This is, quite simply, the best musical analysis textbook I've seen. The theories are presented comprehensively and clearly, and are illustrated through numerous examples. The narrow focus on the instrumental music of Haydn, Mozart, and Beethoven means that the theories can be based firmly on describing characteristic elements of this specific body of work, rather than presenting a prescriptive essence of what the forms "should" look like.
As a result, this text is extremely practical and useful in understanding the compositions of these three composers. And, because of their tremendous influence on subsequent composers, I have found the theories to be helpful in analyzing western "art" music into the late Romantic period.
The focus on practical, descriptive theories and applying them to numerous musical examples has also paid some unexpected dividends--it turns out that elements of these theories are useful in analyzing music in other idioms, like pop music. For example, it is often easy to find presentation, continuation, and transition functions in Max Martin pop songs, perhaps with a restive "pre-core" at the beginning of the bridge. Parts may be relatively "tight knit" or "loose knit". The sections with transition functions may be based on material from the "main theme" or new material. The "recap" after the bridge may omit or compress material to avoid repetition but still give a sense of "return". There might be a coda that refers back to material not seen since the introduction, to tie up loose ends. And so forth.
I highly recommend this textbook to any serious student of music interested in learning more about western "art" music.
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