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Forms and Analysis

Contents

Canon and Fugue

The Fugue
DBM 70
Traces the development of the fugue from
its forerunner, the ricercare, through the
baroque and classical forms of this genre.

Music from the Heavens
DBM 916
Discusses the phenomenon of youth’s
attraction to Bach and his music’s uplifting
spirit. His mastery of counterpoint is
demonstrated in the musical selections.

What Is a Canon?
DBM 10
Describes the origin and development of
the canon, the simplest musical form.

What Is a Fugue?
DBM 109
Studies the fugue, using numerous
examples from different styles, including
Bach’s Fugue in C Major and Fugue in F
Minor.

Cantata

The Cantata
DBM 75
Places the cantata in historical perspective
and explains how a composer uses poetry.

Chamber Music

Beethoven and Debussy
DBM 76
Two divergent chamber music works
are heard and discussed in this lecture.
The first composition is Duet for Two
Eyeglasses, Obbligato for Viola and Cello
by Beethoven, and the second is the Sonata
for Flute, Viola, and Harp by Debussy.

The Chamber Music of Mozart
DBM 2517
Robert Greenberg takes you deep inside
the structure of Mozart’s chamber
masterworks to reveal his hand at work.

Edward Burlingame Hill
DBM 319
Discusses Hill’s Sextet for flute, oboe,
clarinet, horn, bassoon, and piano, a work
commissioned by Elizabeth Sprague
Coolidge and first performed at the
Coolidge Festival in 1934.
Haydn and Handel: Masterpieces of

Chamber Music
DBM 302
Eastman School of Music students
perform Michael Haydn’s Quintet
for Strings in C Major and Handel’s
Passacaglia arranged for violin and viola
by Johan Halvorsen.

History of String Quartets
DBM 168
The Juilliard String Quartet demonstrates
the evolution of the string quartet from
Gibbons to Bartók.

Mozart, Wolfgang Amadeus
Divertimento in D Major (K. 334)

DBM 634
Commentary on and performance of this
music for string quartet and two horns.

The Music of the String Quartets
DBM 254
The Juilliard String Quartet demonstrates
the technical and expressive potential of
stringed instruments.

Schubert, Piano Quintet in A Major
(“Trout”), D667

DBM 3415
Jeremy Siepmann shows how “The ‘Trout’
Quintet,” named after the Schubert song
that provides the theme for the fourth
movement, gives us Schubert at his most
irresistible: wonderful tunes, dancing
rhythms, and amazing surprises.

String Quartet
DBM 308
Introduction to chamber music through
Schubert’s String Quartet in A Minor op.
29, and commentary on Prokofiev’s String
Quartet No. 2.

Vivaldi, The Four Seasons
DBM 2887
Jeremy Siepmann
A complete analysis of Vivaldi’s The Four
Seasons
with musical examples.

Concerto

The Concerto
DBM 95
Examples of the concerto, a basic musical
form, including movements from a
concerto grosso by Vivaldi, Sinfonia
Concertante for violin and viola by Mozart,
and Beethoven’s Piano Concerto no. 4.

The Concerto
DBM 2877
Robert Greenberg delivers twenty-four
lectures exploring the range and history of
the concerto from its beginnings in the late
1600s through the twentieth century.

Brahms, Piano Concerto No. 2
DBM 2885
Jeremy Siepmann provides a complete
analysis of Brahms’s Piano Concerto No.
2 with musical examples.

Evolution of the Concerto
DBM 89
Antal Dorati conducts the Minneapolis
Symphony Orchestra in Cimarosa’s
Overture to the Secret Marriage and
selections from Handel’s Concerti Grossi.

Dance

Cunningham, Merce
DBM 124
Two artists discuss their innovations in
music and choreography and describe
their collaboration.

The Dance in Music
DBM 470
Traces the history of the dance.

Modern Symphonic Dances
DBM 632
Surveys this symphonic form.

The Tales of Beatrix Potter
DBM 996
The Royal Opera House Orchestra is
featured under the direction of John
Lanchbery who also composed the ballet
score.

The Waltz
DBM 154
Discusses different treatments of the waltz
by several composers.

