Lessons in Music Form

Lessons in Music Form, by Percy Goetschius

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Title: Lessons in Music Form A Manual of Analysis of All the Structural Factors and Designs Employed in Musical Composition
Author: Percy Goetschius
Release Date: September 22, 2006 [EBook #19354]
Language: English
Character set encoding: ISO-8859-1
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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
CHAPTER X.
--THE THREE-PART SONG-FORM.">
PART
CHAPTER X.
--THE THREE-PART SONG-FORM.
DISTINCTION BETWEEN BIPARTITE AND TRIPARTITE FORMS
PART I PART II

CHAPTER XI.
--ENLARGEMENT OF THE THREE-PART SONG-FORM.">
PART III
CHAPTER XI.
--ENLARGEMENT OF THE THREE-PART SONG-FORM.
REPETITION OF THE PARTS EXACT REPETITIONS MODIFIED REPETITIONS THE FIVE-PART FORM GROUP OF PARTS
CHAPTER XII.
--THE SONG-FORM WITH TRIO.
THE PRINCIPAL SONG THE TRIO, OR SUBORDINATE SONG THE "DA CAPO"
CHAPTER XIII.
--THE FIRST RONDO-FORM.
EVOLUTION THE RONDO-FORMS THE FIRST RONDO-FORM
CHAPTER XIV.
--THE SECOND RONDO-FORM.
DETAILS
CHAPTER XV.
--THE THIRD RONDO-FORM.
THE EXPOSITION THE MIDDLE DIVISION THE RECAPITULATION
CHAPTER XVI.
--THE SONATINE-FORM.
CLASSIFICATION OF THE LARGER FORMS THE SONATINE-FORM
CHAPTER XVII.
--THE SONATA-ALLEGRO FORM.
ORIGIN OF THE NAME THE SONATA-ALLEGRO FORM THE EXPOSITION THE DEVELOPMENT, OR MIDDLE DIVISION THE RECAPITULATION DISSOLUTION RELATION TO THE THREE-PART SONG-FORM
CHAPTER XVIII.
--IRREGULAR FORMS.
CAUSES AUGMENTATION OF THE REGULAR FORM ABBREVIATION OF THE REGULAR FORM DISLOCATION OF THEMATIC MEMBERS MIXTURE OF CHARACTERISTIC TRAITS
CHAPTER XIX.
--APPLICATION OF THE FORMS.
APPLICATION OF THE SEVERAL DESIGNS IN PRACTICAL COMPOSITION AFTERWORD

LESSONS IN MUSIC FORM.
CHAPTER I.
INTRODUCTION.
THE NECESSITY OF FORM IN MUSIC.--So much uncertainty and diversity of opinion exists among music lovers of every grade concerning the presence of Form in musical composition, and the necessity of its presence there, that a few general principles are submitted at the outset of our studies, as