Form Question Flashcards
Music and Rhetoric. 1st
Lippius Synopsis musicae novae (1612)
Parts of Rhetoric
inventio, dispositio, elocutio, memoria, and pronunciatio
Parts of Inventio
propositio (proposed plan of the speech), confirmatio (proof of the
arguments), to refutatio (refutation of the opponent’s arguments), and peroratio (the conclusion).
Matheson
Der vollkommene Capellmeister (1739)
In his discussion of rhetoric, turns focus away from Elocutio and the associated figurenlehre
Focuses instead on inventio and dispositio
In particular, how to use loci topici to write full melodies.
More on matheson
This forms a foundation for later theories of form, based on analogy between dispositio and musical form.
First attempt to sectionalize piece into rhetoric. Example of form as overcoming a conflict.
Johann Adolph Scheibe
List of rhetorical terms, terms, general and flexible, but well defined; can apply to great variety of music (really almost any). Useful for analyzing late 18th, early 19th century music.
18th century vs. 19th century approach
18TH CENTURY FORM DISCUSSION BASICALLY PRACTICAL, COMPOSERS, WITH OWN EXAMPLES. ADD GALEAZZI TOO. ALSO QUANTZ. Not so much a fundamentally diffetent outlook, (I mean themes vs sections, 2 vs 3 part, okay, but diff in method, theory vs. Practice. Schema vs Sonata theory almost?.
Riepel title and basics
Anfangsgründe zur musicalischen setzkunst (1752-68)
Riepel discusses small form (minuet) and larger forms, but in form of a dialogue.
7 criticisms of the student minuet.
Riepel: Phrases
Four measure unit is best. Zweier, Dreier, twosome, threesome, foursome. Two and four measure phrases are considered best.
Later discusses complete and inconclusive phrases as, as our half and authentic cadences.
The same sort of cadence should not usually occur twice in a row.
Riepel minuet details
Minuets will begin complete, inconclusive (the second really a modulation to V).
The second part may however contain two complete cadences.
The third phrase,
Monte, Ponte and Fonte.
Monte is V/IV, IV, ii, V Ponte V/ii, ii, V, I. Fonte involves a dominant pedal.
Riepel Larger form
Larger form is basically the same as a small form, but expanded.
discusses how to compose a larger form. Such as can be even the first movement of a symphony.
Koch title
Versuch einer Anleitung zur Composition 1782-93
For each (Riepel Koch Marx)
Phrasing! Smaller forms. Larger forms.
Koch first to (harm and phrase)
to discuss modern idea of cadence.
Phrase as entity.
Cadential progressions belong at the end of a phrase
Incidental chords before.
Discusses a Perfect authentic cadence, but not labled as such.
Clarifies difference between modulation and tonicization.
Earlier theorist, any brief chromatic progression a modulation.
Koch makes distinctions between “optional,” “incidental,” “passing” key changes, and “formal” key change, which we would see as modulation.
Koch Basic German terms
Phrase (Satz), Segment or incise (einschnitt), Period (Period)
Distinguishes I-Phrase (Grundabsatz) and V-Phrase (Quintabsatz)
Koch’s approach
APPROACH LIKE RIEPEL, HIGHLY COMPOSITIONAL. WAYS OF WRITING THE SAME THING. MANY WAYS OF EXTENDING THE SAME PHRASE, MATERIAL.
Koch Period
Period
Can be two phrases, as in the modern use of the term.
May contain many more phrases. Can extend to the size of a sonata exposition, etc…
Koch Small form
Koch shows how to compose a binary form that modulates to V in the first part.
(Open square means IAC). Second phrase V, I
Koch Large form
Our sonata form
Part 100, on the symphony:
So he conceives our sonata form as primarily, or at least foundationally, symphonic.
Koch exposition
All the familiar stuff: First section, single period, “plan of the symphony” etc. Main phrases presented. Add an appendage (small codetta)
Theme and a continuing phrase; third phrase modulates to key of the 5th.
(Later, comments on how basic formula can be extended by adding phrases)
Remaining sections in key that has been modulated to (V, III in minor)
This is the second and larger part of the period.
