Catalogue


Musical form, forms & formenlehre : three methodological reflections /
William E. Caplin, James Hepokoski, James Webster ; edited by Pieter Bergé.
imprint
Leuven : Leuven University Press, 2009.
description
179 p. : ill., music ; 24 cm.
ISBN
905867715X, 9789058677150
format(s)
Book
Holdings
Subjects
More Details
imprint
Leuven : Leuven University Press, 2009.
isbn
905867715X
9789058677150
contents note
Part II. James Hepokoski & the concept of dialogic form -- Sonata theory and dialogic form / James Hepokoski -- Comments on James Hepokoski's essay "Sonata theory and dialogic form" / William E. Caplin -- Comments on James Hepokoski's essay "Sonata theory and dialogic form" / James Webster -- Response to the comments / James Hepokoski.
Part III. James Webster & the doncerpt of multivalent analysis -- Formenlehre in theory and practice / James Webster -- Comments on James Webster's essay "Formenlehre in theory and practice / William E. Caplin -- Comments on James Webster's essay "Formenlehre in theory and practice / James Hepokoski -- Response to the comments / James Webster -- Epilogue: The future of formenlehre / Pieter Bergé -- Bibliography -- About the authors.
Preface / Ludwig Holtmeier -- Prologue: Considering musical form, forms and formenlehre / Pieter Bergé -- Part I. William E. Caplin & the theory of formal functions -- What are formal functions? / William E. Caplin -- Comments of William E. Caplin's essay "What are formal functions?" / James Hepokoski -- Comments of William E. Caplin's essay "What are formal functions?" / James Webster -- Response to the comments / William E. Caplin.
general note
"The present volume arose from a symposium on Formenlehre that took place at the 6th European Music Analysis Confernece (EuroMAC) in Freiburg, Germany, October 10-14, 2007"--Pref.
catalogue key
6930072
 
Includes bibliographical references (p. 171-175).
A Look Inside
About the Author
Author Affiliation
William E. Caplin is James McGill Professor of Music Theory at McGill University. He is the author of Classical Form. James Hepokoski is Professor of Music at Yale University. He is the co-author of Elements of Sonata Theory. James Webster is Goldwin Smith Professor of Music at Cornell University. He is the author of Haydn's Farewell Symphony and the Idea of Classical Style. Pieter Berg is Professor of Musicology at the University of Leuven.
Excerpts
Excerpt from Book
In Musical Form, Forms & Formenlehre, three eminent music theorists reflect on the fundamentals of "musical form." They discuss how to analyze form in music and question the relevance of analytical theories and methods in general. They illustrate their basic concepts andc oncerns by offering some concrete analyses of works by Mozart (Idomeneo Overture, Jupiter Symphony) and Beethoven (First and Pastoral Symphony, Egmont Overture, and Die Ruinen von Athen Overture). The volume is divided into three parts, focusing on Caplin's "theory of formal functions," Hepokoski's concept of "dialogic form," and Webster's method of "multivalent analysis" respectively. Each part begins with a basic essay by one of the three authors. Subsequently, the two opposing authors comment on issues and analyses they consider to be problematic or underdeveloped, in a style that ranges from the gently critical to the overtly polemical. Finally, the author of the initial essay is given the opportunity to reply to the comments, and to furthe rrefine his own fundamental ideas on musical form.
Summaries
Main Description
In Musical Form, Forms, and Formenlehre, three eminent music theorists reflect on the fundamentals of "musical form." They discuss how to analyze form in music and question the relevance of analytical theories and methods in general. They illustrate their basic concepts andc oncerns by offering some concrete analyses of works by Mozart (Idomeneo Overture, Jupiter Symphony) and Beethoven (First and Pastoral Symphony, Egmont Overture, and Die Ruinen von Athen Overture). The volume is divided into three parts, focusing on Caplin's "theory of formal functions," Hepokoski's concept of "dialogic form," and Webster's method of "multivalent analysis" respectively. Each part begins with a basic essay by one of the three authors. Subsequently, the two opposing authors comment on issues and analyses they consider to be problematic or underdeveloped, in a style that ranges from the gently critical to the overtly polemical. Finally, the author of the initial essay is given the opportunity to reply to the comments, and to further refine his own fundamental ideas on musical form.
Main Description
In Musical Form, Forms & Formenlehre, three eminent music theorists reflect on the fundamentals of 'musical form.' They discuss how to analyze form in music and question the relevance of analytical theories and methods in general. They illustrate their basic concepts andc oncerns by offering some concrete analyses of works by Mozart (Idomeneo Overture, Jupiter Symphony) and Beethoven (First and Pastoral Symphony, Egmont Overture, and Die Ruinen von Athen Overture). The volume is divided into three parts, focusing on Caplin's 'theory of formal functions,' Hepokoski's concept of 'dialogic form,' and Webster's method of 'multivalent analysis' respectively. Each part begins with a basic essay by one of the three authors. Subsequently, the two opposing authors comment on issues and analyses they consider to be problematic or underdeveloped, in a style that ranges from the gently critical to the overtly polemical. Finally, the author of the initial essay is given the opportunity to reply to the comments, and to further refine his own fundamental ideas on musical form.
Main Description
In Musical Form, Forms Formenlehre: Three Methodological Reflections, three eminent music theorists consider the fundamentals of musical form. They discuss how to analyze form in music and question the relevance of analytical theories and methods in general. They illustrate their basic concepts and concerns by offering some concrete analyses of works by Mozart (Idomeneo Overture, Jupiter Symphony) and Beethoven (First Symphony, Pastoral Symphony, Egmont Overture, and Die Ruinen von Athen Overture).
Table of Contents
Prefacep. 7
Prologue Considering Musical Form, Forms and Formenlehre Pieter Bergép. 11
William E. Caplin & The Theory Of Formal Functionsp. 19
What Are Formal Functions?p. 21
Comments on William E. Caplin's Essay "What Are Formal Functions?"p. 41
Comments on William E. Caplin's Essay "What Are Formal Functions?"p. 46
Response to the Commentsp. 51
James Hepokoski & The Concept Of Dialogic Formp. 69
Sonata Theory and Dialogic Formp. 71
Comments on James Hepokoski's Essay "Sonata Theory and Dialogic Form"p. 90
Comments on James Hepokoski's Essay "Sonata Theory and Dialogic Form"p. 96
Response to the Commentsp. 101
James Webster & The Concept of Multivalent Analysisp. 121
Formenlehre in Theory and Practicep. 123
Comments on James Webster's Essay "Formenlehre in Theory and Practice"p. 140
Comments on James Webster's Essay "Formenlehre in Theory and Practice"p. 146
Response to the Commentsp. 152
Epilogue The Future of Formenlehrep. 165
Bibliographyp. 171
About the Authorsp. 177
Table of Contents provided by Ingram. All Rights Reserved.

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