Classical Form: Theory Of Formal Functions For ...

Although intended for, and derived specifically from, the music of Haydn, Mozart, and Beethoven, the theory of formal functions has been extended by various authors, mostly to later repertoires and largely in connection with the sentence paradigm (notably, Schubert, Schumann, Wagner, Schoenberg, and music in film) but occasionally earlier as well (especially J.S. Bach). See "Further reading" below.

Classical Form: Theory of Formal Functions for ...

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Building on ideas first advanced by Arnold Schoenberg and later developed by Erwin Ratz, this book introduces a new theory of form for instrumental music in the classical style. The theory provides a broad set of principles and a comprehensive methodology for the analysis of classical form, from individual ideas, phrases, and themes to the large-scale organization of complete movements. It emphasizes the notion of formal function, that is, the specific role a given formal unit plays in the structural organization of a classical work.

11Caplin, Classical Form, 26-29 and 42-45. Richards (2011) argued that the cadential function is not necessary, and he made a compelling argument within the context of Caplin's theory of formal functions. However, plagal, deceptive, and other cadence types not recognized by Caplin abound in music before and after Haydn, Mozart, and Beethoven. If weaker kinds of cadences such as plagal and deceptive can serve a cadential function, then sentences that end without cadential functions are so few and far between that establishing a separate category for them seems unnecessary. Therefore this taxonomy retains the cadential requirement, only with a broader acceptance of what qualifies as a cadence. 041b061a72