Few expositional procedures have permitted so diverse a repertoire of form-functional explanations as the three-key exposition. Ever since Felix Salzer coined the term, theorists have attempted to model these structures, particularly in relation to Schubert’s sonata-form expositions. Although authors have proposed a number of different options, no consensus has emerged, leading many theorists to equivocate when labeling these expositions. Much of this disagreement is predicated on a misunderstanding of Schubert’s three-key expositions, namely trying to shoehorn them into a two-part model of sonata-form expositions. This article proposes a new form-functional model for Schubert’s three-key expositions. I first detail the typical features of these expositions based on a corpus of all Schubertian three-key expositions. I use these norms to argue that the three-key exposition constitutes a new, three-part expositional option along with continuous and two-part expositions. My approach aligns with Salzer (1928), Hinrichsen (1988 and 1994), Kessler (1996), and Hur (1992), who contend that the second tonal area should be seen as occupying the same hierarchical level as the other two tonal areas. My model, however, differs from theirs because I do not pigeonhole the exposition into a two-part framework. Rather, I show how Schubert’s mutable treatment of the second tonal area’s harmonic stability and the third tonal area’s rhetoric necessitates a new set of formal functions. In doing so, I not only illuminate a previously unacknowledged aspect of Schubert’s practices, but I also show how the various combinations of formal functions provided him a new set of expressive possibilities.

中文翻译：

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舒伯特三键论述中的结构与变形式函数

很少有阐释程序能像三键阐释那样允许如此多样化的形式功能解释。自从菲利克斯·萨尔泽（Felix Salzer）创造了这个术语以来，理论家就一直试图对这些结构进行建模，特别是与舒伯特的奏鸣曲形式的阐述有关。尽管作者提出了许多不同的选择，但尚未达成共识，导致许多理论家在标记这些论述时模棱两可。这种分歧大部分是基于对舒伯特的三个关键论述的误解，即试图将它们硬塞进奏鸣曲形式的两部分模式。本文为舒伯特的三键论述提出了一种新的形式-功能模型。我首先根据所有舒伯特三键论述的语料库详细说明这些论述的典型特征。我使用这些规范来论证三键阐述与连续和两部分阐述一起构成了一个新的、三部分的阐述选项。我的方法与 Salzer (1928)、Hinrichsen (1988 和 1994)、Kessler (1996) 和 Hur (1992) 一致，他们认为第二个音调区域应该被视为与其他两个音调区域占据相同的等级。然而，我的模型与他们的不同，因为我没有将展览归类为一个由两部分组成的框架。相反，我展示了舒伯特对第二音域的谐波稳定性和第三音域的修辞的可变处理如何需要一组新的形式函数。在这样做的过程中，我不仅阐明了舒伯特实践中以前未被承认的方面，