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Appendices
Biographical notes
James Wright is an associate professor of music at Carleton University in the School for Studies in Art & Culture. Author of two books on the life and works of Arnold Schoenberg, his other publications encompass the fields of twentieth-century music history and aesthetics, music perception/cognition, Canadian music, and post-tonal music theory and analysis. He is also an associate composer with both the Canadian Music Centre and Ottawa New Music Creators, an eastern Ontario composers’ collective.
Alexis Luko is an assistant professor of music at Carleton University in the School for Studies in Art and Culture. She holds a PhD in musicology from McGill University and specializes in music of the Renaissance, early music analysis, opera, film music, and the history of music theory. Prior to arriving at Carleton, she worked as assistant professor at the Eastman School of Music and as visiting assistant professor in the College Music Department at the University of Rochester.
Works Cited
- BaileyShea, Matthew. 2003. “The Wagnerian Satz: The Rhetoric of the Sentence in Wagner’s Post-Lohengrin Operas.” PhD diss., Yale University.
- BaileyShea, Matthew. 2002/2003. “Wagner’s Loosely Knit Sentences and the Drama of Musical Form.” Intégral 16/17:1–34.
- Bor, Mustafa. 2009. “Sonata-Formal Functions and Transformational Processes in the First Movement of Rochberg’s String Quartet No. 6.” Music Theory Online 15 (1).
- Broman, Per F. 2007. “In Beethoven’s and Wagner’s Footsteps: Phrase Structures and Satzketten in the Instrumental Music of Béla Bartók.” Studia Musicologica 48 (1–2): 113–31.
- Caplin, William. 1998. Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven. Oxford: Oxford University Press. Winner of the Society for Music Theory’s 1999 Wallace Berry Award.
- Dahlhaus, Carl. 1983. Analysis and Value Judgment, trans. Siegmund Levarie. Stuyvesant, NY: Pendragon Press.
- Darcy, Warren. 2000. Review of Classical Form by William E. Caplin. Music Theory Spectrum 22 (1): 122–25.
- Grave, Floyd. 1998. Review of Classical Form by William E. Caplin. Music Theory Online 4 (6).
- Martin, Nathan J. 2010. “Schumann’s Fragment.” Indiana Theory Review 28:85–109.
- Neumeyer, David. 2006. “The Contredanse, Classical Finales, and Caplin’s Formal Functions.” Music Theory Online 12 (4).
- Ratz, Erwin. 1951. Einführung in die musikalische Formenlehre: Über Formprinzipien in den Inventionen J.S. Bachs und ihre Bedeutung für die Kompositionstechnik Beethovens. Wien: Universal.
- Schoenberg, Arnold. 1967. Fundamentals of Musical Composition, ed. Gerald Strang. New York: St. Martin’s Press.
- Spitzer, Michael. 2000. Review of Classical Form by William E. Caplin. Music & Letters 81 (1): 110–15.
- Vande Moortele, Steven. “Sentential Patterns, Sentence Chains, and Sentence Replication: Phrase-Structural Models in Liszt’s Weimar Symphonic Poems.” Intégral 25, forthcoming.
Selected Readings (William Caplin)
- Caplin, William. Analyzing Classical Form. Oxford and New York: Oxford University Press, forthcoming.
- Caplin, William, James Hepokoski, and James Webster. 2009. Musical Form, Forms & Formenlehre: Three Methodological Reflections, edited by Pieter Bergé. Leuven: University of Leuven Press.
- Caplin, William. 1998. Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven. Oxford: Oxford University Press.
- Caplin, William. 1986. “Funktionale Komponenten im achttaktigen Satz.” Musiktheorie 1 (1986): 239–60.
- Caplin, William. 1987. “The ‘Expanded Cadential Progression’: A Category for the Analysis of Classical Form.” Journal of Musicological Research 7:215–57.
- Caplin, William. 1994. “Hybrid Themes: Toward a Refinement in the Classification of Classical Theme Types.” Beethoven Forum 3 (1): 151–65.
- Caplin, William. 2001. “The Classical Sonata Exposition: Cadential Goals and Form-Functional Plans.” Tijdschrift voor Muziektheorie 6 (3): 195–209.
- Caplin, William. 2004. “The Classical Cadence: Conceptions and Misconceptions.” Journal of the American Musicological Society 57 (1): 51–117. Winner of the 2006 “Article of the Year” Opus prize (Conseil québécois de la musique).
- Caplin, William. 2005a. “North American Approaches to Musical Form.” Zeitschrift der Gesellschaft für Musiktheorie 2 (2): 139–42.
- Caplin, William. 2005b. “On the Relation of Musical Topoi to Formal Function.” Eighteenth-Century Music 2 (1): 113–24.
- Caplin, William. 2008. “Schoenberg’s ‘Second Melody,’ Or, ‘Meyer-ed’ in the Bass.” In Communication in Eighteenth-Century Music, edited by Danuta Mirka and Kofi Agawu, 160–188. Cambridge: Cambridge University Press.
- Caplin, William. 2009a. “The ‘Tempest’ Exposition: A Springboard for Form-Functional Considerations.” In Beethoven’s Tempest Sonata: Perspectives of Analysis and Performance, edited by Pieter Bergé, Jeroen D’hoe and William Caplin, 87–125. Leuven: Peeters.
- Caplin, William. 2009b. “What Are Formal Functions?” In Caplin, Hepokoski and Webster 2009, 21–40. Leuven: Leuven University Press, 2009.
- Caplin, William. 2010. “Beethoven’s ‘Tempest’ Exposition: A Response to Janet Schmalfeldt.” Music Theory Online 16 (2).
- Vallières, Michel, William Caplin, and Stephen McAdam. 2009. “Perception of Intrinsic Formal Functionality: An Empirical Investigation of Mozart’s Materials.” Journal of Interdisciplinary Music Studies 3 (1–2): 17–43.