Musical Form and Analysis. Questo articolo non è disponibile.Musical Form and Analysis

Musical Form & Analysis provides a balanced theoretical and philosophical approach that helps junior and senior music majors understand the structures and constructions of major musical forms.

Preface

Prelude: Why Analysis?

Part I TIME: The Motivating Forces

Perceiving Musical Form

1 Basic Factors in Form

Rhythm

Melody: Contour, Range, Interval Content, Harmonic Implications, the Interaction of Tension and Relaxation in Melody

Harmony and Tonality

Tension and Relaxation

Articulation of Structural Units

Summary

Assignments

2 The Phrase

General Characteristics

The Additive Process

Phrase Length

The Semiphrase

The Rhythmic Structure of the Phrase

The Harmonic Cadence

The Harmonic Structure of the Phrase

Phrase Extension

Motivic Structure of the Phrase

Summary

Assignments

3 Phrase Groupings

The Period Relationship

The Two-Phrase Period: Antecedent and Consequent Phrases; Cadential Relationship; Melodic Relationship; Tonal Relationship

Symmetrical and Asymmetrical Periods

Three-and Four-Phrase Periods

The Repeated Period

The Independent Phrase

The Repeated Phrase

The Phrase Group

The Connection of Phrases

Disguised Phrase Endings

Duple Measure Groupings

Description of the Period

Summary

Assignments.

PART II Pattern: The Shaping Factors

The Emergence of Pattern in Musical Perception

4 The Simple Part Forms

General Characteristics

One-Part Form

Two-Part Form

Macro-Rhythm and Macro-Tonal Plan

Three-Part Form

Four-and-Five-Part Forms

Simple Part Forms as Internal Units

Simple Part Forms in Vocal Music

The Connection of Parts

Summary

Assignments

Interlude

Auxiliary Members

Compared to "Negative Space" in Visual Art

Beginnings

Connections

Conclusions

Assignments

5 Composite Part Forms

Composite Three-Part Form

Composite Five-Part Form; the minuet/scherzo with two trios

Composite Part Forms in Vocal Music

Other Composite Part Forms: the Waltz; Arch Form

Summary

Assignments

6 The Rondo

Historical background

The Classical Rondo: General Characteristics

Treatment of the Principal Theme

The Episodes

The Transition

The Coda

The Five-Part Rondo

The Seven-Part Rondo

Rondo and Part Forms: Similarities and Differences

Summary

Assignments

7 Variation Forms

The EnduringPrevalence of Variations

Theme and Variations: General Characteristics; Special Types of Variations; Overall Organization of the Theme and Variations

Ostinato Variations: General Characteristics; the Ground Bass; the Passacaglia and Chaconne

Summary

Assignments

8 Fugue

The Prototypical Fugue

The Exposition: the Subject ; the Answer

The Episode

The middle entries

The Conclusion

The `Form' of the Fugue: Pattern; Sectional Cadences

Fugues with Multiple Subjects

Related Types; Fugato; Fughetta; Canon; Invention; Organ Chorale

Summary: an Analytical Approach

Assignments

9 Sonata Form

Meanings of the Term

General Characteristics; Historical Background

The Introduction

The Exposition

The Development

The Recapitulation

Coda

Sonata Form in the Concerto

Related Forms; Sonatina Form; Sonata-Rondo Form

Summary: An Analytical Approach

Assignments

Part III Proportion: The Distinguishing Features

Formal Interrelationships; The Uniqueness of the Work of Art

10 Multimovement Form

Aesthetic Concept

Classical Models: Three-and-Four-Movement Plans; Common Formal Patterns

The Concerto: Special Considerations

Cyclical Design

Away from the Classical Model: Works with More or Fewer Movements than the Norm

Summary

Assignments

11 Broader Horizons

Expansion of Formal Analysis Beyond the Common Practice Period

Rhythmic Delineation

Parametric Change and Expansion of the Phrase Concept

Summary

Postlude -Metaform: beyond formal analysis

The Search for Musical Meaning

The Musical Idea

Musical Character

Proportional Aspects

Under the Magnifying Glass

The Copyist

Commencement Assignment

Anthology: Music for Analysis