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William E. Chaplin, Classical Forum: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven

William E. Chaplin, Classical Forum: A Theory of Formal Functions for the Instrumental Music of... ß Blackwell Publishers Ltd. 2001. Published by Blackwell Publishers, 108 Cowley Road, Oxford OX4 1JF, UK CRITICAL FORUM relatively simple to more extended and complex structures, the final part deals with `Full-Movement Forms' (sonata form, slow-movement forms, minuet/ trio form, rondo forms and concerto form); but such is the remarkable depth of treatment afforded the various functions discussed in the preceding Parts II and III that the anticipated culminatory status of these chapters sometimes fails to materialise, perhaps designedly so. That this is particularly the case with the chapter on sonata form ± Caplin himself admits (p. 195) that, in view of the previous discussion of its constituent functions, `it remains the task of this chapter to summarize the essential characteristics of the form and to examine a number of issues left undiscussed' ± nicely reinforces one's sense of where the real weight of the theory lies, and introduces a refreshingly `egalitarian' formal hierarchy in which the functional characteristics common to sonata form, slow-movement forms, minuet/trio form, rondo forms and concerto form emerge with uncommon prominence. Nevertheless, after nearly two hundred pages of text and some one hundred and sixty separately-discussed examples, all of them illustrated by a http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Music Analysis Wiley

William E. Chaplin, Classical Forum: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven

Music Analysis , Volume 20 (1) – Mar 1, 2001

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Publisher
Wiley
Copyright
Copyright © 2001 Wiley Subscription Services, Inc., A Wiley Company
ISSN
0262-5245
eISSN
1468-2249
DOI
10.1111/1468-2249.00131
Publisher site
See Article on Publisher Site

Abstract

ß Blackwell Publishers Ltd. 2001. Published by Blackwell Publishers, 108 Cowley Road, Oxford OX4 1JF, UK CRITICAL FORUM relatively simple to more extended and complex structures, the final part deals with `Full-Movement Forms' (sonata form, slow-movement forms, minuet/ trio form, rondo forms and concerto form); but such is the remarkable depth of treatment afforded the various functions discussed in the preceding Parts II and III that the anticipated culminatory status of these chapters sometimes fails to materialise, perhaps designedly so. That this is particularly the case with the chapter on sonata form ± Caplin himself admits (p. 195) that, in view of the previous discussion of its constituent functions, `it remains the task of this chapter to summarize the essential characteristics of the form and to examine a number of issues left undiscussed' ± nicely reinforces one's sense of where the real weight of the theory lies, and introduces a refreshingly `egalitarian' formal hierarchy in which the functional characteristics common to sonata form, slow-movement forms, minuet/trio form, rondo forms and concerto form emerge with uncommon prominence. Nevertheless, after nearly two hundred pages of text and some one hundred and sixty separately-discussed examples, all of them illustrated by a

Journal

Music AnalysisWiley

Published: Mar 1, 2001

There are no references for this article.