| Contents |
Foreword to the first edition -- From the preface to the first edition -- Preface to the second edition -- Motive, phrase, period. The motive ; The figure ; The cadence ; The phrase ; Repetition of the phrase ; The period ; Enlargement of the single period ; The double period ; Repetition of the period ; The phrase group ; Irregular examples ; The joining of contiguous units -- Binary. The incipient type, standards of classification ; Binary: the first part ; The second part ; The codetta ; Bach, Sonata no. 2 in A minor for violin alone, third movement ; Significance of the repeats ; The rounded binary -- Simple ternary. Significance of ternary division as a principle of form ; Partition without reprise, other types of multiple segmentation ; The incipient ternary ; Simple ternary form further defined ; The first part ; The second part ; The third part ; The codetta ; Brahms, Ballade in G minor, op. 118, no. 3, measures 1-40 ; Incipience of the rondo principle -- Compound ternary. Compound ternary form ; The introduction ; The first part ; The second part ; The third part ; The codetta, the coda ; Compound ternary form with da capo ; Repeats in the ternary with da capo ; Techniques of integration in the compound ternary, transition and retransition ; Extended compound ternary form ; Debussy, String quartet in G minor, op. 10, third movement ; Relationships to the rondo -- Rondo. Historical backgrounds of the rondo principle ; The seventeenth-century rondeau and other antecedents ; Ritornello ; Rondo form further defined ; Elements of rondo form ; Repeats in particular examples ; The rondo principle in da capo forms ; Techniques of integration in rondo form ; Extensions of rondo form ; Beethoven, Trio in E-flat, for piano, violin, and cello, op. 70, no. 2, second movement -- Sonata. The multimovement sonata ; Relationships among the movements ; Smaller and larger exceptions to the multimovement norm ; Single-movement sonata form ; Haydn, Symphony no. 2 in B-flat, first movement ; A binary or ternary design? ; The sonatina and single-movement sonatina form ; The vitality and adaptability of single-movement sonata form -- Sonata-rondo. Sonata-rondo form defined ; Relationships to single-movement sonata form ; Mozart, Trio in B-flat for piano, violin, and cello, K. 502, final movement ; Prokofiev, Sonata no. 4 in C minor for piano, op. 29, final movement ; Historical significance of sonata-rondo form -- Concerto. The concerto principle and its early manifestations, the concerto grosso ; Further historical perspectives ; Fundamental issues and conventional approaches ; Mozart, Concerto in A for piano and orchestra, K. 488, first movement ; Brahms, Concerto in A for violin, cello, and orchestra, op. 102, second movement ; Bartok, Concerto no. 3 for piano and orchestra, third movement -- Ostinato forms. Characteristics of the ostinato ; Further examples of ostinato themes ; The ground ; The passacaglia ; The chaconne ; Riegger, Symphony no. 3, final movement ; Ostinato forms as variation sets ; Purcell, Lament of Dido from Dido and Aeneas -- Variations. The theme ; The sectional variation series ; Examples of fixed theme elements ; Examples of theme elements in variation ; Coda and other appendages ; Brahms, Quintet in B minor for clarinet and string quartet, op. 115, final movement ; Variation principles freely applied ; Double variation: variation on variation -- Suite. Origins of the suite ; The baroque suite ; The introductory movement ; Some important components of the baroque suite ; The suites of Bach and Handel ; The later suite ; The variation suite ; The suite by other names, related multimovement forms -- Fugue and related genres. Origins of the fugue ; The significance of imitative counterpoint as a motivating, unifying technique ; Fugue ; Handel, chorus, He trusted in God, from Messiah ; Multiple fugue ; Fugato ; Fughetta ; Bach's "invention" ; Canon ; The organ chorale -- Form and structure in music. Form as to antecedent-consequent relations ; Form as the "scenario" of thematic events ; Processes by which form, as an aspect of structure, is articulated ; Free approaches to musical form ; The structural functions of musical elements ; Form and structure in the Prelude in C for organ, BWV 567 ; Musical structure and performance ; The attenuation of tonality as a structural element in later styles ; Form, structure, and value in music. |
| Abstract |
In his preface to the first edition of this classic text, the author writes, "What is form in music? It is the sum of those qualities in a piece of music that bind together its parts and animate the whole. It is the product of intellectual control over the musical ideas which bring a composition into existence. It is a discipline through which the inherent power of the musical materials is realized and directed to an end that is convincing and seemingly inevitable. It is all of these; yet, the complexity of any comprehensive answer is indicated by the fact that books like this are written." His new, revised presentation retains its solid, comprehensive approach and it is revitalized and updated. His reformulations of many important points, his careful editing throughout, and his introduction of concepts going beyond the thematic narrative to specific processes by which musical structure is articulated have combined to produce a significantly improved edition. Among its many features, the revised text: adds a largely new concluding chapter presenting a number of concepts of musical structure; includes a new chapter on the concerto; stresses the vital importance of looking into specific processes by which form and structure unfold; condenses and sharpens several major segments; clarifies and amplifies essential formulations; presents a number of new musical examples; adds new exercises for both group study and individual inquiry; and provides a totally new index of musical citations as well as a thoroughly reordered subject index. |
