This course covers musical styles in tonal music from the Baroque Period to the 20th Century. It also covers score reading and listening strategies. MUTH 5303 is a two-semester course. Students are responsible for all material covered in class and assigned for homework.
This course covers musical styles in tonal music from the Baroque Period to the 20th Century. It also covers score reading and listening strategies. MUTH 5303 is a two-semester course. Students are responsible for all material covered in class and assigned for homework.
This course covers musical styles in tonal music from the Baroque Period to the 20th Century. It also covers score reading and listening strategies. MUTH 5303 is a two-semester course. Students are responsible for all material covered in class and assigned for homework.
Required Texts Matthew Santa, Hearing Form: Musical Analysis With and Without the Score. New York: Routledge, 2010.
Course Content: This course covers musical styles in tonal music from the Baroque Period to the 20th Century. It also covers score reading and listening strategies.
Course Purpose: The purpose of this course is to develop a deeper understanding of musical styles in tonal music from the Baroque Period to the 20th Century, to synthesize the interrelationships of fields both inside and outside of music, and to further develop listening strategies and score reading through expanded means of critical thinking and logical reasoning.
Expected Learning Outcomes: Upon completion of MUTH 5303, you should be able to do the following: Identify phrase endings and cadence types in music with or without the score. Identify modulations in music with or without a score. Identify sequence types in music with or without a score. Identify musical forms with or without a score. Identify musical styles with or without a score Identify formal sections in music with or without a score.
Assessment of Learning Outcomes: The following methods will be used to assess your progress toward the learning outcomes given above: Daily written quizzes Homework assignments A variety of in-class activities Midterm and final examinations Final project
Criteria for Grading: Students are responsible for all material covered in class and assigned for homework. Grading will be weighted as follows: Assignments = 10%, Quizzes = 10%, Midterm Exam = 20%, Final Project = 20%, and Final Exam = 40%.
Grading Scale: 90-100% = A, 80-89 = B, 70-79 = C, 60-69 = D, below 60% = F
2 Assignments: Assignments are due at the beginning of the class session indicated in the syllabus. Late assignments will not be accepted without an acceptable excuse supported by documentation. Acceptable excuses are a personal illness, a death in the family, or a university-sponsored trip. Failure to attend class does not excuse late assignments (leave them in my mailbox before class if unable to attend). Homework assignments and in-class quizzes missed due to an excused absence must be turned in no later than one week from the date of the students return to class. It is the students responsibility to turn in the missed homework within that time period or a grade of 0 will be given. It is also the students responsibility to schedule a time with the instructor to make up missed quizzes within the allotted time or a grade of 0 will be given. All assignments are meant to be completed individually; working with others on an assignment will be considered scholastic dishonesty. Quizzes: A short quiz will be given in the first five minutes of every class session. A student with an acceptable excuse supported by documentation (see Assignments) will be allowed a makeup quiz; a student with an unexcused absence should not ask for one.
Final Project: Each student will turn in a final project on May 7th. The project should take the form of a paper on some topic germane to the course, chosen by the student in consultation with the instructor, and should be 10-20 pages in length. If the project is on the analysis of a particular work, a phrase diagram and an annotated score should be provided, and pages of score will count in the overall paper length requirement (i.e. a 5- page score accompanied by a 5-page paper will count as a 10-page final project). Papers that focus on how the analysis of a work might lead to specific performance choices would be particularly welcome.
Exams: Exams will not be given outside of the scheduled exam hour unless arrangements are made with the instructor prior to the exam. If an emergency arises, students must notify the instructor by calling the School of Music prior to the scheduled exam time. Messages left at the School of Music are dated and timed. There will be no exceptions to this exam policy unless the students dean notifies the instructor otherwise.
Attendance: Attendance is required. If you are unable to attend class, please leave an email or phone message for the instructor indicating the reason for your absence. If you anticipate missing class, you should inform the instructor in advance.
