Analysis of Musical Form, The

Description

Prentice Hall Announces a New Partnership with Finale PrintMusic Software!

Half off list price for students using PH texts

• Fully functional software enables notation; MIDI playback; transposition; score creation
• Finale files of key text examples, for easy assignment completion

Division of the text into two parts: Analytic Tools (6 chapters) and Forms of Music (8 chapters). This permits a flexible use of the text.  The first part emphasizes analytic techniques and concepts applicable to any piece of music. The second section emphasizes the discussion of formal categories and certain genres. The application of concepts from part one is encouraged by using certain recurring examples.  An instructor can profitably use either part of the text as the basis of a course. 

 

Separate discussions of the analysis of tonal design, thematic types and phrase structure, formal functions, and musical texture. A chapter on the analysis of cadences and tonality reinforces concepts introduced in most harmony texts, stressing their importance in the analysis and perception of musical form.

 

CDs containing most of the examples and exercises in the text. This reinforces the aural comprehension of concepts illustrated in the text.

 

An emphasis on aural experience and contextual listening is incorporated in the text, with ancillary exercises to supplement the discussions. Aural exercises with specific questions to guide the listening are included from the onset of the text and throughout. 

 

The main body of the text addresses the standard categories of musical form found in most texts.  Uniquely, this text contains separate chapters on modifications and expansions of sonata form, on vocal forms, and on 20^th-century music.  Throughout, the text incorporates consideration of how musical form is influenced by style and genre.  Historical perspectives are also addressed to show how changing styles or aesthetics led to different formal designs and structures.

 

Summaries of concepts and terms are given in each chapter, and a glossary is included.  Examples are carefully annotated, particularly in early chapters, to facilitate understanding of analytic concepts and discussion.  

 

“Analytic Notes” are incorporated throughout to encourage critical thinking and help develop analytic skills. Suggested readings and footnote references encourage further examination of concepts and ideas. 

 

Focuses on the western classical music of the 18th and 19th centuries: the Baroque through late romantic periods.

 

A discussion of innovative approaches to formal processes in 20th century music is also presented in a separate chapter.

 

The concepts of form as design and form as process, and the distinction between formal design and formal structure are introduced to examine the diverse ways various types of musical form may be realized.

 

 

 

 

Preface and Acknowledgements

List of Recorded Examples

Part I: Formal Design and Structure: Analytic Concepts and Tools

Chapter 1: On the Nature of Musical Form

Formal Design and Formal Structure

Formal Processes and Functions

Form, Style and Genre

Perception of Musical Form

Chapter 2: Tonal Design

Phrase, Cadence, and Key

Cadences and Segmentation

Tonal Design and Key Relations

Analysis of Tonal Design

Chapter 3: Thematic Design and Phrase Structure

Thematic Design

Motives and Themes

Thematic Models of Phrase Structure

Chapter 4: Phrase Rhythm and Form

Phrase Rhythm Defined

Phrase Connections: elision, links, overlap,

Phrase Expansions: introductions, internal expansions, extensions

Analysis of Phrase Rhythm

Chapter 5: Formal Functions and Musical Texture

Expository Function

Introductory Function

Transitional and Developmental Function

Closing and Framing Function

Parenthetical Function

Phrase Expansions and Formal Functions

Definitions of Musical Textures

Vocal and Instrumental Textures

Texture and Formal Design

Texture and Formal Processes

Part II: Forms of Music

Chapter 6 One Part and Binary Forms

One Part Form: Preludes, Periods, Phrase groups

Simple Binary Forms

Balanced Binary Form

Rounded Binary Form

Expanded Binary Form

Chapter 7 Ternary and Composite Forms

Simple Sectional Ternary Form

Continuous Ternary Form

Large and Compound Ternary Forms

Chapter 8 Sonata Form

Principles of Classical Sonata Form

Exposition

Development

Recapitulation

Coda

Sonata Form in the 19^th and 20^th century

Chapter 9 Modifications of Sonata Form/ Cyclic Forms

Slow Introduction

Sonata Form without Development

Sonata Form in Concerto Movements

Cyclic Form and Arch Form

Chapter 10 Rondo Form

Principles of Rondo Form

Baroque Rondeau

Five-Part Rondo

Seven-Part Rondo

Sonata Rondo Form

Chapter 11 Ostinato and Variation Forms

Introduction: Variation as Form, Genre, and Technique

Ostinato Variations: Ground, Passacaglia, Chaconne

Ostinato as Constructive Device

Theme and Variations

Fixed and Variable Elements

Types of Variations
Large-Scale Organization

Chapter 12 Contrapuntal Genres

Introduction: Contrapuntal Genres and Textures

Canon

Invention

Fugue

Chorale Prelude and Cantus Firmus Techniques

Chapter 13 Vocal Forms and Genres

Small Forms: Hymns and Popular Songs

Verse /Refrain, Strophic Forms, Bar Form

Small Binary, Small Ternary

Lieder/Art Song

Text and Form

Exapnded Song Form

Aria Forms

Barqoue Da Capo Forms and Ritornello functions

Classical Arias and Da Capo modifications

Operatic Rondò: Composite Binary Form

19^th Expanded Rondò: Cavatina/Cabelletta

Choral Forms

Chapter 14 20^th-Century: New Formal Processes and Techniques

Pitch Collections, Centricity, and Formal Processes

Timbre, Texture and Form

Indeterminacy and Open Forms

Textural Form

Form as Process: Minimalism

Bibliography of Writings on Musical Form

Glossary of Terms

Index of Works Cited and Subjects

JAMES MATHES is Associate Professor of Music Theory and Coordinator of Theory and Composition a Florida State University. He received the B.S. in Music Education from the University of Maryland and an M.M. and Ph.D. in Music Theory from the Florida State University College of Music. He has published articles and presented papers based on his research and interests in music theory pedagogy, the analysis of recent music, and the relationship between theoretical and practical aspects of music.

For courses on the analysis of musical form, with an emphasis on western music from 1700 to the present, in the standard Music Theory curriculum.

 

The Analysis of Musical Form emphasizes aural comprehension, incorporates recent analytic methodologies, and addresses musical form as both process and design.

 

James Mathes wrote this book due to a lack of textbooks written in the past dozen years on musical form.The relatively few texts on the market do not address recent scholarship or methodology, do not address phrase rhythm and formal processes in a systematic or thorough manner, and omit discussion of vocal forms and developments in post-tonal music of the 20^th century. There is also a lack of emphasis on aural comprehension of musical forms. Separate chapters on vocal forms and 20^th-century music, inclusion of recent developments in analytic methodology with suggested readings, and aural exercises, and accompanying CDs address these problems.

 

 

Additional information

Dimensions	1.20 × 9.25 × 10.90 in
Imprint	Pearson
Format	gen
ISBN-13	09780130618634
ISBN-10	0130618632
Author	James R. Mathes
Subjects	music, higher education, humanities, Humanities and Social Sciences, Form & Analysis