Musical form and analysis
Glenn Spring, Jere Hutcheson
| 자료유형 | 단행본 |
|---|---|
| 서명/저자사항 | Musical form and analysis / Glenn Spring, Jere Hutcheson. |
| 개인저자 | Spring, Glenn. Hutcheson, Jere |
| 발행사항 | Madison : WCB Brown & Benchmark, 1995. |
| 형태사항 | vi, 410 p. : Musics ; 28 cm. |
| ISBN | 0697153673 : |
| 서지주기 | Includes bibliographical references and index. |
| 분류기호 | 781.5 |
| 언어 | 영어 |
목차
목차 일부
PREFACE ... Ⅴ
PRELUDE: Why Analysis? ... 1
PART Ⅰ
TIME: The Motivating Forces
Perceiving Musical Form ... 3
CHAPTER ONE: Basic Factors in Form
Ⅰ. Rhythm; Ⅱ. Melody: contour, range, interval content...
PRELUDE: Why Analysis? ... 1
PART Ⅰ
TIME: The Motivating Forces
Perceiving Musical Form ... 3
CHAPTER ONE: Basic Factors in Form
Ⅰ. Rhythm; Ⅱ. Melody: contour, range, interval content...
목차 전체
PREFACE ... Ⅴ
PRELUDE: Why Analysis? ... 1
PART Ⅰ
TIME: The Motivating Forces
Perceiving Musical Form ... 3
CHAPTER ONE: Basic Factors in Form
Ⅰ. Rhythm; Ⅱ. Melody: contour, range, interval content, harmonic implications, interaction of
tension and relaxation in melody; Ⅲ. Harmony and Tonality; Ⅳ. Tension and Relaxtion;
Ⅴ. Articulation of Structural Units. Summary; Assignments ... 5
CHAPTER TWO: The Phrase
Ⅰ. General Characteristics; Ⅱ. The Additive Process; Ⅲ. Phrase Length; Ⅳ. The Semiphrase;
Ⅴ. The Rhythmic Structure of the Phrase; Ⅵ. The Harmonic Cadence; Ⅶ. The Harmonic Structure
of the Phrase; Ⅷ. Phrase Extension; Ⅸ. Motivic Structure of the Phrase. Summary; Assignments ... 25
CHAPTER THREE: Phrase Groupings
The Period Relationship; Ⅰ. The Two-Phrase Period: antecedent and consequent phrases; cadential
relationship; melodic relationship; tonal relationship; Ⅱ. Symmetrical and Asymmetrical Periods;
Ⅲ. Three-and Four-Phrase Periods; Ⅳ. The Repeated Period; Ⅴ. The Independent Phrase;
Ⅵ. The Repeated Phrase; Ⅶ. The Phrase Group; Ⅷ. The Connection of Phrase; Ⅸ. Disguised
Phrase Endings; Ⅹ. Duple Measure Groupings; ⅩⅠ. Description of the Period. Summary; Assignments ... 52
PART Ⅱ
PATTERN: The Shaping Factors
The Emergence of Pattern in Musical Perception ... 74
CHAPTER FOUR: The Simple Part Forms
General Characteristics; Ⅰ. One-Part Form; Ⅱ. Two-Part Form; Ⅲ. Macrorhythm and Macrotonal
Plan; Ⅳ. Three-Part Form; Ⅴ. Four-and Five-Part Forms; Ⅵ. Simple Part Forms as Internal Units;
Ⅶ. Simple Part Forms in Vocal Music; Ⅷ. The Connection of Parts. Summary; Assignments ... 76
INTERLUDE: Auxiliary Members
Compared ot "Negative Space" in Visual Art; Ⅰ. Beginnings; Ⅱ. Connections; Ⅲ. Conclusions. ... 102
CHAPTER FIVE: Composite Part Forms
Ⅰ. Composite Three-Part Form; Ⅱ. Composite Fove-Part Form: the minuet / scherzo with two trios;
Ⅲ. Composite Part Forms in Vocal Music; Ⅳ. Other Composite Part Forms: the waltz; arch form.
