The Contredanse, Classical Finales, and Caplin's Formal Functions
Bibliographic Data
| ID | 4390624 |
|---|---|
| Authors | David Neumeyer (The University of Texas at Austin, corresponding author) |
| Year | 2006 |
| Volume | 12 |
| Issue | 4 |
| Publication date | 2006-12-01 |
| Peer Reviewed | Yes |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Music Theory Online (JOURNAL) |
| Journal identifiers | ISSN: 1067-3040 • E-ISSN: 1067-3040 |
| Publisher | Society for Music Theory (PUBLISHER • US) |
| DOI | 10.30535/mto.12.4.1 |
| OpenAlex | W2555955099 |
| Language | EN |
| Citations received | 1 |
| References cited | 11 |
Formal designs employing 2, 4, 8, and 16 measure units were basic to eighteenth-century music for dancing. Although the menuet was more flexible, the contredanse was firmly rooted in this "quadratic syntax." Style statistics, expressed in William Caplin's terms for formal functions, were derived from music in dance manuals held by the Library of Congress and reproduced on its American Memory website in order to provide the background for analyses of movements from Mozart and Haydn concert music. The style information and analyses, taken together, suggest that Caplin's distinction between "tight-knit" and "loose" principles of construction may have a source in the active and expressive opposition of music for dancing and (instrumental) music for listening
Art · Literature · MOZART · Diversity and Impact of Dance · Mathematics · Music Technology and Sound Studies · Musicology and Musical Analysis
| Unique citing works | 1 |
|---|---|
| Citations per year | 0,1 |
| Citation span | 2016 - 2016 (1) |
| Citation velocity | historical |
| Highly cited | No |
| Citation types | Neutral: 1 |