ADA Compliance http://www.depts.ttu.edu/opmanual/OP34.22.pdf
Any student who, because of a disability, may require special arrangements in order to meet the course requirements should contact the instructor as soon as possible to make any necessary arrangements. Students should present appropriate verification from Student Disability Services during the instructors office hours. Please note instructors are not allowed to provide classroom accommodations to a student until appropriate verification from Student Disability Services has been provided. For additional information, you may contact the Student Disability Services office at 335 West Hall or 806-742-2405.
It is the aim of the faculty of Texas Tech University to foster a spirit of complete honesty and high standard of integrity. The attempt of students to present as their own any work not honestly performed is regarded by the faculty and administration as a most serious offense and renders the offenders liable to serious consequences, possibly suspension.
Scholastic dishonesty includes, but it not limited to, cheating, plagiarism, collusion, falsifying academic records, misrepresenting facts, and any act designed to give unfair academic advantage to the student (such as, but not limited to, submission of essentially the same written assignment for two courses without the prior permission of the instructor) or the attempt to commit such an act.
a. Cheating includes, but is not limited to: (1) Copying from another students test paper; (2) Using during a test materials not authorized by the person giving the test; (3) Failing to comply with instructions given by the person administering the test; (4) Possession during a test of materials that are not authorized by the person giving the test, such as class notes or specifically designed crib notes. The presence of textbooks constitutes a violation only if they have been specifically prohibited by the person administering the test. (5) Using, buying, stealing, transporting, or soliciting in whole or in part the contents of an unadministered test, test key, homework solution, or computer program; (6) Collaborating with or seeking aid or receiving assistance from another student or individual during a test or in conjunction with other assignment without authority; (7) Discussing the contents of an examination with another student who will take the examination; (8) Divulging the contents of an examination for the purpose of preserving questions for use by another when the instructor has designated that the examination is not to be removed from the examination room or not to be returned to or kept by the student; (9) Substituting for another person or permitting another person to substitute for oneself to take a course, a test, or any course-related assignment; (10) Paying or offering money or other valuable thing to or coercing another person to obtain an unadministered test, test key, homework solution, or computer program, or information about an unadministered test, test key, homework solution, or computer program; (11) Falsifying research data, laboratory reports, and/or other academic work offered for credit; and (12) Taking, keeping, misplacing, or damaging the property of the university or of another if the student knows or reasonably should know that an unfair academic advantage would be gained by such conduct. b. Plagiarism includes, but is not limited to, the appropriation of, buying, receiving as a gift, or obtaining by any means material that is attributable in whole or in part to another source, including words, ideas, illustrations, structure, computer code, other expression and media, and presenting that material as ones own academic work being offered for credit. c. Collusion includes, but is not limited to, the unauthorized collaboration with another person in preparing academic assignments offered for credit or collaboration with another person to commit a violation of any section of the rules on scholastic dishonesty. d. Falsifying academic records includes, but is not limited to, altering or assisting in the altering of any official record of the university and/or submitting false information or omitting requested information that is required for or related to any academic record of the university. Academic records include, but are not limited to, applications for admission, the awarding of a degree, grade
4 reports, test papers, registration materials, grade change forms, and reporting forms used by the Office of the Registrar. A former student who engages in such conduct is subject to a bar against readmission, revocation of a degree, and withdrawal of a diploma. e. Misrepresenting facts to the university or an agent of the university includes, but is not limited to, providing false grades or resumes; providing false or misleading information in an effort to receive a postponement or an extension on a test, quiz, or other assignment for the purpose of obtaining an academic or financial benefit for oneself or another individual; or providing false or misleading information in an effort to injure another student academically or financially.
Last Day to drop a course: March 26th is the last day to drop a course.
Student Absence for Observance of Religious Holy Day http://www.depts.ttu.edu/opmanual/OP34.19.pdf
"Religious holy day" means a holy day observed by a religion whose places of worship are exempt from property taxation under Texas Tax Code 11.20.
A student who intends to observe a religious holy day should make that intention known in writing to the instructor prior to the absence. A student who is absent from classes for the observance of a religious holy day shall be allowed to take an examination or complete an assignment scheduled for that day within a reasonable time after the absence.
