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Relevant bibliographies by topics / William Caplin

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Academic literature on the topic 'William Caplin'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "William Caplin"

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Caplin, William. "William Caplin Responds." Intersections: Canadian Journal of Music 31, no. 1 (2010): 67. http://dx.doi.org/10.7202/1009286ar.

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Caplin, William E. "[Letter from William E. Caplin]." Music Theory Spectrum 12, no. 1 (April 1990): 170. http://dx.doi.org/10.2307/746151.

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Caplin, William E. "[Letter from William E. Caplin]." Music Theory Spectrum 12, no. 1 (April 1990): 170. http://dx.doi.org/10.1525/mts.1990.12.1.02a00070.

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Ninov, Dimitar. "Interior Cadences in the Sentence of Schoenberg." Musicological Annual 57, no. 1 (July 5, 2021): 131–48. http://dx.doi.org/10.4312/mz.57.1.131-148.

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This essay will argue against William Caplin’s concept of cadence and will disprove his allegation about an unquestionable lack of interior cadence in the sentence of Schoenberg. Another subject of criticism will be the assumption expressed by Caplin and other theorists that functional prolongation always negates cadence.

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Arndt, Matthew. "Form—Function—Content." Music Theory Spectrum 40, no. 2 (2018): 208–26. http://dx.doi.org/10.1093/mts/mty024.

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Abstract Arnold Schoenberg’s concept of formal function, as formulated by Erwin Ratz, has become a staple of music theory since it was reimagined and systematized by William E. Caplin. However, this concept has been criticized for not speaking to the content of a piece of music, its particularity and meaning. By defining formal components, parts, and functions in line with the conceptual metaphors that underlie musical form, one may establish the inseparability of form and content. The definitions proposed here apply to art music from the eighteenth to the early twentieth centuries, the latter demonstrated through an analysis of Schoenberg’s Op. 11, No. 1.

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Wiens, Carl. "Two-Part Transition or Two-Part Subordinate Theme?" Contemplating Caplin 31, no. 1 (June 7, 2012): 46–65. http://dx.doi.org/10.7202/1009284ar.

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In William Caplin’s Classical Form (1998), the ending of a sonata-form exposition’s two-part transition and a two-part subordinate theme’s internal cadence share the same harmonic goal: the new key’s dominant. In this article, the author contends that the choice between the two is not as clear-cut as Caplin suggests, arguing that the functional role of these passages should be read within the context of the entire sonata movement, rather than on more localized analytical interpretations of the sonata’s sections taken in isolation. Two works are discussed: the first movement of Beethoven’s Piano Sonata op. 2, no. 3, and the first movement of the Piano Sonata op. 10, no. 2.

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Stankovski, Alexander. "Classical Form - Workshop mit William E. Caplin an der Hochschule für Musik Freiburg, 1.–2. Juli 2005." Zeitschrift der Gesellschaft für Musiktheorie [Journal of the German-Speaking Society of Music Theory] 1–2, no. 2/2–3 (2005): 273–78. http://dx.doi.org/10.31751/202.

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Everett, Walter. "Becoming Beethoven: Theorizing Bonner Zeit Transitions." Music Theory and Analysis (MTA) 7, no. 1 (April 30, 2020): 113–80. http://dx.doi.org/10.11116/mta.7.1.3.

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Beethoven wrote about thirty sonata movements before leaving Bonn. Often disparaged as awkward (when not neglected entirely), these pieces deserve rehabilitation for the insights they can bring to the composer's masterworks. Influenced by local Rhenish models—Christian Gottlob Neefe, Andrea Luchesi, and Johann Franz Xaver Sterkel, the Bonner Zeit music imbues a galant style with Empfindsam colorings, producing an idiosyncratic approach to transitions and genre blending—particularly involving cue play surrounding multiple medial caesuras, elisions, phrase expansions, and undermined secondary themes—that responds immediately to Janet Schmalfeldt's perspective on the process of becoming as well as a mix of ideas from Heinrich Schenker, William Caplin, and the work of James Hepokoski and Warren Darcy, all applied here. Three of Beethoven's Bonn sonatas, as well as several works by Rhineland contemporaries, are given close study for their transition-related harmony, voice leading, phrase rhythm, topics, and formal implications.

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Darcy, Warren. "Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven William E. Caplin." Music Theory Spectrum 22, no. 1 (April 2000): 122–25. http://dx.doi.org/10.2307/745856.

