183:
elements often involves a judgment call. The form-function theory, in other words, is both taxonomic and interpretative; it is from balancing the two that one can learn the most about the repertoires under analysis. The theory has, nevertheless, been criticized for a "zeal for exhaustive theoretical and terminological rigor" that can interfere with that flexibility in analysis, and specifically for its "dogged adherence to a rigidly quadratic conception of grouping structures" ; that is, to ideas defined as two bars and themes defined as eight bars. A related criticism is Caplin's "tendency to substitute archetype for the music in question as the point of reference for analytical discussion."
96:âare the foundation for a theory based on a dichotomy between "tight-knit" and "loose" designs and on "beginning," "middle," and "end" functions. The core figure is the theme (understood paradigmatically as eight bars in length), but formal functions can be extended outward to form sections and entire movements. "Tight-knit" themes and small forms are the sentence, period, hybrid, and compound (16-bar) themes, small ternary, and small binary. "Looser formal regions" are the subordinate theme,
77:
65:, along with a more recently published, lengthy textbook intended for both undergraduate and graduate levels, expounds a theory and analytical method for the music of the "high Classical" era (roughly, the two decades before and after 1800). The theory is grounded in eighteenth-century compositional pedagogy and in work by
154:
For hybrid 2: "cadential" refers to a phrase where a typical progression in a cadence (usually just two bars) is stretched over the entire phrase. Often this function is filled by the
Expanded Cadential Progression (ECP) or IâiiâVâI. For hybrids 3 and 4: the compound basic idea is itself a hybrid: it
182:
Pragmatically, the "strict definition of formal categories applied with âconsiderable flexibilityâ in analysis." Thus, data for a set of analyses could be read as objective information but could just as easily be taken as a catalogue of the analystâs choices. The assignment of labels for thematic
167:(PAC). The eight-bar consequent repeats the opening but adjusts the cadence to a PAC. The 16-measure sentence is paradigmatically an eight-bar presentation, consisting of a compound basic idea and its repetition, followed by an eight-bar continuation with the typical features of fragmentation and
127:
to close. The sentence is a progressive or developmental design, where a presentation phrase consists of an idea and its repetition (often varied or transposed) followed by a continuation phrase that, ideally, fragments the initial idea by breaking it into one-bar motives and thereby accelerating
186:
Although intended for, and derived specifically from, the music of Haydn, Mozart, and
Beethoven, the theory of formal functions has been extended by various authors, mostly to later repertoires and largely in connection with the sentence paradigm (notably,
178:
music, passages of tight-knit and loose-knit functions tend to alternate, the tight-knit units being represented by the themes above, the loose knit units by isolated phrases, model-sequence groups, "standing on the dominant," and other entities.
158:
Compound themes are of two types: the 16-measure period, which is the same as the traditional double period, and the 16-measure sentence. The 16-measure period opens with an antecedent consisting of any eight-bar theme, which ends with a
155:
has the antecedent's basic idea & contrasting idea pair, but it has the presentation's (usually) simple tonic prolongation. From these examples it can be seen that harmony has a powerful, often determining, role in Caplin's theory.
73:. Broadly, the theory can be understood as "a generalized taxonomy of Classical form gleaned from a large repertory of works rather than the description of the organic wholeness or the uniqueness of events in any one work."
46:
from 2005 to 2007 and was its vice-president from 2001 to 2003. His earlier work concentrated on the history of music theory, but he is best known for a series of articles and two books on
214:
In German-speaking discourse, Caplin's understanding of "Formfunktionen" (formal functions) and the coupling of "formal functions" and "loose" designs has been criticized as dogmatic.
502:
Ulrich Kaiser, âFormfunktionen der
Sonatenform. Ein Beitrag zur Sonatentheorie auf der Grundlage einer Kritik an William E. Caplins VerstĂ€ndnis von Formfunktionen,â
128:
movement toward the cadence. The less common hybrid themes mix the components in variously different ways (for example, the antecedent + continuation theme).
701:
Steven Vande
Moortele, "Sentences, Sentence Chains, and Sentence Replication: Intra- and Interthematic Formal Functions in Liszt's Weimar Symphonic Poems,"
330:, edited by Gerald Strang, with an introduction by Leonard Stein. New York: St. Martin's Press, 1967. Reprinted 1985, London: Faber and Faber; Erwin Ratz,
630:
740:
599:
Eric McKee, "Influences of the Early
Eighteenth-century Social Minuet on the Minuets from J.S. Bach's French Suites, BWV 812-17,"
657:
54:
has been widely influential and was a major factor in the revival of interest in musical form in North-American music theory.
