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This thesis proposes a methodology for understanding the form of a Baroque prelude, particularly the preludes to the Six Suites for Unaccompanied Violoncello written by Johann Sebastian Bach. Four mus...
Although the topoi and elements of what has been described as the “Venerable Style” (V.S.) are found in many places in Mozart’s solo keyboard sonatas, the obsessive juxtaposition of these elements aga...
For pieces that do not lend themselves to an analysis of form based completely on tonal harmony and thematic material, an analysis based on rhythm and meter can enrich the reading of a piece and prove...
Reviving the Formenlehre tradition as taught by Arnold Schoenberg and Erwin Ratz, Caplin attempts to accommodate the method to a specific but stylistically complex repertory: instrumental works of Hay...
Excerpt sregard of its commas, colons, and other marks of "cadence." * * * * * * Another evidence of Form in music, that is at once subtle and powerful, rests upon what might be termed the lin...
Berg’s “Schlafend trägt man mich,” the second song of his Vier Lieder Op. 2, is often understood to reflect the transition between the composer’s tonal and free atonal periods. This paper summari...
If Grazyna Bacewicz's music is so "conservative" and "neoclassical," why is it so difficult to define the beginning and ending of the Development in one of her best-known works, the first movement ...

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