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Darcy, Warren. ": Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven . William E. Caplin." Music Theory Spectrum 22, no. 1 (April 2000): 122–25. http://dx.doi.org/10.1525/mts.2000.22.1.02a00060.

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Dissertations / Theses on the topic "William Caplin"

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Walden, Joseph P. "Comparing Formal Analyses of Dmitri Shostakovich’s Symphony No. 5, Op. 47 Through the Theories of James Hepokoski, Warren Darcy, and William Caplin." Ohio University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1408556714.

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Kim, Yereum. "A Performance-and-Analysis Approach to a Cadential Ambiguity: Chopin's Piano Sonata No. 2 in B-flat minor, Op. 35, First Movement." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1609089/.

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Pianists often have trouble in determining where a phrase ends, or in other words, cadence identification. This is especially true of certain cadences that can be considered either as half cadences or authentic cadences. This analytically ambiguous cadential point can result in different performance decisions, so pianists should make informed decisions about what kind of cadence it is. This study aims to investigate such cadential ambiguity shown at points of phrase boundaries by focusing on Chopin's Piano Sonata No. 2 in B-flat minor, Op. 35, first movement. I offer both possibilities (a half cadence or an authentic cadence) at the phrase ending, suggesting a performance-related strategy based on each possibility. My objective is not to support only one cadential status, but to bring up the cadential problem from the analytical perspective and to demonstrate how cadence identification affects performance results. The dissertation is divided into two parts: analysis and performance, so it relies on a combined method of analytical terminologies and performance-related musical elements. In the analysis, the terminology of William Caplin is employed. The performance part refers to several method books written by prestigious piano pedagogues. After an introduction in Chapter 1, Chapter 2 reviews some literature on cadences. Chapter 3 specifically analyzes the first movement of Chopin's second sonata by means of Caplin's terminologies. Chapter 4 provides a performance-related method and Chapter 5 deals with a practical performance strategy.

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Focsaneanu, Bogdan Vasile. "An Analysis of Phrase Structures in the First Movement of Leo Brouwer’s Elogio De La Danza (1964)." Thèse, Université d'Ottawa / University of Ottawa, 2012. http://hdl.handle.net/10393/23249.

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This study examines phrase and larger formal structures in the first movement of Leo Brouwer’s Elegio de la Danza (1964), a work that draws on tonal and post-tonal traditions. By adapting key features of the tonal motive, as described by Douglass Green, and the tonal period, as proposed by Green and William Caplin, the model seeks to provide a tool for the discussion of phrases and larger forms in Brouwer’s work. An analysis of primary parameters, such as melody, harmony, and rhythm, provides the means to discuss how the composer articulates beginnings and endings of statements and responses, which are then grouped into antecedent and consequent phrases. These periods articulate large-scale sections, which outline a ternary formal design. Secondary parameters (dynamics, tempo markings, instrumental markings) further contribute to the identification of formal structures in Brouwer’s work.

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Lakner, Katie. "Formal and Harmonic Considerations in Clara Schumann's Drei Romanzen, op. 21, no. 1." Bowling Green State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1431660576.

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Kausalik, Emily Anne. "A Fistful of Drama: Musical Form in the Dollars Trilogy." Bowling Green, Ohio : Bowling Green State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1213650532.

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Neumann, Martin H. D. Verfasser], Hans [Akademischer Betreuer] Neubauer, and William F. [Akademischer Betreuer] [Martin. "Funktionale Charakterisierung des macrophage capping protein (CapG) und dessen Nachweis auf zirkulierenden Tumorzellen des Mammakarzinoms / Martin H. D. Neumann. Betreuer: Hans Neubauer. Gutachter: William Martin." Düsseldorf : Universitäts- und Landesbibliothek der Heinrich-Heine-Universität Düsseldorf, 2016. http://d-nb.info/109645677X/34.

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Neumann, Martin H. D. [Verfasser], Hans Akademischer Betreuer] Neubauer, and William F. [Akademischer Betreuer] [Martin. "Funktionale Charakterisierung des macrophage capping protein (CapG) und dessen Nachweis auf zirkulierenden Tumorzellen des Mammakarzinoms / Martin H. D. Neumann. Betreuer: Hans Neubauer. Gutachter: William Martin." Düsseldorf : Universitäts- und Landesbibliothek der Heinrich-Heine-Universität Düsseldorf, 2016. http://d-nb.info/109645677X/34.

