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Steven Vande Moortele, Julie Pedneault‐Deslauriers and Nathan John Martin, eds, Formal Functions in Perspective: Essays on Musical Form from Haydn to Adorno (Rochester, NY: University of Rochester Press, and Suffolk: Boydell & Brewer, 2015). vii + 456pp. £75 (hb.). ISBN 9781580465182.Markus Neuwirth and Pieter Bergé, eds, What is a Cadence? Theoretical and Analytical Perspectives on Cadences in the Classical Repertoire (Leuven: Leuven University Press, 2015). 346pp. €45 (pb.). ISBN 9789462700154.

Steven Vande Moortele, Julie Pedneault‐Deslauriers and Nathan John Martin, eds, Formal Functions... Reviewing William E. Caplin's Classical Form () in this journal in 2001, Nicholas Marston likened the text to the New Testament, with Charles Rosen's The Classical Style () corresponding to the Old Testament: ‘Caplin's testament’, Marston wrote, ‘celebrate[s] the coming of a new Formenlehre’ (, p. 143). Five years later, the publication of James Hepokoski's and Warren Darcy's encyclopedic Elements of Sonata Theory marked a radically different approach to the analysis of the sonata, again in the hands of Haydn, Mozart and Beethoven (Hepokoski and Darcy ). Today, the ‘new Formenlehre’ has become synonymous with a growing body of literature on musical form engaging either with Caplin's theory of formal functions, Hepokoski's and Darcy's Sonata Theory or an amalgamation of the two; indeed, the two texts have been so influential that, to further the analogy, the 22 chapters of Elements and Classical Form’s introduction and four parts might now be seen as jointly representing the 27 books of Formenlehre’s New Testament. Nonetheless, it is certainly the gospel according to Caplin that is celebrated and explored in the two volumes under review, and although they both fall within the purview of the new Formenlehre, their scholarly interests and perspectives direct http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Music Analysis Wiley

Steven Vande Moortele, Julie Pedneault‐Deslauriers and Nathan John Martin, eds, Formal Functions in Perspective: Essays on Musical Form from Haydn to Adorno (Rochester, NY: University of Rochester Press, and Suffolk: Boydell & Brewer, 2015). vii + 456pp. £75 (hb.). ISBN 9781580465182.Markus Neuwirth and Pieter Bergé, eds, What is a Cadence? Theoretical and Analytical Perspectives on Cadences in the Classical Repertoire (Leuven: Leuven University Press, 2015). 346pp. €45 (pb.). ISBN 9789462700154.

Music Analysis , Volume 36 (2) – Jul 1, 2017

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Publisher
Wiley
Copyright
Music Analysis © 2017 John Wiley & Sons Ltd
ISSN
0262-5245
eISSN
1468-2249
DOI
10.1111/musa.12089
Publisher site
See Article on Publisher Site

Abstract

Reviewing William E. Caplin's Classical Form () in this journal in 2001, Nicholas Marston likened the text to the New Testament, with Charles Rosen's The Classical Style () corresponding to the Old Testament: ‘Caplin's testament’, Marston wrote, ‘celebrate[s] the coming of a new Formenlehre’ (, p. 143). Five years later, the publication of James Hepokoski's and Warren Darcy's encyclopedic Elements of Sonata Theory marked a radically different approach to the analysis of the sonata, again in the hands of Haydn, Mozart and Beethoven (Hepokoski and Darcy ). Today, the ‘new Formenlehre’ has become synonymous with a growing body of literature on musical form engaging either with Caplin's theory of formal functions, Hepokoski's and Darcy's Sonata Theory or an amalgamation of the two; indeed, the two texts have been so influential that, to further the analogy, the 22 chapters of Elements and Classical Form’s introduction and four parts might now be seen as jointly representing the 27 books of Formenlehre’s New Testament. Nonetheless, it is certainly the gospel according to Caplin that is celebrated and explored in the two volumes under review, and although they both fall within the purview of the new Formenlehre, their scholarly interests and perspectives direct

Journal

Music AnalysisWiley

Published: Jul 1, 2017

References