Descripción
467 p. Good copy with bumped and soiled binding. The pages are slightly browned but clean. Gutes Exemplar mit beriebenem und verschmutztem Einband. Die Seiten sind leicht gebräunt, aber sauber. - Preface and Acknowledgements - - Preface to the Norton Library Edition - - Bibliographical Note - - Note on the Music Examples - - I INTRODUCTION - - 1. THE MUSICAL LANGUAGE OF THE LATE EIGHTEENTH CENTURY Period style and group style, 20; Tonality, 23; Tonic-dominant polarity, 25; Modulation, 26; Equal temperament, 27; Weakening of linear form, 28. - - 2. THEORIES OF FORM - - Nineteenth-century conception of sonata form, 30; Twentieth-century re- visions, 32; Schenker, 33; Motivic analysis, 36; Vulgar errors, 40. - - 3. THE ORIGINS OF THE STYLE - - Dramatic character of the classical style, 43; Range of styles 1755-1775, 44; Public and private music, 45; Mannerist period, 47; Proto-classical symmetries and patterns, 49; Determinants of form, 51. - - II THE CLASSICAL STYLE - - 1. THE COHERENCE OF THE MUSICAL LANGUAGE - - Periodic phrase, 57; Symmetry and rhythmic transition, 58; Homogeneous (Baroque) vs. heterogeneous (classical) rhythmic systems, 60; Dynamics and ornamentation, 62; Rhythmic and dynamic transition (Haydn Quar- tet op. 33 no. 3), 64; Harmonic transition (modulation), 68; Decorative vs. dramatic styles, 70; Conventional material, 71; Tonal stability and reso- lution, 72; Recapitulation and articulation of tension, 74; Reinterpretation and secondary tonalities, 78; Subdominants, 79; Contrast of themes, 80; Reconciliation of contrasts, symmetrical resolution, 82; Relation of large form to phrase, expansion technique (Haydn Piano Trio, H.19, 83); Correspondence of note, chord, and modulation, 89; Articulation of rhythm, weight of individual beat, 90; Sonata style and eccentric material: fantasy form (Mozart, Fantasy K. 475), 91; Audible vs. inaudible form, 93; Extra-musical influence, 94; Wit in music, 95. - - 2. STRUCTURE AND ORNAMENT - - Sonata forms generalized, 99; Structure vs. ornament, 100; Ornamentation in the late eighteenth century, 101; Radical change in function of decoration, 107. - - III HAYDN FROM 1770 TO THE DEATH OF MOZART - - 1. STRING QUARTET - - Haydn and Carl Philipp Emanuel Bach, 111; Beginning in a false key, 112; Innovations of the Scherzi quartets, thematic accompaniment, 115; Energy latent in musical material, 120; Dissonance as principal source of energy, 120; Directional power of material, 129; Sequence as source of energy, 134; Reinterpretation by transposition, 135; Relation of string quartet to classical tonal system, 137; Further development of Haydn's string quartets, 138; String quartet and the art of conversation, 141. - - 2. SYMPHONY - - Development of the orchestra and symphonic style, 143; stylistic progress, 146; Sturm und Drang style, 147; Symphony no. 46, 147; Weakness of rhythmic organization of early Haydn, 149: Symphony no. 47. 151; In- fluence of opera, 153; Symphony no. 75, 155; New clarity and sobriety, 157; Symphony no. 81, 157; Wit and symphonic grandeur, 159; Oxford Symphony, 159; Haydn and pastoral, 162. - - IV SERIOUS OPERA - - Problematic status of opera seria, 166; Conventions of opera seria and buffa, 167; Eighteenth-century tragedy, 168; High Baroque style, 169; Dra- matic and elegiac modes, 170; Gluck, 170; Neo-classical doctrine, 171; Music and the aesthetic of expression, 173; Words and music, 173; Gluck and rhythm, 174; Mozart and Idomeneo, 177; Recitative and complex forms, 178; Fusion of seria and buffa, Marriage of Figaro, 181; Fidelio, 183. - - V MOZART - - 1. THE CONCERTO - - Mozart and dramatic form, 185; Tonal stability, 186; Symmetry and the flow of time, 187; Continuo playing in the late eighteenth century, 191; Musical significance of the continuo, 194; Concerto as drama, 196; Open- ing ritornello, 197; Concerto in E flat K.271, 198; Piano exposition as dramatization of orchestral exposition, 205; Symmetry of climax, 207; Secondary development within reca.
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