Analyzing Classical Form

Description

Analyzing Classical Form offers an approach to the analysis of musical form that is especially suited for classroom use at both undergraduate and graduate levels. Students will learn how to make complete harmonic and formal analyses of music drawn from the instrumental works of Haydn, Mozart, and Beethoven.

• A modern theory of musical form, one that has already proven itself as highly influential within the music-theoretical communities of North America and abroad
• A highly systematic and comprehensive approach that leads the students from a mastery of simple formal structures through to the complexities of complete full-movement forms
• Includes four hundred musical examples, whose audio content can be streamed online from the book's companion website

About the Author(s)

William E. Caplin, James McGill Professor of Music Theory, McGill University, Canada

William Caplin is James McGill Professor of Music Theory at the Schulich School of Music, McGill University, specializing in the theory of musical form and the history of harmonic and rhythmic theory in the modern era. A former president of the Society for Music Theory, he is currently a Killam Research Fellow writing a large-scale study on musical cadence.

Table of Contents

Chapter 1 A Review of Harmony
The Basics
Harmonic vocabulary
Harmonic progressions
Let's Practice
More Details
Tonic function
Dominant function
Pre-dominant function
Prolongational progressions
Cadential progressions
Sequential progressions
Finer Points
Reviewing the Theory
Examples for Analysis
Part 1 Conventional Theme-Types
Chapter 2 The Sentence
The Basics
Presentation phrase
Continuation phrase
Let's Practice
More Details
Basic idea
Repetition of the basic idea
Tonic prolongation
Presentation phrase versus presentation function
Continuation function
Cadential function
Continuation
Finer Points
"Real" versus "notated" measures
Modulating sentence
Reviewing the Theory
Examples for Analysis
Model Composition
Chapter 3 The Period
The Basics
Antecedent phrase
Consequent phrase
Let's Practice
More Details
Basic idea
Contrasting idea
Weak cadential closure
Return of the basic idea
Strong cadential closure
Boundary processes: lead-in, elision
Finer Points
Antecedent (and consequent) as "mini-sentence"
Modulating period; cadential strength
Reinterpreted half cadence
Sentence versus period
Reviewing the Theory
Examples for Analysis
Model Composition
Chapter 4 Hybrid Themes
The Basics
Hybrid types
Let's Practice
More Details
Hybrid type: antecedent + continuation
Hybrid type: antecedent + cadential
Compound basic idea
Hybrid type: compound basic idea + continuation
Hybrid type: compound basic idea + consequent
Finer Points
Hybrid themes in relation to the sentence and period
Appearances of the basic idea
Phrase ambiguities
Other "hybrid" possibilities
Reviewing the Theory
Examples for Analysis
Model Composition
Chapter 5 Phrase Deviations, Cadential Deviations, and Framing Functions
The Basics
Phrase deviations
Cadential deviations
Framing functions
Let's Practice
More Details
Phrase deviations
Cadential deviations
Framing functions
Finer Points
Contrasting idea replaced by continuation phrase
Codetta closes with cadence; cadence of limited scope
Boundary process: melodic overlap
Reviewing the Theory
Examples for Analysis
Model Composition
Chapter 6 Compound Themes
The Basics
Compound Period
Compound Sentence
Let's Practice
More Details
Compound Period
Compound Sentence
Finer Points
Compound period
Real vs. notated measures
Reviewing the Theory
Examples for Analysis
Model Composition
Chapter 7 The Small Ternary (Rounded Binary)
The Basics
Exposition (A)
Contrasting middle (B)
Recapitulation (A´)
Let's Practice
More Details
Tight-knit versus loose formal organization
Exposition (A)
Contrasting middle (B)
Recapitulation (A´)
Finer Points
Contrasting middle (B)
Recapitulation (A´)
Reviewing the Theory
Examples for Analysis
Model Composition
Chapter 8 The Small Binary
