande Moortele, Steven. 2009. ''Two-dimensional Sonata Form: Form and Cycle in Single-Movement Instrumental Works by Liszt, Strauss, Schoenberg, and Zemlinsky''. Leuven: Leuven University Press.<!-- }} -->

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