Summary; Assignments ... 111
CHAPTER SIX: The Rondo
Ⅰ. Historical Background; Ⅱ. The Classical Rondo: General Characteristics; Ⅲ. Treatment of the
Principal Theme; Ⅳ. The Episodes; Ⅴ. The Transition; Ⅵ. The Coda; Ⅶ. The Five-Part Tondo;
Ⅷ. The Seven-Part Rondo; Ⅸ. Rondo and Part Forms: Similarities and Differences. Summary; Assignments ... 131
CHAPTER SEVEN: Variation Forms
The Enduring Prevalence of Variations: Ⅰ. Theme and Variations: general characteristics; special
types of variations; overall organization of the theme and variations; Ⅱ. Ostinato Variations:
general characteristics; the ground bass; the passacaglia and chaconne. Summary; Assignments ... 149
CHAPTER EIGHT: Fugue
The Prototypical Fugue; Ⅰ. The Exposition: The subject; the answer; Ⅱ. The Episode; Ⅲ. The Middle
Entries; Ⅳ. The Conclusion; Ⅴ. The "Form" of the Fugue; Ⅵ. Fugues with Multiple Subjects;
Ⅶ. Related Types: fugato; fughetta; canon; invention; organ chorale. Summary: An Analytical Approach; Assignments ... 177
CHAPTER NINE: Sonata Form
Meanings of the Term; Ⅰ. General Characteristics; Historical Background; Ⅱ. The Introtuction;
Ⅲ. The EXposition; Ⅳ. The Development; Ⅴ. The Recapitulation; Ⅵ. The Coda; Ⅶ. Sonata
Form in the Concerto; Ⅷ. Related Forms: sonatina form; sonata-rondo form. Summary: An
Analytical Approach: Assignments ... 197
PART Ⅲ
PROPORTION: The Distinguishing Features
Formal Interrelationships; the uniqueness of the work of art ... 225
CHAPTER TEN: Multimovement Form
Aesthetic Concept; Ⅰ. Classical Models; Ⅱ. The Concerto: Special Cinsiderarions; Ⅲ. Cyclical
Design; Ⅳ. Away from the Classical Model. Summary; Assignments ... 227
CHAPTER ELEVEN: Broader Horizons
Expansion of Formal Analysis Beyond the Common Practice Practice Period; Ⅰ. Rhythmic Delineation;
Ⅱ. Parametric Change and Expansion of the Phrase Concept. Summary; Assignments ... 237
POSTLUDE: METAFORM: Beyond Formal Analysis
The Search for Musical Meaning; Ⅰ. The Musical Idea; Ⅱ. Musical Character; Ⅲ. Proportional
Aspects; Ⅳ. Under the Magnifying Glass: The Copyist. Commencement Assignment ... 246
ANTHOLOGY: MUSIC FOR ANALYSIS ... 256
SELECTED BIBLIOGRAPHY ... 400
CREDITS ... 401
INDEX ... 403
PRELUDE: Why Analysis? ... 1
PART Ⅰ
TIME: The Motivating Forces
Perceiving Musical Form ... 3
CHAPTER ONE: Basic Factors in Form
Ⅰ. Rhythm; Ⅱ. Melody: contour, range, interval content, harmonic implications, interaction of
tension and relaxation in melody; Ⅲ. Harmony and Tonality; Ⅳ. Tension and Relaxtion;
Ⅴ. Articulation of Structural Units. Summary; Assignments ... 5
CHAPTER TWO: The Phrase
Ⅰ. General Characteristics; Ⅱ. The Additive Process; Ⅲ. Phrase Length; Ⅳ. The Semiphrase;
Ⅴ. The Rhythmic Structure of the Phrase; Ⅵ. The Harmonic Cadence; Ⅶ. The Harmonic Structure
of the Phrase; Ⅷ. Phrase Extension; Ⅸ. Motivic Structure of the Phrase. Summary; Assignments ... 25
CHAPTER THREE: Phrase Groupings
The Period Relationship; Ⅰ. The Two-Phrase Period: antecedent and consequent phrases; cadential
relationship; melodic relationship; tonal relationship; Ⅱ. Symmetrical and Asymmetrical Periods;
Ⅲ. Three-and Four-Phrase Periods; Ⅳ. The Repeated Period; Ⅴ. The Independent Phrase;
