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Practical Approach to the Study of Form in Music, by Peter Spencer, Peter M. Temko
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Learning music's organizing principles . . . Approaching the study of form as an exercise in perceiving the interaction of a number of discrete musical events, Spencer and Temko's book embodies much more than a search for visual clues. Students of form develop perceptual tools that allow them to proceed from the aural experience to an understanding of the arch-principles upon which music is organized. The authors hold that the organizing principles of a given piece of music may be gleaned from studying: the internal attributes that give a section its specific identity; the functional relations between sections; the ordering of those sections.
Title of related interest from Waveland Press: Spring-Hutcheson, Musical Form and Analysis: Time, Pattern, Proportion (ISBN 9781478607229).
- Sales Rank: #584238 in Books
- Brand: Brand: Waveland Pr Inc
- Published on: 1994-07-01
- Original language: English
- Number of items: 1
- Dimensions: 9.25" h x 7.00" w x .75" l, .85 pounds
- Binding: Paperback
- 215 pages
- Used Book in Good Condition
Review
"I liked it very much and appreciated the clear and brief explanations and the accessible musical examples." --Lark Powers, East Central University
From the Back Cover
"I have long been searching for a book of this type. It covers the important points of structural analysis without the pedantic ramblings found in many texts." -- Michael Levi, College of St. Rose
Most helpful customer reviews
0 of 0 people found the following review helpful.
This is the driest book I've ever tried to read ...
By Kez
This is the driest book I've ever tried to read. I really don't get why my professor uses it.
22 of 22 people found the following review helpful.
A Plain and Painless Route to Music Analysis
By M. Lenti, DMA
With Spencer and Temko's focused approach to musical analysis, this intimidating discipline is made interesting and accessible. It does require knowledge of music theory, but even those students who regard theory as anathema can be put at ease within the first twenty pages of this succinct book.
The magic formula (which is an expansion of Jan La Rue's "musical parameters" view of analysis) is found in a chart of what are called musical "phenomena". "Observations" would have done as nicely, since the student is asked simply to state what he sees or hears in a score, using a three letter code. For example, a change in dynamics from loud to soft, signalling perhaps a new theme or key is marked IN THE SCORE with "dyn". This orderly process, indicated above the score in tabular fashion, allows the student to use the composer's own indications to assist in finding those defining points in the myriad of notes which, taken as a whole, can be overwhelming to a college junior. This makes analysis obvious and (in the words of my students) fun.
I use an anthology with this, plus the students' own scores. Later in the course, we meet in the music library, selecting unknown scores to analyze for form, period, and composer, using the same 3-letter codes. Recommended.
9 of 11 people found the following review helpful.
Problems Lurk for those with Non-Conservatory backgrounds
By A Customer
While I applaud the analysis method, based on Jan la Rue's "Five Parameters of Music" (here expanded to nine phenomena), this text poses several problems for the standard college classroom. An anthology is mandatory, though no one anthology seems to work with it. The analysis method itself yields a very densely marked score, with code observations which are more confusing than helpful. As to the standard terminology regarding binary, ternary, and compound forms, the wording is off-putting, requiring a good bit of translation from the professor. While form is a difficult bird for some, I was willing to take time to translate and go the extra mile. I also made use of the examples in the text at the keyboard. I have a doctorate in performance. Heaven help a clarinetist-professor.Very difficult excertps.Three years and out it goes.
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