The third volume of A.B. Marx's theory treatise Die Lehre von der musikalischen Komposition is discussed. His definitions of rondo and sonata formal types are demonstrated in the first chapter in addition to the manner of their derivation through a developmental process originating in the Liedform. Musical examples chosen by Marx are examined in chapter two. These examples, taken from Mozart's and Beethoven's piano works, are evaluated in relation to Marx's definitions of the various types of form. The third chapter is concerned with the progression from microstructure to macrostructure and the functional interrelation of the parts to the whole. In addition, Marx's opinion on musical form is compared with perspectives of philosophers from his time period and the immediate past.
| Identifer | oai:union.ndltd.org:unt.edu/info:ark/67531/metadc500789 |
| Date | 07 1900 |
| Creators | Lang, Adelheid K. |
| Contributors | Phipps, Graham Howard, Cho, Gene J., Sovik, Thomas Paul |
| Publisher | University of North Texas |
| Source Sets | University of North Texas |
| Language | English |
| Detected Language | English |
| Type | Thesis or Dissertation |
| Format | vii, 113 leaves : music, Text |
| Rights | Public, Copyright, Copyright is held by the author, unless otherwise noted. All rights reserved., Lang, Adelheid K. |
Page generated in 0.0022 seconds