Electronic

Experiments in Electronics
DBM 330
Composer-conductor Pierre Boulez
discusses his search for a new musical
language.

Improvisation

Improvisation
DBM 733
The art of improvisation is explored in
various art forms including play writing,
acting, film making, and jazz and classical
music.

Mass

The Mass
DBM 230
Insights into the development of the Mass
as a musical form.

Motet/Madrigal

Motet and Madrigal
DBM 195
Introduction to these genres of vocal
ensemble music and their history. Includes
musical examples ranging from the
thirteenth century to contemporary vocal
music.

Oratorio

The Oratorio
DBM 179
History of the oratorio, from its
beginnings in the sixteenth century to its
present-day form.

Overture

Famous Dramatic Overtures
DBM 637
Compares four highly divergent types of
dramatic overtures by Mozart, Wagner,
Wolf-Ferrari, and Massenet, performed by
the NBC Symphony Orchestra.

Focus on the Overture
DBM 639
History of the overture, from its
emergence to the present day.

The Overture
DBM 202
Describes the development of the
overture.

Rhapsody

The Rhapsody
DBM 155
Traces the development of the rhapsody
from its origins in ancient Greece to its
modern form. Features selections of works
from Liszt to Ralph Vaughan Williams.

Rondo

The Rondo
DBM 82
Defines the rondo as a form characterized
by repetition and contrast. Examples
include a Bach gavotte, Mozart’s Turkish
March, and the Andante from Brahms’s
Third Symphony.

Scherzo

The Scherzo
DBM 2
Examples illustrate various kinds of
scherzos.

Sonata

Beethoven’s Piano Sonatas
DBM 2513
Robert Greenberg uses analysis of musical
excerpts and humor to illustrate what goes
on inside a musical composition: How
it was written, how it works, and how it
may break all former rules to achieve a
completely new and powerful effect.

Schubert and Mozart
DBM 219
Millard Taylor and Jose Ichanitch perform
Schubert’s Sonatina in D Major and
Mozart’s Sonata No. 15 in B-flat Major.

Suite

Descriptive Suite
DBM 243
Contrasts compositional techniques
in Ravel’s Mother Goose Suite and Carpenter’s Adventures in a
Perambulator
—two pieces inspired by
children’s literature.

The Modern Suite
DBM 52
Discusses the origins of the suite.

Suite
DBM 331
Traces the development of the suite.
Includes musical examples, showing the
use of the same musical form for entirely
different styles of music.

What Is a Suite?
DBM 51
Walter Damrosch defines a suite as a
progression of musical numbers. The suite
from Iphigénie en Aulide by Gluck is used
as an example.

Symphony

Development of the Symphony
DBM 212
Reginald Stewart and the Baltimore
Symphony Orchestra trace the
development of the symphony from
Johann Stamitz to Franz Liszt.

Musical Pioneers of Italy
DBM 410
Discusses mid-nineteenth-century Italian
composers of the symphony.

The Symphonic Poem
DBM 58
Discussion of how the symphonic poem
expresses poetic imagery and performance
of well-known examples—Liszt’s “Les
Preludes” and Saint-Saëns’s “Danse
Macabre.”

The Symphony
DBM 240
Describes the development of the
symphony between 1770 and 1937, using
examples from various composers.

The Symphony
DBM 2515
Robert Greenberg offers a lecture course
that traces the development of the
symphony from its roots in the opera of
the Baroque period to the present.

Theme and Variation

Exploring Theme and Variation
DBM 30
Walter Damrosch introduces the audience
to the variation form, using examples from
Beethoven’s Fifth Symphony and Rustic
Symphony
by Carl Goldmark.

Musical Forms
DBM 633
Several musical forms represented in
selections from Bizet’s Carmen, Grieg’s
Peer Gynt Suite, Beethoven’s Symphony
No. 2, and Tchaikovsky’s Symphony No. 4.

Theme and Variation
DBM 337
Analysis of a traditional form with
historical perspective from the Elizabethan
style to the classical.

Variations on Form and Style
DBM 237
The Hartford Symphony Orchestra, pianist
Walter Deckelmann, and harpist Cynthia
Otis play works by Dohnányi, Debussy,
and Barber.

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