{"id":375,"date":"2016-03-28T16:47:15","date_gmt":"2016-03-28T20:47:15","guid":{"rendered":"http:\/\/robertkelleyphd.com\/home\/?page_id=375"},"modified":"2019-04-10T17:00:59","modified_gmt":"2019-04-10T21:00:59","slug":"musical-form-and-analysis-outline","status":"publish","type":"page","link":"https:\/\/robertkelleyphd.com\/home\/teaching\/music-theory\/musical-form-and-analysis-outline\/","title":{"rendered":"Form and Analysis Outline"},"content":{"rendered":"
\n


\nStudy Guide for Musical Form
\nA Complete Outline of Standardized Formal Categories and Concepts<\/b>
\nRobert T. Kelley<\/a>
\nFebruary 2001<\/p>\n

\n

I made this outline many years ago. Since then, Caplin’s wonderful textbook Analyzing Classical Form<\/a> and Hepokoski and Darcy 2006<\/a> and have significantly changed the way musical form is understood by modern scholars. I recommend purchasing Caplin’s book<\/a> in order to learn about musical form.<\/i><\/p>\n

\n
    \n
  1. Introduction\n
      \n
    1. The Analytical Problem<\/li>\n
    2. The Reasons for Division and Categorization<\/li>\n<\/ol>\n<\/li>\n
    3. Basic Structural Units\n
        \n
      1. Single Musical Events\n
          \n
        1. pitches<\/li>\n
        2. rhythms<\/li>\n
        3. gestures<\/li>\n
        4. motives<\/li>\n<\/ol>\n<\/li>\n
        5. The Phrase\n
            \n
          1. melodic\/vocal<\/li>\n
          2. structural\/cadential<\/li>\n
          3. introduction<\/li>\n
          4. interpolation<\/li>\n
          5. extension<\/li>\n
          6. phrase construction from repetition and contrast<\/li>\n
          7. the sentence<\/li>\n<\/ol>\n<\/li>\n
          8. The Period\n
              \n
            1. antecedent and consequent<\/li>\n
            2. symmetrical and asymmetrical<\/li>\n
            3. parallel and contrasting<\/li>\n
            4. HC AC type and IAC PAC type (and other possibilities)<\/li>\n
            5. non-modulating and modulating<\/li>\n
            6. three-phrase periods<\/li>\n
            7. the double period<\/li>\n
            8. the repeated period<\/li>\n<\/ol>\n<\/li>\n
            9. The Phrase Group\n
                \n
              1. modulatory\/transitional phrase structures<\/li>\n
              2. the section (extended passage with no cadential divisions)<\/li>\n<\/ol>\n<\/li>\n<\/ol>\n<\/li>\n
              3. Structural Functions (from Spencer\/Temko<\/a>)\n
                  \n
                1. Expository(\/Recapitulatory)<\/li>\n
                2. Transitional(\/Modulatory)<\/li>\n
                3. Developmental(\/Variational)<\/li>\n
                4. Terminative(\/Cadential)<\/li>\n<\/ol>\n<\/li>\n
                5. Larger Structural Units (The concept of closure)\n
                    \n
                  1. Closed Section\n
                      \n
                    1. Completed Harmonic Motion in One Key<\/li>\n
                    2. Non-Modulating Periodic Structure<\/li>\n<\/ol>\n<\/li>\n
                    3. Open Section\n
                        \n
                      1. Modulatory Periodic Structure<\/li>\n
                      2. Phrase Groups and Extended Phrases<\/li>\n<\/ol>\n<\/li>\n<\/ol>\n<\/li>\n
                      3. <\/a>Binary Forms (Large-scale antecedent-consequent functions)\n
                          \n
                        1. Simple (Periodic or Cadential Division only)\n
                            \n
                          1. Sectional<\/li>\n
                          2. Continuous<\/li>\n<\/ol>\n<\/li>\n
                          3. Balanced (Periodic or Cadential Division with Cadence Rhyme)\n
                              \n
                            1. Sectional (rare)<\/li>\n
                            2. Continuous<\/li>\n<\/ol>\n<\/li>\n
                            3. Rounded (Periodic or Cadential Division with Clear Return of Opening Material in the tonic)\n
                                \n
                              1. Sectional<\/li>\n
                              2. Continuous<\/li>\n<\/ol>\n<\/li>\n
                              3. Sonata (Clear Return of Opening Material and Advanced Cadence Rhyme)\n
                                  \n
                                1. Expository Sections with Two or More Themes and Modulation<\/li>\n
                                2. The Concept of Development as Larger Formal Division<\/li>\n
                                3. The Sonatina<\/li>\n
                                4. Concerted Sonata Form<\/li>\n<\/ol>\n<\/li>\n<\/ol>\n<\/li>\n
                                5. Ternary Forms\n
                                    \n
                                  1. Simple Ternary Structure\n
                                      \n
                                    1. Three closed sections, no development<\/li>\n
                                    2. Three closed sections with transitions<\/li>\n<\/ol>\n<\/li>\n
                                    3. Composite (or Compound) Ternary\n
                                        \n
                                      1. Paired Dances<\/li>\n
                                      2. Minuet (Scherzo) and Trio<\/li>\n
                                      3. The March and Trio<\/li>\n
                                      4. Other combinations<\/li>\n<\/ol>\n<\/li>\n<\/ol>\n<\/li>\n
                                      5. Refrain Forms\n
                                          \n
                                        1. Concerto Grosso<\/li>\n
                                        2. Verse and Refrain Songs<\/li>\n
                                        3. Rondeau and Rondo (5-part and 7-part)<\/li>\n
                                        4. Sonata-Rondo<\/li>\n<\/ol>\n<\/li>\n
                                        5. One-Part Forms\n
                                            \n
                                          1. Prelude and Toccata<\/li>\n
                                          2. Programmatic One-Part Forms<\/li>\n
                                          3. Contrapuntal Forms<\/li>\n<\/ol>\n<\/li>\n
                                          4. Variation Forms\n
                                              \n
                                            1. Theme and Variations (Sectional Variations)<\/li>\n
                                            2. Continuous Variations<\/li>\n
                                            3. Developing Variations<\/li>\n<\/ol>\n<\/li>\n
                                            4. Contrapuntal Genres\n
                                                \n
                                              1. Compositional Process as Form<\/li>\n
                                              2. Head-Motive Structures\n
                                                  \n
                                                1. Imitative Motet<\/li>\n
                                                2. Invention<\/li>\n
                                                3. Fugue<\/li>\n
                                                4. Canon<\/li>\n<\/ol>\n<\/li>\n<\/ol>\n<\/li>\n
                                                5. Multi-Movement Structures\n
                                                    \n
                                                  1. The Suite<\/li>\n
                                                  2. The Sonata<\/li>\n
                                                  3. The Cycle<\/li>\n<\/ol>\n<\/li>\n
                                                  4. Summary of Analytical Procedure\n
                                                      \n
                                                    1. Background Research<\/li>\n
                                                    2. Listening<\/li>\n
                                                    3. Segmenting of Motives and Themes<\/li>\n
                                                    4. Harmonic Analysis<\/li>\n
                                                    5. Phrase Structure Analysis<\/li>\n
                                                    6. Segmentation of Larger Formal Divisions<\/li>\n
                                                    7. Categorization with Regard to Larger Formal Units<\/li>\n
                                                    8. Discussion of the Whole and its Place in Musical Literature<\/li>\n<\/ol>\n<\/li>\n<\/ol>\n
                                                      \n

                                                      <\/a>Selected Bibliography<\/b><\/p>\n