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قراءة كتاب Lessons in Music Form A Manual of Analysis of All the Structural Factors and Designs Employed in Musical Composition

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Lessons in Music Form
A Manual of Analysis of All the Structural Factors and Designs Employed in Musical Composition

Lessons in Music Form A Manual of Analysis of All the Structural Factors and Designs Employed in Musical Composition

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LESSONS IN MUSIC FORM

A MANUAL OF ANALYSIS


OF ALL THE STRUCTURAL FACTORS AND DESIGNS
EMPLOYED IN MUSICAL COMPOSITION



BY

PERCY GOETSCHIUS, MUS. DOC.

(Royal Württemberg Professor)



AUTHOR OF
THE MATERIAL USED IN MUSICAL COMPOSITION,
THE THEORY AND PRACTICE OF TONE-RELATIONS,
THE HOMOPHONIC FORMS OF MUSICAL COMPOSITION,
MODELS OF THE PRINCIPAL MUSIC FORMS,
EXERCISES IN MELODY WRITING,
APPLIED COUNTERPOINT, ETC.



$1.50



BOSTON
OLIVER DITSON COMPANY
New York ———— Chicago
CHAS. H. DITSON & CO. ———— LYON & HEALY
COPYRIGHT. MCMIV, BY OLIVER DITSON COMPANY
MADE IN U. S. A.




[Transcriber's note: This book contains a few page references, e.g., "…on page 122". In such cases the target page number has been formatted between curly braces, e.g. "{122}", and inserted into this e-text in a location matching that page's physical location in the original book.]




FOREWORD.


The present manual treats of the structural designs of musical composition, not of the styles or species of music. Read our AFTERWORD.

It undertakes the thorough explanation of each design or form, from the smallest to the largest; and such comparison as serves to demonstrate the principle of natural evolution, in the operation of which the entire system originates.

This explanation—be it well understood—is conducted solely with a view to the Analysis of musical works, and is not calculated to prepare the student for the application of form in practical composition. For the exhaustive exposition of the technical apparatus, the student must be referred to my "Homophonic Forms."

The present aim is to enable the student to recognize and trace the mental process of the composer in executing his task; to define each factor of the structural design, and its relation to every other factor and to the whole; to determine thus the synthetic meaning of the work, and thereby to increase not only his own appreciation, interest, and enjoyment of the very real beauties of good music, but also his power to interpret, intelligently and adequately, the works that engage his attention.




The choice of classic literature to which most frequent reference is made, and which the student is therefore expected to procure before beginning his lessons, includes:—

The Songs Without Words of Mendelssohn; the Jugend Album, Op. 68, of Schumann; the pianoforte sonatas of Mozart (Peters edition); the pianoforte sonatas of Beethoven.

Besides these, incidental reference is made to the symphonies of Beethoven, the sonatas of Schubert, the mazurkas of Chopin, and other pianoforte compositions of Mendelssohn, Beethoven, Chopin, and Brahms.


PERCY GOETSCHIUS.
BOSTON, MASS., Sept., 1904.




TABLE OF CONTENTS.


CHAPTER I.—INTRODUCTION.

THE NECESSITY OF FORM IN MUSIC
THE EVIDENCES OF FORM IN MUSIC
UNITY AND VARIETY


CHAPTER II.—FUNDAMENTAL DETAILS.

TIME
TEMPO
BEATS
MEASURES
RHYTHM
MELODY


CHAPTER III.—FIGURE AND MOTIVE.

THE MELODIC FIGURE
DEFINING THE FIGURES
THE MELODIC MOTIVE, OR PHRASE-MEMBER
PRELIMINARY TONES


CHAPTER IV.—THE PHRASE.

THE PHRASE
LENGTH OF THE REGULAR PHRASE
EXCEPTIONS
CONTENTS OF THE PHRASE


CHAPTER V.—CADENCES.

CADENCES IN GENERAL
MODIFICATION, OR DISGUISING OF THE CADENCE
THE ELISION
SPECIES OF CADENCE
PERFECT CADENCE
SEMICADENCE
LOCATING THE CADENCES


CHAPTER VI.—IRREGULAR PHRASES.

CAUSES OF IRREGULARITY
THE SMALL AND LARGE PHRASES
THE PRINCIPLE OF EXTENSION
INHERENT IRREGULARITY


CHAPTER VII.—THE PERIOD-FORM.

PHRASE-ADDITION
THE PERIOD


CHAPTER VIII.—ENLARGEMENT OF THE PERIOD-FORM.

ENLARGEMENT BY REPETITION
THE PHRASE-GROUP
THE DOUBLE-PERIOD


CHAPTER IX.—THE TWO-PART SONG-FORM.

THE SONG-FORM, OR PART-FORM
THE PARTS
THE FIRST PART
THE SECOND PART


CHAPTER X.—THE THREE-PART SONG-FORM.

DISTINCTION BETWEEN BIPARTITE AND TRIPARTITE FORMS
PART I
PART II
PART III


CHAPTER XI.—ENLARGEMENT OF THE THREE-PART SONG-FORM.

REPETITION OF THE PARTS
EXACT REPETITIONS
MODIFIED REPETITIONS
THE FIVE-PART FORM
GROUP OF PARTS


CHAPTER XII.—THE SONG-FORM WITH TRIO.

THE PRINCIPAL SONG
THE TRIO, OR SUBORDINATE SONG
THE "DA CAPO"


CHAPTER XIII.—THE FIRST RONDO-FORM.

EVOLUTION
THE RONDO-FORMS
THE FIRST RONDO-FORM


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