Lessons in Music Form

Percy Goetschius
Lessons in Music Form, by Percy
Goetschius

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Title: Lessons in Music Form A Manual of Analysis of All the
Structural Factors and Designs Employed in Musical Composition
Author: Percy Goetschius
Release Date: September 22, 2006 [EBook #19354]
Language: English
Character set encoding: ISO-8859-1
*** START OF THIS PROJECT GUTENBERG EBOOK LESSONS
IN MUSIC FORM ***

Produced by Al Haines

LESSONS IN MUSIC FORM
A MANUAL OF ANALYSIS

OF ALL THE STRUCTURAL FACTORS AND DESIGNS
EMPLOYED IN MUSICAL COMPOSITION

BY
PERCY GOETSCHIUS, MUS. DOC.
(Royal W├╝rttemberg Professor)

AUTHOR OF
THE MATERIAL USED IN MUSICAL COMPOSITION, THE
THEORY AND PRACTICE OF TONE-RELATIONS, THE
HOMOPHONIC FORMS OF MUSICAL COMPOSITION, MODELS
OF THE PRINCIPAL MUSIC FORMS, EXERCISES IN MELODY
WRITING, APPLIED COUNTERPOINT, ETC.

$1.50

BOSTON
OLIVER DITSON COMPANY
New York -------- Chicago
CHAS. H. DITSON & CO. -------- LYON & HEALY
COPYRIGHT. MCMIV, BY OLIVER DITSON COMPANY
MADE IN U. S. A.

[Transcriber's note: This book contains a few page references, e.g.,
"...on page 122". In such cases the target page number has been
formatted between curly braces, e.g. "{122}", and inserted into this
e-text in a location matching that page's physical location in the
original book.]

FOREWORD.
The present manual treats of the structural designs of musical
composition, not of the styles or species of music. Read our
AFTERWORD.
It undertakes the thorough explanation of each design or form, from the
smallest to the largest; and such comparison as serves to demonstrate
the principle of natural evolution, in the operation of which the entire
system originates.
This explanation--be it well understood--is conducted solely with a
view to the Analysis of musical works, and is not calculated to prepare
the student for the application of form in practical composition. For the
exhaustive exposition of the technical apparatus, the student must be
referred to my "Homophonic Forms."
The present aim is to enable the student to recognize and trace the
mental process of the composer in executing his task; to define each
factor of the structural design, and its relation to every other factor and
to the whole; to determine thus the synthetic meaning of the work, and
thereby to increase not only his own appreciation, interest, and
enjoyment of the very real beauties of good music, but also his power
to interpret, intelligently and adequately, the works that engage his
attention.
* * * * * *
The choice of classic literature to which most frequent reference is
made, and which the student is therefore expected to procure before
beginning his lessons, includes:--

The Songs Without Words of Mendelssohn; the Jugend Album, Op. 68,
of Schumann; the pianoforte sonatas of Mozart (Peters edition); the
pianoforte sonatas of Beethoven.
Besides these, incidental reference is made to the symphonies of
Beethoven, the sonatas of Schubert, the mazurkas of Chopin, and other
pianoforte compositions of Mendelssohn, Beethoven, Chopin, and
Brahms.
PERCY GOETSCHIUS.
BOSTON, MASS., Sept., 1904.

TABLE OF CONTENTS.
CHAPTER I.
--INTRODUCTION.
THE NECESSITY OF FORM IN MUSIC THE EVIDENCES OF
FORM IN MUSIC UNITY AND VARIETY
CHAPTER II.
--FUNDAMENTAL DETAILS.
TIME TEMPO BEATS MEASURES RHYTHM MELODY
CHAPTER III.
--FIGURE AND MOTIVE.
THE MELODIC FIGURE DEFINING THE FIGURES THE
MELODIC MOTIVE, OR PHRASE-MEMBER PRELIMINARY
TONES

CHAPTER IV.
--THE PHRASE.
THE PHRASE LENGTH OF THE REGULAR PHRASE
EXCEPTIONS CONTENTS OF THE PHRASE
CHAPTER V.
--CADENCES.
CADENCES IN GENERAL MODIFICATION, OR DISGUISING OF
THE CADENCE THE ELISION SPECIES OF CADENCE PERFECT
CADENCE SEMICADENCE LOCATING THE CADENCES
CHAPTER VI.
--IRREGULAR PHRASES.
CAUSES OF IRREGULARITY THE SMALL AND LARGE
PHRASES THE PRINCIPLE OF EXTENSION INHERENT
IRREGULARITY
CHAPTER VII.
--THE PERIOD-FORM.
PHRASE-ADDITION THE PERIOD
CHAPTER VIII.
--ENLARGEMENT OF THE PERIOD-FORM.
ENLARGEMENT BY REPETITION THE PHRASE-GROUP THE
DOUBLE-PERIOD
CHAPTER IX.

--THE TWO-PART SONG-FORM.
THE SONG-FORM, OR PART-FORM THE PARTS THE FIRST
PART THE SECOND
CHAPTER X.
--THE THREE-PART SONG-FORM.">
PART
CHAPTER X.
--THE THREE-PART SONG-FORM.
DISTINCTION BETWEEN BIPARTITE AND TRIPARTITE FORMS
PART I PART II

CHAPTER XI.
--ENLARGEMENT OF THE THREE-PART SONG-FORM.">
PART III
CHAPTER XI.
--ENLARGEMENT OF THE THREE-PART SONG-FORM.
REPETITION OF THE PARTS EXACT REPETITIONS MODIFIED
REPETITIONS THE FIVE-PART FORM GROUP OF PARTS
CHAPTER XII.

--THE SONG-FORM WITH TRIO.
THE PRINCIPAL SONG THE TRIO, OR SUBORDINATE SONG
THE "DA CAPO"
CHAPTER XIII.
--THE FIRST RONDO-FORM.
EVOLUTION THE RONDO-FORMS THE FIRST RONDO-FORM
CHAPTER XIV.
--THE SECOND RONDO-FORM.
DETAILS
CHAPTER XV.
--THE THIRD RONDO-FORM.
THE EXPOSITION THE MIDDLE DIVISION THE
RECAPITULATION
CHAPTER XVI.
--THE SONATINE-FORM.
CLASSIFICATION OF THE LARGER FORMS THE
SONATINE-FORM
CHAPTER XVII.
--THE SONATA-ALLEGRO FORM.
ORIGIN OF THE NAME THE SONATA-ALLEGRO
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