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Classical form : a theory of formal functions for the instrumental music of Haydn, Mozart, and Beethoven / William E. Caplin.

By: Caplin, William Earl, 1948-.
Material type: materialTypeLabelBookPublisher: New York ; Oxford : Oxford University Press, 2001Description: xii, 307 p. : music ; 28 cm.ISBN: 9780195143997 ; 9780195104806.Subject(s): Haydn, Joseph, 1732-1809 -- Criticism and interpretation | Beethoven, Ludwig van, 1770-1827 -- Criticism and interpretation | Mozart, Wolfgang Amadeus, 1756-1791 -- Criticism and interpretation | Musical form | Instrumental music -- 18th century -- Analysis, appreciation | Instrumental music -- 19th century -- Analysis, appreciation | Musical analysis | Classicism in music | Music theory -- History -- 18th century | Music theory -- History -- 19th centuryDDC classification: 784.18
Holdings
Item type Current library Call number Copy number Status Barcode
General lending MTU Cork School of Music Library Lending 784.18 (Browse shelf(Opens below)) 1 Available 00175317
Total holds: 0

Enhanced descriptions from Syndetics:

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.

Originally published in 1998.

Bibliography: p. 289-292. Includes index.

Table of contents provided by Syndetics

  • Introduction
  • Part I Preliminaries
  • 1 Some Basic Formal Functions: An Overview (p. 9)
  • Sentence (p. 9)
  • Period (p. 12)
  • Small Ternary (p. 13)
  • Framing Functions (p. 15)
  • Interthematic Functions: A Sonata Exposition (p. 17)
  • 2 Fundamental Progressions of Harmony (p. 23)
  • Harmonic Functions (p. 23)
  • Harmonic Progressions (p. 24)
  • Part II Tight-Knit Themes
  • 3 Sentence (p. 35)
  • Presentation Phrase (p. 35)
  • Continuation Phrase (p. 40)
  • 4 Period (p. 49)
  • Antecedent Phrase (p. 49)
  • Consequent Phrase (p. 53)
  • Deviations from the Norm (p. 55)
  • 5 Hybrid Themes and Compound Themes (p. 59)
  • Hybrid Themes (p. 59)
  • Compound Themes (p. 63)
  • 6 Small Ternary (p. 71)
  • Exposition (p. 73)
  • Contrasting Middle (p. 75)
  • Recapitulation (p. 81)
  • Tight-Knit Versus Loose Organization (p. 84)
  • 7 Small Binary (p. 87)
  • First Part (p. 87)
  • Second Part (p. 89)
  • Part III Looser Formal Regions
  • 8 Subordinate Theme (p. 97)
  • Looser Sentential Functions (p. 99)
  • Additional Loosening Techniques (p. 111)
  • Multiple Subordinate Themes (p. 121)
  • Closing Section (p. 122)
  • Dynamic Curve of Subordinate Theme (p. 123)
  • 9 Transition (p. 125)
  • Modulating Versus Nonmodulating Transitions (p. 127)
  • Beginning the Transition (p. 127)
  • Ending the Transition (p. 131)
  • Two-Part Transition (p. 135)
  • 10 Development (p. 139)
  • Tonal Organization (p. 139)
  • Pre-Core/Core Technique (p. 141)
  • Development Sections Without a Core (p. 155)
  • Retransition (p. 157)
  • 11 Recapitulation (p. 161)
  • Main Theme (p. 163)
  • Transition (p. 163)
  • Fusion of Main Theme and Transition (p. 165)
  • Subordinate Theme (Group) (p. 167)
  • Additional Features (p. 171)
  • Deviations from the Norm (p. 173)
  • 12 Coda (p. 179)
  • Start of the Coda (p. 181)
  • Phrase-Structural Organization (p. 183)
  • Compensatory Functions (p. 186)
  • Part IV Full-Movement Forms
  • 13 Sonata Form (p. 195)
  • Overall Tonal Organization (p. 195)
  • Cadential Goals in the Exposition (p. 196)
  • Main Theme (p. 197)
  • Obscured Boundary Between Transition and Subordinate Theme (p. 201)
  • Slow Introduction (p. 203)
  • 14 Slow-Movement Forms (p. 209)
  • Sonata Form in Slow Movements (p. 209)
  • Large Ternary (p. 211)
  • Sonata Without Development (p. 216)
  • Theme and Variations (p. 216)
  • 15 Minuet/Trio Form (p. 219)
  • Minuet Form (p. 220)
  • Trio (p. 229)
  • 16 Rondo Forms (p. 231)
  • Five-Part Rondo (p. 231)
  • Sonata-Rondo (p. 235)
  • 17 Concerto Form (p. 243)
  • Opening Ritornello (p. 244)
  • Solo Exposition (p. 245)
  • Subordinate-Key Ritornello (p. 248)
  • Solo Development (p. 249)
  • Solo Recapitulation (p. 249)
  • Closing Ritornello (p. 250)
  • Glossary of Terms (p. 253)
  • Notes (p. 259)
  • Bibliography (p. 289)
  • Index of Classical Compositions (p. 293)
  • General Index (p. 298)

Author notes provided by Syndetics

William E. Caplin is at McGill University.