407:
386:
365:
334:, Vienna: Ăsterreichische Bundesverlag, 1951; Vienna: Universal Edition, 1968. Second edition 1973. See also Galand, 144-146.
676:
Matthew Riley, "The Sonata
Principle Reformulated for Haydn Post-1770 and a Typology of his Recapitulatory Strategies,"
434:
Classical Form: A Theory of Formal
Functions for the Instrumental Music of Haydn, Mozart, and Beethoven, Music Analysis
445:
One additional hybridâthe presentation + consequentâis rejected by Caplin as too rare in the
Classical repertoire.
164:
175:
43:
35:
287:, edited by Steven Vande Moortele and Julie Pedneault-Deslauriers (University of Rochester Press, 2015), p. 1.
84:
Schoenbergâs concept of the "basic idea" (here understood as a two-measure unit) and his distinction between
745:
105:
423:, Schoenberg's name for a compositional "germ" from which a piece of music develops. See Galand, 144-146.
208:
750:
647:
611:
580:
101:
97:
635:
Mark
Richards, "Viennese Classicism and the Sentential Idea: Broadening the Sentence Paradigm,"
587:
Studia musicologica: An
International Journal of Musicology of the Hungarian Academy of Sciences
403:
382:
361:
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120:
116:
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66:
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89:
27:
625:
Michael Oravitz, "The Use of Caplin/Schoenberg Thematic Prototypes in Melodic Dictations,"
115:
The period is the symmetrical or balanced design familiar from traditional form theory: an
271:
Classical Form: A Theory of Formal Functions for the Music of Haydn, Mozart, and Beethoven
192:
52:
Classical Form: A Theory of Formal Functions for the Music of Haydn, Mozart, and Beethoven
561:
Peter Franck, "Canon and Its Effect on Tight-Knit Organization within Classical Themes,"
620:
575:
Frank Lehman, "Hollywood Cadences: Music and the Structure of Cinematic Expectation,"
196:
188:
85:
529:
Matthew BaileyShea, "Wagner's Loosely Knit Sentences and the Drama of Musical Form,"
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David Neumeyer, "The Contredanse, Classical Finales, and Caplinâs Formal Functions,"
93:
617:
Formal Functions in Menuets by Mozart, Part 1: Orchestral Works and Independent Sets
585:
Nathan Martin, "Formenlehre goes to the opera: Examples from Armida and elsewhere,"
232:
160:
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47:
23:
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Mark Richards, "Teaching Sonata Expositions Through Their Order of Cadences,"
204:
70:
522:
Matthew BaileyShea, "Beyond the Beethoven Model: Sentence Types and Limits,"
298:
Analyzing Classical Form: An Approach for the Classroom, Music Theory Online
285:
Formal Functions in Perspective: Essays on Musical Form from Haydn to Adorno
662:
Mark Richards, "Sonata Form and the Problem of Second-theme Beginnings,"
542:
Musical Form, Forms & Formenlehre: Three Methodological Reflections
476:
Marston, 146, 148. Warren Darcy also mentions the latter as a problem:
124:
717:
554:
David Forrest and Matthew Santa, "A Taxonomy of Sentence Structures,"
123:
that repeats (or slightly varies) the initial two-bar idea and adds a
724:
31:
549:
Intersections: Canadian Journal of Music/Revue canadienne de musique
75:
254:
Theories of Harmonic-Metric Relationships from Rameau to Riemann
683:
Stephen Rodgers, "Sentences with Words: Text and Theme-Type in
642:
Mark Richards, "Film Music Themes: Analysis and Corpus Study,"
568:
John Y. Lawrence, "Toward a Predictive Theory of Theme Types,"
507:
356:
Benjamin, Thomas; Horvit, Michael; and Nelson, Robert (2003).
