LEADER 01097nam0-2200373---450- 001 990000327260203316 005 20050714095304.0 035 $a0032726 035 $aUSA010032726 035 $a(ALEPH)000032726USA01 035 $a0032726 100 $a20010122d1983----km-y0itay0103----ba 101 $aita 102 $aIT 105 $a||||||||001yy 200 1 $a<> altra donna$edevianza e criminalità$fRosanna Buonanno 210 $aBaria$cAdriatica$dcopyr. 1983 215 $a191 p.$d17 cm 225 2 $aSegni di segni$v7 410 0$12001$aSegni di segni 606 0 $aDonne delinquenti$yItalia$xIndagine statistica 676 $a364.3740945 700 1$aBUONANNO,$bRosanna$0246313 801 0$aIT$bsalbc$gISBD 912 $a990000327260203316 951 $aII.5. 3683(XV B 820)$b156156 L.M.$cXV B$d00069539 959 $aBK 969 $aUMA 979 $aTAMI$b40$c20010122$lUSA01$h1325 979 $c20020403$lUSA01$h1640 979 $aPATRY$b90$c20040406$lUSA01$h1623 979 $aCOPAT1$b90$c20050714$lUSA01$h0953 996 $aAltra donna$9618575 997 $aUNISA LEADER 05242nam 2200625 450 001 9910808841903321 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,$d2013. 210 4$d©2013 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 $a9910808841903321 996 $aAnalyzing classical form$92727738 997 $aUNINA