06366cam a2200421I  4500001001300000003000600013005001700019008004100036010001700077040007800094015001400172016001800186035003600204050001500240082001000255100002000265245014300285260005100428300002800479336002600507337002800533338002700561504005300588505029300641505021500934505036901149505037301518505065801891505044602549505035002995505029503345505101103640505038704651505063905038505020505677650001805882650004405900ocm00612127 OCoLC20151023232159.0730427s1966    njug     b    001 0 eng    a   66012872   aDLCbengcWSUdOCLdUKMdWY@dQE2dUKMGBdOCLCFdOCLCOdOCLCQdMXLdZAAPA  aGB66-96117 a0002978482Uk  a(OCoLC)612127 z(OCoLC)1673079900aMT58b.B34 4a781.51 aBerry, Wallace.10aForm in music;ban examination of traditional techniques of musical structure and their application in historical and contemporary styles.  aEnglewood Cliffs, N.J.,bPrentice-Hallc[1966]  a472 pagesbmusicc24 cm  atextbtxt2rdacontent  aunmediatedbn2rdamedia  avolumebnc2rdacarrier  aIncludes bibliographical references and indexes.0 a1. Smaller structural units : The motive ; The figure ; The common cadence forms ; The phrase ; Repetition of the phrase ; The period ; Enlargement of the single period ; The double period ; Repetition of the period ; The phrase group ; Irregular example ; the joining of structural units0 a2. Binary : The incipient binary ; Binary form: the first part ; the second part ; The codetta ; Bach, sonata no. 2 in a minor for violin alone, third movement ; Significance of the repeats ; the rounded binary0 a3. Simple ternary : Significance of tripartition as a structural principle ; Partition without reprise; other types of multiple segmentation ; The incipient ternary ; Simple ternary from further defined ; The first part ; The second part ; The third part ; The codetta ; Brahms, ballade in g minor, op. 118, no. 3, measures 1-40 ; Incipience of the rondo principle0 a4. Compound ternary : Compound ternary form ; The introduction ; The first part ; The codetta; the coda ; Compound ternary form with da capo ; The repeats in the ternary with da capo ; The integrated compound ternary; transition and retransition ; Extended compound ternary form ; Debussy, string quartet in g minor, op. 10, third movement ; Relationships to the rondo0 a5. Rondo : Historical backgrounds of the rondo principle ; Rondo form further defined ; Examples for discussion : The introduction ; The rondo theme ; Transition ; The first digression ; Retransition ; The restatement if the rondo theme ; The second transition ; The second digression as a repetition of the first ; The second digression as a contrast to the first ; Final statement of the rondo theme ; The codetta ; The coda. Repeats in particular examples ; The rondo principle in da capo forms ; Degrees of integration in rondo form ; Extensions of rondo form ; Beethoven, trio in e-flat, op. 70, no. 2, for piano, violin, and cello, second movement0 a6. Sonata : The multi-movement sonata ; Relationships among the movements ; Smaller and larger exceptions to the multi-movement norm ; Single-movement sonata form : The introduction ; The exposition ; The development ; The recapitulation ; The coda. Haydn, symphony no. 102 in b-flat, first movement ; A binary or ternary design? ; the sonatina and single-movement sonatina form ; the vitality and adaptability of single-movement sonata form0 a7. Sonata-rondo : Sonata-rondo form defined ; Relationships to single-movement sonata form ; Mozart, trio in b-flat, k. 502, for piano, violin, and cello, final movement ; Beethoven, symphony no. 8 in f, op. 93, final movement ; Prokofiev, sonata no. 4 in c minor, op. 29, for piano, final movement ; Historical significance of sonata-rondo form0 a8. Ostinato forms : Characteristics of the ostinato ; Examples of ostinato themes ; The ground ; The passacaglia ; the chaconne ; Riegger, symphony no. 3, final movement ; Harmonic fixation in ostinato forms ; Ostinato forms as variation stets ; Purcell, Lament of Dido form Dido and Aeneas0 a9. Variations : The theme ; The sectional variation series ; Example of theme elements fixed : Structure ; The structurally-fixed variation ; Structure and melody ; The melodically-fixed variation ; Structure and harmony ; The harmonically-fixed variation ; Structure, melody, and harmony ; The melodically-harmonically-fixed variation ; Structure, melody, and harmony ; The melocically-harmonically-fixed variation ; Motive as a fixed element ; The free variation ; The tone series as a fixed element in the free variation ; Other fixed elements in theory and practice. Examples of theme elements in variation : Structure ; Harmony ; Melody ; Meter ; Rhythm ; Color ; Tonality ; Mode ; Tempo ; Dynamic levels ; Texture ; Character ; Treatment of the variable elements in the practice of variation. Coda ; Appendage of separate structure ; Brahms, quintet in b minor, op. 115, for clarinet and string quartet, final movement ; Variation principles freely applied ; Double variation : Variation on variation0 a10. The suite : Origins of the suite ; The baroque suite ; The introductory movement ; Some important components of the baroque suite : Air ; Allemande ; Anglaise ; Bourree ; Courante ; Gavotte ; Gigue ; Loure ; Minuet ; Pallepied ; Polonaise ; Sarabande. The suite of Bach and Handel ; The later suite ; The variation suite ; The suite by other names : Related multi-movement forms0 a11. Fugue and other contrapuntal forms : Origins of the fugue ; The significance of imitative counterpoint as a form-producing technique. Fugue : The subject ; the answer ; The countersubject ; The free contrapuntal associate ; Invertible counterpoint ; The fugal exposition ; The counter-exposition ; The use of episode ; Techniques of development ; Successive entries and entry groups ; Subject variations ; Tonal range ; Cadential divisions in the form ; Stretto ; Pedal point ; The final stage ; The coda. Handel, chorus, He trusted in God, form Messiah ; Multiple fugue ; Fughetta ; Fugato ; Invention ; Canon ; The organ chorale0 a12. Free approaches to musical form : K. P. E. Bach, fantasy in d minor ; Wolf, Blumengruss (Goethe) ; The elements of musical form ; The attenuation of tonality as a structural force in later styles. 0aMusical form. 7aMusical form.2fast0(OCoLC)fst01030718