LEADER 03004nam 2200673 450 001 9910465447903321 005 20200520144314.0 010 $a1-61148-039-6 035 $a(CKB)3710000000222695 035 $a(EBL)1767218 035 $a(SSID)ssj0001289854 035 $a(PQKBManifestationID)11765367 035 $a(PQKBTitleCode)TC0001289854 035 $a(PQKBWorkID)11231301 035 $a(PQKB)11189656 035 $a(MiAaPQ)EBC1767218 035 $a(Au-PeEL)EBL1767218 035 $a(CaPaEBR)ebr10909620 035 $a(CaONFJC)MIL637740 035 $a(OCoLC)888746497 035 $a(EXLCZ)993710000000222695 100 $a20140830h20112011 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 10$aThomas Sheridan's career and influence $ean actor in earnest /$fConrad Brunstro?m 210 1$aLanham, Maryland ;$aPlymouth, England :$cBucknell University Press,$d2011. 210 4$dİ2011 215 $a1 online resource (169 p.) 225 1 $aTransits : Literature, Thought & Culture, 1650-1850 300 $aDescription based upon print version of record. 311 $a1-322-06489-X 311 $a1-61148-038-8 320 $aIncludes bibliographical references and index. 327 $aThomas Sheridan''s Career And Influence; CONTENTS; Acknowledgments; 1 Introduction; 2 An Earnest Life; 3 An Actor in Charge: The (Mis?)Management of the Smock Alley Theatre, and the Scandal of Siddonolatory; 4 Education, Rhetoric, and the Rise and Fall of Empires and Republics; 5 An Actor for Ireland; 6 Conclusion; Bibliography; Index 330 $aThis book considers the varied careers of controversial Irish adventurer Thomas Sheridan (1719-1788) in terms of a continuum of phonocentrist obsession. Variously employed as an actor-manager, elocutionist, lecturer and educational theorist, Sheridan believed that the key to Irish national renewal and European cultural revival was the cultivation of the spoken word. His stewardship of the Smock Alley Theater in Dublin was marked by considerable innovation along with bitter controversy. His lectures on oratory provoked admiration and ridicule in roughly equal measure, yet he would have a profou 410 0$aTransits (Bucknell University) 606 $aActors$zIreland$vBiography 606 $aTheatrical managers$zIreland$vBiography 606 $aEducators$zEngland$vBiography 606 $aTheater$zIreland$xHistory$y18th century 606 $aOratory$xHistory$y18th century 608 $aElectronic books. 615 0$aActors 615 0$aTheatrical managers 615 0$aEducators 615 0$aTheater$xHistory 615 0$aOratory$xHistory 676 $a792.0/28092 700 $aBrunstro?m$b Conrad$f1968-$0976477 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910465447903321 996 $aThomas Sheridan's career and influence$92224410 997 $aUNINA LEADER 05242nam 2200625 450 001 9910790634803321 005 20230518111447.0 010 $a0-19-974718-0 010 $a0-19-998730-0 035 $a(CKB)2550000001135849 035 $a(EBL)1492581 035 $a(OCoLC)861559405 035 $a(Au-PeEL)EBL1492581 035 $a(CaPaEBR)ebr10786788 035 $a(CaONFJC)MIL535557 035 $a(MiAaPQ)EBC1492581 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. Part 1 introduces the principal theme-types of classical in 606 $aMusical form$vTextbooks 606 $aSonata form 606 $aMusical analysis 606 $aClassicism in music 615 0$aMusical form 615 0$aSonata form. 615 0$aMusical analysis. 615 0$aClassicism in music. 676 $a784.18 700 $aCaplin$b William Earl$f1948-$0781762 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910790634803321 996 $aAnalyzing classical form$92727738 997 $aUNINA