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Home > Music > Instructional Cassette Catalog > Forms and Analysis
The Fugue
CBM 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
CBM 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?
CBM 10
Describes the origin and development of the canon, the
simplest musical form.
What Is a Fugue?
CBM 109
Studies the fugue, using numerous examples from different
styles, including Bach's Fugue in C major and Fugue in F minor.
The Cantata
CBM 75-74
Places the cantata in historical perspective and explains how
a composer uses poetry.
Edward Burlingame Hill
CBM 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.
CBM 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
CBM 168
The Julliard String Quartet demonstrates the evolution of the
string quartet from Gibbons to Bart¢k.
The Music of the String Quartets
CBM 254
The Julliard String Quartet demonstrates the technical and
expressive potential of stringed instruments. Illustrated with numerous
examples from quartet music by Haydn, Schumann, Schubert, Debussy,
Beethoven, Ravel, Mozart, Smetana, and Bartók.
String Quartet
CBM 308-309
Introduction to chamber music through Schubert's String
Quartet in A minor op. 29, and commentary on Prokofiev's String Quartet
no. 2, an important example of contemporary chamber music.
The Concerto
CBM 95, 97, 98
Examples of the concerto, a basic musical form.
Tape 1: Movements from a concerto grosso by Vivaldi, Sinfonia
Concertante for violin and viola by Mozart, and Beethoven's
Piano Concerto no. 4.
Tape 2: Contrast of the Concerto for clarinet by Weber,
written in 1811, and the Concerto for piano by Shostakovich, written more than
one hundred years later.
Tape 3: Movements from two modern concerti-Bloch's Concerto
Grosso and Poulenc's Concert Champetre for harpsichord.
Evolution of the Concerto
CBM 89
Antal Dorati conducts the Minneapolis Symphony Orchestra in
Cimarosa's Overture to the Secret Marriage and selections
from Handel's Concerti Grossi.
The Dance in Music
CBM 470
Traces the history of the dance. Includes a minuet by Mozart,
Weber's "Invitation to the Dance," Brahms's Hungarian Dance in G
minor, and Strauss's waltz "Artist's Life."
Modern Symphonic Dances
CBM 632
Surveys this symphonic form. Includes works by Debussy,
Rachmaninoff, and Paul Creston.
The Waltz
CBM 154
Discusses different treatments of the waltz by several
composers.
Experiments in Electronics
CBM 330
Composer-conductor Pierre Boulez discusses his search for a
new musical language.
Improvisation
CBM 733
The art of improvisation is explored in various art forms
including playwriting, acting, film making, and jazz and classical music.
The Mass
CBM 230
Insights into the development of the mass as a musical form.
Motet and Madrigal
CBM 195
Introduction to these genres of vocal ensemble music and
their history. Includes musical examples ranging from the thirteenth century
to contemporary vocal music.
The Oratorio
CBM 179-180
History of the oratorio, from its beginnings in the sixteenth
century to its present-day form. Includes musical examples from Jephte by
Carissimi, Judas Maccabaeus by Handel, and Haydn's oratorio, Creation.
Famous Dramatic Overtures
CBM 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
CBM 639
History of the overture, from its emergence to the present day.
The Overture
CBM 202
Describes the development of the overture, beginning with the
French form, a slow then fast prelude to an opera or theatrical work
established by Jean-Baptiste Lully. Includes the overtures to Lully's
Thésèe, Mozart's Idomeneo, Gretry's L'Epreuve
Villageoise, Beethoven's Coriolanus, and Glinka's Ruslan and Ludmila.
The Rhapsody
CBM 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.
The Rondo
CBM 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.
The Scherzo
CBM 2
Examples illustrate various kinds of scherzos.
Schubert and Mozart
CBM 219
Millard Taylor and Jose Ichanitch perform Schubert's Sonatina
in D major and Mozart's Sonata no. 15 in B-flat major.
Descriptive Suite
CBM 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
CBM 52
Discusses the origins of the suite.
Suite
CBM 331-332
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?
CBM 51
Walter Damrosch defines a suite as a progression of musical
numbers. The suite from Iphig‚nie en Aulide by Gluck is used as an
example.
Development of the Symphony
CBM 212
Reginald Stewart and the Baltimore Symphony Orchestra trace
the development of the symphony from Johann Stamitz to Franz
Liszt.
Musical Pioneers of Italy
CBM 410
Discusses mid-nineteenth-century Italian composers of the
symphony. Includes selections from Locatelli, Sgambati, Respighi, and
Casella.
The Symphonic Poem
CBM 58, 372, 59
Discussion of how the symphonic poem expresses poetic imagery
and performance of well-known examples-Liszt's Les Preludes and
Saint- Saens's Danse Macabre.
The Symphony
CBM 240-242
Tape 1: Describes the development of the symphony between
1770 and 1815, using examples from the different symphonies by
Johann Christian Bach, Mozart, Beethoven, and Schubert.
Tape 2: Relates the symphony to our musical heritage,
comparing early symphonies by Locatelli, classical by Haydn, and contemporary
by Prokofiev.
Tape 3: Employs Ernst Bacon's Symphony no. 2, composed in
1937, as an example of a modern symphony based on classical design.
Exploring Theme and Variation
CBM 30
Walter Damrosch introduces the audience to the variation
form, using examples from the Beethoven's 5th Symphony and Rustic
Symphony by Carl Goldmark.
Musical Forms
CBM 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
CBM 337-338
Tape 1: Analysis of a traditional form with historical
perspective from the Elizabethan style represented by Hugh Aston to the classical
Haydn's variations, and more recent interpretation of the form by
Tchaikovsky.
Tape 2: Andante movement from Beethoven's Fifth Symphony and
the Istar Variations by d'Indy used to show the continuous
development of the variations as a musical form.
Variations on Form and Style
CBM 237
The Hartford Symphony Orchestra, pianist Walter Deckelmann,
and harpist Cynthia Otis play works by Dohnanyi, Debussy, and
Barber.
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Posted on 2004-10-20