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Journal articles on the topic 'William Caplin'

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Published: 4 June 2021

Last updated: 1 February 2022

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1

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 (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 (1990): 170. http://dx.doi.org/10.1525/mts.1990.12.1.02a00070.

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4

Ninov, Dimitar. "Interior Cadences in the Sentence of Schoenberg." Musicological Annual 57, no. 1 (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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5

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

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6

Wiens, Carl. "Two-Part Transition or Two-Part Subordinate Theme?" Contemplating Caplin 31, no. 1 (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 Pian

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7

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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8

Everett, Walter. "Becoming Beethoven: Theorizing Bonner Zeit Transitions." Music Theory and Analysis (MTA) 7, no. 1 (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 th

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9

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 (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 (2000): 122–25. http://dx.doi.org/10.1525/mts.2000.22.1.02a00060.

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11

Broman, Per F. "In Beethoven's and Wagner's footsteps: Phrase structures and Satzketten in the instrumental music of Béla Bartók." Studia Musicologica 48, no. 1-2 (2007): 113–31. http://dx.doi.org/10.1556/smus.48.2007.1-2.7.

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Abstract Recent studies of formal structure in themes in the Classical repertoire (William Caplin) as well as the music of Wagner (Matthew BaileyShea) point towards the enormous importance and potential of the Sentence phrase structure with its hybrid forms for analyzing tonal music. Initially described by Schoenberg, a Sentence is phrase consisting two main events of equal length, a presentation phrase (consisting of one repeated basic idea) and a continuation phrase. In this paper I will demonstrate Bartók's dependence upon Classical and Romantic phrase structures, including the Sentence, an

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STEWART-MACDONALD, ROHAN H. "MUSICAL IMPROVISATION IN THE AGE OF BEETHOVEN AND ‘OPEN’ FORMS FONDAZIONE GIORGIO CINI, ISOLA DI SAN GIORGIO MAGGIORE, VENICE, 28–29 NOVEMBER 2014." Eighteenth Century Music 12, no. 2 (2015): 282–85. http://dx.doi.org/10.1017/s1478570615000263.

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The multi-dimensional topic of improvisation in the eighteenth and nineteenth centuries has been explored in various recent publications and international conferences. For example, the proceedings of the conference L’improvvisazione nella musica occidentale del Settecento all’Ottocento, held at La Spezia in 2010, were published as Beyond Notes: Improvisation in Western Music of the Eighteenth and Nineteenth Centuries (Turnhout: Brepols, 2011), edited by Rudolf Rasch. Rasch (Universiteit Utrecht) was one of several participants at La Spezia who reappeared in Venice for the third in a series of

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13

Lawrence, John Y. "Toward a Predictive Theory of Theme Types." Journal of Music Theory 64, no. 1 (2020): 1–36. http://dx.doi.org/10.1215/00222909-8033408.

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Listener expectations are a fundamental consideration in formal analysis, common to cognitive and hermeneutic approaches alike. Such approaches maintain that listeners use statistical regularities of musical style to predict where a piece of music is going and then assess what actually happens in terms of what they expected to happen. Although expectation is frequently invoked when considering very local phenomena (e.g., step-by-step progressions) or very global ones (e.g., the action spaces of a sonata), it has not played a systematic role in the analysis of basic theme types as formulated by

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14

WALTHAM-SMITH, NAOMI. "WILLIAM E. CAPLIN, JAMES HEPOKOSKI AND JAMES WEBSTER, ED. PIETER BERGÉ MUSICAL FORM, FORMS & FORMENLEHRE: THREE METHODOLOGICAL REFLECTIONS Leuven: Leuven University Press, 2009 pp. 179, isbn 978 90 5867 715 0." Eighteenth Century Music 8, no. 01 (2011): 105–7. http://dx.doi.org/10.1017/s1478570610000448.

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15

de Médicis, François. "William E. Caplin. Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven. New York et Oxford : Oxford University Press, 1998. xii, 307 p. ISBN 0-19-510480-3 (couverture rigide)." Canadian University Music Review 20, no. 1 (1999): 107. http://dx.doi.org/10.7202/1015651ar.

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16

Suryan, Robert M., and David B. Irons. "Colony and Population Dynamics of Black-Legged Kittiwakes in a Heterogeneous Environment." Auk 118, no. 3 (2001): 636–49. http://dx.doi.org/10.1093/auk/118.3.636.

