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Review of William E. Caplin, Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven
analysis classical style Schoenberg Ratz Formenlehre
2010/3/29
Reviving the Formenlehre tradition as taught by Arnold Schoenberg and Erwin Ratz, Caplin attempts to accommodate the method to a specific but stylistically complex repertory: instrumental works of Hay...
The functions of the written text in practice-based PhD submissions
functions written text practice-based PhD
2009/11/20
The paper will draw on an on-going, empirical study of practice- based MPhil/PhDs in Fine Art, (Macleod,1995-). The study includes interviews, studio visits and correspondance with 22 MPhil/PhD studen...
Sonata-Formal Functions and Transformational Processes in the First Movement of Rochberg’s String Quartet No. 6
transformational theory Rochberg form sonata transposition K-nets inversional balance animation
2010/3/24
To the extent that it represents the actual temporal event-series of a composition, transformational theory can reveal some interesting correlations between the formal functions of sections and the tr...
The Contredanse, Classical Finales, and Caplin’s Formal Functions
form Caplin theme period sentence hypermeter dance menuet contredanse Mozart Haydn American Memory Playford Clarchies Bacquoy-Guédon La Cuisse
2010/3/25
Formal designs employing 2, 4, 8, and 16 measure units were basic to eighteenth-century music for dancing. Although the menuet was more flexible, the contredanse was firmly rooted in this “quadratic s...