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THE FORM OF THE PRELUDES TO BACH’S UNACCOMPANIED CELLO SUITES
THE PRELUDES BACH’S UNACCOMPANIED CELLO SUITES
2014/10/20
This thesis proposes a methodology for understanding the form of a Baroque prelude, particularly the preludes to the Six Suites for Unaccompanied Violoncello written by Johann Sebastian Bach. Four mus...
Venerable Style, Form, and the Avant-Garde in Mozart’s Minor Key Piano Sonatas K. 310 and K. 457: Topic and Structure
Venerable Style From the Avant-Garde Mozart’s Minor Key Piano Sonatas K. 310 and K. 457 Topic and Structure
2014/10/20
Although the topoi and elements of what has been described as the “Venerable Style” (V.S.) are found in many places in Mozart’s solo keyboard sonatas, the obsessive juxtaposition of these elements aga...
THE IMPACT OF RHYTHM AND METER ON FORM IN TWO WORKS BY DAVID MASLANKA: MOTHER EARTH: A FANFARE (2003) AND SYMPHONY NO. 8 (2008)
RHYTHM AND METER TWO WORKS BY DAVID MASLANKA MOTHER EARTH A FANFARE SYMPHONY NO
2014/10/20
For pieces that do not lend themselves to an analysis of form based completely on tonal harmony and thematic material, an analysis based on rhythm and meter can enrich the reading of a piece and prove...
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...
Excerpt
sregard of its commas, colons, and other marks of "cadence."
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Another evidence of Form in music, that is at once subtle and powerful, rests upon what might be termed the lin...
Transformational Distance and Form in Berg’s “Schlafend trägt man mich”
Alban Berg transformational theory voice leading Vier Lieder Op. 2 transpositional invariance transformational spaces text-music relations animation
2010/3/24
Berg’s “Schlafend trägt man mich,” the second song of his Vier Lieder Op. 2, is often understood to reflect the transition between the composer’s tonal and free atonal periods. This paper summari...
Grazyna Bacewicz's Second Piano Sonata (1953): Octave Expansion and Sonata Form（图）
linear analysis 20th-century sonata forms Polish folk music
2010/4/22
If Grazyna Bacewicz's music is so "conservative" and
"neoclassical," why is it so difficult to define the beginning
and ending of the Development in one of her best-known works, the
first movement ...