Formal Functions in Perspective

November 2015
35 black and white, 125 line illustrations
464 pages
9x6 in
Eastman Studies in Music
ISBN: 9781580465182
Format: Hardback
Library eBook
University of Rochester Press
BISAC MUS020000, MUS041000, MUS006000

Formal Functions in Perspective

Essays on Musical Form from Haydn to Adorno

Edited by Steven Vande Moortele, Julie Pedneault-Deslauriers, Nathan John Martin

Presents thirteen studies that engage with the notion of formal function in a variety of ways
Among the more striking developments in contemporary North American music theory is the renewed centrality of issues of musical form (Formenlehre). Formal Functions in Perspective presents thirteen studies that engage with musical form in a variety of ways. The essays, written by established and emerging scholars from the United States, the United Kingdom, Canada, and the European continent, run the chronological gamut from Haydn and Clementi to Leibowitz and Adorno; they discuss Lieder, arias, and choral music as well as symphonies, concerti, and chamber works; they treat Haydn's humor and Saint-Saëns's politics, while discussions of particular pieces range from Mozart's arias to Schoenberg's Verklärte Nacht. Running through the essays and connecting them thematically is the central notion of formal function.

CONTRIBUTORS: Brian Black, L. Poundie Burstein, Andrew Deruchie, Julian Horton, Steven Huebner, Harald Krebs, Henry Klumpenhouwer, Nathan John Martin, François de Médicis, Christoph Neidhöfer, Julie Pedneault-Deslauriers, Giorgio Sanguinetti, Janet Schmalfeldt, Peter Schubert, Steven Vande Moortele

Steven Vande Moortele is assistant professor of music theory at the University of Toronto. Julie Pedneault-Deslauriers is assistant professor of music at the University of Ottawa. Nathan John Martin is assistant professor of music at the University of Michigan.

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Table of Contents

"Functional Formanality": Twisted Formal Functions in Joseph Haydn's Symphonies - L. Poundie Burstein
Mozart's Sonata-Form Arias - Nathan John Martin
Formal Type and Formal Function in the Postclassical Piano Concerto - Julian Horton
Saint-Saen's Cyclic Forms - Andrew Deruchie
Schubert's "Deflected-Cadence" Transitions and the Classical Style - Brian Black
"Heavenly Length" in Schubert's Instrumental Music - Francois de Medicis
Sentences in the Lieder of Robert Schumann:The Relation to the Text - Harald Krebs
Parlante Talk: Texture and Formal Function in the Operas of Verdi - Steven Huebner
Discipline and Punish among the Winds in the First Movement of Beethoven's First Symphony - Henry Klumpenhouwer
Laborious Homecomings: The "Ongoing Reprise" from Clementi to Brahms - Giorgio Sanguinetti
Dominant Tunnels, Form, and Program in Schoenberg's Verklärte Nacht - Julie Pedneault-Deslauriers
Form and Serial Function in Leibowitz's Trois poèmes de Pierre Reverdy - Christoph Neidhofer
The Philosopher as Theorist: Adorno's materiale Formenlehre - Steven Vande Moortele
Afterword - Janet Schmalfeldt


Formal Functions in Perspective breaks new ground by offering careful consideration of how best to extend Caplin's ideas about eighteenth-century form [with nineteenth-century repertory]. The book maintains remarkable focus throughout. Every chapter offers its own in-depth readings of musical form, most with several examples. Henry Klumpenhouwer and Giorgio Sanguinetti offer...enlightening, analyses. Vande Moortele's contribution, on connections between Adorno and Caplin, also offers a welcome marriage of formal analysis and broader intellectual trends. One obvious strength of this chapter is the author's ability to synthesize a huge amount of material clearly and succinctly. Nathan John Martin's study of Mozart's arias, Steven Huebner's discussion of texture in Verdi, and especially Harald Krebs's study of sentence structures in Schumann's songs all reward careful reading. MUSIC & LETTERS [Eric Hogrefe]

Formal Functions in Perspective goes beyond the traditional analysis to look at other types of formal structure and relationships in music. The essays deal with a wide variety of forms -- the symphonic form, arias, sonata-form arias, the lieder, and chamber works -- and the book includes wonderful examples and tables that clearly identify the form parts and transitions. Summing Up: Recommended. Upper-division undergraduates through faculty. CHOICE

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