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Musical form.


[1st English ed.].. Cambridge, Harvard University Press, 1951.
ISBN 9780674592018, 0674592018

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Subjects Musical form.
Description xii, 467 pages music 25 cm
Copyright Date 1951.
Notes Translated and enlarged from the 3d German edition, Musikalische Formenlehre, 1927.
Contents 1. The regular construction of musical phrases : The motif ; Strong and weak measures ; Period, antecedent and consequent ; Eight-bar melodies without periodic construction ; Free structure of the period by rhythmical variation ; The one-part form ; The twelve-measure phrase ; The sixteen-measure phrase ; Normal treatment of the period in the minor ; Larger periodic groups ; Large melodic lines ; Rhapsodic melodies ; The song form ; The small two-part song form ; The large two-part song form ; The small three-part song form ; The large three-part song form -- 2. Irregularities in the construction of musical phrases : Irregularities in the four- and eight-measure structure ; Three-bar and five-bar phrases ; The treatment of accents in irregular constructions ; The treatment of cadences in four-bar groups ; The linking together of successive phrases -- 3. The song forms and their application to the dance and march : The dance ; The polka ; The gallop ; The waltz ; The mazurka ; The polonaise ; The minuet ; Short instrumental pieces ; The nocturne ; The scherzo ; The etude ; The march -- 4. The contrapuntal forms : The invention ; The prelude ; The chorale prelude ; The fugue ; Fugue themes ; Inversion, augmentation, and diminution of the theme ; The double fugue ; The triple and chorale fugues ; The canon ; The basso ostinato, chaconne, and passacaglia ; The toccata -- 5. The suite : The pavane and gaillarde ; The saltarello and tarantella ; The allemande ; The courante ; The sarabande ; The gigue ; The gavotte, musette, passepied, rigaudon and other dances in the suite ; The overture and prelude ; Modern suites
10. Aesthetic ideas as the basis of musical styles and forms -- 11. Logic and coherence in music : Physiological coherence ; Psychological coherence ; Logical consequence -- 12. The accompaniment in its formal and stylistic significance : Accompaniment as background ; Formulas for homophonic accompaniment ; Scene and aria ; Change of the motifs of the accompaniment ; Solveig's song by Grieg ; Schubert's songs ; Accompaniment in modern music ; Songs by Wolf ; Wagner's symphonic accompaniment ; Accompaniment in the older concertizing style ; Bach's method of accompaniment in the cantatas ; Accompaniment in dance music ; Evenly continued rhythms in ostinato-like pieces ; Ostinato rhythms in Oriental and Russian music ; Accompaniment in rhythmical polyphony ; Javanese music -- 13. The forms of unison music : Unison in oriental music ; Constructive principles common to all melodies ; Music of the Wedda ; The South Sea tribes and the American Indians ; Ostinato rhythms in music of the Indians ; Songs of the Indians ; East Indian music ; Tunisian dance ; Jewish synagogue melody ; Arabic melody ; Forms of Gregorian chant ; Psalmody ; Responsorium, offertorium, communion, introitus ; Periodic effects in Gregorian chant ; Thematic elaboration in Gregorian chant ; Analysis of the credo ; Unison in modern music ; Hirtenweise from Tristan und Isolde ; The virtuoso piece in unison style ; Finale of Chopin's B flat minor sonata ; Unison in instrumental recitative ; Unison introductions and transitions ; Quick unison or octave passages ; Unison in the sense of a title ; Signal figures, fanfares, horn calls ; Unison in Berlioz -- 14. Additional remarks on song form : Mendelssohn's songs without words ; Song form in Chopin's nocturnes ; Piano pieces by Brahms -- 15. The contrapuntal forms : The preludes of the well-tempered clavier ; The forms of inversion ; F minor invention ; Bach's organ passacaglia ; The Bach chaconne ; The slow movement of Bach's piano concerto ; Finale of Brahm's E minor symphony ; Mixed contrapuntal forms ; Buxtehude's fugue variation ; Schonberg's double canon ; The toccata ; Froberger's toccatas ; Bach's toccatas ; Ricercar ; Canzone, capriccio, fantasia ; Beethoven's Op. 133
