Product Description

Building on ideas first advanced by Arnold Schoenberg and later developed by Erwin Ratz, this book introduces a new theory of form for instrumental music in the classical style. The theory provides a broad set of principles and a comprehensive methodology for the analysis of classical form, from individual ideas, phrases, and themes to the large-scale organization of complete movements. It emphasizes the notion of formal function, that is, the specific role a given formal unit plays in the structural organization of a classical work.

Product Details

• Amazon Sales Rank: #624421 in Books
• Published on: 2000-12-28
• Original language: English
• Number of items: 1
• Binding: Paperback
• 320 pages

Review

"This ambitious book offers nothing less than a new theory of form for the music of the Classical period....In its combination of scholarship, musicality and sheer common sense, Caplan's Classical Form is a major achievement by any standards....it should be read by anybody who teaches, studies or writes about this music."--Music and Letters
"His book is an important and impressive statement that no theorist or musicologist can afford to ignore."--Music Theory Spectrum
"...a compilation of intriguing examples illustrating classical design and function, an up-to-date bibliographical guide, and a source of fresh insight into the accomplishments of the classical masters. Caplin's approach, buttressed by methodological rigor and theoretical detail, makes a persuasive case for the revival of Formenlehre as a pedagogical tool and analytical discipline."--Music Theory Online
"Caplin draws his Beethoven examples from all genres...the fortepiano sonatas are particularly well-represented."--The Beethoven Journal

About the Author
William E. Caplin is at McGill University.

Customer Reviews

Well worth your time
Caplin's book is, on the whole, an excellent revival of the Formlehre (study of form) tradition. His methodology of examining "formal functions" (i.e. how a particular musical module functions in the context of a full piece, rather than just labelling it) is incredibly revealing, and therefore his explanations of the various classical theme types (period, sentence, and small ternary) are likely the best you'll see in any study. The one caveat that I should express about this book is its reliance on the Riemannian and Schoenbergian traditions of harmonic theory: that's not necessarily a drawback, but to Americans who are used to the Schenkerian and roman numeral traditions of harmonic theory it can take a little getting used to (well worth the effort though).

An outline of classical form
This book is an in-depth outline of the four major forms of the classical era: Sonata, Rondo, Minuet/trio, and concerto. Before it covers them, however, covers the parts that make them, i.e. subordinate theme. Each of these small parts takes up about thirty pages, where the author covers tonal regions, structure, dynamics, etc. This book is a must for the music theory student/professional, or the composer.