Cedric Thorpe Davie is himself a noted composer; and musical forms are as familiar to him as armatures are to the sculptor. As a result; he is able not only to describe them clearly; but also to evaluate their qualities and to point out their truly characteristic fundamentals. It is his discussions of such core questions as: What is the true basis of sonata form? And What are the qualities of a successful form that make for convincing music? that cause his book to be the unusually interesting and lively study that it is.The text defines and describes the forms commonly used by Western composers in the period between 1550 and 1900. These are the binary and ternary forms; including the de capo aria; minuet-and-trio; and rondo; the sonata form; the forms in the concerto; variation forms mdash; including ground bass; passacaglia; and chaconne; and the contrapuntal forms; notably the fugue and canon. Each form is illustrated with a detailed analysis of a specific piece or movement; usually from the work of Bach; Haydn; Mozart; or Beethoven; but often from Purcell; Brahms; Dvorak; or other composers. The student is also referred to a list of compositions in the same form for further study.Experienced musicians; both professional and amateur; and students will find the authors thoughtful; well-written discussions of the controversial aspects of formal analysis extremely perceptive and stimulating. Beginning music lovers; even those with little or no training in music; will come away from a thorough reading of the book with a good knowledge of each important musical form; and with a greatly increased insight into the way music is organized.
#2039698 in eBooks 2014-06-24 2014-06-24File Name: B00KSH5TQA
Review
7 of 7 people found the following review helpful. Intro to Rock Art ResearchBy DiwiyanaThis is a good basic text on the subject of researching rock art. It includes 10 chapters; giving a concise introduction; describing the nature of fieldwork; classification; dating methods; scientific analysis; as well as types of interpretations. These include symbolic and ethnographic interpretation; as well as the recently popular neuropsychological theory. Other chapters focus on conservation and the relationships among archeology; anthropology; and rock art. An appendix includes recording forms for fieldworkers. Readers who want something mystical and magical will not find it here. Serious students of rock art will find an excellent introduction to the field.4 of 4 people found the following review helpful. Wonderful BookBy DesertGalThis book is a very good introduction to Rock Art Research and should be read by everyone interested in Rock Art Research. I wish it was around when I started out.4 of 4 people found the following review helpful. rock art researchBy Bruce Ostlerim not a student or a professional rock art researcher; but i do have a keen interest in rock art. that said; i just finished reading rock art research; cover to cover; and found it a remarkably comprehensive book about how reseach is conducted; how theories are put forward; investigated; and rigorously challenged. this guy whitley has a remarkable mind and is able to lay out theories in clear fashion which come alive. as fine a writer as whitley is - and i believe him to be one of the best writers on rock art that i have read - i did find my mind wandering a bit in chapter 8 OTHER FORMAL APPROACHES - but i dont know if it was me being a little impatient or his writing; or if it was the theories discussed in that chapter that are not as interesting...by the time id finished the book; i was wondering WHY he so rarely references shaafsma - because ive always found her to be quite insightful and interesting... i know her book on shields does not embrace shamanism; and im sure that there is somekind of philosophical difference between them; but he should have highlighted what those differences are and not simply ignore it/her. THAT would be an interesting intellectual challenge.i await with great anticipation his newest book.
