By William E. Caplin
This publication introduces a brand new concept of shape for the research of instrumental song of the classical sort that makes a speciality of formal function--how the tune works and the place it really is going. development upon principles first complex through Arnold Schoenberg and later constructed by means of Erwin Ratz, the speculation offers a large set of ideas and a accomplished method for the research of classical shape, starting from the person rules making up numerous words of issues to the large-scale association of whole activities. The ebook features a particular dialogue of normal subject forms, considers extra huge formal areas, and eventually treats the elemental association of the full-movement shape. The theoretical options are illustrated with over 250 annotated musical examples from Haydn, Mozart, and Beethoven.
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Additional info for Classical Form: Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart and Beethoven
4 Beethoven, Piano Sonata in G, Op. 14/2, i, 1-8 36 SENTENCE The initial statement of the basic idea sets forth the fundamental material of the theme, and the immediate repetition of the idea fully "presents" it as such to the listener. The tonic prolongational progression provides the requisite harmonic stability. ) The textbooks then show how these motives group into larger units, which in turn combine to form even larger units, and so forth. The impression is that a composition is constructed out of tiny building blocks (often just a single interval formed by two notes), which represent the fundamental units of formal structure for the work.
34 This page intentionally left blank 2 Fundamental Progressions of Harmony sion that serves to express tonality. The most important function is tonic, the central harmony of a key, the one to which all others ultimately relate and derive their meaning. The second function includes harmonies whose primary role is to progress to the tonic. These are dominant functioning harmonies, all of which contain the leading-tone. The third fundamental function comprises a variety of harmonies whose primary purpose is to lead to the dominant.
If the subordinate theme is distinctly looser than the main theme, how does the former stand in relation to the transition section, which also features a looser organization? In general, it is difficult to compare degrees of loosening between transitions and subordinate themes, since both functions use many of the same loosening techniques. Nevertheless, somewhat different devices tend to be emphasized by the two functions. In this exposition, the transition is rendered loose by harmonic, tonal, and cadential means, SOME BASIC FORMAL FUNCTIONS whereas the subordinate theme acquires its looser form from extensions and expansions of the grouping structure.
Classical Form: Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart and Beethoven by William E. Caplin