16. Variation form : Richard Strauss' Don Quixote ; d'Indy's Istar ; Bach's cantata Christ lag in Todesbanden ; Schumann's Carnaval ; Schonberg's second string quartet -- 17. Sonata form : The older sonata form ; Bach's solo sonatas for violin ; The cyclical sonata form ; Beethoven's Op. 106 ; Beethoven's Op. 130 ; Cesar Franck's violin sonata ; Debussy's string quartet -- 18. Free forms : Tristan und Isolde ; Bach: a major prelude ; Beethoven: Op. 101 -- 19. Concerto form : Bach: piano concerto in D minor ; J. S. Bach: six Brandenburg concerti ; Concerto numbers 1 in F major ; Concerto numbers 2 in F major ; Concerto numbers 3 in G major ; Concerto numbers 4 in G major ; Concerto numbers 5 in D major ; Concerto numbers 6 in B flat major -- 20. Fantasy : Andante from Beethoven's piano concerto in G major ; Arioso in Beethoven's later works ; Bach's chromatic fantasy ; Bach, organ fantasy, G minor -- 21. Anton Bruckner: the eighth symphony : First movement: allegro moderato ; Exposition, first theme ; Second theme ; Third theme ; Coda ; Development ; The reprise ; Second movement, scherzo, allegro moderato ; The first main part ; The middle section ; The reprise ; The trio ; Third movement ; Adagio ; Exposition ; First theme ; Second theme ; Third theme ; Fourth theme ; Coda ; The development section ; Reprise ; Coda ; Fourth movement, finale ; Principal theme ; The second them ; The third theme ; Development ; Reprise ; Transition to the second theme ; Third theme ; Coda ; Construction of the coda -- 22. Arnold Schonberg: opus 11 and opus 19 : Three piano pieces, opus 11 ; Opus 11, number 1 ; Opus 11, number 2 ; Opus 11, number 3 ; Schonberg's opus 19.
6. Theme and variations : The theme ; Development of the art of variation ; The final variation ; Beethoven's variation technique ; Different types of variation ; Variations on two themes -- 7. The rondo : The rondo theme ; Rondo and variation themes ; Development of the rondo theme ; Episodes with new material ; Mixed forms ; Rondo-like constructions ; The rondo in classical music and in the nineteenth century -- 8. The sonata : Historical development ; Exposition of the themes ; The principal theme ; Transition episode ; The second theme ; The closing group ; Groups of themes ; The development section ; The reprise ; The veiled reprise ; The reprise in a foreign key ; The tonic in the beginning of the reprise ; The deceptive reprise ; Differences between reprise and exposition ; The coda ; The same thematic material in one movement ; The slow introduction in the sonata ; The intermediate movements of the sonata ; The finale ; Deviations from the normal structure of the sonata ; Sonatas in two movements ; Five or more movements in the sonata ; One movement merging into another ; One theme for all movements ; The leading motif ; Uniform rounding off of works in several movements ; The sonatina ; The overture ; Wagner's preludes ; The symphony ; History of the form ; The concerto ; History of the concerto form ; The concerto grosso ; The solo concerto ; Modifications of the concerto form ; The serenade ; Vocal serenata ; Instrumental serenade ; The fantasy ; Fantasy of the classics ; Fantasy of the romantics ; Symphonic tone poem ; Analysis of Liszt's Les Preludes -- 9. The vocal forms : Gregorian chant ; Cantus firmus ; Psalmody, antiphon, accentus ; Tropes, sequences ; Hymns, sequences, prosa ; Polyphony, organum ; Discant, fauxbourdon, gymel ; Rondellus, old French motet ; The motet ; The cantata ; The mass ; The requiem ; Masses with orchestra ; The choral mass ; Choral passion music ; The motet passion ; Oratorio passion ; Oratorio ; Early forms of secular vocal music ; Troubadours and minnesinger ; The old German folk song ; The protestant chorale ; The part song ; Canzonetta, villanelle, frottola ; Quodlibet, potpourri ; The madrigal ; Opera ; Forms of the Mozart opera ; Secco recitative, accompagnato, arioso ; The Wagner style of recitative ; Recitative in instrumental music ; The aria ; Da capo aria ; Various species of opera ; Elements of Wagner's music drama ; Vocal chamber and solo music ; Vocal music with thoroughbass ; Solo cantatas ; Chamber duets ; Song with piano accompaniment ; Accompaniment of the durchkomponiertes lied ; The ballad ; The instrumental ballad
Network Numbers (OCoLC)223895
(OCoLC)ocm00223895
WorldCat Search OCLC WorldCat
WorldCat Identities Leichtentritt, Hugo, 1874-1951.
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