Andrew on this:
v. Also foreshadows the phrases’ functions
1. Hauptsatz is main theme
2. Schlußsatz is a closing theme
vi. There is overlap in types of satz though
vii. A period is just a group of phrases, any number allowed
viii. Sonata form is binary and more detailed than just an expansion
1. Main Theme = 2 phrases
2. Transition = 1 phrase
3. Secondary Theme = longer than Main
ix. Second half of binary has two periods (Dev and Recap)
Koch dev
Modulation through several keys, sequences, passing modulations,
Themes repeated or dissected. Period ends in V phrase in home key.
Koch build sonata form by; also, thematic differentiation?
Expansion; Koch does have cantabile idea as second theme; so too does Galeazzi (passo carataristic)-main formula.
18th vs. 19th–difference of 19th
18th Century theory has composers as its audience. More about how to write music. Analysis serves this purpose.
19th century theory is, as Dr. Boss says it, “Analysis for analysis sake” with and audience of not simply composers but of performers and listeners. This is really the modern conception of analysis.
Momigny
Momigny, Cours Complet, Shifts important to themes. Period of Exposition, period of verve, etc…
Antonin Reicha
Traité de mélodie (1814), Traité de haute composition musicale (1824)
Analyzes arias as “large binary form” (grand coup binaire) including Mozart’s “Non so piu.”
New: Bracketing of phrases (though Riepel and Koch had the squares filled in or not), formal designations at different levels.
“Large Binary form can be used not only for opera arias, but also for instrumental music for the first movements of sonatas symphonies etc…”
(FORM CHART) Grand Coup Binaire
Adolph Bernhard Marx: Title
Die Lehre von der Musikalischen Komposition, praktisch-theoretisch (1837-47)
Marx: (Adolph that is) Background/education
application
HEGELIAN Senior Professor was Hegel. Hence, Hegelian philosophy, musical form a step by step, thesis, antithesis, synthesis process. (Oy veh here we go) In Particular, Rest--Motion--Rest
Marx: contributions to phrase theory
- Idea of Parallel period: Vordersatz, Nachsatz:
Makes a very very very (really very) basic period I-V, V-I, but it desperately needs improvement (this is the antithesis). Developes this period in many many stages.
For example, improves rhythm, but lacking sharply drawn motive.
Marx derivaton of forms
Derivation of Musical forms (From Burnham):
Some HEAVY DUTY theory here
SATZ VS GANG AS BASIC ELEMTN
First derives Binary and ternary from the Satz
Marx larger forms
He then posits
another – and higher – family of forms, the motion-oriented rondo forms. The characteristic
feature of this family of forms is the Gang.
Marx final Rondo
Sonata form MS SS1 G CS (2nd Part) MS SS1 G CS (Just memorize this one!)
Marx refers to the three large sections of sonata form not as exposition, development, and
recapitulation but simply as First Part, Second Part, and Third Part. These designations help
Marx show the relation of sonata form to the foregoing fourth and fifth rondo forms
Marx just sectional and tripartite
BECOMING
Marx new terms.
Sonata form! Parallel period! Musikalische Idee!
Musikalishe…
- Musikalische Idee, Is the interpretation of the progress of the piece using an extramusical narrative.
In Life and Works of Beethoven analyzes the Eroica symphony in terms of Napoleon narrative.
But cannot be a piece by piece description of the narrative, but has to be more abstract, while meaning something.
19th century sonata idea
Hauptsatz and gegensatz
In this pair of themes… the first theme is the one determined at the out-
set, that is, with a primary freshness and energy - consequently that
which is energetically, emphatically, absolutely shaped… the dominat-
ing and determining feature. On the other hand, the second theme… is
the [idea] created afterward [Nachgeschaffne], serving as a contrast,
dependent on and determined by the former - consequently, and
according to its nature necessarily, the milder [idea], one more supple
[schmiegsam] than emphatically shaped, as if it were [gleichsam] the
feminine to that preceding masculine. In just this sense each of the
two themes is different, and only with one another [do they constitute
something] higher, more perfect.1
