| |
| |
| Preface Prelude: Why Analysis? | |
| |
| |
| |
| Time: The Motivating Forces Perceiving Musical Form | |
| |
| |
| |
| Basic Factors in Form Rhythm Melody: Contour, Range, Interval Content, Harmonic Implications, the Interaction of Tension and Relaxation in Melody | |
| |
| |
| Harmony and Tonality Tension and Relaxation Articulation of Structural | |
| |
| |
| Units Summary | |
| |
| |
| Assignments | |
| |
| |
| |
| The Phrase General Characteristics | |
| |
| |
| The Additive Process Phrase Length | |
| |
| |
| The Semiphrase | |
| |
| |
| The Rhythmic Structure of the Phrase | |
| |
| |
| The Harmonic Cadence | |
| |
| |
| The Harmonic Structure of the Phrase | |
| |
| |
| Phrase Extension Motivic Structure of the Phrase | |
| |
| |
| Summary Assignments | |
| |
| |
| |
| Phrase Groupings | |
| |
| |
| The Period Relationship | |
| |
| |
| The Two-Phrase Period: Antecedent and Consequent Phrases; Cadential Relationship; Melodic Relationship; Tonal Relationship | |
| |
| |
| Symmetrical and Asymmetrical Periods Three-and Four-Phrase Periods | |
| |
| |
| The Repeated Period | |
| |
| |
| The Independent Phrase | |
| |
| |
| The Repeated Phrase | |
| |
| |
| The Phrase Group | |
| |
| |
| The Connection of Phrases | |
| |
| |
| Disguised Phrase Endings Duple Measure Groupings | |
| |
| |
| Description of the Period | |
| |
| |
| Summary Assignments | |
| |
| |
| |
| Pattern: The Shaping Factors | |
| |
| |
| The Emergence of Pattern in Musical Perception | |
| |
| |
| |
| The Simple Part Forms General Characteristics One-Part | |
| |
| |
| Form Two-Part | |
| |
| |
| Form Macro-Rhythm and Macro-Tonal Plan Three-Part | |
| |
| |
| Form Four-and-Five-Part | |
| |
| |
| Forms Simple Part | |
| |
| |
| Forms as Internal | |
| |
| |
| Units Simple Part Forms in Vocal Music | |
| |
| |
| The Connection of Parts | |
| |
| |
| Summary Assignments | |
| |
| |
| Interlude Auxiliary Members Compared to "Negative Space" in Visual Art | |
| |
| |
| Beginnings Connections | |
| |
| |
| Conclusions Assignments | |
| |
| |
| |
| Composite Part Forms Composite | |
| |
| |
| Three-Part Form Composite | |
| |
| |
| Five-Part Form; the minuet/scherzo with two trios Composite Part | |
| |
| |
| Forms in Vocal Music Other Composite | |
| |
| |
| |
| the Waltz; Arch Form | |
| |
| |
| Summary Assignments | |
| |
| |
| |
| The Rondo Historical background The Classical Rondo: General Characteristics | |
| |
| |
| Treatment of the Principal Theme | |
| |
| |
| The Episodes | |
| |
| |
| The Transition | |
| |
| |
| The Coda | |
| |
| |
| The Five-Part Rondo | |
| |
| |
| The Seven-Part Rondo Rondo and | |
| |
| |
| |
| Similarities and Differences Summary Assignments | |
| |
| |
| |
| Variation Forms | |
| |
| |
| The EnduringPrevalence of Variations Theme and Variations: General Characteristics; Special | |
| |
| |
| Types of Variations; Overall Organization of the Theme and Variations | |
| |
| |
| Ostinato Variations: General Characteristics; the Ground Bass; the Passacaglia and Chaconne | |
| |
| |
| Summary Assignments | |
| |
| |
| |
| Fugue The Prototypical Fugue | |
| |
| |
| The Exposition: the Subject ; the Answer | |
| |
| |
| The Episode | |
| |
| |
| The middle entries | |
| |
| |
| The Conclusion | |
| |
| |
| The `Form' of the Fugue: Pattern; Sectional Cadences Fugues with Multiple Subjects | |
| |
| |
| Related Types; Fugato; Fughetta; Canon; Invention; Organ Chorale | |
| |
| |
| Summary: an Analytical | |
| |
| |
| Approach Assignments | |
| |
| |
| |
| Sonata Form Meanings of the Term General Characteristics; Historical Background | |
| |
| |
| The Introduction | |
| |
| |
| The Exposition | |
| |
| |
| The Development | |
| |
| |
| The Recapitulation Coda Sonata Form in the Concerto Related Forms; Sonatina Form; Sonata-Rondo Form Summary: An Analytical | |
| |
| |
| Approach Assignments | |
| |
| |
| |
| Proportion: The Distinguishing Features Formal | |
| |
| |
| Interrelationships; The Uniqueness of the Work of Art | |
| |
| |
| |
| Multimovement Form Aesthetic Concept Classical Models: Three-and-Four-Movement Plans; Common Formal Patterns | |
| |
| |
| The Concerto: Special Considerations Cyclical Design Away from the Classical Model: Works with More or Fewer Movements than the Norm | |
| |
| |
| Summary Assignments | |
| |
| |
| |
| Broader Horizons Expansion of Formal Analysis Beyond the Common | |
| |
| |
| Practice Period Rhythmic Delineation Parametric Change and Expansion of the Phrase Concept Summary Postlude -Metaform: beyond formal analysis | |
| |
| |
| The Search for Musical Meaning | |
| |
| |
| The Musical Idea Musical Character Proportional Aspects | |
| |
| |
| Under the Magnifying Glass | |
| |
| |
| The Copyist Commencement | |
| |
| |
| Assignment Anthology: Music for Analysis | |