LEADER 00815nam0-22002891i-450- 001 990000032580403321 035 $a000003258 035 $aFED01000003258 035 $a(Aleph)000003258FED01 035 $a000003258 100 $a20011111d--------km-y0itay50------ba 101 0 $aita 105 $ay-------001yy 200 1 $a<>edifici per le industrie$fArmando Melis$gcon note tecniche di V. Zignoli. 210 $aTorino$cS. Lattes e C. ed.$d1953 215 $aVIII, 346 p.$cill.$d22 cm 610 0 $aEdifici industriali 676 $a690 700 1$aMelis,$bArmando$02430 801 0$aIT$bUNINA$gRICA$2UNIMARC 901 $aBK 912 $a990000032580403321 952 $a13 D 42 10$b20332$fFINBC 959 $aFINBC 996 $aEdifici per le industrie$9105782 997 $aUNINA DB $aING01 LEADER 05276nam 2200637 450 001 9910453103303321 005 20200520144314.0 010 $a0-19-974718-0 010 $a0-19-998730-0 035 $a(CKB)2550000001135849 035 $a(EBL)1492581 035 $a(OCoLC)861559405 035 $a(MiAaPQ)EBC1492581 035 $a(Au-PeEL)EBL1492581 035 $a(CaPaEBR)ebr10786788 035 $a(CaONFJC)MIL535557 035 $a(EXLCZ)992550000001135849 100 $a20131106d2013 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $2rdacontent 182 $2rdamedia 183 $2rdacarrier 200 10$aAnalyzing classical form $ean approach for the classroom /$fWilliam E. Caplin 210 1$aNew York :$cOxford University Press,$d2013. 210 4$dİ2013 215 $a1 online resource (759 p.) 300 $aDescription based upon print version of record. 311 $a0-19-998729-7 311 $a1-306-04306-9 320 $aIncludes bibliographical references and index. 327 $aCover; Contents; Preface; About the Companion Website; 1 A Review of Harmony; The Basics; Harmonic Vocabulary; Harmonic Progressions; Let's Practice; More Details; Tonic Function; Dominant Function; Pre-dominant Function; Prolongational Progressions; Cadential Progressions; Sequential Progressions; Guide to Harmonic Annotation; Reviewing the Theory; Examples for Analysis; PART I: CONVENTIONAL THEME TYPES; 2 The Sentence; The Basics; Let's Practice; More Details; Finer Points; Reviewing the Theory; Examples for Analysis; Model Composition; 3 The Period; The Basics; Let's Practice; More Details 327 $aFiner PointsReviewing the Theory; Examples for Analysis; Model Composition; 4 Hybrid Themes; The Basics; Let's Practice; More Details; Finer Points; Reviewing the Theory; Examples for Analysis; Model Composition; 5 Phrase Deviations, Cadential Deviations, and Framing Functions; The Basics; Let's Practice; More Details; Finer Points; Reviewing the Theory; Examples for Analysis; Model Composition; 6 Compound Themes; The Basics; Let's Practice; More Details; Finer Points; Reviewing the Theory; Examples for Analysis; Model Composition; 7 The Small Ternary (Rounded Binary); The Basics 327 $aLet's PracticeMore Details; Finer Points; Reviewing the Theory; Examples for Analysis; Model Composition; 8 The Small Binary; The Basics; Let's Practice; More Details; Reviewing the Theory; Examples for Analysis; Model Composition; PART II: SONATA FORM; 9 Sonata Form: An Overview; Large-scale Formal Structure; Large-scale Tonal Structure; Exposition; Let's Practice; Development; Let's Practice; Recapitulation; Let's Practice; 10 Exposition (I): Main Theme; The Basics; More Details; Finer Points; Reviewing the Theory; Examples for Analysis; 11 Exposition (II): Transition; The Basics 327 $aLet's PracticeMore Details; Finer Points; Reviewing the Theory; Examples for Analysis; 12 Exposition (III): Subordinate Theme; The Basics; Let's Practice; More Details; Finer Points; Reviewing the Theory; Examples for Analysis; 13 Development; The Basics; Let's Practice; More Details; Finer Points; Reviewing the Theory; Examples for Analysis; 14 Recapitulation; The Basics; Let's Practice; More Details; Finer Points; Reviewing the Theory; Examples for Analysis; 15 Coda; The Basics; Let's Practice; More Details; Reviewing the Theory; Examples for Analysis; 16 Slow Introduction; The Basics 327 $aLet's PracticeMore Details; Reviewing the Theory; Examples for Analysis; PART III: OTHER FULL-MOVEMENT FORMS; 17 Slow-Movement Forms; The Basics; Let's Practice; More Details; Finer Points; Reviewing the Theory; Examples for Analysis; 18 Minuet/Trio Form; The Basics; Let's Practice; More Details; Finer Points; Reviewing the Theory; Examples for Analysis; 19 Rondo Forms; The Basics; Let's Practice; More Details; Finer Points; Reviewing the Theory; Examples for Analysis; 20 Concerto Form; The Basics; Let's Practice; More Details; Reviewing the Theory; Examples for Analysis; Notes 327 $aGlossary of Terms 330 $aAnalyzing Classical Form builds upon the foundations of the author's critically acclaimed Classical Form by offering an approach to the analysis of musical form that is especially suited for classroom use. Providing ample material for study in both undergraduate and graduate courses, Analyzing Classical Form presents the most up-to-date version of the author's ""theory of formal functions."" Students will learn how to make complete harmonic and formal analyses of music drawn from the instrumental works of Haydn, Mozart, and Beethoven. 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