Excerpt from Applied Forms: A Sequel to Musical Form
Definition of Cyclic Form, 442 - The process of evolution, 443 - The typical cyclic form, and its variations, 444 - Unity of character, 445 - The most important modern cyclic form developed from the Suite, 446 - Thc three movement form, 447 - Usual order of movements, 448 - All the move ments in the same key, 449 - Choice of key for the middle movement, 4 50-452 - The slow movement in a key in the second degree of relation ship, 453 - Ditto in an unrelated key, 454 - The slow movements of works in a minor key, 45 5 - 456 - The jorm of the second movement, 457 - The second movement in quick tempo, 458 - Form of the finale, 459 - Irregular arrangement of movements, 460, 461 - The two-movement form, 462 Contrast in the movements, 463 - The four-movement form, 464 General plan of the movements, 465 - The order of the middle movements optional, 466 - Four-movement works without a slow movement, 467 Deviations from the normal form, 468, 469 - Different methods of obtain ing unity, 470-472 - Cyclic works in more than four movements, 473 The modern Suite, 474 - Quartetts in five movements, 47 5 - The Serenade, 476 - The Cassation and Divertimento. 477 - The Concerto its regular form, 478 - Concertos in four movements, 479 Irregular forms: Bruch's violin Concertos, 480 - Saint piano concertos, 481, 482 - Liszt's concertos. 483 - The Symphonic Poem, 484, 485.
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This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
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Excerpt from Applied Forms: A Sequel to Musical Form
Definition of Cyclic Form, 442 - The process of evolution, 443 - The typical cyclic form, and its variations, 444 - Unity of character, 445 - The most important modern cyclic form developed from the Suite, 446 - Thc three movement form, 447 - Usual order of movements, 448 - All the move ments in the same key, 449 - Choice of key for the middle movement, 4 50-452 - The slow movement in a key in the second degree of relation ship, 453 - Ditto in an unrelated key, 454 - The slow movements of works in a minor key, 45 5 - 456 - The jorm of the second movement, 457 - The second movement in quick tempo, 458 - Form of the finale, 459 - Irregular arrangement of movements, 460, 461 - The two-movement form, 462 Contrast in the movements, 463 - The four-movement form, 464 General plan of the movements, 465 - The order of the middle movements optional, 466 - Four-movement works without a slow movement, 467 Deviations from the normal form, 468, 469 - Different methods of obtain ing unity, 470-472 - Cyclic works in more than four movements, 473 The modern Suite, 474 - Quartetts in five movements, 47 5 - The Serenade, 476 - The Cassation and Divertimento. 477 - The Concerto its regular form, 478 - Concertos in four movements, 479 Irregular forms: Bruch's violin Concertos, 480 - Saint piano concertos, 481, 482 - Liszt's concertos. 483 - The Symphonic Poem, 484, 485.
About the Publisher
Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com
This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
Excerpt from Applied Forms: A Sequel to Musical Form
With the present volume the treatment of Musical Forms, begun in the preceding volume of this series, is completed. So many enquiries for the book have been addressed both to the author and to the publishers during the time of its preparation, that a few words of explanation seem due to readers, to account for the delay in its appearance.
In the preface to Musical Form it was said that that work had involved more labour than any of its predecessors. But the compilation of that volume proved to be mere child's play in comparison with the research necessary for the present one, which has required more than eighteen months' hard work to complete it. This has been the inevitable result of the system on which the author has worked. Though he has consulted numerous theoretical treatises, he has in no case taken either his statements or his illustrations at second hand; in every single instance he has gone direct to the works of the great masters, both for his rules and for his examples. What this involves may be judged from one or two illustrations. Before writing the three paragraphs on the Minuet (71-73), the author examined every minuet in the complete works of Handel, Bach, Couperin, Corelli, Mozart, Beethoven, and Schubert, the whole of Haydn's 83 Quartetts, all the symphonies (about fifty) which he possesses by the same composer, and a number of miscellaneous specimens by other writers. The result of all this work occupies less than three pages. Even more laborious were the preliminary investigations for the sonata form (Chapters VII. and VIII.). About 1,200 movements were carefully examined before a line of the text was written; and this task occupied the whole of the author's spare time for nearly a month. When it is added that every separate form has been dealt with on the same plan, it is hoped that no further apology for the tardy publication of the volume will be needed.
About the Publisher
Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com
This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
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Paperback. Zustand: New. Print on Demand. This book delves into the evolution of musical forms, examining how they emerged from simple beginnings to the complex and sophisticated structures we know today. The author traces the history of forms like the sonata, rondo, and fugue, showing how they developed and changed over time. The book also explores the relationship between different forms and the instruments they were written for, providing valuable insights for composers, performers, and music lovers alike. The author's meticulous research and clear explanations make this an indispensable guide for anyone interested in understanding the foundations of musical composition. This book is a reproduction of an important historical work, digitally reconstructed using state-of-the-art technology to preserve the original format. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in the book. print-on-demand item. Bestandsnummer des Verkäufers 9781330872338_0
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