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LEADER 06517cam 22004218i 4500
001
ocm06648908
005
20141212035307.0
008
800806s1980 nyug b 001 0 eng
010
a| 76057808
020
a| 0028720202
035
a| (Sirsi) o06648908
035
a| (OCoLC)6648908
040
a| DLC
c| DLC
d| ERE
d| m.c.
d| UtOrBLW
049
a| EREM
050
0
0
a| ML195.R38
b| C5
050
4
a| ML195
b| .R38 1980
082
0
a| 780/.903/3
2| 19
092
a| 780.9033
b| R18c
100
1
a| Ratner, Leonard G.
=| ^A637863
245
1
0
a| Classic music :
b| expression, form, and style /
c| Leonard G. Ratner.
260
a| New York :
b| Schirmer Books,
c| ©1980.
300
a| xvii, 475 pages :
b| music ;
c| 24 cm
336
a| text
2| rdacontent
337
a| unmediated
2| rdamedia
338
a| volume
2| rdacarrier
504
a| Includes bibliographical references (pages 444-449) and indexes.
505
0
0
g| Part I.
t| Expression.
t| Ideas of expression --
t| Topics.
t| Types.
t| Dances ;
t| The march ;
t| Incorporation of dances into classic music --
t| Syles.
t| Military and hunt music ;
t| The singing style ;
t| The brilliant style ;
t| The French overture ;
t| Musette, pastorale ;
t| Turkish music ;
t| Storm and stress ;
t| Sensibility, empfindsamkeit ;
t| The strict style: the learned style ;
t| Fantasia --
t| Pictorialism; word-painting ;
t| Use of topics --
g| Part II.
t| Rhetoric.
t| Periodicity.
t| Cadences ;
t| Symmetry ;
t| Disturbances of Symmetry; period extensions.
t| Disturbances within the normal pattern ;
t| Irregular phrase lengths ;
t| Extensions --
t| Harmony.
t| The key system ;
t| Harmonic functions; cadential formulas ;
t| Definition of key ;
t| Modulation ;
t| The major mode ;
t| Interchange of mode ;
t| Conjunct bass progressions ;
t| Dissonance treatment --
t| Rhythm.
t| Meter ;
t| Quantitas intrinseca ;
t| Scansion.
t| Poetic modes --
t| Rhythmic arrangements.
t| Groups of beats ;
t| Measure groups ;
t| Phrase groups --
t| Melody.
t| Ideas of melody: definitions ;
t| Simple melody ;
t| Figured melody ;
t| Melodic rhetoric, distribution of melodic figures.
t| Melodic ars combinatoria ;
t| Theme; subject --
t| Texture: basic premises.
t| The two-part framework.
t| Polarity of treble and bass ;
t| Reinforcement of the two-part framework --
t| Counterpoint.
t| Species counterpoint ;
t| Figured counterpoint ;
t| Descending sixth chords --
t| Texture: chamber music.
t| Chamber music without keyboard.
t| Solo ;
t| Duet ;
t| Trio ;
t| Quartet ;
t| Quintet ;
t| Larger ensembles --
t| Chamber music with keyboard.
t| Solo ;
t| Continuo; accompaniment ;
t| Keybaord as principal instrument ;
t| Keyboard as obbligato partner in the ensemble --
t| Texture: orchestral music.
t| The classic orchestral style ;
t| Textures.
t| Strings ;
t| Strings and winds ;
t| Winds alone ;
t| The orchestral tutti --
t| Texture: vocal music.
t| Music for voices alone.
t| Solo songs ;
t| Ensemble music for voices alone --
t| Music for voices and instruments.
t| Accompanied solo songs and arias ;
t| Melodrama ;
t| Vocal duets, trios ;
t| Choral music with instruments --
t| Performance.
t| Notation ;
t| Tempo ;
t| Dynamics ;
t| Articulation.
t| Mechanical clarity ;
t| Emphasis ;
t| Connection --
t| Ornamentation --
g| Part III.
t| Form.
t| Small two-reprise forms.
t| Minimal forms ;
t| Melodic material ;
t| The x section ;
t| Extended forms ;
t| Two-part versus three-part division --
t| Sonata form.
