Instrumental 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.

Wes Jones has defined a new industrial aesthetic for the 21st century.

This is the first typologically-oriented collection on Romani that is devoted to a particular thematic domain — that of noun phrase grammar. The approach taken is unique in that it places this typologically hybrid language in the centre of a general linguistic, universal discussion of the relevant noun phrase phenomena. The book is also the first assembly of articles to deal with Romani as a whole on the basis of cross-dialectal samples, offering areal-typological, dialectological, and historicalinterpretations. The individual contributions discuss morphological and syntactic aspects of nominal and pronominal inflection, definite articles, demonstratives, genitive compounding, external possession, pronominal object doubling and morphosyntactic alignment. Contributors include leading experts in the fields of noun phrase grammar, Romani dialectologists, typologists and historical linguists.

This volume brings together contributions tracing the complex paths of change taken by the English language in its long history, from its beginnings in Old English to the present day. It addresses issues in a variety of fields ranging from semantics and morphosyntax to the interface between syntax and phonology, using a number of different theoretical standpoints. As such, the text reflects a diversity of approaches to corpora, and will serve to improve the reader’s understanding of some of the many developments and alterations that have affected English. It will be of interest to all scholars and students working on the history of English, as well as students of historical linguistics in general.

This book focuses on the role size plays in grammar. Under the umbrella term size fall the size of syntactic projections, the size of feature content, and the size of reference sets. This Volume II discusses size effects in movement, agreement, and interpretation while the contributions in Volume I focus on size and structure building. Part I of Volume II investigates how size interacts with head movement and various phrasal movement including left branch extraction, object shift, tough movement, and multiple wh movement. Part II of this volume discusses the role size plays in agreement and morphology-related matters like allomorphy. Contributions in Part III focus on semantic-oriented issues, in particular the size of reference domains and NPI licensing. The languages covered in this volume include American Sign Language, Bosnian-Croatian-Serbian and various other Slavic languages, German, Icelandic, dialects of Italian, Japanese, Nancowry, Panoan languages, and Tamil.

Contents Include: Accent, Time and Rhythm Phrases and Sentences The Half-Phrase, or Section Rythmic Extension and Contraction The Construction of Complete Movements-The Simple Binary, or Two-Part Form The Simple Ternary, or Three-Part Form The Binary and Ternary Forms(Continued) The Evolution of the Ternary Idea: The Minuet and Trio-The Episodical Form The Evolution of the Trenary Idea(Continued)The Older, Or Simple, Rondo The Evolution of the Trenary Idea(Continued) Sonata-Form-The Exposition-First Subject and Transition Sonita-The Development, or Free Fantasia Form(Continued): Sonita-Form(Continued) The Recapitulation and Coda-The Introduction Departures from the Normal Type of Sonata-Form:(i)modified Sonata-Form (ii) The Modern or Sonata-Rondo The Variation Form The Sonata as a Whole Fugue Canon (i) The Symphony:(ii) The Overture :(iii) Concerted Chamber-Music The Cocerto (i) Dance Forms The Evolution of Sonata-Form Modern Tendencies Programme-Music, The Symphonic Poem, etc Glossary General Index Keywords: Sonata Form Evolution Ternary Minuet And Trio Rondo Recapitulation Chamber Music Dance Forms I Dance Coda Fugue Contraction Departures Fantasia Tendencies Exposition Sentences Accent Rhythm Phrases

Theoretical studies of Latvian grammar have a great deal to offer to contemporary linguistics. Although traditionally Lithuanian has been the most widely studied Baltic language in diachronic and synchronic linguistics alike, Latvian has a number of distinctive features that can prove valuable both for historical, and perhaps even more so, for synchronic language research. Therefore, at the very least, contemporary typological, areal, and language contact studies involving Baltic languages should account for data from Latvian. Typologically, Latvian grammar is a classic Indo-European (Baltic) system with well-developed inflection and derivation. However, it also bears certain similarities to the Finno-Ugric languages, which can be reasonably explained by its areal and historical background. This applies, for example, to the mood system and its connections with modality and evidentiality in Latvian, also to the correlation between aspect and quantity as manifested in verbal and nominal (case) forms. The relations between debitive mood, certain constructions with reflexive verbs, and voice in Latvian are intriguing examples of unusual morphosyntactic features. Accordingly, the book focuses on the following topics: case system and declension (with emphasis on the polyfunctionality of case forms), gender, conjugation, tense and personal forms, aspect, mood, modality and evidentiality, reflexive verbs, and voice. The examples included in this book have been taken from the Balanced Corpus of Modern Latvian (Lidzsvarots musdienu latviešu valodas tekstu korpuss, available at www.korpuss.lv), www.google.lv, mass media, and fiction texts (see the List of language sources) without regard to relative frequency ratios.