Contents Include: Accent, Time and Rhythm Phrases and Sentences The Half-Phrase, or Section Rythmic Extension and Contraction The Construction of Complete Movements-The Simple Binary, or Two-Part Form The Simple Ternary, or Three-Part Form The Binary and Ternary Forms(Continued) The Evolution of the Ternary Idea: The Minuet and Trio-The Episodical Form The Evolution of the Trenary Idea(Continued)The Older, Or Simple, Rondo The Evolution of the Trenary Idea(Continued) Sonata-Form-The Exposition-First Subject and Transition Sonita-The Development, or Free Fantasia Form(Continued): Sonita-Form(Continued) The Recapitulation and Coda-The Introduction Departures from the Normal Type of Sonata-Form:(i)modified Sonata-Form (ii) The Modern or Sonata-Rondo The Variation Form The Sonata as a Whole Fugue Canon (i) The Symphony:(ii) The Overture :(iii) Concerted Chamber-Music The Cocerto (i) Dance Forms The Evolution of Sonata-Form Modern Tendencies Programme-Music, The Symphonic Poem, etc Glossary General Index Keywords: Sonata Form Evolution Ternary Minuet And Trio Rondo Recapitulation Chamber Music Dance Forms I Dance Coda Fugue Contraction Departures Fantasia Tendencies Exposition Sentences Accent Rhythm Phrases

Few aspects of Berlioz's style are more idiosyncratic than his handling of musical form. This book, the first devoted solely to the topic, explores how his formal strategies are related to the poetic and dramatic sentiments that were his very reason for being. Rodgers draws upon Berlioz's ideas about musical representation and on the ideas that would have influenced him, arguing that the relationship between musical and extra-musical narrative in Berlioz's music is best construed as metaphorical rather than literal - 'intimate' but 'indirect' in Berlioz's words. Focusing on a type of varied-repetitive form that Berlioz used to evoke poetic ideas such as mania, obsession, and meditation, the book shows how, far from disregarding form when pushing the limits of musical evocation, Berlioz harnessed its powers to convey these ideas even more vividly.

Overturning the inherited belief that popular music is unrefined, Form as Harmony in Rock Music brings the process-based approach of classical theorists to popular music scholarship. Author Drew Nobile offers the first comprehensive theory of form for 1960s, 70s, and 80s classic rock repertoire, showing how songs in this genre are not simply a series of discrete elements, but rather exhibit cohesive formal-harmonic structures across their entire timespan. Though many elements contribute to the cohesion of a song, the rock music of these decades is built around a fundamentally harmonic backdrop, giving rise to distinct types of verses, choruses, and bridges. Nobile's rigorous but readable theoretical analysis demonstrates how artists from Bob Dylan to Stevie Wonder to Madonna consistently turn to the same compositional structures throughout rock's various genres and decades, unifying them under a single musical style. Using over 200 transcriptions, graphs, and form charts, Form as Harmony in Rock Music advocates a structural approach to rock analysis, revealing essential features of this style that would otherwise remain below our conscious awareness.

Form and Process in Music, 1300–2014: An Analytic Sampler draws together papers delivered at the 2014 meeting of the West Coast Conference of Music Theory and Analysis. The conference spanned an unusually wide spectrum of musical styles, including papers on European twelve-tone music after the Second World War, fourteenth-century music, pop music and jazz, the music of living composers, narrative and characterization, and the history of music theory. The title of the book reflects the large span of musical cultures that are represented within, but also accounts for the common thread through all of these essays, a strong emphasis on understanding the forms and processes of music through analysis. The reader will find within it a compendium of analytic techniques for numerous musical styles.

This book demonstrates, in fascinating diversity, how musicians in the nineteenth century thought about and described music. The analysis of music took many forms (verbal, diagrammatic, tabular, notational, graphic), was pursued for many different purposes (educational, scholarly, theoretical, promotional) and embodied very different approaches. This, the first volume, is concerned with writing on fugue, form and questions of style in the music of Palestrina, Handel, Bach, Mozart, Beethoven and Wagner and presents analyses of complete works or movements by the most significant theorists and critics of the century. The analyses are newly translated into English and are introduced and thoroughly annotated by Ian Bent, making this a volume of enormous importance to our understanding of the nature of music reception in the nineteenth century.

The impact of Hegelian philosophy on 19th-century music criticism Music’s status as an art form was distrusted in the context of German idealist philosophy which exerted an unparalleled influence on the entire nineteenth century. Hegel insisted that the content of a work of art should be grasped in concepts in order to establish its spiritual substantiality (Geistigkeit), and that no object, word or image could accurately represent the content and meaning of a musical work. In the mid-nineteenth century, Friedrich Theodor Vischer and other Hegelian aestheticians kept insisting on art's conceptual clarity, but they adapted the aesthetic system on which this requirement had been based. Their adaptations turned out to be decisive for the development of music criticism, to such an extent that music critics used them to point out musical content and to confirm music’s autonomy as an art form. This book unravels the network of music critics and philosophers, including not only Hegel but also Franz Liszt, Franz Brendel, and Eduard Hanslick, whose works shaped public opinions of music.

There is a strong tradition of literary analyses of the musical artwork. Simply put, all musicology - any writing about music - is an attempt at making analogies between what happens within the world of sound and language itself. This study considers this analogy from the opposite perspective: authors attempting to structure words using musical forms and techniques. It's a viewpoint much more rarely explored, and none of the extant studies of novelists' musical techniques have been done by musicians. Can a novel follow the form of a symphony and still succeed as a novel? Can musical counterpoint be mimicked by words on a page? Alan Shockley begins looking for answers by examining music's appeal for novelists, and then explores two brief works, a prose fugue by Douglas Hofstadter, and a short story by Anthony Burgess modeled after a Mozart symphony. Analyses of three large, emblematic attempts at musical writing follow. The much debated 'Sirens' episode of James Joyce's Ulysses, which the author famously likened to a fugue, Burgess' largely ignored Napoleon Symphony: A Novel in Four Movements, patterned on Beethoven's Eroica, and Joyce's Finnegans Wake, which Shockley examines as an attempt at composing a fully musicalized language. After these three larger analyses, Shockley discusses two quite recent brief novels, William Gaddis' novella Agap?gape and David Markson's This is not a novel, proposing that each of these confounding texts coheres elegantly when viewed as a musically-structured work. From the perspective of a composer, Shockley offers the reader fresh tools for approaching these dense and often daunting texts.

This book is designed for the general reader of gospel music, as well as those who incorporate gospel into their lesson plans on the academic level. “Gospel Music: An African American Art Form” provides music information on the heritage of gospel from its African roots, Negro spirituals, traditional and contemporary gospel music trends. The mission and purpose of this book is to provide a framework of study of gospel music, which is in the mainstream of other music genres. There are 8 detailed sections, appendices and resources on gospel music which include African Roots and Characteristics and history, Negro Spirituals, Black Congregational Singing, Gospel history and Movement, Gripping effects: Cross Over Artists, Youth in Gospel, and Gospel Music in the Academic Curriculum with lesson plans. There is a wealth of knowledge on the cultural heritage of “Gospel Music As An Art Form.”