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In this paper it is shown that the concept of the Eighteenth-Century Sonata form, under certain conditions, implies exact constraints to its temporal structure, which are essential to keep its inner proportions balanced. The plastic number of Hans van der Laan appears to be closely related to the concordance of lengths of the vital parts of a sonata-form movement of type 3 on Hepokoski and Darcy scale. Furthermore, a probabilistic model of basic variation in the structure of such movement is developed from scratch and empirically justified by analyzing instrumental works of Wolfgang Amadeus Mozart.
Sonata form ; Perception ; Plastic number ; Morphic number ; Lognormal distribution
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