Absence due to officially approved trips The Texas Tech University Catalog states that the person responsible for a student missing class due to a trip should notify the instructors of the departure and return schedule in advance of the trip. The student may not be penalized and is responsible for the material missed.
Civility in the Classroom http://www.depts.ttu.edu/studentaffairs/CampusCrime/documents/CivilityInTheClassroom.pdf
Students are expected to assist in maintaining a classroom environment that is conducive to learning. In order to assure that all students have the opportunity to gain from time spent in class, unless otherwise approved by the instructor, students are prohibited from engaging in any other form of distraction. Inappropriate behavior in the classroom shall result, minimally, in a request to leave class. Student Handbook and Code of Conduct http://www.depts.ttu.edu/studentaffairs/publications/2008_2009_Handbook_and_Code.pdf
Incompletes The grade of incomplete is granted only in cases of serious, documented emergencies, and then only when permission has been obtained from the instructor, no later than one week before the final class meeting.
Preparedness Be sure to have a supply of manuscript paper and pencils (with erasers!) for use in class and for written assignments.
5 Date Class Topic Assignment Due
1/15 Introduction Bach, Orchestral Suite No. 2, Air
1/17 Cadences and Phrases Bach, Orchestral Suite No. 2, Air Read Chapters 1 & 2 1/20 Martin Luther King Day
NO CLASS 1/22 Cadences and Phrases Bach, Orchestral Suite No. 2, Air Homework Assignment 1.1: Bach, Goldberg Variations, Aria 1/24 Cadences and Phrases Bach, Orchestral Suite No. 2, Badinerie
1/27 Cadences and Phrases Bach, Orchestral Suite No. 2, Badinerie Homework Assignment 3.1: Mozart, Symphony No. 40, III, Menuetto 1/29 Binary and Ternary Forms Bach, Orchestral Suite No. 3, Gavotte I Read Chapter 3 1/31
Binary and Ternary Forms Bach, Orchestral Suite No. 3, Gavotte I Homework Assignment 3.3: Bach, Orchestral Suite No. 3, Gavotte II 2/3 Binary and Ternary Forms Handel, Giulio Cesare, I/6, Lempio
2/5 Sonata Form Mozart, Symphony No. 40 in G Minor, I Homework Assignment 3.2: Handel, Giulio Cesare, I/5, Non disperar; read Chapter 4 2/7
Sonata Form Mozart, Symphony No. 40 in G Minor, I
2/10 Sonata Form Beethoven, Piano Sonata No. 1 in F Minor, I Homework Assignment 4.1: Haydn, Piano Sonata in C Minor, Hob. XVI: 20, I 2/12 Sonata Form Beethoven, Piano Sonata No. 1 in F Minor, I
2/14 Sonata Form Beethoven, Symphony No. 5 in C Minor, I Homework Assignment 4.2: Beethoven, Symphony No. 3, I, Development 2/17
Sonata Form Beethoven, Symphony No. 5 in C Minor, I
2/19 Variation Forms Purcell, When I Am Laid in Earth Homework Assignment 4.3: Haydn, Symphony No. 103, I; read Chapter 5 2/21 Variation Forms Bach, Mass in B Minor, Crucifixus
2/24 Variation Forms Brahms, Variations on a Theme by Haydn Homework Assignment 5.1: Brahms, Symphony No. 4, IV 2/26
Variation Forms Brahms, Variations on a Theme by Haydn
2/28 Variation Forms Miles Davis, "Four" Homework Assignment 5.2: Mozart, Piano Sonata, K. 331, I 3/3 REVIEW
3/5 MIDTERM EXAM, DAY 1
3/7 MIDTERM EXAM, DAY 2
3/10 Imitative Forms Bach, Two-Part Inventions, No. 1 in C Major Read Chapter 6
6 3/12 Imitative Forms Bach, WTC, Book I, Fugue in F Major Homework Assignment 6.1: Bach Two-Part Inventions, No. 13 in A Minor 3/14 Imitative Forms Bach, WTC, Book I, Fugue in F Major
3/15- 3/23 SPRING BREAK
NO CLASS 3/24 Imitative Forms Bach, WTC, Book I, Fugue in B Major Homework Assignment 6.2: Bach, WTC, Book II, Fugue in E Minor 3/26 Imitative Forms Haydn, Symphony No. 101, IV, fugato
3/28 Imitative Forms Beethoven, String Quartet, Op. 131, I Homework Assignment 6.3: Bach, WTC, Book I, Fugue in B Major 3/31 Imitative Forms Beethoven, String Quartet, Op. 131, I
