Formal Type and Formal Function in the Postclassical Piano Concerto.

Horton, Julian

Abstract

William E. Caplin’s theory of formal functions offers one of the most substantial accounts available of the formal strategies of Viennese-classical instrumental music. Elaborating and modernizing theFormenlehrenof Arnold Schoenberg and Erwin Ratz, Caplin formalizes the conventions bridging the gap between the whole-movement forms that are the habitual starting point for architectonic theories and the motivic processes underpinning Schoenbergian concepts of developing variation.¹ In so doing, he mediates skillfully the atomistic and global perspectives characterizing what Mark Evan Bonds calls the “generative” and “conformational” attitudes into which much nineteenth- and twentieth-century formal thinking divides, supplying a syntax (to borrow...

Citation

Horton, J. (2015). Formal Type and Formal Function in the Postclassical Piano Concerto. In S. Vande Moortele, J. Pedneault-Deslauriers, & N. Martin (Eds.), Formal Functions in Perspective: Essays on Musical Form from Haydn to Adorno (77-122). University of Rochester Press, Boydell & Brewer. https://doi.org/10.7722/j.ctt17mvk3b.7

• Online Publication Date: Nov 1, 2015
• Publication Date: 2015-11
• Deposit Date: Jan 11, 2016
• Pages: 77-122
• Series Title: Eastman Studies in Music, 127
• Book Title: Formal Functions in Perspective: Essays on Musical Form from Haydn to Adorno.
• Chapter Number: 3
• ISBN: 9781580465182
• DOI: https://doi.org/10.7722/j.ctt17mvk3b.7
• Public URL: https://durham-repository.worktribe.com/output/1673080
• Publisher URL: www.jstor.org/stable/10.7722/j.ctt17mvk3b.7