In Musical Form, Forms, and Formenlehre, three eminent music
theorists reflect on the fundamentals of "musical form." They
discuss how to analyze form in music and question the relevance of
analytical theories and methods in general. They illustrate their
basic concepts andc oncerns by offering some concrete analyses of
works by Mozart (Idomeneo Overture, Jupiter Symphony) and Beethoven
(First and Pastoral Symphony, Egmont Overture, and Die Ruinen von
Athen Overture).
The volume is divided into three parts, focusing on Caplin's
"theory of formal functions," Hepokoski's concept of "dialogic
form," and Webster's method of "multivalent analysis" respectively.
Each part begins with a basic essay by one of the three authors.
Subsequently, the two opposing authors comment on issues and
analyses they consider to be problematic or underdeveloped, in a
style that ranges from the gently critical to the overtly
polemical. Finally, the author of the initial essay is given the
opportunity to reply to the comments, and to further refine his own
fundamental ideas on musical form.
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