4/2 Concerto Forms Vivaldi, The Four Seasons, Summer, I Homework Assignment 6.4: Handel, Messiah, Part I, Overture; read Chapter 7 4/4 Concerto Forms Vivaldi, The Four Seasons, Summer, I
4/7 Concerto Forms Bach, Brandenburg Concerto No. 1, I Homework Assignment 7.1: Vivaldi, The Four Seasons, Concerto No. 4 (Winter) , I 4/9 Concerto Forms Mozart, Piano Concerto in D, K. 107, I Final Project Topic due for approval 4/11 Concerto Forms Brahms, Concerto for Violin in D Major, I Homework Assignment 7.2: Mozart, Piano Concerto in D, K. 107, I 4/14 Concerto Forms Brahms, Concerto for Violin in D Major, I
4/16 Rondo Forms Haydn, Sonata No. 50 in D Major, III Homework Assignment 7.3, 7.4, 7.5, 7.6, or 7.7 (students choice); read Chapter 8 4/18 Rondo Forms Beethoven, Piano Sonata, Op. 13, III
4/21 EASTER HOLIDAY
NO CLASS 4/23 Rondo Forms Beethoven, Piano Sonata, Op. 13, III Homework Assignment 8.1: Mozart, Symphony No. 35, IV 4/25 Rondo Forms Beethoven, Symphony No. 2, IV
4/28 Rondo Forms Beethoven, Symphony No. 2, IV Homework Assignment 8.2: Mozart, Piano Sonata in Bb, K. 333, III 4/30 Rondo Forms Haydn, Symphony No. 101, IV
5/2 Review Homework Assignment 8.6: Mozart, Eine kleine Nachtmusik, IV 5/5 Review
Final Project Due
FINAL EXAM: Tuesday, May 13th, 7:30-10:00 AM
7 Bibliography
Adrian, Jack. The Function of the Apparent Tonic at the Beginning of Development Sections. Intgral 5 (1991), 1-53. Andrews, Harold. The Submediant in Haydns Development Sections. In Haydn Studies (New York: Norton, 1981). Arthurs, Daniel. Applying Traditional and Proportional Aspects of Form to Atonal Music. Journal of Music Theory Pedagogy 18 (2004), 1-21. Bartha, Dnes. Song Form and the Concept of Quatrain. In Haydn Studies (New York: Norton, 1981). Batt, Robert. Function and Structure of Transitions in Sonata-Form Music of Mozart. Canadian University Music Review 9 (1988), 157-201. Beach, David. Schubert's Experiments with Sonata Form: Formal-Tonal Design Versus Underlying Structure. Music Theory Spectrum 15/1 (1993), 1-18. ___________. Phrase Expansion: Three Analytical Studies. Music Analysis 14 (1995), 27-47. Berry, Wallace. Form in Music: An Examination of Traditional Techniques of Musical Structure and their Application in Historical and Contemporary Styles. 2nd edition. Englewood Cliffs, N.J.: Prentice-Hall, Inc., 1986. Blombach, Ann. Phrase and Cadence: A Study of Terminology and Definition. Journal of Music Theory Pedagogy 1 (1987), 225-251. Bonds, Mark Evan. Haydns False Recapitulations and the Perception of Sonata Form in the Eighteenth Century. Ph.D. diss.: Harvard University, 1988. ___________. Wordless Rhetoric: Musical Form and the Metaphor of the Oration. Cambridge, MA: Harvard University Press, 1991. Broyles, Michael. Organic Form and the Binary Repeat. Musical Quarterly 66 (1980), 339-360. Budday, Wolfgang. Grundlagen musicalischer Formen der Wiener Klassik: An Hand der zeitgenssischen Theorie von Joseph Riepel und Heinrich Koch dargestellt an Menuetten und Sonatenstzen (1750-1790). Kassel: Brenreiter, 1983. Cadwallader, Allen. Form and Tonal Process. In Trends in Schenkerian Research (New York: Schirmer, 1990), 1-21. Caplin, William. Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven. London: Oxford University Press, 1998. ___________. The Expanded Cadential Progression: A Category for the Analysis of Classical Form. Journal of Musicological Research 7 (1987), 215-257. ___________. Structural Expansion in Beethovens Symphonic Forms. In Beethovens Compositional Process (Lincoln: University of Nebraska Press, 1991), 27-54. ___________. Hybrid Themes: Toward a Refinement in the Classification of Classical Theme Types. Beethoven Forum 3 (1994), 151-165. Cavett-Dunsby, Esther. Mozarts Variations Reconsidered: Four Case Studies (K. 613, K. 501, K. 421/417b, K. 491). New York: Garland, 1989.
