| Contents |
Part I. Expression. Ideas of expression -- Topics. Types. Dances ; The march ; Incorporation of dances into classic music -- Syles. Military and hunt music ; The singing style ; The brilliant style ; The French overture ; Musette, pastorale ; Turkish music ; Storm and stress ; Sensibility, empfindsamkeit ; The strict style: the learned style ; Fantasia -- Pictorialism; word-painting ; Use of topics -- Part II. Rhetoric. Periodicity. Cadences ; Symmetry ; Disturbances of Symmetry; period extensions. Disturbances within the normal pattern ; Irregular phrase lengths ; Extensions -- Harmony. The key system ; Harmonic functions; cadential formulas ; Definition of key ; Modulation ; The major mode ; Interchange of mode ; Conjunct bass progressions ; Dissonance treatment -- Rhythm. Meter ; Quantitas intrinseca ; Scansion. Poetic modes -- Rhythmic arrangements. Groups of beats ; Measure groups ; Phrase groups -- Melody. Ideas of melody: definitions ; Simple melody ; Figured melody ; Melodic rhetoric, distribution of melodic figures. Melodic ars combinatoria ; Theme; subject -- Texture: basic premises. The two-part framework. Polarity of treble and bass ; Reinforcement of the two-part framework -- Counterpoint. Species counterpoint ; Figured counterpoint ; Descending sixth chords -- Texture: chamber music. Chamber music without keyboard. Solo ; Duet ; Trio ; Quartet ; Quintet ; Larger ensembles -- Chamber music with keyboard. Solo ; Continuo; accompaniment ; Keybaord as principal instrument ; Keyboard as obbligato partner in the ensemble -- Texture: orchestral music. The classic orchestral style ; Textures. Strings ; Strings and winds ; Winds alone ; The orchestral tutti -- Texture: vocal music. Music for voices alone. Solo songs ; Ensemble music for voices alone -- Music for voices and instruments. Accompanied solo songs and arias ; Melodrama ; Vocal duets, trios ; Choral music with instruments -- Performance. Notation ; Tempo ; Dynamics ; Articulation. Mechanical clarity ; Emphasis ; Connection -- Ornamentation -- Part III. Form. Small two-reprise forms. Minimal forms ; Melodic material ; The x section ; Extended forms ; Two-part versus three-part division -- Sonata form. The harmonic plan; the key-area form ; Distribution of melodic material ; Two-part versus three-part division ; Part I: the exposition; I-V. Key area I ; Shift to second key ; Key area II -- Part II: development, recapitulation, coda. Development; x section ; The recapitulation ; The coda -- Historical perspective. The "Scarlatti" sonata form ; The da capo aria form ; Fantasia elements -- Analyses -- Couplet forms. Paired dances; three-part form ; Rondo ; Variation -- Forms of the learned style. Types of subject ; Canon ; Fugato ; Fugue ; Beethoven's treatment of fugue. Quartet in C[sharp] minor, op. 131, 1826, first movement ; Grosse fuge in Bb major, op. 133, 1825 -- Aria. Forms of the aria. Full da capo aria (grand da capo) ; Compressed da capo aria ; Key-area form without x or I-V, I ; Rondo ; Cavatina ; Composite aria -- Aria styles ; Text-music relationships -- Concerto. Solo concertos (other than keyboard) ; Concertos for several soloists; symphonie concertante ; The keyboard concerto. The keyboard concerto as entertainment music ; The bravura piano concerto ; The piano concerto as a dramatic scena -- The Cadenza -- Fantasia; Introduction; Recitative. Fantasia ; The introduction ; Recitative. Simple, accompanied, oblige ; Arioso ; Harmonic plan ; Declamation -- Multimovement cycles; composite froms. Compatibility of affect ; Unity of key ; Number of movements ; Structural links. Harmonic links ; Thematic links ; Grand plan -- Composite forms -- Part IV. Stylistic perspectives. National styles. Italian style. Declamation ; Melody ; Harmony ; Texture ; Vocal superiority ; Pedagogy -- French style. Declamation ; Dances ; Spectacle and variety ; Orchestration ; The clavecin style ; The popular theater ; Rapprochement of French and Italian styles -- German style. Declamation ; Application of the Learned style ; Fantasia ; Sentiment and simplicity ; Germans as observers -- Regional styles ; Musical centers -- High and low styles; serious and comic. High style. Expressive and rhetorical features ; Locales of performance ; Gluck and 18th-century operatic style -- Low style; comedy. Expressive and rhetorical features -- Comic opera -- Mozart, Don Giovanni -- Haydn, sonata in E[flat] -- Beethoven and the classic style. |
