Chapter Twelve. Form and Serial Function in Leibowitz’s Trois poèmes de Pierre Reverdy

Chapters in this book

1. Frontmatter i
2. Contents v
3. Acknowledgments vii
4. Introduction 1
5. Part One. Theoretical Studies in Haydn and Mozart
6. Chapter One “Functial Formanality” Twisted Formal Functions in Joseph Haydn’s Symphonies 11
7. Chapter Two. Mozart’s Sonata-Form Arias 37
8. Part Two. Nineteenth-Century Taxonomies
9. Chapter Three. Formal Type and Formal Function in the Postclassical Piano Concerto 77
10. Chapter Four. Saint-Saëns’s Cyclic Forms 123
11. Part Three. Schubert
12. Chapter Five Schubert’s “Defl ected-Cadence” Transitions and the Classical Style 165
13. Chapter Six “Heavenly Length” in Schubert’s Instrumental Music 198
14. Part Four. Text, Texture, and Form
15. Chapter Seven. Sentences in the Lieder of Robert Schumann: The Relation to the Text 225
16. Chapter Eight. Parlante Talk: Texture and Formal Function in the Operas of Verdi 252
17. Part Five. Analysis and Hermeneutics
18. Chapter Nine. Discipline and Punish among the Winds in the First Movement of Beethoven’s First Symphony 295
19. Chapter Ten. Laborious Homecomings: The “Ongoing Reprise” from Clementi to Brahms 317
20. Part Six. Schoenberg and Beyond
21. Chapter Eleven. Dominant Tunnels, Form, and Program in Schoenberg’s Verklärte Nacht 345
22. Chapter Twelve. Form and Serial Function in Leibowitz’s Trois poèmes de Pierre Reverdy 373
23. Chapter Thirteen. The Philosopher as Theorist: Adorno’s materiale Formenlehre 411
24. Afterword 434
25. Contributors 441
26. Index 445