Overview

Analyzing Classical Form builds upon the foundations of the author's critically acclaimed Classical Form by offering an approach to the analysis of musical form that is especially suited for classroom use. Providing ample material for study in both undergraduate and graduate courses, Analyzing Classical Form presents the most up-to-date version of the author's ""theory of formal functions."" Students will learn how to make complete harmonic and formal analyses of music drawn from the instrumental works of Haydn, Mozart, and Beethoven. Part 1 introduces the principal theme-types of classical instrumental music; part 2 provides a methodology for analyzing sonata form, the most important formal type in this style period; and part 3 considers other full-movement forms found in this repertory (such as minuet, rondo, and concerto). The chapters are organized in a way that presents the most basic materials upfront and then leads the student through more details and finer points of theory. Every topic is illustrated with annotated musical examples; as well, the book contains many unannotated examples that can be used for in-class discussion and for out-of-class analytical exercises. A complete glossary of terms and questions for reviewing the theory will help students assimilate the many theoretical concepts employed in the book. A companion website provides audio and musical scores for all of the examples in the book as well as additional examples for the analysis of the simple theme-types presented in part 1.

Full Product Details

Author:   William E. Caplin (James McGill Professor of Music Theory, James McGill Professor of Music Theory, McGill University, Montreal, Canada)
Publisher:   Oxford University Press Inc
Imprint:   Oxford University Press Inc
Dimensions:   Width: 21.60cm , Height: 3.70cm , Length: 27.80cm
Weight:   1.783kg
ISBN:  

9780199987290

ISBN 10:   0199987297
Pages:   768
Publication Date:   28 November 2013
Audience:   College/higher education ,  Undergraduate ,  Postgraduate, Research & Scholarly
Format:   Paperback
Publisher's Status:   Active
Availability:   Manufactured on demand  
We will order this item for you from a manufactured on demand supplier.