Ⅵ. The Repeated Phrase; Ⅶ. The Phrase Group; Ⅷ. The Connection of Phrase; Ⅸ. Disguised
Phrase Endings; Ⅹ. Duple Measure Groupings; ⅩⅠ. Description of the Period. Summary; Assignments ... 52
PART Ⅱ
PATTERN: The Shaping Factors
The Emergence of Pattern in Musical Perception ... 74
CHAPTER FOUR: The Simple Part Forms
General Characteristics; Ⅰ. One-Part Form; Ⅱ. Two-Part Form; Ⅲ. Macrorhythm and Macrotonal
Plan; Ⅳ. Three-Part Form; Ⅴ. Four-and Five-Part Forms; Ⅵ. Simple Part Forms as Internal Units;
Ⅶ. Simple Part Forms in Vocal Music; Ⅷ. The Connection of Parts. Summary; Assignments ... 76
INTERLUDE: Auxiliary Members
Compared ot "Negative Space" in Visual Art; Ⅰ. Beginnings; Ⅱ. Connections; Ⅲ. Conclusions. ... 102
CHAPTER FIVE: Composite Part Forms
Ⅰ. Composite Three-Part Form; Ⅱ. Composite Fove-Part Form: the minuet / scherzo with two trios;
Ⅲ. Composite Part Forms in Vocal Music; Ⅳ. Other Composite Part Forms: the waltz; arch form.
Summary; Assignments ... 111
CHAPTER SIX: The Rondo
Ⅰ. Historical Background; Ⅱ. The Classical Rondo: General Characteristics; Ⅲ. Treatment of the
Principal Theme; Ⅳ. The Episodes; Ⅴ. The Transition; Ⅵ. The Coda; Ⅶ. The Five-Part Tondo;
Ⅷ. The Seven-Part Rondo; Ⅸ. Rondo and Part Forms: Similarities and Differences. Summary; Assignments ... 131
CHAPTER SEVEN: Variation Forms
The Enduring Prevalence of Variations: Ⅰ. Theme and Variations: general characteristics; special
types of variations; overall organization of the theme and variations; Ⅱ. Ostinato Variations:
general characteristics; the ground bass; the passacaglia and chaconne. Summary; Assignments ... 149
CHAPTER EIGHT: Fugue
The Prototypical Fugue; Ⅰ. The Exposition: The subject; the answer; Ⅱ. The Episode; Ⅲ. The Middle
Entries; Ⅳ. The Conclusion; Ⅴ. The "Form" of the Fugue; Ⅵ. Fugues with Multiple Subjects;
Ⅶ. Related Types: fugato; fughetta; canon; invention; organ chorale. Summary: An Analytical Approach; Assignments ... 177
CHAPTER NINE: Sonata Form
Meanings of the Term; Ⅰ. General Characteristics; Historical Background; Ⅱ. The Introtuction;
Ⅲ. The EXposition; Ⅳ. The Development; Ⅴ. The Recapitulation; Ⅵ. The Coda; Ⅶ. Sonata
Form in the Concerto; Ⅷ. Related Forms: sonatina form; sonata-rondo form. Summary: An
Analytical Approach: Assignments ... 197
PART Ⅲ
PROPORTION: The Distinguishing Features
Formal Interrelationships; the uniqueness of the work of art ... 225
CHAPTER TEN: Multimovement Form
Aesthetic Concept; Ⅰ. Classical Models; Ⅱ. The Concerto: Special Cinsiderarions; Ⅲ. Cyclical
Design; Ⅳ. Away from the Classical Model. Summary; Assignments ... 227
CHAPTER ELEVEN: Broader Horizons
Expansion of Formal Analysis Beyond the Common Practice Practice Period; Ⅰ. Rhythmic Delineation;
Ⅱ. Parametric Change and Expansion of the Phrase Concept. Summary; Assignments ... 237
POSTLUDE: METAFORM: Beyond Formal Analysis
The Search for Musical Meaning; Ⅰ. The Musical Idea; Ⅱ. Musical Character; Ⅲ. Proportional
Aspects; Ⅳ. Under the Magnifying Glass: The Copyist. Commencement Assignment ... 246
ANTHOLOGY: MUSIC FOR ANALYSIS ... 256
SELECTED BIBLIOGRAPHY ... 400
CREDITS ... 401
INDEX ... 403
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