in Music, a piece or composition, intended to be performed by instruments only; in which sense it stands opposed to cantata, or a piece designed for the voice. See CANTATA.

The sonata then, is properly a grand, free, humorous composition, diversified with a great variety of motions and expressions, extraordinary and bold strokes, figures, &c. And all this purely according to the fancy of the composer; who, without confining himself to any general rules of counterpoint, or to any fixed number or measure, gives a loose to his genius, and runs from one mode, measure, &c. to another, as he thinks fit. This species of composition had its rise about the middle of the 17th century; those who have most excelled in it were Baffani and Corelli. We have sonatas of 1, 2, 3, 4, 5, 6, 7, and even 8 parts, but usually they are performed by a single violin, or with two violins, and a thorough bass for the harpsichord; and frequently a more figured bass for the bass viol, &c.

There are a thousand different species of sonatas; but the Italians usually reduce them to two kinds. Sonate de chieft, that is, sonatas proper for church music, which usually begin with a grave solemn motion, suitable to the dignity and sanctity of the place and the service, after which they strike into a brisker, gayer, and richer manner. These are what they more peculiarly call sonatas. Suonate de camera, or sonatas for the chamber, are properly serenades of several little pieces, for dancing, only composed to the same tune. They usually begin with a prelude or little sonata, serving as an introduction to all the rest: afterwards come the allemand, pavane, courant, and other serious dances; then jigs, gavots, minuets, chacons, pafsecailles, and other gayer airs: the whole composed in the same tune or mode.