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Abstract Black-legged Kittiwakes (Rissa tridactyla) nest at 25 distinct colonies located throughout Prince William Sound that range in size from <20 to >7,000 pairs. Dramatic changes have occurred in the distribution of breeding birds among those colonies during the past few decades (1972–1997). Reproductive success data collected since 1985 confirm that individual colonies are habitat patches of varying quality in space and time. Even with such variation, predictability of habitat quality did occur in short- and long-term (≥3 year) intervals as indicated by significant (P < 0.05) rel

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17

Kaiser, Ulrich. "Formfunktionen der Sonatenform. Ein Beitrag zur Sonatentheorie auf der Grundlage einer Kritik an William E. Caplins Verständnis von Formfunktionen." Zeitschrift der Gesellschaft für Musiktheorie [Journal of the German-Speaking Society of Music Theory] 15, no. 1 (2018): 29–79. http://dx.doi.org/10.31751/956.

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Brown, E. "Life history, distribution, and size structure of Pacific capelin in Prince William Sound and the northern Gulf of Alaska." ICES Journal of Marine Science 59, no. 5 (2002): 983–96. http://dx.doi.org/10.1006/jmsc.2002.1281.

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19

Suryan, Robert M., David B. Irons, and Jeb Benson. "Prey Switching and Variable Foraging Strategies of Black-Legged Kittiwakes and the Effect on Reproductive Success." Condor 102, no. 2 (2000): 374–84. http://dx.doi.org/10.1093/condor/102.2.374.

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Abstract We studied the diets, foraging strategies, and reproduction of Black-legged Kittiwakes (Rissa tridactyla) during five years at two colonies within Prince William Sound, Alaska. Years with reduced occurrence of 1-year-old Pacific herring (Clupea pallasi) in kittiwake diets were associated with increased foraging trip duration, distance, and travel time at both colonies. Foraging range was consistently greater at the large, fjord colony with an annual mean trip duration of 4 hr and mean distance to the farthest feeding location of 40 km in years when 1-year-old herring dominated diets;

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20

Astuti, Tri Puji, and Gunadi Gunadi. "Analisis Pemeriksaan Pajak dengan Model Compliance Risk Management (CRM) dalam Meningkatkan Penerimaan Pajak pada KPP Pratama Senen." Syntax Literate ; Jurnal Ilmiah Indonesia 6, no. 2 (2021): 1044. http://dx.doi.org/10.36418/syntax-literate.v6i2.2188.

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Direktorat Jenderal Pajak dalam rangka meningkatkan penerimaan pajak mengeluarkan aturan yaitu SE-24/PJ/2019 mengenai Implementasi Compliance Risk Management (CRM), dimana salah satu nya mengatur mengenai kegiatan pengawasan dan pemeriksaan pajak. Compliance Risk Management merupakan sebuah proses pengelolaan risiko kepatuhan Wajib Pajak yang dilakukan secara sistematis oleh Direktorat Jenderal Pajak dengan membuat pilihan perlakuan yang dapat digunakan untuk meningkatkan kepatuhan secara efektif sekaligus mencegah ketidakpatuhan berdasarkan perilaku Wajib Pajak dan kapasitas sumber daya yang

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21

Choi, Dennis W. "Book Review Cerebrovascular Disease Edited by H. Hunt Batjer, with Louis R. Caplan, Lars Friberg, Ralph G. Greenlee, Jr., Thomas A. Kopitnik, Jr., and William L. Young. 1276 pp., illustrated. Philadelphia, Lippincott–Raven, 1997. $275. 0-397-51661-4." New England Journal of Medicine 338, no. 15 (1998): 1079–80. http://dx.doi.org/10.1056/nejm199804093381522.

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22

Moreira, Gabriel Ferrão, and Gabriel H. Bianco Navia. "Período, sentença ou híbridos? Aplicações da teoria das funções formais no estudo da forma do choro." Musica Theorica 4, no. 2 (2020). http://dx.doi.org/10.52930/mt.v4i2.118.

