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Lessons in Music Form A Manual of Analysis of All the Structural Factors and Designs Employed in Musical Composition   By: (1853-1943)

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First Page:

LESSONS IN MUSIC FORM

A MANUAL OF ANALYSIS

OF ALL THE STRUCTURAL FACTORS AND DESIGNS

EMPLOYED IN MUSICAL COMPOSITION

BY

PERCY GOETSCHIUS, MUS. DOC.

(Royal W├╝rttemberg Professor)

AUTHOR OF

THE MATERIAL USED IN MUSICAL COMPOSITION, THE THEORY AND PRACTICE OF TONE RELATIONS, THE HOMOPHONIC FORMS OF MUSICAL COMPOSITION, MODELS OF THE PRINCIPAL MUSIC FORMS, EXERCISES IN MELODY WRITING, APPLIED COUNTERPOINT, ETC.

$1.50

BOSTON

OLIVER DITSON COMPANY

New York Chicago

CHAS. H. DITSON & CO. LYON & HEALY

COPYRIGHT. MCMIV, BY OLIVER DITSON COMPANY

MADE IN U. S. A.

[Transcriber's note: This book contains a few page references, e.g., "...on page 122". In such cases the target page number has been formatted between curly braces, e.g. "{122}", and inserted into this e text in a location matching that page's physical location in the original book.]

FOREWORD.

The present manual treats of the structural designs of musical composition, not of the styles or species of music. Read our AFTERWORD.

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 present 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.

The choice of classic literature to which most frequent reference is made, and which the student is therefore expected to procure before beginning his lessons, includes:

The Songs Without Words of Mendelssohn; the Jugend Album , Op. 68, of Schumann; the pianoforte sonatas of Mozart (Peters edition); the pianoforte sonatas of Beethoven.

Besides these, incidental reference is made to the symphonies of Beethoven, the sonatas of Schubert, the mazurkas of Chopin, and other pianoforte compositions of Mendelssohn, Beethoven, Chopin, and Brahms.

PERCY GOETSCHIUS.

BOSTON, MASS., Sept., 1904.

TABLE OF CONTENTS.

CHAPTER I. INTRODUCTION.

THE NECESSITY OF FORM IN MUSIC THE EVIDENCES OF FORM IN MUSIC UNITY AND VARIETY

CHAPTER II. FUNDAMENTAL DETAILS.

TIME TEMPO BEATS MEASURES RHYTHM MELODY

CHAPTER III. FIGURE AND MOTIVE.

THE MELODIC FIGURE DEFINING THE FIGURES THE MELODIC MOTIVE, OR PHRASE MEMBER PRELIMINARY TONES

CHAPTER IV. THE PHRASE.

THE PHRASE LENGTH OF THE REGULAR PHRASE EXCEPTIONS CONTENTS OF THE PHRASE

CHAPTER V. CADENCES.

CADENCES IN GENERAL MODIFICATION, OR DISGUISING OF THE CADENCE THE ELISION SPECIES OF CADENCE PERFECT CADENCE SEMICADENCE LOCATING THE CADENCES

CHAPTER VI. IRREGULAR PHRASES.

CAUSES OF IRREGULARITY THE SMALL AND LARGE PHRASES THE PRINCIPLE OF EXTENSION INHERENT IRREGULARITY

CHAPTER VII. THE PERIOD FORM.

PHRASE ADDITION THE PERIOD

CHAPTER VIII. ENLARGEMENT OF THE PERIOD FORM.

ENLARGEMENT BY REPETITION THE PHRASE GROUP THE DOUBLE PERIOD

CHAPTER IX. THE TWO PART SONG FORM.

THE SONG FORM, OR PART FORM THE PARTS THE FIRST PART THE SECOND PART

CHAPTER X. THE THREE PART SONG FORM.

DISTINCTION BETWEEN BIPARTITE AND TRIPARTITE FORMS PART I PART II PART III

CHAPTER XI. ENLARGEMENT OF THE THREE PART SONG FORM... Continue reading book >>




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