Another supplement to the essay English, Scotch, and Irish Dance and Song, which is primarily a documentation of rising cadence figures in dances, fiddle tunes, and songs from late eighteenth and early nineteenth century ...

This essay charts formal functions (after Caplin) in named menuets written during the second half of the eighteenth century. The repertoire includes menuets by Johann Stamitz, Johann Gottfried Müthel, Franz Joseph Haydn, ...

Continuation of a study of formal functions (after Caplin) in named menuets by Mozart. A table of data and comprehensive musical examples cover the trios, string quartets, string quintets, quartets and quintets with other ...

This essay considers some theoretical questions raised at the end of Part 4 in this series. William Caplin’s theory of formal functions in Haydn, Mozart, and Beethoven stipulates that themes are of two primary types (period, ...

This updates and substantially revises two publications of mine on the Texas Scholar Works platform: John Playford Dancing Master: Rising Lines (2010; 2015) and the corresponding section in Rising Lines in Tonal Frameworks ...

This 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 ...

Rising melodic figures have a long history in cadences in European music of all genres. This essay documents examples from an especially influential repertoire of social dance music, the Viennese waltz in the first half ...

A study of formal functions (after Caplin) in named menuets by Mozart, the larger goal being to historicize more fully form-design practices in European music during the second half of the eighteenth century, especially ...

In European music, freer treatment of the sixth and seventh scale degrees in the major key encouraged the use of independent V9 chords, which appear already early in the nineteenth century, are common by the mid-1830s, and ...

This essay continues the documentation of formal functions (after Caplin) in named menuets from the eighteenth century, as begun in parts 1-4 of this series. In this essay, the focus is on menuets written by other composers ...