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Neste artigo, investigamos as maneiras pelas quais o hibridismo temático se manifesta no choro em dois níveis distintos, nas unidades de oito e dezesseis compassos, e demonstramos como este exercício pode contribuir para a compreensão de casos ambíguos em que o conteúdo temático parece ter pouca relação com os dois tipos formais geralmente tomados como modelo na literatura, o período e a sentença. Adotamos como referencial teórico a Teoria das Funções Formais de William Caplin. A escolha desta ferramenta advém da hipótese assumida, ao início da pesquisa, de que a análise de músicas populares d

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23

Aziz, Andrew. "Review of William Caplin,Analyzing Classical Form: An Approach for the Classroom(Oxford University Press, 2013)." Music Theory Online 20, no. 1 (2014). http://dx.doi.org/10.30535/mto.20.1.15.

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24

Rodgers, Stephen, and Tyler Osborne. "Prolongational Closure in the Lieder of Fanny Hensel." Music Theory Online 26, no. 3 (2020). http://dx.doi.org/10.30535/mto.26.3.8.

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In this article we explore Fanny Hensel’s songs that end without cadences but instead with what William Caplin (2018) calls “prolongational closure.” These songs, most of which come from the 1820s, are some of the earliest examples of piece-ending prolongational closure in the repertoire and thus offer important models for understanding how the technique was deployed by later composers. We propose three types of prolongational closure, drawn from a study of Hensel’s works—".fn_scaledegree(5)."–".fn_scaledegree(1)." fill, dominant substitution, and early pedal—and suggest that Hensel’s fascinat

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25

Rodgers, Stephen, and Tyler Osborne. "Prolongational Closure in the Lieder of Fanny Hensel." Music Theory Online 26, no. 3 (2020). http://dx.doi.org/10.30535/mto.26.3.8.

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In this article we explore Fanny Hensel’s songs that end without cadences but instead with what William Caplin (2018) calls “prolongational closure.” These songs, most of which come from the 1820s, are some of the earliest examples of piece-ending prolongational closure in the repertoire and thus offer important models for understanding how the technique was deployed by later composers. We propose three types of prolongational closure, drawn from a study of Hensel’s works—".fn_scaledegree(5)."–".fn_scaledegree(1)." fill, dominant substitution, and early pedal—and suggest that Hensel’s fascinat

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26

Venegas Carro, Gabriel. "Schubert’s Experiments with Processual Form." Musica Theorica 5, no. 2 (2021). http://dx.doi.org/10.52930/mt.v5i2.166.

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This article assesses, from a process-oriented analytical perspective, the role of formal reinterpretation in Schubert’s music. The article builds on the work of Janet Schmalfeldt (in turn inspired by the analytical and philosophical processual approaches to form of Theodor W. Adorno and Carl Dahlhaus). It also draws on the form-functional approach of William Caplin, and the dialogical formal perspective of James Hepokoski and Warren Darcy. The article’s first part considers some typical structural features of form-functional transformations and presents a threefold categorization of them: int

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27

"Recensions / Reviews." Canadian Journal of Political Science 35, no. 4 (2002): 897–985. http://dx.doi.org/10.1017/s0008423902778499.

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Kelly, Stéphane. Les fins du Canada: selon Macdonald, Laurier, Mackenzie King et Trudeau. Par François Charbonneau 900Cross, William, ed. Political Parties, Representation, and Electoral Democracy in Canada. By Nelson Wiseman 901Boisvert, Yves, Jacques Hamel et Marc Molgat, sous la direction de. Vivre la citoyenneté. Identité, appartenance et participation. Par Christian Nadeau 903Doern, G. Bruce, Arslan Dorman and Robert W. Morrison, eds. Canadian Nuclear Energy Policy: Changing Ideas, Institutions, and Interests. By Genevieve Fuji Johnson 906Seymour, Michel. Le pari de la démesure. L'intrans

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28

Howarth, Anita. "Food Banks: A Lens on the Hungry Body." M/C Journal 19, no. 1 (2016). http://dx.doi.org/10.5204/mcj.1072.

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IntroductionIn Britain, hunger is often hidden in the privacy of the home. Yet otherwise private hunger is currently being rendered public and visible in the growing queues at charity-run food banks, where emergency food parcels are distributed directly to those who cannot afford to feed themselves or their families adequately (Downing et al.; Caplan). Food banks, in providing emergency relief to those in need, are responses to crisis moments, actualised through an embodied feeling of hunger that cannot be alleviated. The growing queues at food banks not only render hidden hunger visible, but

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