The Basics
Part 1
Part 2
Let's Practice
More Details
Part 1
Part 2
Reviewing the Theory
Examples for Analysis
Model Composition
Part 2 Sonata Form
Chapter 9 Sonata Form-An Overview
Large-scale formal structure
Large-scale tonal structure
Exposition
Let's Practice
Development
Let's Practice
Recapitulation
Let's Practice
Chapter 10 Exposition (I)-Main Theme
The Basics
More Details
Conventional theme-types
Nonconventional theme-types
Finer Points
Main-theme group
Character and affect
Reviewing the Theory
Examples for Analysis
Chapter 11 Exposition (II)-Transition
The Basics
Let's Practice
More Details
Style, character, dynamics
Boundary processes: accompanimental overlap, elision
Modulation techniques
Opening strategies
Phrase-structural organization; loosening devices
Closure
Finer Points
Unusual opening strategies
Two-part transition
Omission of concluding function
Reviewing the Theory
Examples for Analysis
Chapter 12 Exposition (III)-Subordinate Theme
The Basics
Let's Practice
More Details
Contrasting nature of the subordinate theme
Looser sentential functions
Internal half cadence (dominant arrival)
Subordinate-theme group
Closing section
Finer Points
Omission of initiating function
Expanded periodic design
Expanded repetition of a subordinate theme
Harmonic-tonal loosening
Thematic introduction
Obscured boundary between transition and subordinate theme
Reviewing the Theory
Examples for Analysis
Chapter 13 Development
The Basics
Tonal organization
Phrase-structural organization
Let's Practice
More Details
Melodic-motivic material
Core
Pre-core
Retransition
Finer Points
Development sections without a core
Transitional introduction
Unusual endings
Reviewing the Theory
Examples for Analysis
Chapter 14 Recapitulation
The Basics
An analytical methodology-comparison
Tonal-harmonic organization
Structural changes
Let's Practice
More Details
Thematic functions of the recapitulation
Structural changes: main theme
Structural changes: transition
Structural changes: subordinate theme (group)
Finer Points
Additional features of the recapitulation
Fusion of main theme and transition
Deviations from the norm
Reviewing the Theory
Examples for Analysis
Chapter 15 Coda
The Basics
Let's Practice
More Details
Melodic-motivic material of the coda
Start of the Coda
Phrase structural organization of the coda
Compensatory functions
Reviewing the Theory
Examples for Analysis
Chapter 16 Slow Introduction
The Basics
Let's Practice
More Details
Style and affect
Tonal, phrase-structural, and motivic organization
Reviewing the Theory
Examples for Analysis
Part 3 Other Full-Movement Forms
Chapter 17 Slow-Movement Forms
The Basics
Large Ternary
Theme and Variations
Sonata without development
Let's Practice
More Details
Large ternary versus small ternary
Large ternary-interior theme
Large ternary-coda
Theme and variations-structural alterations
Finer Points
Sonata form in slow movements
Sonata without development-truncated recapitulation
Ending a slow movement
Reviewing the Theory
Examples for Analysis
Chapter 18 Minuet/Trio Form
The Basics
Minuet/trio form
Minuet form
Let's Practice
More Details
Exposition (A)
Contrasting middle (B section)
Recapitulation (A´)
Coda
Trio
Finer Points
Binary minuet form
Minuet/trio form-functional relations
Reviewing the Theory
Examples for Analysis
Chapter 19 Rondo Forms
The Basics
Five-part rondo
Sonata-rondo
Let's Practice
More Details
Main theme
Subordinate-theme complex
Interior theme
Returns of the main theme
Development
Coda
Finer Points
Deviations from the norm
Enlargements of rondo form-seven-part rondo, nine-part sonata-rondo
Reviewing the Theory
Examples for Analysis
Chapter 20 Concerto Form
The Basics
Opening ritornello
Solo Exposition
Subordinate-key ritornello
Let's Practice
More Details
Opening ritornello
Solo Exposition
Subordinate-key ritornello
Solo Development
Solo Recapitulation
Closing ritornello
Reviewing the Theory
Examples for Analysis
Glossary of Terms
Notes
Index of Musical Compositions
General Index