Cuarteto, sol menor
Author: Joseph Haydn
Publisher:
Published: 1941
Total Pages: 32
ISBN-13:
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Author: Joseph Haydn
Publisher:
Published: 1941
Total Pages: 32
ISBN-13:
DOWNLOAD EBOOKAuthor: Joseph Haydn
Publisher:
Published: 1941*
Total Pages:
ISBN-13:
DOWNLOAD EBOOKAuthor: Joseph Haydn
Publisher:
Published: 1941*
Total Pages: 0
ISBN-13:
DOWNLOAD EBOOKAuthor: Joseph Haydn
Publisher:
Published: 1941
Total Pages: 20
ISBN-13:
DOWNLOAD EBOOKAuthor: Stevens Hewitt
Publisher:
Published: 197?
Total Pages: 36
ISBN-13:
DOWNLOAD EBOOKAuthor: J. Haydn
Publisher:
Published:
Total Pages:
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DOWNLOAD EBOOKAuthor: Distinguished James McGill Professor Emeritus of Music Theory William E Caplin
Publisher: Oxford University Press
Published: 2024-10-04
Total Pages: 649
ISBN-13: 0197782167
DOWNLOAD EBOOKCadence explores the many ways in which the component parts of a classical composition achieve a sense of ending. The book examines cadential practice in a wide variety of musical styles in the eighteenth and nineteenth centuries, including works by well-known composers such as Bach, Mozart, Beethoven, Schubert, Chopin, and Brahms.
Author: Harold Reeves (Firm)
Publisher:
Published: 1926
Total Pages: 554
ISBN-13:
DOWNLOAD EBOOKAuthor: William E. Caplin
Publisher: Oxford University Press
Published: 2024-09-20
Total Pages: 649
ISBN-13: 0190056460
DOWNLOAD EBOOKCadence is a comprehensive examination of how formal units in European art music of the tonal era achieve closure. The book brings together the author's decades-long investigations into cadence, a compositional device that is readily experienced both by musicians and non-musicians, but one that has proven intractable to clear and precise theoretical formulation. Rooted in Caplin's broader theory of formal functions, the book first develops concepts of cadence for music of the high classical style and then extends these ideas to gauge cadential practice in earlier and later style periods. Throughout the study, various manifestations of cadence are defined in terms of their morphology (their harmonic and melodic profiles) as well as their function (the specific formal contexts in which they are deployed). Cadence introduces a host of theoretical concepts illustrated by copious musical examples, all of which contain extensive analytical annotations of harmony, melody and form. Though the book is addressed primarily to music theorists, the many issues of compositional practice raised in this study will resonate with the interests of composers, historians, and performers alike.
Author: James Hepokoski
Publisher: Oxford University Press
Published: 2020-12-01
Total Pages: 332
ISBN-13: 0197536840
DOWNLOAD EBOOKSonata form is the most commonly encountered organizational plan in the works of the classical-music masters, from Haydn, Mozart, and Beethoven to Schubert, Brahms, and beyond. Sonata Theory, an analytic approach developed by James Hepokoski and Warren Darcy in their award-winning Elements of Sonata Theory (2006), has emerged as one of the most influential frameworks for understanding this musical structure. What can this method from "the new Formenlehre" teach us about how these composers put together their most iconic pieces and to what expressive ends? In this new Sonata Theory Handbook, Hepokoski introduces readers step-by-step to the main ideas of this approach. At the heart of the book are close readings of eight individual movements from Mozart's Piano Sonata in B-flat, K. 333, to such structurally complex pieces as Schubert's "Death and the Maiden" String Quartet and the finale of Brahms's Symphony No 1 that show this analytical method in action. These illustrative analyses are supplemented with four updated discussions of the foundational concepts behind the theory, including dialogic form, expositional action zones, trajectories toward generically normative cadences, rotation theory, and the five sonata types. With its detailed examples and deep engagements with recent developments in form theory, schema theory, and cognitive research, this handbook updates and advances Sonata Theory and confirms its status as a key lens for analyzing sonata form.