Browsing by Subject "musical form"
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Item Dance and Dancing in Schubert's Vienna(2015-03-21) Neumeyer, DavidThis file has six parts: the first concerns dancing in Vienna and dance music genres during the brief period between the Congress of Vienna and the July Revolution in France (1815-1830). The second part brings the focus down more locally to the Schubert-Kreis and Schubert’s improvisation practice for dancing. Part 3 looks even more closely at some of the mechanics of that practice. Part 4 turns to the extant repertoire of Schubert’s dances. Part 5 explores Robert Schumann’s review of D365 and D783 and turns it back speculatively onto D779. Part 6 offers a short list of links relating to Schubert.Item Dance Designs in 18th and Early 19th Century Music(2015-03-21) Neumeyer, DavidA study of harmony and formal functions in dance music of the 18th and early 19th centuries. The data and analyses are also intended to supplement the form theory presented in William E. Caplin, Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven (New York: Oxford University Press, 1998). Classical Form discusses the different movement types one encounters in the Classical sonata, quartet, and symphony, but because of the meticulous attention given to small-scale, theme units, the theory is also very well-suited to style studies of dance musics.Item Form Functions in Menuets by Beethoven and Others, 1770-1813(2016-06-28) Neumeyer, DavidThis article adds further documentation for the claim that dance musics in Europe at the end of the eighteenth century were not dominated by the classical symmetrical period but were in fact written in a variety of thematic types and frequently emphasized contrast between ideas (that is, two-bar units). In order to fine-tune descriptions, the terminology for the second phrase in a theme is expanded beyond consequent and continuation (after William Caplin) to include two new categories: contrast and complement.Item Formal Functions in Menuets by Mozart, Part 7: Contemporaries and Successors, 1780-1828(2018-07-09) Neumeyer, DavidThis final essay in the Mozart series charts formal functions (after Caplin) in named menuets written by other composers during the last ten years of Mozart’s life, 1780-1791, and by three composers active in Vienna thereafter, through the death of Schubert (1828). The repertoire includes menuets by Carl and Anton Stamitz, Franz Joseph Haydn, Luigi Boccherini, Giovanni Viotti, and Adalbert Gyrowetz, and several others. The three later composers are Beethoven, Hummel, and Schubert. Concluding comments return to questions of musical form theory.Item Proto-backgrounds in Traditional Tonal Music(2015-03-21) Neumeyer, DavidThis article uses an analogy between "theme" in literary studies and "background" in linear analysis (or other hierarchical analytic models) for music to find more options for interpretation than are available in traditional Schenkerian analysis. The central construct is the proto-background, or tonic-triad interval that is understood to precede the typical linear background of a Schenkerian or similar hierarchical analysis. Figures typically or potentially found in a background, including the Schenkerian urlinie, are understood to arise through (informal) transformations, or functions, applied to proto-backgrounds.