| Contents |
[Part] I : Musical structure. Introduction ; The concept of shape ; Schoenberg's Grundgestalt ; Total serialism ; Shape in classic-romantic music -- [Part] II : Musical domains. Pitch ; Thematic shapes ; Harmony and tonality ; Duration ; Musical time ; Temporal duality in music ; Rhythm and meter ; Toward a theory of tonal rhythm ; Rhythmic shape ; Tempo ; Phrasing and nuance -- [Part] III : The concept of unity : analyses. Unity in Beethoven's Eroica symphony (first movement) ; Unity in other works ; Mozart's Symphony no. 40 ; Haydn's Symphony no. 104 ; Schmann's Third symphony -- [Part] IV : Structure and premise : analyses. Ambiguity as premise ; Ambiguity in Brahms's Second symphony ; Ambiguity in Brahms's Intermezzo, op. 118, no. 2 ; Other examples of premise ; Local events as premise ; Procedure as premise -- [Part] V : Other perspectives. In search of the compositional dynamic ; Epilogue -- Appendix A : Schoenberg's studies of motive, motive-forms, and developing variation -- Appendix B : Middle-period Beethoven : motive form and tonal plan. |