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Books on the topic "William Caplin"

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United States. Congress. Senate. Committee on Environment and Public Works. Captain John Foster Williams Coast Guard Building: Report (to accompany S. 1896). [Washington, D.C.?: U.S. G.P.O., 1985.

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United States. Congress. Senate. Committee on Environment and Public Works. Captain John Foster Williams Coast Guard Building: Report (to accompany S. 1896). [Washington, D.C.?: U.S. G.P.O., 1985.

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Rogers, Hiromi T. Anjin - The Life and Times of Samurai William Adams, 1564-1620. GB Folkestone: Amsterdam University Press, 2016. http://dx.doi.org/10.5117/9781898823858.

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The year is 1600. It is April and Japan’s iconic cherry trees are in full flower. A battered ship drifts on the tide into Usuki Bay in southern Japan. On board, barely able to stand, are twenty-three Dutchmen and one Englishman, the remnants of a fleet of five ships and 500 men that had set out from Rotterdam in 1598. The Englishman was William Adams, later to be known as Anjin Miura by the Japanese, whose subsequent transformation from wretched prisoner to one of the Shogun’s closest advisers is the centrepiece of this book. As a native of Japan, and a scholar of seventeenth-century Japanese history, the author delves deep into the cultural context facing Adams in what is one of the great examples of assimilation into the highest reaches of a foreign culture. Her access to Japanese sources, including contemporary accounts – some not previously seen by Western scholars researching the subject – offers us a fuller understanding of the life lived by William Adams as a high-ranking samurai and his grandstand view of the collision of cultures that led to Japan’s self-imposed isolation, lasting over two centuries. This is a highly readable account of Adams’ voyage to and twenty years in Japan and that is supported by detailed observations of Japanese culture and society at this time. New light is shed on Adams’ relations with the Dutch and his countrymen, including the disastrous relationship with Captain John Saris, the key role likely to have been played by the munitions, including cannon, removed from Adams’ ship De Liefde in the great battle of Sekigahara (September 1600), the shipbuilding skills that enabled Japan to advance its international maritime ambitions, as well as the scientific and technical support Adams was able to provide in the refining process of Japan’s gold and silver.

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Barnard, William Jackson. Eagle wings and mustang tales: A boy who was born to fly. Port Orange, Fla: Business Advisors Press, 2003.

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5

Marvin, Bp Enoch Mather. Life of Rev. William Goff Caples: Of the Missouri Conference of the Methodist Episcopal Church, South. HardPress, 2020.

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Marvin, Enoch Mather. Life of Rev. William Goff Caples of the Missouri Conference of the Methodist Episcopal Church, South. HardPress, 2020.

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7

Yust, Jason. Formal Structure. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190696481.003.0004.

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William Caplin’s concept of formal functions points the way to a more flexible theory of form based on processes and structuring principles rather than fixed schemata. This chapter further generalizes the theory of formal functions to a set of form-structural criteria based on repetition, fragmentation, caesura, and contrast. The chapter also constructs such a theory of form without necessary reference to tonal criteria, thus serving the larger project of understanding form as an independent musical dimension, capable of disjunction with, or non-trivial coordination with, tonal structure. A definition of secondary theme as a specialization of subordinate theme function is also proposed.

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Houlahan, Mark. Unsettling the Bard. Edited by Michael Neill and David Schalkwyk. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780198724193.013.48.

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This article examines the cultural influence of William Shakespeare’s tragedies on Australasia and the Pacific. To this end, it analyses a range of live and filmed performances, along with the adaptive responses of writers, audiences, and critics to the tragedies. It begins by considering the presence of Shakespeare’s Complete Works on Captain James Cook’s Endeavour when it sailed the Pacific in 1769–1770 before turning to the first recorded Australian Shakespeare: a staging of Henry IV in Robert Sidaway’s Sydney theatre in 1800. It then looks at other works such as those by Charles and Ellen Kean, Ngaio Marsh, and John Bell as well as works that have become part of Australasian literature, including Randolph Stow’s Lear-themed 1958 novel To the Island. It also discusses a number of adaptations of Shakespearean tragedy and concludes with a commentary on Australasian and Pacific responses to tragedy that were generated by—or reflecting the perspectives of—indigenous populations.

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Mirchandani, Sharon. The Early Years. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037313.003.0001.