Table of Contents

"Chapter 1 A Review of HarmonyThe BasicsHarmonic vocabularyHarmonic progressionsLet's PracticeMore DetailsTonic functionDominant functionPre-dominant functionProlongational progressionsCadential progressionsSequential progressionsFiner PointsReviewing the TheoryExamples for AnalysisPart 1 Conventional Theme-TypesChapter 2 The Sentence The BasicsPresentation phraseContinuation phraseLet's PracticeMore DetailsBasic ideaRepetition of the basic ideaTonic prolongationPresentation phrase versus presentation functionContinuation functionCadential functionContinuationFiner Points""Real"" versus ""notated"" measuresModulating sentenceReviewing the TheoryExamples for AnalysisModel CompositionChapter 3 The Period The BasicsAntecedent phraseConsequent phraseLet's PracticeMore DetailsBasic ideaContrasting ideaWeak cadential closureReturn of the basic ideaStrong cadential closureBoundary processes: lead-in, elisionFiner PointsAntecedent (and consequent) as ""mini-sentence""Modulating period; cadential strengthReinterpreted half cadenceSentence versus periodReviewing the TheoryExamples for AnalysisModel CompositionChapter 4 Hybrid Themes The BasicsHybrid typesLet's PracticeMore DetailsHybrid type: antecedent + continuationHybrid type: antecedent + cadentialCompound basic ideaHybrid type: compound basic idea + continuationHybrid type: compound basic idea + consequentFiner PointsHybrid themes in relation to the sentence and periodAppearances of the basic ideaPhrase ambiguitiesOther ""hybrid"" possibilitiesReviewing the TheoryExamples for AnalysisModel CompositionChapter 5 Phrase Deviations, Cadential Deviations, and Framing Functions The BasicsPhrase deviationsCadential deviationsFraming functionsLet's PracticeMore DetailsPhrase deviationsCadential deviationsFraming functionsFiner PointsContrasting idea replaced by continuation phraseCodetta closes with cadence; cadence of limited scopeBoundary process: melodic overlapReviewing the TheoryExamples for AnalysisModel CompositionChapter 6 Compound Themes The BasicsCompound PeriodCompound SentenceLet's PracticeMore DetailsCompound PeriodCompound SentenceFiner PointsCompound periodReal vs. notated measuresReviewing the TheoryExamples for AnalysisModel CompositionChapter 7 The Small Ternary (Rounded Binary) The BasicsExposition (A)Contrasting middle (B)Recapitulation (A´)Let's PracticeMore DetailsTight-knit versus loose formal organizationExposition (A)Contrasting middle (B)Recapitulation (A´)Finer PointsContrasting middle (B)Recapitulation (A´)Reviewing the TheoryExamples for AnalysisModel CompositionChapter 8 The Small Binary The BasicsPart 1Part 2Let's PracticeMore DetailsPart 1Part 2Reviewing the TheoryExamples for AnalysisModel CompositionPart 2 Sonata FormChapter 9 Sonata Form-An Overview Large-scale formal structureLarge-scale tonal structureExpositionLet's PracticeDevelopmentLet's PracticeRecapitulationLet's PracticeChapter 10 Exposition (I)-Main Theme The BasicsMore DetailsConventional theme-typesNonconventional theme-typesFiner PointsMain-theme groupCharacter and affectReviewing the TheoryExamples for AnalysisChapter 11 Exposition (II)-Transition The BasicsLet's PracticeMore DetailsStyle, character, dynamicsBoundary processes: accompanimental overlap, elisionModulation techniquesOpening strategiesPhrase-structural organization; loosening devicesClosureFiner PointsUnusual opening strategiesTwo-part transitionOmission of concluding functionReviewing the TheoryExamples for AnalysisChapter 12 Exposition (III)-Subordinate Theme The BasicsLet's PracticeMore DetailsContrasting nature of the subordinate themeLooser sentential functionsInternal half cadence (dominant arrival)Subordinate-theme groupClosing sectionFiner PointsOmission of initiating functionExpanded periodic designExpanded repetition of a subordinate themeHarmonic-tonal looseningThematic introductionObscured boundary between transition and subordinate themeReviewing the TheoryExamples for AnalysisChapter 13 Development The BasicsTonal organizationPhrase-structural organizationLet's PracticeMore DetailsMelodic-motivic materialCorePre-coreRetransitionFiner PointsDevelopment sections without a coreTransitional introductionUnusual endingsReviewing the TheoryExamples for AnalysisChapter 14 Recapitulation The BasicsAn analytical methodology-comparisonTonal-harmonic organizationStructural changesLet's PracticeMore DetailsThematic functions of the recapitulationStructural changes: main themeStructural changes: transitionStructural changes: subordinate theme (group)Finer PointsAdditional features of the recapitulationFusion of main theme and transitionDeviations from the normReviewing the TheoryExamples for AnalysisChapter 15 Coda The BasicsLet's PracticeMore DetailsMelodic-motivic material of the codaStart of the CodaPhrase structural organization of the codaCompensatory functionsReviewing the TheoryExamples for AnalysisChapter 16 Slow Introduction The BasicsLet's PracticeMore DetailsStyle and affectTonal, phrase-structural, and motivic organizationReviewing the TheoryExamples for AnalysisPart 3 Other Full-Movement FormsChapter 17 Slow-Movement Forms The BasicsLarge TernaryTheme and VariationsSonata without developmentLet's PracticeMore DetailsLarge ternary versus small ternaryLarge ternary-interior themeLarge ternary-codaTheme and variations-structural alterationsFiner PointsSonata form in slow movementsSonata without development-truncated recapitulationEnding a slow movementReviewing the TheoryExamples for AnalysisChapter 18 Minuet/Trio Form The BasicsMinuet/trio formMinuet formLet's PracticeMore DetailsExposition (A)Contrasting middle (B section)Recapitulation (A´)CodaTrioFiner PointsBinary minuet formMinuet/trio form-functional relationsReviewing the TheoryExamples for AnalysisChapter 19 Rondo Forms The BasicsFive-part rondoSonata-rondoLet's PracticeMore DetailsMain themeSubordinate-theme complexInterior themeReturns of the main themeDevelopmentCodaFiner PointsDeviations from the normEnlargements of rondo form-seven-part rondo, nine-part sonata-rondoReviewing the TheoryExamples for AnalysisChapter 20 Concerto Form The BasicsOpening ritornelloSolo ExpositionSubordinate-key ritornelloLet's PracticeMore DetailsOpening ritornelloSolo ExpositionSubordinate-key ritornelloSolo DevelopmentSolo RecapitulationClosing ritornelloReviewing the TheoryExamples for AnalysisGlossary of TermsNotesIndex of Musical CompositionsGeneral Index"

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Author Information

William Caplin is James McGill Professor of Music Theory at the Schulich School of Music, McGill University, specializing in the theory of musical form and the history of harmonic and rhythmic theory in the modern era. A former president of the Society for Music Theory, he is currently a Killam Research Fellow writing a large-scale study on musical cadence.

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