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Musical Form, Forms, and Formenlehre: Three Methodological Reflections (Studies in Musical Form), by William E. Caplin, James Hepokoski, J
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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.
- Sales Rank: #1225136 in Books
- Brand: Brand: Leuven University Press
- Published on: 2010-04-01
- Original language: English
- Number of items: 1
- Dimensions: 8.90" h x .60" w x 5.90" l, .65 pounds
- Binding: Paperback
- 152 pages
- Used Book in Good Condition
About the Author
James Webster is the Goldwin Smith Professor of Music at Cornell University.
Most helpful customer reviews
5 of 5 people found the following review helpful.
Highy recommended for anyone interested in modern-day Formenlehre
By Halvor Hosar
Few times do I feel like writing a truly glowing review. There is always SOMETHING that should have been done differently, or could have been improved one way or the other. Therefore, when there are no obvious warts (or, like in this book, they are turned into something positive; more on that below) I have to avoid writing a pure panegyric eulogy. But in this case I have no choice: Pieter Berge has managed to create a brilliant tome, whose innovative angle will hopefully serve as a model for later publications.
On the surface, I can understand some scepticism: It only contains three essays, yet is sold as a hardcover book for a rather hefty price compared to its size. The brilliance of the project, however, is in the choice of participants and the form of discourse chosen. The article authors, first, are William E. Caplin, famous for his Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven, James Hepokoski, of Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata fame, and lastly, James Webster, famous for his scholarly work on Haydn and all things related, but perhaps especially through his book Haydn's 'Farewell' Symphony and the Idea of Classical Style: Through-Composition and Cyclic Integration in his Instrumental Music (Cambridge Studies in Music Theory and Analysis). Given the three article limit (and as we'll see there is a good reason for it) the cast couldn't have been better: all three are at the cutting edge of modern day Formenlehre; in fact, the first two are the chief exponents of the Formenlehre tradition in the last decade or two, and for anyone even passingly familiar with the field, Webster's works should speak for themselves as to his relevancy.
Just as important is the form the book has been given. After each essay, each writer is given an opportunity to criticise the content of the previous article. Everyone who has been to musicology symposiums or the like know how interesting such exchanges between the finest minds of the field can be, yet they are always limited by time schedules and the nature of verbal discourse. This book gives each writer an extended opportunity to critique far beyond what one could do during a seminar or the like. After the two replies, the original author is given the opportunity to reply to his colleagues. As the back of the book says the nature of these replies varies from the gently critical to the overtly polemical; one really get the sense of the different personalities of the writers. Neither are the blemishes in the arguments softened out; some comments that probably weren't well enough thought through are chastised thoroughly. The result is a highly enlightening text that nevertheless may point towards faults in all the authors, both in their own thoughts and their understanding of other writer's ideas.
All things considered, I highly recommend this book on all accounts for the reader interested in modern Formenlehre.
0 of 0 people found the following review helpful.
How many dogmatists can dance on the head of a pin?
By Jeffrey Huntington
These are distinguished authors, and specialists may find unique insights in this symposium. However, as a layman, I was reminded of those polemics between philosophers which get nowhere because they are using different words to mean the same thing and the same word to mean different things. At least these authors remain civil. The works under discussion are familiar and accessible, such as Beethoven's Pastoral Symphony, but they all seem to be defective in that they don't conform in every particular to some doctrine. I am willing to consider the possibility that it is the doctrine which needs fixing.
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