Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven

by William E. Caplin

Overview

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.

Product Details

ISBN-13:	9780199881758
Publisher:	Oxford University Press
Publication date:	12/28/2000
Sold by:	Barnes & Noble
Format:	eBook
File size:	28 MB
Note:	This product may take a few minutes to download.

About the Author

McGill University

Table of Contents

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

Editorial Reviews

"This ambitious book offers nothing less than a new theory of form for the music of the Classical period....In its combination of scholarship, musicality and sheer common sense, Caplan's Classical Form is a major achievement by any standards....it should be read by anybody who teaches, studies or writes about this music."—Music and Letters

"His book is an important and impressive statement that no theorist or musicologist can afford to ignore."—Music Theory Spectrum

"A compilation of intriguing examples illustrating classical design and function, an up-to-date bibliographical guide, and a source of fresh insight into the accomplishments of the classical masters. Caplin's approach, buttressed by methodological rigor and theoretical detail, makes a persuasive case for the revival of Formenlehre as a pedagogical tool and analytical discipline."—Music Theory Online

"Caplin draws his Beethoven examples from all genres...the fortepiano sonatas are particularly well-represented."—The Beethoven Journal

From the Publisher