The Homophonic Forms of Musical Composition (Classic Reprint) - Couverture souple

Goetschius, Percy

 
9781332327669: The Homophonic Forms of Musical Composition (Classic Reprint)

Synopsis

Master the structures of homophonic musical form with a thorough, field-tested guide. This exhaustive treatise explains how simple phrases develop into complete song-forms, including the role of cadences, harmony, and melody, with clear rules you can apply in practice.

The book presents a systematic framework for understanding form, from the basic phrase to the full song-form with trio. It combines definition, analysis, and practical exercises to help you analyze and craft formal designs. Examples, quotations, and illustrations from classical masters ground the concepts, while reader-friendly guidance helps both general music students and aspiring composers.

- Learn the essential building blocks: phrase structure, harmonic progression, and melodic joints.
- Explore how different song-forms (two-part, three-part, and longer forms) are organized and varied.
- See practical guidance in the form of exercises and example analyses to sharpen your ear and hands-on skills.
- Discover the study and etude concepts, including how figures and motives shape harmonic development.

Ideal for readers of music theory and composition who want a rigorous, hands-on text that links theory to practiced musical forms, with both historical and practical perspectives.

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Présentation de l'éditeur

Excerpt from The Homophonic Forms of Musical Composition: An Exhaustive Treatise on the Structure and Development of Musical Forms, From the Simple Phrase to the Song-Form With "Trio", For the Use of General and Special Students of Musical Structure

This book undertakes no more than the systematic enumeration and exhaustive explanation of all the formal designs and methods of structural treatment in the homophonic domain of musical composition, as revealed in classical or standard writings. The student who aims to acquire the Science of composition, is expected to Imitate these designs and methods, and to look for additional illustrations and confirmations in general musical literature. This will develop skill and facility, will induce correct habits of musical thought, will enrich the mind with a fund of resources, and stimulate the imagination to increased responsiveness and activity.

But, further than this, the book lays no claim to furnishing clues to the subtle Art of composition. In converting his theoretical knowledge into successful practice, - into a means to an end, - the student can appeal to no other authority than that of his own fancy, good taste, and natural or acquired judgment.

The examples given for reference must be inspected, - if not totally, at least in great part. No student should hope to be entirely successful and efficient as a composer without possessing quite extensive acquaintance with the products and processes of successful writers. Therefore, the pupil must regard the conscientious examination of these carefully selected quotations, as a very significant and distinctly essential part of his study. This applies more especially to the works cited in Divisions I, II and III.

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