Appendices
Works Cited
- BaileyShea, Matthew. 2003. “The Wagnerian Satz: The Rhetoric of the Sentence in Wagner’s Post-Lohengrin Operas.” PhD diss., Yale University.
- BaileyShea, Matthew. 2002/2003. “Wagner’s Loosely Knit Sentences and the Drama of Musical Form.” Intégral 16/17:1–34.
- Bor, Mustafa. 2009. “Sonata-Formal Functions and Transformational Processes in the First Movement of Rochberg’s String Quartet No. 6.” Music Theory Online 15 (1).
- Broman, Per F. 2007. “In Beethoven’s and Wagner’s Footsteps: Phrase Structures and Satzketten in the Instrumental Music of Béla Bartók.” Studia Musicologica 48 (1–2): 113–31.
- Caplin, William. 1998. Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven. Oxford: Oxford University Press. Winner of the Society for Music Theory’s 1999 Wallace Berry Award.
- Dahlhaus, Carl. 1983. Analysis and Value Judgment, trans. Siegmund Levarie. Stuyvesant, NY: Pendragon Press.
- Darcy, Warren. 2000. Review of Classical Form by William E. Caplin. Music Theory Spectrum 22 (1): 122–25.
- Grave, Floyd. 1998. Review of Classical Form by William E. Caplin. Music Theory Online 4 (6).
- Martin, Nathan J. 2010. “Schumann’s Fragment.” Indiana Theory Review 28:85–109.
- Neumeyer, David. 2006. “The Contredanse, Classical Finales, and Caplin’s Formal Functions.” Music Theory Online 12 (4).
- Ratz, Erwin. 1951. Einführung in die musikalische Formenlehre: Über Formprinzipien in den Inventionen J.S. Bachs und ihre Bedeutung für die Kompositionstechnik Beethovens. Wien: Universal.
- Schoenberg, Arnold. 1967. Fundamentals of Musical Composition, ed. Gerald Strang. New York: St. Martin’s Press.
- Spitzer, Michael. 2000. Review of Classical Form by William E. Caplin. Music & Letters 81 (1): 110–15.
- Vande Moortele, Steven. “Sentential Patterns, Sentence Chains, and Sentence Replication: Phrase-Structural Models in Liszt’s Weimar Symphonic Poems.” Intégral 25, forthcoming.
Selected Readings (William Caplin)
- Caplin, William. Analyzing Classical Form. Oxford and New York: Oxford University Press, forthcoming.
- Caplin, William, James Hepokoski, and James Webster. 2009. Musical Form, Forms & Formenlehre: Three Methodological Reflections, edited by Pieter Bergé. Leuven: University of Leuven Press.
- Caplin, William. 1998. Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven. Oxford: Oxford University Press.
- Caplin, William. 1986. “Funktionale Komponenten im achttaktigen Satz.” Musiktheorie 1 (1986): 239–60.
- Caplin, William. 1987. “The ‘Expanded Cadential Progression’: A Category for the Analysis of Classical Form.” Journal of Musicological Research 7:215–57.
- Caplin, William. 1994. “Hybrid Themes: Toward a Refinement in the Classification of Classical Theme Types.” Beethoven Forum 3 (1): 151–65.
- Caplin, William. 2001. “The Classical Sonata Exposition: Cadential Goals and Form-Functional Plans.” Tijdschrift voor Muziektheorie 6 (3): 195–209.
- Caplin, William. 2004. “The Classical Cadence: Conceptions and Misconceptions.” Journal of the American Musicological Society 57 (1): 51–117. Winner of the 2006 “Article of the Year” Opus prize (Conseil québécois de la musique).
- Caplin, William. 2005a. “North American Approaches to Musical Form.” Zeitschrift der Gesellschaft für Musiktheorie 2 (2): 139–42.
- Caplin, William. 2005b. “On the Relation of Musical Topoi to Formal Function.” Eighteenth-Century Music 2 (1): 113–24.
- Caplin, William. 2008. “Schoenberg’s ‘Second Melody,’ Or, ‘Meyer-ed’ in the Bass.” In Communication in Eighteenth-Century Music, edited by Danuta Mirka and Kofi Agawu, 160–188. Cambridge: Cambridge University Press.
- Caplin, William. 2009a. “The ‘Tempest’ Exposition: A Springboard for Form-Functional Considerations.” In Beethoven’s Tempest Sonata: Perspectives of Analysis and Performance, edited by Pieter Bergé, Jeroen D’hoe and William Caplin, 87–125. Leuven: Peeters.
- Caplin, William. 2009b. “What Are Formal Functions?” In Caplin, Hepokoski and Webster 2009, 21–40. Leuven: Leuven University Press, 2009.
- Caplin, William. 2010. “Beethoven’s ‘Tempest’ Exposition: A Response to Janet Schmalfeldt.” Music Theory Online 16 (2).
- Vallières, Michel, William Caplin, and Stephen McAdam. 2009. “Perception of Intrinsic Formal Functionality: An Empirical Investigation of Mozart’s Materials.” Journal of Interdisciplinary Music Studies 3 (1–2): 17–43.