The text defines and describes the forms commonly used by Western com- posers in the period between 1550 and 1900. These are the binary and ternary forms, including the da capo aria, minuet-and-trio, and rondo; the sonata form; the forms in the concerto; variation forms—including ground bass, passacaglia, and chaconne; and the contrapuntal forms, notably the fugue and canon. Each form is illustrated with a detailed analysis of a specific piece or movement, usually from the work of Bach, Haydn, Mozart, or Beethoven, but often from Purcell, Brahms, Dvorak, or other composers. The student is also referred to a list of compositions in the same form for further study.
Experienced musicians, both professional and amateur, and students will find the author’s thoughtful, well-written discussions of the controversial aspects of formal analysis extremely perceptive and stimulating. Beginning music lovers, even those with little or no training in music, will come away from a thorough reading of this book with a good knowledge of each important musical form, and with a greatly increased insight into the way music is organized.
Unabridged, unaltered republication of 1st (1953) edition. Foreword by Percy M. Young. 40 musical examples. Analysis of 25 pieces or movements. Bibliography. Glossary. 181pp. 5 3/8 x 8˝.Paperbound
Copyright © 1998 MIDI Classics®. Revised July 10, 1998