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This chapter focuses on Marga Richter's early life and education. Florence Marga Richter was born on October 21, 1926, in Reedsburg, Wisconsin. Marga's mother is Inez Chandler Richter (née Davis), an American soprano, and her father is Paul Richter, a captain in the German army during World War I. Marga's paternal grandfather, Richard Richter, was a composer, municipal orchestra conductor, and music teacher in Einbeck, Germany. The strong musical upbringing Marga received, combined with the midwestern values of hard work and independence, was the foundation out of which she grew to compose a large, distinctive body of works over her lifetime. This chapter discusses the influences on Richter's musical and personal life, her early musical experiences, her family's move to New York City in 1943, and her years at Julliard Graduate School where she took up master's studies from 1945 to 1951. It also considers Jabberwocky, Richter's earliest extant work, her marriage to Vernon Hughes, and her studies with William Bergsma, Vincent Persichetti, and Rosalyn Tureck.

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Bohls, Elizabeth A., and Ian Duncan, eds. Travel Writing 1700-1830. Oxford University Press, 2008. http://dx.doi.org/10.1093/owc/9780199537525.001.0001.

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How is the mind agitated and bewildered, at being thus, as it were, placed on the borders of a new world!' (William Bartram) 'Thus you see, dear sister, the manners of mankind do not differ so widely as our voyage writers would have us believe.' (Mary Wortley Montagu) With widely varied motives - scientific curiosity, commerce, colonization, diplomacy, exploration, and tourism - British travellers fanned out to every corner of the world in the period the Critical Review labelled the 'Age of Peregrination'. The Empire, already established in the Caribbean and North America, was expanding in India and Africa and founding new outposts in the Pacific in the wake of Captain Cook's voyages. In letters, journals, and books, travellers wrote at first-hand of exotic lands and beautiful scenery, and encounters with strange peoples and dangerous wildlife. They conducted philosophical and political debates in print about slavery and the French Revolution, and their writing often affords unexpected insights into the writers themselves. This anthology brings together the best writing from authors such as Daniel Defoe, Celia Fiennes, Mary Wollstonecraft, Olaudah Equiano, Mungo Park, and many others, to provide a comprehensive selection from this emerging literary genre.

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Book chapters on the topic "William Caplin"

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Sindelar, Brigitte. "Das riskante Leben des Captain William „Whip“ Whitaker." In Zocker, Drogenfreaks & Trunkenbolde, 75–87. Berlin, Heidelberg: Springer Berlin Heidelberg, 2019. http://dx.doi.org/10.1007/978-3-662-57377-8_6.

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Spirou, Penny. "O Captain, My Captain! Robin Williams and Transformative Learning in Dead Poets Society, Good Will Hunting and Patch Adams." In Teaching and Learning on Screen, 27–43. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-57872-3_3.

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Bruyn, J., B. Haak, S. H. Levie, P. J. J. Van Thiel, and E. Van De Wetering. "The ‘Night watch’, or Officers and men of the company of Captain Frans Banning Cocq and Lieutenant Willem van Ruytenburgh." In A Corpus of Rembrandt Paintings, 430–85. Dordrecht: Springer Netherlands, 1989. http://dx.doi.org/10.1007/978-94-009-0811-6_47.

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Johnson, Jared S. "Villains of the High Seas: Apostasy and Piracy in George Peele’s The Battle of Alcazar, The Anonymously Authored Captain Thomas Stukeley, and William Daborne’s A Christian Turned Turk." In Performativity of Villainy and Evil in Anglophone Literature and Media, 71–87. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-76055-7_5.

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Rodgers, Stephen. "Plagal Cadences in Fanny Hensel’s Songs." In The Songs of Fanny Hensel, 129–46. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190919566.003.0008.

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The past few years have seen an outpouring of research into the ways that Romantic composers distort the conventions of their Classical predecessors. One particular distortion involves the use of genuine plagal cadences that provide formal closure rather than follow a moment of formal closure; according to William Caplin, genuine plagal cadences are almost nonexistent in music written before 1850, and after that they are hardly commonplace. Fanny Hensel is an exception to this rule. Bona fide plagal cadences are common enough in her songs to emerge as a standard category of closure. This chapter examines three Hensel songs that close with plagal cadences—“Zu deines Lagers Füßen,” “Bitte,” and “Erwache Knab’ ”—arguing that they deserve to grouped among the most inventive songs of the early Romantic era, and that Hensel deserves to be seen as one of the era’s true tonal innovators.

