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" Musical form. "
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BL
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| Record Number
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879568
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| Main Entry
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Leichtentritt, Hugo,1874-1951.
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| Title & Author
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Musical form.
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| Edition Statement
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[1st English ed.].
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| Publication Statement
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Cambridge,: Harvard University Press,, 1951.
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| Page. NO
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xii, 467 p.: music.; 25 cm.
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| ISBN
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0674592018
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: 9780674592018
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| Notes
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Translated and enlarged from the 3d German edition, Musikalische Formenlehre, 1927.
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Includes bibliographical references and index.
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| Contents
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1. The regular construction of musical phrases : The motif ; Strong and weak measures ; Period, antecedent and consequent ; Eight-bar melodies without periodic construction ; Free structure of the period by rhythmical variation ; The one-part form ; The twelve-measure phrase ; The sixteen-measure phrase ; Normal treatment of the period in the minor ; Larger periodic groups ; Large melodic lines ; Rhapsodic melodies ; The song form ; The small two-part song form ; The large two-part song form ; The small three-part song form ; The large three-part song form -- 2. Irregularities in the construction of musical phrases : Irregularities in the four- and eight-measure structure ; Three-bar and five-bar phrases ; The treatment of accents in irregular constructions ; The treatment of cadences in four-bar groups ; The linking together of successive phrases -- 3. The song forms and their application to the dance and march : The dance ; The polka ; The gallop ; The waltz ; The mazurka ; The polonaise ; The minuet ; Short instrumental pieces ; The nocturne ; The scherzo ; The etude ; The march -- 4. The contrapuntal forms : The invention ; The prelude ; The chorale prelude ; The fugue ; Fugue themes ; Inversion, augmentation, and diminution of the theme ; The double fugue ; The triple and chorale fugues ; The canon ; The basso ostinato, chaconne, and passacaglia ; The toccata -- 5. The suite : The pavane and gaillarde ; The saltarello and tarantella ; The allemande ; The courante ; The sarabande ; The gigue ; The gavotte, musette, passepied, rigaudon and other dances in the suite ; The overture and prelude ; Modern suites.
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10. Aesthetic ideas as the basis of musical styles and forms -- 11. Logic and coherence in music : Physiological coherence ; Psychological coherence ; Logical consequence -- 12. The accompaniment in its formal and stylistic significance : Accompaniment as background ; Formulas for homophonic accompaniment ; Scene and aria ; Change of the motifs of the accompaniment ; Solveig's song by Grieg ; Schubert's songs ; Accompaniment in modern music ; Songs by Wolf ; Wagner's symphonic accompaniment ; Accompaniment in the older concertizing style ; Bach's method of accompaniment in the cantatas ; Accompaniment in dance music ; Evenly continued rhythms in ostinato-like pieces ; Ostinato rhythms in Oriental and Russian music ; Accompaniment in rhythmical polyphony ; Javanese music -- 13. The forms of unison music : Unison in oriental music ; Constructive principles common to all melodies ; Music of the Wedda ; The South Sea tribes and the American Indians ; Ostinato rhythms in music of the Indians ; Songs of the Indians ; East Indian music ; Tunisian dance ; Jewish synagogue melody ; Arabic melody ; Forms of Gregorian chant ; Psalmody ; Responsorium, offertorium, communion, introitus ; Periodic effects in Gregorian chant ; Thematic elaboration in Gregorian chant ; Analysis of the credo ; Unison in modern music ; Hirtenweise from Tristan und Isolde ; The virtuoso piece in unison style ; Finale of Chopin's B flat minor sonata ; Unison in instrumental recitative ; Unison introductions and transitions ; Quick unison or octave passages ; Unison in the sense of a title ; Signal figures, fanfares, horn calls ; Unison in Berlioz -- 14. Additional remarks on song form : Mendelssohn's songs without words ; Song form in Chopin's nocturnes ; Piano pieces by Brahms -- 15. The contrapuntal forms : The preludes of the well-tempered clavier ; The forms of inversion ; F minor invention ; Bach's organ passacaglia ; The Bach chaconne ; The slow movement of Bach's piano concerto ; Finale of Brahm's E minor symphony ; Mixed contrapuntal forms ; Buxtehude's fugue variation ; Schonberg's double canon ; The toccata ; Froberger's toccatas ; Bach's toccatas ; Ricercar ; Canzone, capriccio, fantasia ; Beethoven's Op. 133.
