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.

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.

Presents thirteen studies that engage with the notion of formal function in a variety of ways

Structure and Style, first published in 1962 and expanded in 1979, fills the need for new ways of analysis that put 20th-century music in perspective. It spans forms in use before 1600 through forms and techniques in use today. Anthology of Musical Forms provides musical examples of forms treated in Structure and Style. Some examples are analyzed throughout. Most are left for the student to analyze. These books reflect Leon Stein's impressive background as student, musician, and composer. Stein studied composition with Leo Sowerby, Frederick Stock (conductor of the Chicago Symphony) and orchestration with Eric DeLamarter, his assistant. He earned M. Mus and Ph.D degrees at DePaul University and was associated with its School of Music as director of the Graduate Division and chairman of the Department of Theory and Composition until his retirement in 1976. He has composed a wide variety of works, including compositions for orchestra, chamber combinations, two operas, and a violin concerto.

Excerpt from The Theory and Practice of Musical Form: On the Basis of Ludwig Bussler's "Musikalische Formenlehre" In view of the fact that the means or organs by which musical tones are produced are either natural (the human voice), or artificial (musical instruments), music is either 1. Purely vocal or, 2. Purely instrumental; or, 3. Mixed - i. E., at once vocal and instrumental. To one or the other of these three grand divisions of musical forms every musical composition must be assigned. Further, each one of these form-genera, as embracing compositions having either but a single movement, or many movements, is, accordingly, either simple, or composite (cyclical). About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

Understanding the way music unfolds to the listener is a major key for unlocking the secrets of the composer’s art. Musical Form and Analysis, highly regarded and widely used for two decades, provides a balanced theoretical and philosophical approach that helps upper-level undergraduate music majors understand the structures and constructions of major musical forms. Spring and Hutcheson present all of the standard topics expected in such a text, but their approach offers a unique conceptual thrust that takes readers beyond mere analytical terminology and facts. Evocative rather than encyclopedic, the text is organized around three elements at work at all levels of music: time, pattern, and proportion. Well-chosen examples and direct, well-crafted assignments reinforce techniques. A 140-page anthology of music for in-depth analysis provides a wide range of carefully selected works.

Excerpt from The Theory and Practice of Musical Form: On the Basis of Ludwig Bussler's "Musikalische Formenlehre" Form, in art, may be comprehensively defined as the external shape and order in which artistic conceptions are presented, in other words, as the outward expression of the subject-matter or import of the art-work. Accordingly, there may be as many forms as art-works, although numbers of these individual forms may and actually do agree in certain essential features. Now, the summary of the principal features in which a number of art-works agree, is called Art-form. The necessity of form to the special art of music is, perhaps, not so immediately obvious as in the case of the other arts; yet it is certain that without an adherence to the laws of form a coherent, intelligible musical composition is as inconceivable - as for example - a picture, a sculpture, or a building, without plan or design. A piece of music (if indeed music it should be called) without a determinate tonality or key-relationship, without harmonic, melodic, rhythmic order and symmetry - in a word, without form, - is nothing else than a tonal chaos. Hence the absolute necessity to the would-be musical composer of the study of the laws of musical form, - a necessity from which no natural gifts, not even the possession of genius, can dispense him. "Form," - says Eckermann (Beitrage zur Poesie) - "is the result of the efforts, through thousands of years, of the most excellent masters, which every one cannot too soon appropriate to himself. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.