t| The harmonic plan; the key-area form ;
t| Distribution of melodic material ;
t| Two-part versus three-part division ;
t| Part I: the exposition; I-V.
t| Key area I ;
t| Shift to second key ;
t| Key area II --
t| Part II: development, recapitulation, coda.
t| Development; x section ;
t| The recapitulation ;
t| The coda --
t| Historical perspective.
t| The "Scarlatti" sonata form ;
t| The da capo aria form ;
t| Fantasia elements --
t| Analyses --
t| Couplet forms.
t| Paired dances; three-part form ;
t| Rondo ;
t| Variation --
t| Forms of the learned style.
t| Types of subject ;
t| Canon ;
t| Fugato ;
t| Fugue ;
t| Beethoven's treatment of fugue.
t| Quartet in C[sharp] minor, op. 131, 1826, first movement ;
t| Grosse fuge in Bb major, op. 133, 1825 --
t| Aria.
t| Forms of the aria.
t| Full da capo aria (grand da capo) ;
t| Compressed da capo aria ;
t| Key-area form without x or I-V, I ;
t| Rondo ;
t| Cavatina ;
t| Composite aria --
t| Aria styles ;
t| Text-music relationships --
t| Concerto.
t| Solo concertos (other than keyboard) ;
t| Concertos for several soloists; symphonie concertante ;
t| The keyboard concerto.
t| The keyboard concerto as entertainment music ;
t| The bravura piano concerto ;
t| The piano concerto as a dramatic scena --
t| The Cadenza --
t| Fantasia; Introduction; Recitative.
t| Fantasia ;
t| The introduction ;
t| Recitative.
t| Simple, accompanied, oblige ;
t| Arioso ;
t| Harmonic plan ;
t| Declamation --
t| Multimovement cycles; composite froms.
t| Compatibility of affect ;
t| Unity of key ;
t| Number of movements ;
t| Structural links.
t| Harmonic links ;
t| Thematic links ;
t| Grand plan --
t| Composite forms --
g| Part IV.
t| Stylistic perspectives.
t| National styles.
t| Italian style.
t| Declamation ;
t| Melody ;
t| Harmony ;
t| Texture ;
t| Vocal superiority ;
t| Pedagogy --
t| French style.
t| Declamation ;
t| Dances ;
t| Spectacle and variety ;
t| Orchestration ;
t| The clavecin style ;
t| The popular theater ;
t| Rapprochement of French and Italian styles --
t| German style.
t| Declamation ;
t| Application of the Learned style ;
t| Fantasia ;
t| Sentiment and simplicity ;
t| Germans as observers --
t| Regional styles ;
t| Musical centers --
t| High and low styles; serious and comic.
t| High style.
t| Expressive and rhetorical features ;
t| Locales of performance ;
t| Gluck and 18th-century operatic style --
t| Low style; comedy.
t| Expressive and rhetorical features --
t| Comic opera --
t| Mozart, Don Giovanni --
t| Haydn, sonata in E[flat] --
t| Beethoven and the classic style.
520
a| This influential book, written by a professor at Stanford University, provides a comprehensive approach to the stylistic principles of the classical period. One of the most important early works in the field, it offers a groundbraking approach to the study of topics and rhetoric in eighteenth-century music.
650
0
a| Music
x| History and criticism
y| 18th century.
=| ^A18818
650
0
a| Classicism in music.
=| ^A23915
650
0
a| Music
y| 18th century
x| History and criticism.
=| ^A142436
919
a| BOOK
590
a| Little-309673--305131014342R
590
a| Little-311758--305131017319Y
596
a| 3 5
998
a| 176614
999
a| ML195.R38 C5 1980
w| LC
c| 1
i| 310372002034922
d| 7/1/2020
e| 9/4/2019
f| 6/21/2018
g| 2
l| MCOS
m| JMUSIC
n| 410
q| 7
r| Y
s| Y
t| MCOSBK
u| 7/16/1986
x| BOOK
z| MCIRC
o| .STAFF.
999
a| ML195.R38 C5 1980
w| LC
c| 2
i| 30372017167575
d| 1/1/2022
e| 12/28/2021
l| MST
m| JMUSIC
n| 3
r| Y
s| Y
t| MGESBK
u| 1/16/2020
x| BOOK
z| MCIRC
o| .STAFF. jjab