8 Churgin, Bathia. Harmonic and Tonal Instability in the Second Key Area of Classical Soanta Form. In Convention in Eighteenth- and Nineteenth-Century Music: Essays in Honor of Leonard G. Ratner (Stuyvesant, NY: Pendragon, 1992), 23-57. Cole, Malcolm. Haydns Symphonic Rondo Finales; Their Structure and Stylistic Evolution. Haydn Yearbook 13 (1982), 113-142. Cone, Edward T. Musical Form and Musical Performance. New York: Norton, 1968. Dahlhaus, Carl. Some models of unity in musical form. Journal of Music Theory 19/1 (1975), 2-30. ___________. Satz und Periode: Zur Theorie der musikalischen Syntax. Zeitschrift fr Musiktheorie 9 (1978), 16-26. Darcy, Warren. Bruckner's Sonata Deformations. Bruckner Studies (New York: Cambridge University Press, 1997), 256-277. ___________. Rotational Form, Teleological Genesis, and Fantasy-Projection in the Slow Movement of Mahler's Sixth Symphony. 19th-Century Music 25/1 (2001), 49- 74. Davis, Shelly. H. C. Koch, the Classic Concerto, and the Sonata-Form Retransition. Journal of Musicology 2 (1983), 45-61. Fillion, Michelle. Sonata-Exposition Procedures in Haydns Keyboard Sonatas. In Haydn Studies (New York: Norton, 1981), 475-481. Folse, Stuart. Popular Music as a Pedagogical Resource for Musicianship: Contextual Listening, Prolongations, Mediant Relationships, and Musical Form. Journal of Music Theory Pedagogy 18 (2004), 65-79. Fisher, Steven. Sonata Procedures in Haydns Symphonic Rondo Finales of the 1770s. In Haydn Studies (New York: Norton, 1981), 481-487. Fontaine, Paul. Basic Formal Structures in Music. New York: Meredith Publishing Company, 1967. Forster, Robert. Zur Funktion von Anfangsritornell und Reprise in den Kopfstzen einiger Klavierkonzerte Mozarts. Mozart-Jahrbuch 1986, 74-89. Frisch, Walter. Brahms and the Principle of Developing Variation. Berkeley: University of California Press, 1984. Gagn, David. The Compositional Use of Register in Three Piano Sonatas by Mozart. In Trends in Schenkerian Research (New York: Schirmer, 1990), 23-40. Galand, Joel. Form, Genre, and Style in the Eighteenth-Century Rondo. Music Theory Spectrum 17/1 (1995), 27-52. ___________. Formenlehre Revived. Intgral 13 (1999), 143-200. ___________. The Large-Scale Formal Role of the Solo Entry Theme in the Eighteenth- Century Concerto. Journal of Music Theory 44/2 (2000), 381-450. Graybill, Roger. Brahms's Three-Key Expositions: Their Place within the Classical Tradition. Ph.D. diss.: Yale University, 1983. ___________. Sonata Form and Reicha's Grande Coupe Binaire of 1814. Theoria 4 (1989), 89-105. Green, Douglass. Form in Tonal Music: An Introduction to Analysis. 2nd edition. New York: Holt, Rinehart and Winston, 1979. Haimo, Ethan. Haydns Altered Reprise. Journal of Music Theory 32 (1988), 335-351.
