|Analysis of Musical Form, The||
Analysis of Musical Form, The
|126.70||approx. 7-9 days|
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 20th century. There is also a lack of emphasis on aural comprehension of musical forms. Separate chapters on vocal forms and 20th-century music, inclusion of recent developments in analytic methodology with suggested readings, and aural exercises, and accompanying CDs address these problems.
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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 20th-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
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
Transitional and Developmental Function
Closing and Framing 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
Sonata Form in the 19th and 20th century
Chapter 9 Modifications of Sonata Form/ Cyclic Forms
Sonata Form without Development
Sonata Form in Concerto Movements
Cyclic Form and Arch Form
Chapter 10 Rondo Form
Principles of Rondo Form
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
Chapter 12 Contrapuntal Genres
Introduction: Contrapuntal Genres and Textures
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
Text and Form
Exapnded Song Form
Barqoue Da Capo Forms and Ritornello functions
Classical Arias and Da Capo modifications
Operatic Rondò: Composite Binary Form
19th Expanded Rondò: Cavatina/Cabelletta
Chapter 14 20th-Century: New Formal Processes and Techniques
Pitch Collections, Centricity, and Formal Processes
Timbre, Texture and Form
Indeterminacy and Open Forms
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.
“I find this work well presented in every aspect. In particular: the flow from simple to more complex forms is done well; the attention to any one form is commensurate with the others; the author's clear familiarity with the genres in each category and each musical period; the continual emphasis on the significance of the aural aspect of analysis; the very helpful historical references throughout; and the content in paragraphs. I think it has much to offer in terms of its thoroughness and comprehensiveness, its clarity and its many excellent well-chosen examples and references.-Joyce Dorr, U of North Carolina, Asheville
There is no question that the author has identified an area of continuing need: a text on musical form for undergraduates who have completed their required study of harmony and voice-leading.I am pleased that Mathes plans to emphasize "aural experience and contextual listening". Also that "analysis and performance" issues will play a role; this responds both to the special interest and relevance of such considerations for performance majors, and to the increasing attention shown in recent scholarship and pedagogy. . . . We have needed such a book for a long while.-Robert Fleisher, Northern Illinois University
“Textbooks on musical form can easily become very wordy and abstract. Mathes' use of musical examples and figures lessens this tendency. He wisely has included at least one example or figure to illustrate each important concept. This approach will make the text more accessible especially to visual and aural learners. The author has continued his systematic presentation building on previously learned elements. I find the text easy to follow, well organized, and understandable. The approach is good especially the emphasis on listening. Musical examples and figures strengthen and clarify the presented items.”-Gene Trantham, Bowling Green State U