432:
Summary from Nicholas Marston, Review of William E. Caplin,
50:
in European music around 1800. The first of those books,
309:
Joel Galand, "'Formenlehre' Revived" (Review of Caplin,
80:
Diagram of a typical period consisting of two phrases
419:"Basic idea" and "basic shape" are translations of
489:Floyd K. Grave, review of Caplin, Classical Form,
694:Stephen Rodgers, "Schubertâs Idyllic Periods,"
207:) but occasionally earlier as well (especially
34:, where he is a James McGill Professor at the
504:Zeitschrift der Gesellschaft fĂŒr Musiktheorie
8:
147:Hybrid 3: compound basic idea + continuation
119:with two contrasting ideas is followed by a
669:Matthew Riley, "Haydn's Missing Middles,"
544:. Leuven University Press (Belgium), 2009.
398:Kostka, Stefan and Payne, Dorothy (1995).
332:EinfĂŒhrung in die musikalische Formenlehre
150:Hybrid 4: compound basic idea + consequent
547:"Contemplating Caplin": Special issue of
360:, p. 252. 7th edition. Thomson Schirmer.
678:Journal of the Royal Musical Association
296:Andrew Aziz, Review of William Caplin,
223:
592:Nathan Martin, "Schumann's Fragment,"
402:, p. 162. Third edition. McGraw-Hill.
345:Classical Form, Indiana Theory Review
7:
565:(Eastman School of Music) 26 (2012).
42:. Caplin served as president of the
328:Fundamentals of Musical Composition
141:Hybrid 1: antecedent + continuation
256:. PhD diss. University of Chicago.
14:
727:faculty page at McGill University
358:Techniques and Materials of Music
654:Journal of Music Theory Pedagogy
627:Journal of Music Theory Pedagogy
343:Severine Neff, review of Caplin
211:). See "Further reading" below.
144:Hybrid 2: antecedent + cadential
1:
506:(=ZGMTH) 15/1 (2018): 29-79.
381:, p. 48. Dodd, Mead, and Co.
379:Perspectives in Music Theory
589:, 51/ns3-4 (2010): 387-404.
252:William E. Caplin. (1981).
22:(born 1948) is an American
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619:, Texas ScholarWorks 2017.
273:. Oxford University Press.
231:Society for Music Theory.
58:Theory of formal functions
283:Editors' introduction to
165:perfect authentic cadence
741:American music theorists
465:Analyzing Classical Form
44:Society for Music Theory
36:Schulich School of Music
570:Journal of Music Theory
556:College Music Symposium
26:who lives and works in
16:American music theorist
596:28/1-2 (2010): 85-109.
174:In larger contexts in
81:
696:Music Theory Spectrum
689:Music Theory Spectrum
603:18/2 (1999): 235-260.
594:Indiana Theory Review
478:Music Theory Spectrum
377:Cooper, Paul (1973).
79:
698:39/2 (2017): 223â46.
493:4/6 (1998): par. 16.
300:20/1 (2014), par. 1.
691:36/1 (2014): 58â85.
685:Die schöne MĂŒllerin
680:140/1 (2015): 1-39.
673:30/1 (2011): 37-57.
656:26 (2012): 215-252.
644:Music Theory Online
639:36 (2011): 179-224.
637:Theory and Practice
629:26 (2012): 101-139.
608:Music Theory Online
577:Music Theory Online
533:16-17 (2002): 1-34.
491:Music Theory Online
326:Arnold Schoenberg,
317:13 (1999): 147-148.
163:(HC) rather than a
705:25 (2011): 121-58.
666:32/1 (2013): 3-45.
572:64/1 (2020): 1-36.
524:Current Musicology
267:Caplin, William E.
82:
536:Pieter Bergé and
480:22/1 (2000): 123.
436:20/1 (2001), 143.
131:The theme types:
121:consequent phrase
117:antecedent phrase
67:Arnold Schoenberg
40:McGill University
20:William E. Caplin
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718:Official website
615:David Neumeyer,
538:Ludwig Holtmeier
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238:12 February
102:development
735:Categories
558:54 (2014).
408:0073000566
387:0396067522
366:0495500542
218:References
201:Schoenberg
98:transition
71:Erwin Ratz
209:J.S. Bach
703:Intégral
563:Intégral
540:, eds.,
531:Intégral
463:Caplin,
315:Intégral
269:(1998).
193:Schumann
189:Schubert
169:sequence
135:Sentence
90:sentence
467:, 117.
406:
385:
364:
203:, and
197:Wagner
138:Period
108:, and
94:themes
86:period
32:Canada
621:Link.
658:Link
648:Link
631:Link
581:Link
508:Link
404:ISBN
383:ISBN
362:ISBN
240:2018
110:coda
88:and
687:,"
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