The Theory and Practice of Musical Form; On the Basis of Ludwig Bussler's "Musikalische Formenlehre."

The Theory and Practice of Musical Form; On the Basis of Ludwig Bussler's "Musikalische Formenlehre."

By (author) 

List price: US$14.14

Currently unavailable

Add to wishlist

AbeBooks may have this title (opens in new window).

Try AbeBooks

Description

This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1883 edition. Excerpt: ...however, to be recommended in this connection, as they apply to the extent of the Rondo, which is not necessarily involved in the distinction with which we are at present concerned..... one from another by the number of the themes employed. The following distinctions are made: Rondo of the first form, with one theme: Rondo of the second form, with two themes: Rondo of the third form, with three themes. CHAPTER XXVII. RONDO OF THE FIRST FORM. 169. In the Rondo of the First Form there is but one independent theme. Between this and its repetitions there is uo construction of any complete form, such as the primary form, the period, and the large independent phrase (see Chapter VII.). Other forms of the phrase are not regarded as sufficiently complete to constitute a theme, over against the chief theme. The theme has always a clearly defined form, mostly primary, or that of a large period, seldom that of a large, extended phrase. The episodes of this form are either thematic, i. e., working up some thought of the chief theme, or, of a character entirely their own, i. e., introducing neio motives, but not working them up into any complete form. The repetitions of the theme are as a rule varied. This is the case particularly in slow tempo, which is specially peculiar to this form. The close is often enriched by a Coda (mostly thematic). 170. An example of such a Rondo is afforded by the Largo appassionato of Beethoven's 4-major Sonata, Op. 2, whose theme has extended two-part primary form (see Figs. 68, 69). After the close of the theme the following phrase begins in J-minor, A writer in Grove's "Dictionary of Music and Musicians" says, speaking of the gradual development of these three forms: "The Rondo-form was the earliest and most...show more

Product details

  • Paperback | 40 pages
  • 189 x 246 x 2mm | 91g
  • Rarebooksclub.com
  • Miami Fl, United States
  • English
  • black & white illustrations
  • 1236603281
  • 9781236603289