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467 p. Softcover.

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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 recapitulation, 211; Slow movement of K.271 as expansion of opening phrase, 211; Mirror symmetry, 212; Concerto finale, 213; Sinfonia Concertante K. 364, 214; Thematic relationships, 215; ?.412, ?.413, ?.415, 218; ?.449, 219; ?.456, modulating second theme, 221; Dramatic range of slow movement, 223; Variation-finales, 225: K. 459 and fugal finales, 226; K. 466, art of rhythmic acceleration, 227; The- matic unity, 233; K. 467 and symphonic style, 235; Slew movement, im- provisation, and symmetry, 238; K. 482, orchestral color, 240; ?.488, articulation of close of exposition, 241; Slow movement and melodic struc- ture, 243; K.503, technique of repetition, 251; Major and minor, 254; Sense of mass, 256; K. 537, proto-Romantic style and loose melodic struc- ture, 258; Clarinet Concerto, continuity of overlapping phrases, 260; K. 595, resolution of chromatic dissonance, 263. - - 2. STRING QUINTET - - Concertante style, 264; K.174, expanded sonority and expanded form, 265; K.515, irregular proportions, 267; Expansion of form, 273; K.516, problem of classical finale, 274; Major ending to a work in the minor, 276; Ex- pressive limits of the style, 277; Place of minuet in the order of move- ments, 280; Virtuosity and chamber music, 281; K.593, 281; Slow intro- ductions, 282; Harmonic structure and sequences, 283; K. 614, influence of Haydn, 286. - - 3. COMIC OPERA - - Music and spoken dialogue, 288; Classical style and action, 289; En- sembles, sextet from The Marriage of Figaro, and sonata form, 290; Sex- tet from Don Giovanni and sonata proportions, 296; Tonal relations in opera, 298; Recapitulation and dramatic exigency, 301; Operatic finales, 302; Arias, 306; 'Se vuol ballare' from The Marriage Marriage of Figaro, 308; Coincidence of musical and dramatic events: graveyard scene from Don Giovanni, 309; Comedy of intrigue, 312; Eighteenth-century concept of per sonality, 313; Comedy of experimental psychology and Marivaux, Così.