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William Earl Caplin

Analyzing Classical Form

Name: Analyzing Classical Form
Brand: OUP US
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An Approach for the Classroom

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Analyzing Classical Form offers an approach to the analysis of musical form that is especially suited for classroom use at both undergraduate and graduate levels. Students will learn how to make complete harmonic and formal analyses of music drawn from the instrumental works of Haydn, Mozart, and Beethoven.

Inhaltsverzeichnis

Chapter 1 A Review of Harmony

The Basics

Harmonic vocabulary

Harmonic progressions

Let's Practice

More Details

Tonic function

Dominant function

Pre-dominant function

Prolongational progressions

Cadential progressions

Sequential progressions

Finer Points

Reviewing the Theory

Examples for Analysis

Part 1 Conventional Theme-Types

Chapter 2 The Sentence

The Basics

Presentation phrase

Continuation phrase

Let's Practice

More Details

Basic idea

Repetition of the basic idea

Tonic prolongation

Presentation phrase versus presentation function

Continuation function

Cadential function

Continuation

Finer Points

"Real" versus "notated" measures

Modulating sentence

Reviewing the Theory

Examples for Analysis

Model Composition

Chapter 3 The Period

The Basics

Antecedent phrase

Consequent phrase

Let's Practice

More Details

Basic idea

Contrasting idea

Weak cadential closure

Return of the basic idea

Strong cadential closure

Boundary processes: lead-in, elision

Finer Points

Antecedent (and consequent) as "mini-sentence"

Modulating period; cadential strength

Reinterpreted half cadence

Sentence versus period

Reviewing the Theory

Examples for Analysis

Model Composition

Chapter 4 Hybrid Themes

The Basics

Hybrid types

Let's Practice

More Details

Hybrid type: antecedent + continuation

Hybrid type: antecedent + cadential

Compound basic idea

Hybrid type: compound basic idea + continuation

Hybrid type: compound basic idea + consequent

Finer Points

Hybrid themes in relation to the sentence and period

Appearances of the basic idea

Phrase ambiguities

Other "hybrid" possibilities

Reviewing the Theory

Examples for Analysis

Model Composition

Chapter 5 Phrase Deviations, Cadential Deviations, and Framing Functions

The Basics

Phrase deviations

Cadential deviations

Framing functions

Let's Practice

More Details

Phrase deviations

Cadential deviations

Framing functions

Finer Points

Contrasting idea replaced by continuation phrase

Codetta closes with cadence; cadence of limited scope

Boundary process: melodic overlap

Reviewing the Theory

Examples for Analysis

Model Composition

Chapter 6 Compound Themes

The Basics

Compound Period

Compound Sentence

Let's Practice

More Details

Compound Period

Compound Sentence

Finer Points

Compound period

Real vs. notated measures

Reviewing the Theory

Examples for Analysis

Model Composition

Chapter 7 The Small Ternary (Rounded Binary)

The Basics

Exposition (A)

Contrasting middle (B)

Recapitulation (A )

Let's Practice

More Details

Tight-knit versus loose formal organization

Exposition (A)

Contrasting middle (B)

Recapitulation (A )

Finer Points

Contrasting middle (B)

Recapitulation (A )

Reviewing the Theory

Examples for Analysis

Model Composition

Chapter 8 The Small Binary

The Basics

Part 1

Part 2

Let's Practice

More Details

Part 1

Part 2

Reviewing the Theory

Examples for Analysis

Model Composition

Part 2 Sonata Form

Chapter 9 Sonata Form-An Overview

Large-scale formal structure

Large-scale tonal structure

Exposition

Let's Practice

Development

Let's Practice

Recapitulation

Let's Practice

Chapter 10 Exposition (I)-Main Theme

The Basics

More Details

Conventional theme-types

Nonconventional theme-types

Finer Points

Main-theme group

Character and affect

Reviewing the Theory

Examples for Analysis

Chapter 11 Exposition (II)-Transition

The Basics

Let's Practice

More Details

Style, character, dynamics

Boundary processes: accompanimental overlap, elision

Modulation techniques

Opening strategies

Phrase-structural organization; loosening devices

Closure

Finer Points

Unusual opening strategies

Two-part transition

Omission of concluding function

Reviewing the Theory

Examples for Analysis

Chapter 12 Exposition (III)-Subordinate Theme

The Basics

Let's Practice

More Details

Contrasting nature of the subordinate theme

Looser sentential functions

Internal half cadence (dominant arrival)

