On form in Musical Composition

Abstract

On receiving the invitation of the Council of this Institution to read a paper on Form in Musical Composition, my first impression was that so comprehensive a subject could scarcely be treated within prescribed limits, which would admit of little more than a dry and incomplete catalogue of the numerous kinds of musical composition to which the word form is applicable. It occurred to me, however, that by taking the subject as referring to movements of large scope, and comprising numerous component parts, I might select one form of such works, analyse it more fully than has been attempted in didactic treatises, and so present a paper of reasonable duration, and, as I hope, not without some features of interest. It will doubtless be anticipated that I have chosen for my remarks that most important form of instrumental composition known as the Modern Binary or Grand Duplex—the general form of the great majority of modern classical overtures, and of first (and frequently also of other) movements of symphonies, sonatas, and the whole range of concerted instrumental music. I premise that I purpose treating my subject chiefly from the scholastic point of view, not only as being most in accordance with the general objects of our meetings, but because the aesthetic or poetic aspect would lead us too far into the regions of speculation and romance.