Musical Form, Forms & Formenlehre: Three Methodological Reflections

About the Authors

1 7 7 A b o u t t h e A u t h o r s About the Authors William Caplin is James McGill Professor of Music Theory in the Schulich School of Music, McGill University (Montreal, Canada). His extensive investigations into formal procedures of late-eighteenth-century music culminated in the 1998 book Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven (Oxford University Press), which won the 1999 Wallace Berry Book Award from the Society for Music Theory. His article “The Classical Cadence: Conceptions and Misconceptions,” published in the Spring 2004 issue of The Journal of the American Musicological Society was awarded the 2006 Prix Opus for Article of the Year from the Conseil québécois de la musique. Other studies on musical form have been published in Eighteenth-Century Music, Beethoven Forum, Musiktheorie, The Journal of Musicological Research, Tijdschrift voor Muziektheorie, and Beethoven’s Compositional Process (ed. William Kinderman). Caplin was elected to a two-year term as President of the Society for Music Theory beginning November 2005. He co-chaired the 2004 Mannes Institute of Advanced Theoretical Studies, where he led a workshop on “Exposition Structure in Beethoven’s Piano Sonatas: A Form-Functional Approach.” Caplin serves on the editorial boards of Eighteenth-Century Music and Eastman Studies in Music. James Hepokoski is Professor of Music at Yale University. Combining aspects of musicology and music theory with issues of European and American methodological practice and cultural theory, his areas of specialization range broadly in musical topics from ca. 1750 to ca. 1950. These include close studies of historical contexts and genres, formal structural types, and diverse concepts of analysis and hermeneutics; symphonic and chamber works from Haydn, Mozart, and Beethoven through Mahler, Sibelius, Elgar, and Richard Strauss; sonata-form theory and sonata deformations; conceptions of musical modernism, ca. 1880-1920; music, ideology, nationalism, and cultural identity; Italian opera (Verdi, Puccini); and the interplays of differing music traditions 1 7 8 A b o u t t h e A u t h o r s in the United States, 1900-1950. He was a co-editor of the musicological journal 19-Century Music from 1992 to 2005. He is the author of five books and numerous articles on a wide variety of topics. In collaboration with Warren Darcy (Oberlin College Conservatory), Hepokoski has developed a new, genre-based mode of sonata-form analysis—Sonata Theory—that merges historical research, current music theory, and recent styles of textual questioning and interpretation (Elements of Sonata Theory. Norms, Types and Deformations in Late-Eighteenth-Century Sonata – Oxford University Press, 2006; winner of the 2008 Wallace Berry Book Award from the Society of Music Theory). A selection of his writings, Music, Structure, Thought, is forthcoming from Ashgate in 2009. JamesWebsteristheGoldwinSmithProfessorofMusicatCornellUniversity . He specializes in the history and theory of music of the eighteenth and nineteenth centuries, with a particular focus on Haydn (cf. Haydn’s Farewell Symphony and the Idea of Classical Style: Through-Composition and Cyclic Integration in His Instrumental Music – Cambridge University Press, 1991 – and The New Grove Haydn – Palgrave/Macmillan, 2002). His other interests include Mozart (especially his operas), Beethoven, Schubert, and Brahms, as well as performance practice, editorial practice, and the historiography of music; in music theory he specializes in issues of musical form (including analytical methodology) and Schenkerian analysis . He was a founding editor of the journal Beethoven Forum, and was a musicological consultant for the recordings of Haydn’s symphonies on original instruments, by the Academy of Ancient Music under Christopher Hogwood (Decca/L’Oiseau-lyre). Among the many honors he has received are the Einstein and Kinkeldey Awards of the American Musicological Society, a Fulbright dissertation grant, two Senior Research Fellowships from the National Endowment for the Humanities, a Guggenheim Fellowship, and a Research Fellowship of the Alexander von Humboldt Foundation (Germany). He served as President of the American Musicological Society. He is a Fellow of the American Academy of Arts and Sciences and a member of the Executive Committee of the Board of Directors of the Joseph Haydn Institute. 1 7 9 A b o u t t h e A u t h o r s Pieter Bergé is professor of music history, analysis and music theory at the University of Leuven, Belgium. His main research areas are the formal analysis of classical and early romantic music, German opera in...