9 ___________. Haydns Symphonic Forms: Essays in Compositional Logic. Oxford: Clarendon Press, 1995. Harutunian, John. Haydn and Mozart: Tonic-Dominant Polarity in Mature Sonata-Style Works. Journal of Musicological Research 9 (1990), 273-298. Hepokoski, James. Structural Tensions in Sibelius's Fifth Symphony: Circular Stasis, Linear Progress, and the Problem of "Traditional" Form. Sibelius Forum (Helsinki: Sibelius-Akatemia, 1998), 213-236. ___________. Back and Forth From Egmont: Beethoven, Mozart, and the Nonresolving Recapitulation. 19th-Century Music 25/2-3 (2002), 127-164. ___________. Beyond the Sonata Principle. Journal of the American Musicological Society 55/1 (2002), 91-154. Hepokoski, James and Warren Darcy. The Medial Caesura and Its Role in the Eighteenth-Century Sonata Exposition. Music Theory Spectrum 19/2 (1997), 115- 154. ___________. Elements of Sonata Theory: Norms, Types, and Deformations in the Late- Eighteenth-Century Sonata. New York: Oxford University Press, 2006. Hopkins, Robert. When a Coda is More than a Coda: Reflections on Beethoven. In Explorations in Music, the Arts, and Ideas: Essays in Honor of Leonard B. Meyer (Stuyvesant, NY: Pendragon, 1988), 393-410. Hunt, Graham. The Three-Key Trimodular Block and its Classical Precedents: Sonata Expositions of Schubert and Brahms. Intgral 23 (2009), 65-119. ___________. When Form and Structure Collide: The Three-Key Exposition Revisited Music Theory Spectrum (forthcoming) Jackson, Timothy. Brucknerian Models: Sonata Form and Linked Internal Auxiliary Cadences. Sibelius Forum II (Helsinki: Sibelius-Akatemia, 2003). ____________. The Finale of Bruckner's Seventh Symphony and Tragic Reversed Sonata Form. Bruckner Studies (New York: Cambridge University, 1997), 140-208. ___________. The Tragic Reversed Recapitulation in the German Classical Tradition. Journal of Music Theory 40/1 (1996), 61-111. Jan, Steven. X Marks the Spot: Schenkerian Perspectives on the Minor-Key Classical Development Section, Music Analysis 11 (1992), 37-54. Kohs, Ellis. Musical Form: Studies in Analysis and Synthesis. Boston: Houghton Mifflin Company, 1976. Kster, Konrad. Formale Aspekte ds ersten Allegros in Mozarts Konzerten. Kassel: Brenreiter, 1991. Larsen, Jens Peter. Sonata Form Problems. In Handel, Haydn, and the Viennese Classical Style, trans. Ulrich Krmer, 269-79 (Ann Arbor: University of Michigan Press, 1988). LaRue, Jan. Bifocal Tonality in Haydn Symphonies. In Convention in Eighteenth- and Nineteenth-Century Music: Essays in Honor of Leonard G. Ratner (Stuyvesant, NY: Pendragon, 1992), 59-73. ___________. Guidelines for Style Analysis. 2nd ed. Warren, MI: Harmonie Park Press, 1992.
