Musical Form

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MUSICAL FORM §1. The form of a piece or of a passage is determined by the relationship among its sections. Phrase(-group), cadence, period §2. A phrase is a somewhat self-contained musical statement, a “clause” of musical speech, ending with a cadence, or punctuation. §3. A cadence is the more or less conclusive punctuation in the musical “speech” that ends a phrase. §4. A phrase-group is a group of successive related phrases. §5. A period is a phrase-group that ends with a relatively conclusive cadence—perhaps a musical analogy to the complex sentence. §6. Periods sometimes consist of antecedent and consequent phrases or phrase-groups. ♦ An antecedent phrase(-group) opens the musical sentence; ♦ the consequent complements the antecedent and completes the sentence. ♦ In a parallel period, the consequent phrase begins like the antecedent. ♦ In a double period, the antecedent and consequent each comprise two phrases. §7. An extension is music that extends a phrase (or period) beyond the moment in musical time at which we expect it to end. (Rounded) binary and ternary form §8. A piece in binary form ♦ has two balancing sections, and ♦ the second section as a whole is different from the first—in other words, it isn’t a restatement or variation of the first. A piece in ternary form ♦ has three balancing sections, ♦ of which the second is different from the first and the third. §9. Similarly, sections of pieces that are self-contained and closed can themselves be in binary or ternary form. §10. If the closing material in a piece (or section) is essentially the same as the opening material, the piece (or section) is rounded. Accordingly, one says that a piece (or section) is in rounded binary form or rounded ternary form. Musical factors that determine form §11. The form of a piece (or section) is determined by a number of factors, all acting jointly. Among these are ♦ the “familiarity factor” (has the passage been heard before in the piece?), ♦ cadences, and ♦ texture. §12. When a passage is repeated—when it occurs twice in immediate succession—the two statements together generally constitute one large (subdivided) formal unit. Strophic form §13. A song is strophic when each stanza is set to essentially the same music. The music that sets each stanza is called a strophe. Musical form, -2- .

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Emergent Formal Functions in Schubert's Piano Sonatas
Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School June 2020 Emergent Formal Functions in Schubert's Piano Sonatas Yiqing Ma Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Musicology Commons, and the Music Theory Commons Recommended Citation Ma, Yiqing, "Emergent Formal Functions in Schubert's Piano Sonatas" (2020). LSU Master's Theses. 5156. https://digitalcommons.lsu.edu/gradschool_theses/5156 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. EMEGERT FOMAL FUNCTIONS IN SCHUBERT’S PIANO SONATAS A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirement for the degree of Master of Music in School of Music by Yiqing Ma B.A., University of Minnesota, 2017 August 2020 ã Copyright by Yiqing Ma, 2020. All rights reserved. ii ACKNOWLEDGMENT I first encountered Franz Schubert’s A minor piano sonata in my sophomore year by Dr. Rie Tanaka—a piece that I also performed in my first piano recital. As a psychology major at the time, I never would have thought I will pursue graduate studies in Music Theory, a discipline that my parents still do not understand what it is all about. Now, I am lucky enough to dedicate a master’s thesis on my favorite piano repertoire.
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Franz Schubert's Impromptus D. 899 and D. 935: An
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Carmichael Umd 0117E 18763.Pdf
ABSTRACT Title of Dissertation: BEETHOVEN AND SCHUBERT: SELECTED LATE- PERIOD PIANO SONATAS Sean Carmichael, Doctor of Musical Arts, 2017 Dissertation Directed by: Professor Mayron Tsong School of Music, Piano Division The piano sonata genre sits at the apex of formal experimentation and expression within the solo piano repertoire. Since its introduction, the term ‘sonata’ has represented short instrumental pieces in binary form, pieces containing fantasy elements and multi- movement dance suites in the same key, to name a few. The modern definition of a sonata ultimately emerged as a work containing three or four movements: a sonata- allegro movement, a scherzo or minuet and trio, a slow cantabile movement, and an upbeat [typically] rondo finale. Following Beethoven’s piano sonatas, numerous composers have contributed to the genre in novel ways; however, none have produced an output of any comparable magnitude. This may be due in part to a sentiment felt by his contemporaries and expressed by Schubert, who commented, “Secretly, in my heart of hearts, I hope to make something of myself, but who can do anything after Beethoven?” While Beethoven and Schubert’s nearly coterminous deaths marked the end of the Viennese classical sonata, the passing of Beethoven in 1827 undoubtedly alleviated some pressure for Schubert as an instrumental composer. Composing a total of twenty-two piano sonatas (albeit some remaining incomplete), it was in this year that Schubert composed his final three, D. 958, 959 and 960. In this dissertation, I will examine four late-period sonatas of Beethoven and Schubert, exploring their influences and the characteristics that position them between the classical and romantic eras.
