"As any form becomes canonical, it virtually invites experiment, variation, violation, alteration."
You will find two brief examples of Hecht's principle below in the footer – two piano pieces, on the edge of something and Atacama. The first question here is, without the score, with only the sound available, can you tell what canonical form these two pieces vary, violate, and alter? The second question is, does being able to tell matter? And the third question is, if it matters, to whom does it matter? – composer? performer? listener?
Continued in The Emaciated Sonnet –––>