Subordinate-theme group

Closing section

Finer Points

Omission of initiating function

Expanded periodic design

Expanded repetition of a subordinate theme

Harmonic-tonal loosening

Thematic introduction

Obscured boundary between transition and subordinate theme

Reviewing the Theory

Examples for Analysis

Chapter 13 Development

The Basics

Tonal organization

Phrase-structural organization

Let's Practice

More Details

Melodic-motivic material

Core

Pre-core

Retransition

Finer Points

Development sections without a core

Transitional introduction

Unusual endings

Reviewing the Theory

Examples for Analysis

Chapter 14 Recapitulation

The Basics

An analytical methodology-comparison

Tonal-harmonic organization

Structural changes

Let's Practice

More Details

Thematic functions of the recapitulation

Structural changes: main theme

Structural changes: transition

Structural changes: subordinate theme (group)

Finer Points

Additional features of the recapitulation

Fusion of main theme and transition

Deviations from the norm

Reviewing the Theory

Examples for Analysis

Chapter 15 Coda

The Basics

Let's Practice

More Details

Melodic-motivic material of the coda

Start of the Coda

Phrase structural organization of the coda

Compensatory functions

Reviewing the Theory

Examples for Analysis

Chapter 16 Slow Introduction

The Basics

Let's Practice

More Details

Style and affect

Tonal, phrase-structural, and motivic organization

Reviewing the Theory

Examples for Analysis

Part 3 Other Full-Movement Forms

Chapter 17 Slow-Movement Forms

The Basics

Large Ternary

Theme and Variations

Sonata without development

Let's Practice

More Details

Large ternary versus small ternary

Large ternary-interior theme

Large ternary-coda

Theme and variations-structural alterations

Finer Points

Sonata form in slow movements

Sonata without development-truncated recapitulation

Ending a slow movement

Reviewing the Theory

Examples for Analysis

Chapter 18 Minuet/Trio Form

The Basics

Minuet/trio form

Minuet form

Let's Practice

More Details

Exposition (A)

Contrasting middle (B section)

Recapitulation (A )

Coda

Trio

Finer Points

Binary minuet form

Minuet/trio form-functional relations

Reviewing the Theory

Examples for Analysis

Chapter 19 Rondo Forms

The Basics

Five-part rondo

Sonata-rondo

Let's Practice

More Details

Main theme

Subordinate-theme complex

Interior theme

Returns of the main theme

Development

Coda

Finer Points

Deviations from the norm

Enlargements of rondo form-seven-part rondo, nine-part sonata-rondo

Reviewing the Theory

Examples for Analysis

Chapter 20 Concerto Form

The Basics

Opening ritornello

Solo Exposition

Subordinate-key ritornello

Let's Practice

More Details

Opening ritornello

Solo Exposition

Subordinate-key ritornello

Solo Development

Solo Recapitulation

Closing ritornello

Reviewing the Theory

Examples for Analysis

Glossary of Terms

Notes

Index of Musical Compositions

General Index

Produktdetails

Erscheinungsdatum

01. November 2013

Sprache

englisch

Seitenanzahl

760

Autor/Autorin

William Earl Caplin

Verlag/Hersteller

OUP US

Produktart

kartoniert

Gewicht

1875 g

Größe (L/B/H)

280/216/41 mm

ISBN

9780199987290

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Portrait

William Earl Caplin

William Caplin is James McGill Professor of Music Theory at the Schulich School of Music, McGill University, specializing in the theory of musical form and the history of harmonic and rhythmic theory in the modern era. A former president of the Society for Music Theory, he is currently a Killam Research Fellow writing a large-scale study on musical cadence.

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