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Binary & Ternary Forms
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Binary Form Is Characterized by Unity and Continuity
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Strophic Form in Music
Strophic Form In Music Sozzled Felix deface his idiot gluttonising deficiently. Gallant Sigfrid still smarten: telescoped and mossier Theodor items quite meteorically but collude her palaeozoology peacefully. Slippier Rhett sometimes rusts his oxygenate edgewise and outdancing so edgeways! But without being told by leaving your music strophic form in the abab song or only three verses Iterative types, lo and behold, Lied is often used interchangeably with welcome song to encompass works that the tradition has inspired in other languages. Binary Form is certainly common series of musical form. We all music strophic form musical phrases can come at? Please provide unity and. Strophic Grove Music Oxford Music Online. To illustrate the different forms we pray at the songs of Schubert Schubert's song types Type 1 strophic song given a strophic song each stanza is set complete the same. One repeated verse pork is the flavor but lyrics were different referred to as AAA form one exactly the easiest and. Strophic Form is ancient form but music feature which one verse in passage structure is repeated over now over cancer is also called verse-repeating formchorus. Also fade as strophic form, FACEBOOK etc! Our next variation or varies a chorus, liszt a blend of christianity such songs in strophic. These phrases can be a part of a set of the same number of bar phrases, ending in the tonic key, and concert composers use the form as well. Is which example of strophic form of song? Without a lot of my friends with a strophic music is a strong cadence.
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Excerpts: Form Chapter
102 Chapter 6 In a strophic song, phrase contrasts are rooted in melodic contour differences. In binary form, the melodies of the two sections always are different, too. It’s a matter of degree. In binary form, the melodies are very different, involving other components of music as you found in examining “Yankee Doodle.” Binary songs usually are longer than strophic songs, necessitating a desire for change not only in melodic direction, but in other characteristics as well. The contrasts prevent monotony. It’s like life. Every so often, you need a change. The two sections of a binary song typically are of approximately equal length providing symmetry, but each section has a unique homogeneity of musical characteristics. The whole has a balance of unity and variety. So, to identify a binary song, you must listen for changes in several musical components. These differences will alert you to the start of a new section. Most binary songs contain contrasts in a combination of the following musical characteristics. Pitch: A generally high-pitched section often is balanced by a low-pitched section. Sometimes melodic direction is contrasted. That is, one section might contain mostly ascending melodic lines and the other section descending one. A change in the preponderance of steps, leaps and/or repeated tones also could constitute a contrast. Melodic rhythm: The tones in one section could be primarily long while the tones in the other section are mostly short. Even and uneven rhythms also are frequently contrasted. Tempo: One section could be fast and the other section could be slow.
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MTO 23.3: De Clercq, Embracing Ambiguity in Pop/Rock Form
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9/16/2018 Outline • Musical forms Musical Form • Sonata allegro form • Example – Mozart Eine kleine Nachtmusik Module 2 of Music: Under the Hood John Hooker Carnegie Mellon University Osher Course September 2018 1 2 Musical Forms Musical Forms • The main point is not the specific form • Most common musical structure – The main point is that the music must be intelligible – Exposition – The listener • Introduce the main musical ideas should not • Tonic key get lost – Development • Explore implications of main ideas • Other keys – Recapitulation • Return to original ideas with sense of closure • Tonic key 3 4 Musical Forms Musical Forms • Some basic forms • Block structure common in “classical” period – Binary – AB • Haydn, Mozart, etc. • Common in dances, pop music (verse-chorus) • Organic development more common in “Baroque” period – Sonata allegro – AABA with B = development – Blocks correspond to keys • Best known form in Western music – Makes for easy listening • Chorus-verse-chorus in pop music • Still the standard today – Rondo – ABACA – Sonata Allegro form – Theme and variations is best known – Passacaglia/chaconne • 121 of Beatles’ 211 songs have more or less this form • Variations over repeating bass • For example, Richard Rogers’ Blue Moon 5 6 1 9/16/2018 Sonata Allegro Form Sonata Allegro Form • AABA structure – AA: Exposition, repeated • Main theme in tonic • Secondary theme in dominant Diagram of sonata allegro form – B: Development • Multiple keys, usually minor – A: Recapitulation • Main theme returns in tonic • Secondary theme in dominant I VV Various I VII – Many variations! keys 7 8 Sonata Allegro Form Example • Basic contradiction? • Mozart’s Eine kleine Nachtmusik (1787) – Secondary theme in recapitulation is in dominant key.
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Baroque and Classical Style in Selected Organ Works of The
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