Manual on Music Form

Manual on Music Form
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This manual treats of the structural designs of musical composition, not of the styles or species of music. 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 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. (Percy Goetschius, Lessons in Music Form)

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Percy Goetschius. Manual on Music Form

Manual on Music Form

Table of Contents

FOREWORD

LESSONS IN MUSIC FORM. CHAPTER I. INTRODUCTION

[Illustration: first fragment of 8th Song]

[Illustration: second fragment of 8th Song]

[Illustration: Duple and Triple Rhythm]

[Illustration: Example 1. Fragment of Folk-song.]

[Illustration: Example 2. Fragment of Beethoven.]

CHAPTER II. FUNDAMENTAL DETAILS

[Illustration: Beat accentuation]

[Illustration: Example 3. Rhythm.]

[Illustration: Example 4. Fragment of Beethoven.]

[Illustration: Example 5. Fragment of Beethoven.]

CHAPTER III. FIGURE AND MOTIVE

[Illustration: Example 6. Fragment of Beethoven.]

[Illustration: Example 6 continued.]

[Illustration: Example 7. Fragments of Czerny, Mendelssohn, and Schumann.]

[Illustration: Example 8. Fragments of Beethoven.]

[Illustration: Example 9. Fragments of Beethoven, Mendelssohn, and Mozart.]

[Illustration: Example 10. Fragment of Beethoven.]

[Illustration: Example 11. Fragment of Beethoven.]

[Illustration: Example 12. Fragment of Mozart.]

[Illustration: Example 13. Fragments of Mendelssohn.]

[Illustration: Example 13 continued. Fragments of Mendelssohn and Mozart.]

[Illustration: Example 14. Fragments of Mozart, Beethoven, and Mendelssohn.]

CHAPTER IV. THE PHRASE

[Illustration: Example 15. Fragment of Schubert.]

[Illustration: Example 16. Fragment of Schumann, Op. 68, No. 11.]

[Illustration: Example 17. Fragments of Beethoven.]

CHAPTER V. CADENCES

[Illustration: Example 18. Fragment of Schumann.]

[Illustration: Example 19. Fragment of Mozart.]

[Illustration: Example 20. Fragment of Mendelssohn.]

[Illustration: Example 20 continued.]

[Illustration: Example 21. Fragment of Mozart.]

[Illustration: Example 22. Fragment of Beethoven.]

[Illustration: Example 22 continued. Fragments of Mendelssohn, Schumann, and Mozart.]

[Illustration: Example 23. Fragments of Beethoven and Mendelssohn.]

[Illustration: Example 23 continued. Fragment of Mendelssohn.]

[Illustration: Example 24. Fragments of Mozart.]

[Illustration: Example 24 continued. Fragment of Beethoven.]

[Illustration: Example 25. Fragment of Mozart.]

[Illustration: Example 26. Fragment of Mozart.]

[Illustration: Example 26 continued.]

[Illustration: Example 27. Fragment of Mozart.]

[Illustration: Example 28. Fragment of Beethoven.]

[Illustration: Example 29. Fragment of Schubert.]

[Illustration: Example 30. Fragment of Schumann.]

[Illustration: Example 31. Fragment of Schumann.]

[Illustration: Example 32. Fragments of Mendelssohn and Schubert.]

[Illustration: Example 33. Fragment of Schubert.]

[Illustration: Example 34. Fragment of Brahms.]

[Illustration: Example 35. Fragment of Schumann.]

[Illustration: Example 36. Fragment of Schubert.]

CHAPTER VI. IRREGULAR PHRASES

[Illustration: Example 37. Fragment of Mendelssohn.]

[Illustration: Example 38. Fragment of Beethoven.]

[Illustration: Example 39. Fragment of Mendelssohn.]

[Illustration: Example 40. Fragment of Mendelssohn.]

[Illustration: Example 41. Fragment of Mendelssohn.]

[Illustration: Example 42. Fragment of Beethoven.]

[Illustration: Example 43. Fragment of Beethoven.]

[Illustration: Example 43 continued.]

CHAPTER VII. THE PERIOD-FORM

[Illustration: Example 44. Fragment of Mendelssohn.]

[Illustration: Example 45. Fragment of Mendelssohn.]

[Illustration: Example 46. Fragment of Mozart.]

[Illustration: Example 47. Fragment of Beethoven.]

[Illustration: Example 47 continued.]

CHAPTER VIII.--ENLARGEMENT OF THE PERIOD-FORM

[Illustration: Example 48. Fragment of Mozart.]

[Illustration: Example 49. Fragment of Chopin.]

[Illustration: Example 49 continued.]

[Illustration: Phrase group diagram.]

[Illustration: Example 50. Fragment of Grieg.]

[Illustration: Example 51. Fragment of Beethoven.]

CHAPTER IX. THE TWO-PART SONG-FORM

[Illustration: Example 52. Fragment of German _lied_.]

CHAPTER X.--THE THREE-PART SONG-FORM

[Illustration: Example 53. Fragment of Schumann.]

[Illustration: Example 53 continued.]

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

[Illustration: Diagram of Parts.]

CHAPTER XII. THE SONG-FORM WITH TRIO

CHAPTER XIII. THE FIRST RONDO-FORM

[Illustration: Example 54. Fragment of Beethoven.]

[Illustration: Example 54 continued.]

[Illustration: Example 54 continued.]

CHAPTER XIV. THE SECOND RONDO-FORM

CHAPTER XV. THE THIRD RONDO-FORM

CHAPTER XVI. THE SONATINE FORM

CHAPTER XVII. THE SONATA-ALLEGRO FORM

[Illustration: Example 55. Fragment of Beethoven.]

[Illustration: Example 55 continued.]

[Illustration: Example 55 continued.]

[Illustration: Example 55 continued.]

CHAPTER XVIII. IRREGULAR FORMS

CHAPTER XIX. APPLICATION OF THE FORMS

AFTERWORD

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Percy Goetschius

OK Publishing, 2020

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[Illustration: Example 45. Fragment of Mendelssohn.]

[Illustration: Example 46. Fragment of Mozart.]

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