A Contribution to the History of Design for Dance Musics on the Texas Scholar Works platform: link.
Here is the abstract:
This article adds further documentation for the claim that dance musics in Europe at the end of the eighteenth century were not dominated by the classical symmetrical period but were in fact written in a variety of thematic types and frequently emphasized contrast between ideas (that is, two-bar units). In order to fine-tune descriptions, the terminology for the second phrase in a theme is expanded beyond consequent and continuation (after William Caplin) to include two new categories: contrast and complement.
In addition to two sets of menuets by Beethoven—WoO7 and WoO10—I look at the late menuets of Mozart (K. 461, K. 463, K. 568, K. 585, K. 599, K. 601, K. 604), early menuets by Schubert (D. 41, D. 89), menuets by Friedrich Schwindl (1778), Settree (an English publisher; 1770s?), and Hummel (1807).
