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Classical Form
Building on ideas first advanced by Arnold Schoenberg and later developed by Erwin Ratz, this book introduces a new theory of form for instrumental music in the classical style. The theory provides a broad set of principles and a comprehensive methodology for the analysis of classical form, from individual ideas, phrases, and themes to the large-scale organization of complete movements. It emphasizes the notion of formal function, that is, the specific role a given formal unit plays in the structural organization of a classical work.
Analyzing Classical Form
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.
Analyzing Classical Form
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.
Musical Form, Forms & Formenlehre
The tone of the debates among Caplin, Hepokoski, and Webster (in the form of comments on each author''s essay and then responses to the comments), though tactful, is obliquely blunt and tendentious; like the best of tennis pros, each author strives to serve an ace and defends the net against a passing shot (with Caplin, the ace is for formal function; with Hepokoski for Sonata Theory and dialogic form; with Webster for multivalent analysis). But we can trust that this provocative exchange will thoroughly invigorate discussions about classical form and encourage diverse approaches to its analys.
Formal Functions in Perspective
Presents thirteen studies that engage with the notion of formal function in a variety of ways
The String Quartets of Beethoven
"We do not understand music--it understands us." This aphorism by Theodor W. Adorno expresses the quandary and the fascination many listeners have felt in approaching Beethoven's late quartets. No group of compositions occupies a more central position in chamber music, yet the meaning of these works continues to stimulate debate. William Kinderman's The String Quartets of Beethoven stands as the most detailed and comprehensive exploration of the subject. It collects new work by leading international scholars who draw on a variety of historical sources and analytical approaches to offer fresh insights into the aesthetics of the quartets, probing expressive and structural features that have hitherto received little attention. This volume also includes an appendix with updated information on the chronology and sources of the quartets and a detailed bibliography.
Mozart's Music of Friends
This study analyzes chamber music from Mozart's time within its highly social salon-performance context.
Music in the Galant Style
Music in the Galant Style is an authoritative and readily understandable study of the core compositional style of the eighteenth century. Gjerdingen adopts a unique approach, based on a massive but little-known corpus of pedagogical workbooks used by the most influential teachers of the century, the Italian partimenti. He has brought this vital repository of compositional methods into confrontation with a set of schemata distilled from an enormous body of eighteenth-century music, much of it known only to specialists, formative of the "galant style."
Beethoven's Tempest Sonata
For music analysts and performers alike, Beethoven's Tempest sonata (1802) represents one of the most challenging pieces of the classical and early romantic piano repertoire. This book is a collection of eleven essays, each dealing with this sonata from a different analytical perspective and investigating the possible connections between music analysis and the practice of performance. Under the editorship of Pieter Berge, Jeroen D'hoe and William E. Caplin, the book presents essays by Scott Burnham (hermeneutics), Poundie Burstein (Schenkerian approach), Kenneth Hamilton (history of performance), Robert Hatten (semiotics), James Hepokoski (Sonata Theory), William Kinderman (source studies), William Rothstein (tempo, rhythm, and meter), Douglas Seaton (narratology), Steven Vande Moortele (20th-century Formenlehre) and the editors themselves (motivic analysis and form-functional approach respectively).
Cadence
"Chapter 1 first surveys general concepts of closure in everyday life, gestalt psychology, and literature, and then turns to how some recent theorists conceptualize closure in music. Some principles of perception and cognition (e.g., "laws" of proximity, similarity, and continuity) are applicable to musical closure, as well as the general distinction between stopping and ending. Closure is further characterized by many writers as either a temporal or atemporal (or spatial) phenomenon, the former being most applicable to the sense of ending in music. Especially important are two concepts suggested by Barbara Herrnstein Smith for poetic closure: the use of "terminal modification" following a s...
