The Analysis of Musical Form

The Analysis of Musical Form emphasizes aural comprehension, incorporates recent analytic methodologies, and addresses musical form as both process and design. analysis of tonal design, thematic types and phrase structure, formal functions, musical texture, cadences and tonality, innovative approaches to formal processes in 20th century music; concepts of form as design and form as process MARKET: For readers interested in musical form and basic analytic techniques.

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.

Audio CD Track List

ix

Preface

xi

Acknowledgments

xiv

PART I Formal Design and Structure: Analytic Concepts and Tools

The Nature of Musical Form

3

(9)

Introduction

3

(1)

Categories of Musical Form

4

(4)

Form, Style, and Genre

8

(1)

The Perception of Musical Form

9

(2)

Suggested Reading

11

(1)

Aural Exercises

11

(1)

Tonal Design

12

(24)

Phrase, Cadence, and Key

12

(1)

Cadences and Segmentation

13

(9)

Tonal Design and Key Relations

22

(4)

The Analysis of Tonal Design

26

(4)

Summary

30

(1)

Suggested Reading

30

(1)

Exercises

30

(6)

Thematic Design and Phrase Structure

36

(23)

Introduction

36

(1)

Thematic Design

36

(2)

Motives and Themes

38

(2)

Thematic Models of Phrase Structure

40

(14)

Summary

54

(2)

Conclusions

56

(1)

Suggested Reading

56

(1)

Review and Exercises

56

(3)

Phrase Rhythm and Phrase Structure

59

(20)

Introduction

59

(1)

Phrase Separation and Connection

59

(7)

Phrase Extensions

66

(5)

Phrase Contractions

71

(2)

Summary

73

(1)

Suggested Reading

74

(1)

Review and Exercises

74

(5)

Formal Functions and Musical Texture

79

(20)

Introduction

79

(1)

Part 1: Formal Functions

79

(1)

Expository Function

79

(1)

Transitional Function

80

(1)

Developmental Function

81

(1)

Introductory Function

81

(4)

Closing Function

85

(1)

Parenthetical Function

85

(4)

Part 2: Musical Texture and Form

89

(1)

Types of Musical Texture

89

(3)

Vocal and Instrumental Textures

92

(1)

Textural Processes

92

(2)

Summary

94

(1)

Suggested Reading

95

(1)

Review and Exercises

95

(4)

PART II Forms of Music

One-Part and Binary Forms

99

(25)

Introduction

99

(1)

One-Part Forms

99

(3)

Binary Forms

102

(13)

Suggested Reading

115

(1)

Review and Exercises

115

(9)

Ternary Forms

124

(19)

Introduction

124

(1)

Simple Ternary Form

124

(7)

Compound Ternary Forms

131

(4)

Large Ternary Form

135

(3)

Summary

138

(1)

Review and Exercises

139

(4)

Sonata Form

143

(53)

Introduction

143

(1)

Large-scale Design of Sonata Form

144

(1)

Exposition

144

(18)

Development

162

(13)

Recapitulation

175

(6)

Coda

181

(1)

Exercises

182

(1)

Nineteenth-Century Sonata Form

183

(5)

Exercises

188

(1)

Sonata Form in the Twentieth Century

188

(1)

Exercises

189

(2)

Conclusion and Summary

191

(2)

Review and Exercises

193

(3)

Modification of Sonata Form and Cyclic Forms

196

(21)

Introduction

196

(1)

Slow Introduction

196

(4)

Sonata Form Without Development

200

(1)

Sonata Form in Concerto Movements

201

(11)

Cyclic Form

212

(1)

Suggested Reading

212

(3)

Exercises

215

(2)

Rondo Forms

217

(29)

Introduction

217

(1)

Outline of Rondo Form

217

(1)

Baroque Rondeau

218

(3)

Five-and Seven-Part Rondo

221

(1)

Exercises

221

(10)

Sonata-Rondo Form

231

(11)

Conclusion

242

(1)

Review and Exercises

242

(4)

Ostinato and Variation Forms

246

(28)

Introduction

246

(1)

Ostinato Variations

247

(3)

Ostinato as a Constructive Device

250

Exercises

Theme and Variations

258

(8)

Organization of Variations

266

(2)

Conclusion

268

(1)

Review and Exercises

268

(6)

Contrapuntal Genres

274

(29)

Introduction

274

(1)

Imitation

274

(1)

Canon

275

(4)

Inventions

279

(4)

Fugue

283

(14)

Chorale Preludes

297

(4)

Exercises

301

(2)

Vocal Forms

303

(27)

Introduction

303

(1)

Hymns and Traditional Songs

303

(4)

Popular Song

307

(4)

Art Songs

311

(9)

Da Capo Aria, Ritornello, and Rondo Forms

320

(6)

Choral Music

326

(2)

Suggested Reading

328

(1)

Exercises

329

(1)

Formal Innovations in Twentieth-Century Music

330

(36)

Introduction

330

(1)

New Pitch Materials, Phrase Structures, and Textures

331

(1)

New Pitch Materials and Form: Debussy

331

(5)

New Pitch Materials and Traditional Forms: Bartok

336

(2)

Ostinati, Layers, and Irregular Phrase Structures: Stravinsky

338

(4)

Atonal and Serial Forms: Webern

342

(6)

Indeterminacy and Open Forms

348

(6)

Clusters and Textural Form

354

(4)

Form as Process: Minimalism

358

(2)

Conclusion

360

(1)

Suggested Reading

361

(1)

Exercises

361

(5)

Glossary of Terms

366

(9)

Bibliography

375

(3)

Index of Works Cited and Subjects

378

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The Analysis of Musical Form

Summary

Author Biography

Table of Contents

Supplemental Materials