The Analysis of Musical Form

The Analysis of Musical Form

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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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Product details

  • Hardback | 400 pages
  • 213.36 x 274.32 x 15.24mm | 839.14g
  • Pearson
  • Upper Saddle River, NJ, United States
  • English
  • 0130618632
  • 9780130618634
  • 1,402,213

Table of contents

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 CodaSonata Form in the 19th and 20th 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 FormSmall 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 Rondo: Composite Binary Form 19th Expanded Rondo: Cavatina/Cabelletta Choral Forms Chapter 14 20th-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
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Review quote

"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
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About James R. Mathes

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.
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Rating details

9 ratings
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4 33% (3)
3 11% (1)
2 11% (1)
1 0% (0)
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