10 Levy, Janet. Gesture, Form, and Syntax in Haydns Music. In Haydn Studies (New York: Norton, 1981), 355-362. Longyear, Rey and Kate Covington. Sources of the Three-Key Exposition. Journal of Musicology 6 (1988), 448-470. Marston, Nicholas. The Recapitulation-Transition in Mozarts Music. In Mozart- Jahrbuch 1991, 793-809. Marx, Adolph Bernhard. Musical Form in the Age of Beethoven : Selected Writings on Theory and Method. New York: Cambridge University Press, 1997. Mathes, James. The Analysis of Musical Form. Upper Saddle River, NJ: Pearson Prentice Hall, 2007. Ratner, Leonard. Classic Music: Expression, Form, and Style. New York: Schirmer, 1980. Rosen, Charles. The Classical Style: Haydn, Mozart, Beethoven. New York: Norton, 1972. ___________. Sonata Forms. revised ed. New York: W.W. Norton, 1988. ___________. Schubert's Inflections of Classical Form. The Cambridge Companion to Schubert (New York: Cambridge University Press, 1997), 72-98. Rothstein, William. Phrase Rhythm in Tonal Music. New Yor: Schirmer, 1989. Santa, Matthew. Hearing Form: Musical Analysis With and Without the Score. New York: Routledge, 2010. Schachter, Carl. Analysis by Key: Another Look at Modulation. Music Analysis 6 (1987), 289-318. Schenker, Heinrich. Free Composition. ed. and trans. by Ernst Oster. New York: Longman, 1979. Schmalfeldt, Janet. Cadential Processes: The Evaded Cadence and the One More Time Technique. Journal of Musicological Research 12 (1992), 1-51. ___________. Towards a Reconciliation of Schenkerian Concepts with Traditional and Recent Theories of Form. Music Analysis 10 (1991), 233-287. Shamgar, Beth. On Locating the Retransition in Classic Sonata Form. Music Review 42 (1981), 130-143.
Sisman, Elaine. Small and Expanded Forms: Kochs Model and Haydns Music. Musical Quarterly 68 (1982), 444-475. ___________. Haydn and the Classical Variation. Cambridge, MA: Harvard University Press, 1993. Sly, Gordon. Schubert's Innovations in Sonata Form: Compositional Logic and Structural Interpretation. Journal of Music Theory 45/1 (2001), 119-143; 147-150. Smyth, David. Balanced Interruption and the Formal Repeat. Music Theory Spectrum 15/1 (1993), 76-88. ___________. Large-Scale Rhythm and Classical Form. Music Theory Spectrum 12/2 (1990), 236-246. Snyder, John. Schenker and the First Movement of Mozarts Sonata, K. 545: An Uninterrupted Sonata-Form Movement. Theory and Practice 16 (1991), 51-78.
11 Spencer, Peter and Peter Temko. A Practical Approach to the Study of Form in Music. Prospect Heights, Illinois: Waveland Press, Inc., 1994. Originally published Englewood Cliffs, NJ: Prentice-Hall (Simon & Schuster), 1988. Spring, Glenn and Jere T. Hutchison. Musical Form and Analysis. New York: McGraw- Hill, 1994. Stein, Leon. Structure and Style: The Study and Analysis of Musical Forms. Expanded edition. Evanston, IL: Summy-Birchard, 1979. Stevens, Jane. Patterns of Recapitulation in the First Movements of Mozarts Piano Concertos. In Musical Humanism and Its Legacy: Essays in Honor of Claude Palisca (Stuyvesant, NY: Pendragon, 1992), 397-418. Swain, Joseph. Form and Function of the Classical Cadenza, Journal of Musicology 6 (1988), 27-59. Tovey, Donald. The Forms of Music. New York: Meridian, 1956. Webster, James. Schuberts Sonata Form and Brahms First Maturity. Nineteenth Century Music 2 (1978), 18-35 and Nineteenth Century Music 3 (1979), 52-71. ___________. Freedom of Form in Haydns Early String Quartets. In Haydn Studies (New York: Norton, 1981), 522-530. ___________. Haydns Farewell Symphony and the Idea of Classical Style: Through- Composition and Cyclic Integration in His Instrumental Music. Cambridge: Cambridge University Press, 1991. Wolf, Eugene. The Recapitulations in Haydns London Symphonies. Musical Quarterly 52 (1966), 71-89.
Reference Perone, James E. Form and Analysis Theory: a Bibliography. Westport, CN: Greenwood Press, 1998.