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Ashdown, Michael. "Introduction." In Trustee Decision Making. Oxford University Press, 2015. http://dx.doi.org/10.1093/oso/9780198727316.003.0001.

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In 1958 the trustees of a settlement, established in 1947 by Sir William Bass for the benefit of Captain Hastings-Bass and his issue, exercised the statutory power of advancement to transfer £50 000 from that settlement to the trustees of another trust fund created in 1957 for the benefit of Captain Hastings-Bass’s son, William, and William’s issue. What the trustees could not then foresee was that the later decision of the House of Lords in Re Pilkington’s Will Trusts would render some of the 1957 trusts perpetuitous and void. The Commissioners of Inland Revenue argued that this oversight rendered the purported exercise of the power of advancement void, and that in consequence they were entitled to claim estate duty on the £50 000 when Captain Hastings-Bass died in 1964. In 1974 the Court of Appeal rejected this argument, holding that the 1957 trusts created a life interest vested in William Hastings-Bass, and that this life interest survived even though the remoter interests were void for perpetuity.

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Burns, Robert. "53B. [Captain William Logan, Park]." In The Letters of Robert Burns, Vol. 1: 1780–1789 (Second Edition), edited by J. De Lancey Ferguson and G. Ross Roy, 61. Oxford University Press, 1985. http://dx.doi.org/10.1093/oseo/instance.00033155.

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Barno, David, and Nora Bensahel. "The Role of Leadership." In Adaptation under Fire, 73–98. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190672058.003.0005.

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This chapter explores the role of leadership in military adaptation, which may be the most important factor of all. Adaptable tactical leaders must rapidly assess the battlefield and identify the need for change, remain willing to abandon accepted procedures when required, and candidly advocate for organizational change when needed. At the theater level, adaptive leaders face more challenges in identifying the need for change. They need to actively seek out ideas from throughout the chain of command, and to lead rapid battlefield change within their formations. The chapter examines the successful tactical adaptability of Captain John Abizaid during the 1983 invasion of Grenada and the failed tactical adaptability of Lieutenant Colonel Robert McDade in 1965 during the Vietnam War. It also examines the successful theater adaptability of Field Marshall William Slim during the Burma campaign of World War II, and the failed theater adaptability of General William Westmoreland in Vietnam War.

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"This Journals of Captain William Hawkins." In The Hawkins’ Voyages during the Reigns of Henry VIII, Queen Elizabeth, and James I, 351–442. Hakluyt Society, 2017. http://dx.doi.org/10.4324/9781315557311-9.

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Campbell, Richard J., Peter T. Bradley, and Joyce Lorimer. "The Records of Nathaniel Peckett, Richard Williams and William Chambers." In The Voyage of Captain John Narbrough to the Strait of Magellan and the South Sea in his Majesty’s Ship Sweepstakes, 1669–1671, 578–658. Routledge, 2018. http://dx.doi.org/10.4324/9781351168564-4.

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Conference papers on the topic "William Caplin"

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Camiz, Alessandro, Marika Griffo, Seda Baydur, and Emilia Valletta. "The chain tower in Kyrenia’s harbour, Cyprus." In FORTMED2020 - Defensive Architecture of the Mediterranean. Valencia: Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11459.

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In the Middle Ages a chain suspended between two towers defended the entrance of Kyrenia’s little harbour, like the chain across the Golden Horn in Constantinople. William de Oldenburg, who visited Cyprus in 1211 during the reign of King Hugh I, referred to Kyrenia as “a small town well-fortified, which has a castle with walls and towers”. He perceived the chain tower as part of Kyrenia’s fortification system in that time. The Byzantines had already fortified the city, but in the thirteenth century, during the Longobard war, before the siege of the city, Frederick II’s party, under the direction of Captain Philippo Genardo, improved the defences of the city. The chain tower is still visible today in the north side of the old Kyrenia harbour. It consists of an 8,15 m diameter cylindrical tower and a 1,5 m diameter pillar on top of it. The tower was supporting a chain attached on the other side to another structure. The fortifications on the north side terminated against the harbour in a square tower or bastion holding the chain to be raised and lowered by means of a windlass. The paper includes the digital photogrammetric survey of the chain tower using a structure from motion software, the historical research and the comparison with other coeval harbour defence constructions of the eastern Mediterranean.

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