Contents

pp v-vi

Acknowledgments

pp vii-viii

Introduction

pp 1-8

Part One - Theoretical Studies in Haydn and Mozart

pp 9-10

1 - “Functial Formanality”: Twisted Formal Functions in Joseph Haydn’s Symphonies

pp 11-36

2 - Mozart’s Sonata-Form Arias

pp 37-74

Part Two - Nineteenth-Century Taxonomies

pp 75-76

3 - Formal Type and Formal Function in the Postclassical Piano Concerto

pp 77-122

4 - Saint-Saëns’s Cyclic Forms

pp 123-162

Part Three - Schubert

pp 163-164

5 - Schubert’s “Deflected-Cadence” Transitions and the Classical Style

pp 165-197

6 - “Heavenly Length” in Schubert’s Instrumental Music

pp 198-222

Part Four - Text, Texture, and Form

pp 223-224

7 - Sentences in the Lieder of Robert Schumann: The Relation to the Text

pp 225-251

8 - Parlante Talk: Texture and Formal Function in the Operas of Verdi

pp 252-292

Part Five - Analysis and Hermeneutics

pp 293-294

9 - Discipline and Punish among the Winds in the First Movement of Beethoven’s First Symphony

pp 295-316

10 - Laborious Homecomings: The “Ongoing Reprise” from Clementi to Brahms

pp 317-342

Part Six - Choenberg and Beyond

pp 343-344

11 - Dominant Tunnels, Form, and Program in Schoenberg’s Verklärte Nacht

pp 345-372

12 - Form and Serial Function in Leibowitz’s Trois Poèmes de Pierre Reverdy

pp 373-410

13 - The Philosopher as Theorist: Adorno’s materiale Formenlehre

pp 411-433

Afterword

pp 434-440

Notes on Contributors

pp 441-444

Index

pp 445-456