Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven
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.
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Classical Form: A Theory of Formal Functions for the Instrumental Music of ...
William E. Caplin
No preview available - 1998
ahead ex Allegro Beethoven cadence at measure cadential closure cadential function chap chord classical closing section coda codetta compound basic idea continuation function continuation phrase contrasting idea contrasting middle core couplet dence development key development section dominant arrival dominant harmony E-flat eight-measure ExAMPLE expanded cadential progression final formal function four-measure fragmentation half cadence Haydn home key hybrid initial interior theme large ternary looser main theme main-theme material melodic melodic–motivic Minor minuet modulating motivic movement Mozart organization perfect authentic cadence Piano Concerto Piano Sonata Piano Trio postcadential pre-core pre-dominant presentation phrase recapitulation refrain repeated repetition retransition rhythmic ritornello scale-degree sentence sequence small binary small ternary sonata form Sonata in B-flat Sonata in F sonata—rondo standing String Quartet subdominant subordinate key subordinate theme Symphony ternary form texture thematic unit tight-knit tion tonal tonal region tonic prolongation transition two-measure usually Violin Sonata