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16. Variation form : Richard Strauss' Don Quixote ; d'Indy's Istar ; Bach's cantata Christ lag in Todesbanden ; Schumann's Carnaval ; Schonberg's second string quartet -- 17. Sonata form : The older sonata form ; Bach's solo sonatas for violin ; The cyclical sonata form ; Beethoven's Op. 106 ; Beethoven's Op. 130 ; Cesar Franck's violin sonata ; Debussy's string quartet -- 18. Free forms : Tristan und Isolde ; Bach: a major prelude ; Beethoven: Op. 101 -- 19. Concerto form : Bach: piano concerto in D minor ; J.S. Bach: six Brandenburg concerti ; Concerto no. 1 in F major ; Concerto no. 2 in F major ; Concerto no. 3 in G major ; Concerto no. 4 in G major ; Concerto no. 5 in D major ; Concerto no. 6 in B flat major -- 20. Fantasy : Andante from Beethoven's piano concerto in G major ; Arioso in Beethoven's later works ; Bach's chromatic fantasy ; Bach, organ fantasy, G minor -- 21. Anton Bruckner: the eighth symphony : First movement: allegro moderato ; Exposition, first theme ; Second theme ; Third theme ; Coda ; Development ; The reprise ; Second movement, scherzo, allegro moderato ; The first main part ; The middle section ; The reprise ; The trio ; Third movement ; Adagio ; Exposition ; First theme ; Second theme ; Third theme ; Fourth theme ; Coda ; The development section ; Reprise ; Coda ; Fourth movement, finale ; Principal theme ; The second them ; The third theme ; Development ; Reprise ; Transition to the second theme ; Third theme ; Coda ; Construction of the coda -- 22. Arnold Schonberg: opus 11 and opus 19 : Three piano pieces, op. 11 ; Opus 11, number 1 ; Opus 11, number 2 ; Opus 11, number 3 ; Schonberg's op. 19.
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6. Theme and variations : The theme ; Development of the art of variation ; The final variation ; Beethoven's variation technique ; Different types of variation ; Variations on two themes -- 7. The rondo : The rondo theme ; Rondo and variation themes ; Development of the rondo theme ; Episodes with new material ; Mixed forms ; Rondo-like constructions ; The rondo in classical music and in the nineteenth century -- 8. The sonata : Historical development ; Exposition of the themes ; The principal theme ; Transition episode ; The second theme ; The closing group ; Groups of themes ; The development section ; The reprise ; The veiled reprise ; The reprise in a foreign key ; The tonic in the beginning of the reprise ; The deceptive reprise ; Differences between reprise and exposition ; The coda ; The same thematic material in one movement ; The slow introduction in the sonata ; The intermediate movements of the sonata ; The finale ; Deviations from the normal structure of the sonata ; Sonatas in two movements ; Five or more movements in the sonata ; One movement merging into another ; One theme for all movements ; The leading motif ; Uniform rounding off of works in several movements ; The sonatina ; The overture ; Wagner's preludes ; The symphony ; History of the form ; The concerto ; History of the concerto form ; The concerto grosso ; The solo concerto ; Modifications of the concerto form ; The serenade ; Vocal serenata ; Instrumental serenade ; The fantasy ; Fantasy of the classics ; Fantasy of the romantics ; Symphonic tone poem ; Analysis of Liszt's Les Preludes -- 9. The vocal forms : Gregorian chant ; Cantus firmus ; Psalmody, antiphon, accentus ; Tropes, sequences ; Hymns, sequences, prosa ; Polyphony, organum ; Discant, fauxbourdon, gymel ; Rondellus, old French motet ; The motet ; The cantata ; The mass ; The requiem ; Masses with orchestra ; The choral mass ; Choral passion music ; The motet passion ; Oratorio passion ; Oratorio ; Early forms of secular vocal music ; Troubadours and minnesinger ; The old German folk song ; The protestant chorale ; The part song ; Canzonetta, villanelle, frottola ; Quodlibet, potpourri ; The madrigal ; Opera ; Forms of the Mozart opera ; Secco recitative, accompagnato, arioso ; The Wagner style of recitative ; Recitative in instrumental music ; The aria ; Da capo aria ; Various species of opera ; Elements of Wagner's music drama ; Vocal chamber and solo music ; Vocal music with thoroughbass ; Solo cantatas ; Chamber duets ; Song with piano accompaniment ; Accompaniment of the durchkomponiertes lied ; The ballad ; The instrumental ballad.
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| Abstract
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Translated and enlarged from the 3d German edition, Musikalische Formenlehre, 1927.
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| Subject
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Musical form.
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| Subject
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Musical form.
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| Subject
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Musical form.
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| Dewey Classification
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781.508
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| LC Classification
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MT58.L452
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