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ANALYZING CLASSICAL
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CLASSICAL FORM
Publications PUBLICATIONS
Books PAPERS (UNPUBLISHED)

WILLIAM CAPLIN 2015


Single author
Analyzing Classical Form: An Approach for the Classroom. New
York, Oxford University Press, 2013; 768 pp.

Classical Form: A Theory of Formal Functions for the


Instrumental Music of Haydn, Mozart, and Beethoven. New York:
Oxford University Press, 1998; 307 pp.; paperback ed., 2001.
Winner of the 1999 Wallace Berry Book Award, Society for Music
Theory.

Co-authored

Caplin, William E., James Hepokoski, and James Webster.


Musical Form, Forms & Formenlehre: Three Methodological
Reflections. Ed. Pieter Berg. Leuven: University of Leuven
Press, 2009; 179 pp.; paperback ed. 2011.

Pieter Berg, in collaboration with Jeroen Dhoe, Poundie


Burstein, William E. Caplin, James Hepokoski, and Willam
Rothstein. Beethoven's Tempest Sonata: Five Annotated Analyses
for Performers and Scholars. Leuven: Peeters, 2012; 204 pp.

Co-edited

Beethovens Tempest Sonata: Perspectives of Analysis and


Performance. Ed. Pieter Berg, co-eds. Jeroen Dhoe and
William E. Caplin. Leuven: Peeters, 2009; 341 pp.

Book chapters
Harmony and Cadence in Gjerdingens Prinner. InWhat Is a
Cadence? Theoretical and Analytical Considerations on the
Classical Cadence. Eds. Markus Neuwirth and Pieter Berg.

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Leuven: University of Leuven Press, anticipated date of


publication 2014.

Topics and Formal Functions: The Case of the Lament. In The


Oxford Handbook of Musical Topics. Ed. Danuta Mirka, 41552.
New York: Oxford University Press, 2014.

Formal Function versus Thematic Content: Mozarts Rondo in D,


K. 485. In Histories and Narratives of Music Analysis. Eds. Milos
Zatkalick, Denis Collins, and Milena Medic, 31842. Cambridge:
Cambridge Scholars Publishing, 2013.

Criteria for Analysis: Perspectives on Riemanns Mature Theory


of Meter. In The Oxford Handbook of Neo-Riemannian Music
Theories, eds. Edward Gollin and Alexander Rehding, 41939.
New York, Oxford University Press, 2011.

The Tempest Exposition: A Springboard for Form-Functional


Considerations. In Beethovens Tempest Sonata: Perspectives
of Analysis and Performance. Ed. Pieter Berg, co-eds. Jeroen
Dhoe and William E. Caplin, 87125. Leuven: Peeters, 2009.

Schoenbergs Second Melody, Or, Meyer-ed in the Bass. In


Communication in Eighteenth-Century Music, eds. Danuta Mirka
and Kofi Agawu, 16088. Cambridge: Cambridge University
Press, 2008.

The Genesis of the Countersubjects for the Grosse Fuge. In


The String Quartets of Beethoven, ed. William Kinderman, 234
61. Urbana: University of Illinois Press, 2006.

Theories of Musical Rhythm in the Eighteenth and Nineteenth


Centuries. In The Cambridge History of Western Music Theory,
ed. Thomas Christensen, 65794. Cambridge: Cambridge
University Press, 2002.

Structural Expansion in Beethovens Symphonic Forms. In


Beethovens Compositional Process, ed. William Kinderman, 27
54. Lincoln: University of Nebraska Press, 1991.

Journal articles

Sears, David, William E. Caplin, and Stephen McAdams.


Perceiving the Classical Cadence. Music Perception31/5
(2014): 397417.

Teaching Classical Form: Strict Categories versus Flexible


Analyses. Tijdschrift voor Muziektheorie 18/3 (December,
2013): 11935.

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9/8/2017 Publications | William Caplins Website

William Caplin Responds. Intersections: Canadian Journal of


Music 31/1 (2012): 6776. (A response to papers by Edward
Jurkowsky, Mark Richards, and Carl Wiens, as part of a
Festschrift issue of Intersections entitled Contemplating
Caplin.)

Beethovens Tempest Exposition: A Response to Janet


Schmalfeldt, Music Theory Online 16/2 (2010). (Shortened
version of the book chapter The Tempest Exposition.)

Vallires, Michel, Daphne Tan, William E. Caplin, and Stephen


McAdams. Perception of Intrinsic Formal Functionality: An
Empirical Investigation of Mozarts Materials. Journal of
Interdisciplinary Music Studies 3/12 (2009): 1743.

On the Relation of Musical Topoi to Formal Function.


Eighteenth-Century Music 2/1 (2005): 11324.

North American Approaches to Musical Form. Zeitschrift der


Gesellschaft fr Musiktheorie 2, no. 2 (2005):
http://www.gmth.de/www/artikel/2005-04-10_11-04-06_7/.

The Classical Cadence: Conceptions and Misconceptions.


Journal of the American Musicological Society 57/1 (Spring,
2004): 51117. Winner of 2006 Prix Opus for Article of the
Year, Conseil qubcois de la musique.

The Classical Sonata Exposition: Cadential Goals and Form-


Functional Plans. Tijdschrift voor Muziektheorie 6/3 (2001):
195209.

Hybrid Themes: Toward a Refinement in the Classification of


Classical Theme Types. Beethoven Forum 3 (1994): 15165.

History of Theory in the Eighteenth and Nineteenth Centuries:


A Survey of Recent Research. Music Theory Spectrum 11/1
(1989): 2934.

The Expanded Cadential Progression: A Category for the


Analysis of Classical Form. Journal of Musicological Research 7
(1987): 21557.

Funktionale Komponenten im achttaktigen Satz. Musiktheorie


1/3 (1986): 23960.

Riemanns Theory of Dynamic Shading: A Theory of Meter?


Theorea 1 (1985): 124.

Moritz Hauptmann and the Theory of Suspensions. Journal of


Music Theory 28/2 (1984): 25169.

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Tonal Function and Metrical Accent: A Historical Perspective.


Music Theory Spectrum 5 (1983): 114.

Harmony and Meter in the Theories of Simon Sechter. Music


Theory Spectrum 2 (1980): 7489.

Der Akzent des Anfangs: Zur Theorie des musikalischen


Taktes. Zeitschrift fr Musiktheorie 9/1 (1978): 1728.

Conference proceedings

Vallires, Michel, Daphne Tan, William E. Caplin, Joseph


Shenker, Stephen McAdams. Beginnings, Middles, and Endings:
The Effect of Musical Parameters in the Perception of Intrinsic
Formal Functionality, in Proceedings of the 10th International
Conference on Music Perception and Cognition, ed. K. Miyazaki,
M. Adachi, Y. Hiraga, Y. Nakajima and M. Tsusaki (Sapporo,
Japan, 25-29 August 2008), 179-188.

Zur Klassifizierung harmonischer Fortschreitungen. In


Musiktheorie zwischen Historie und Systematik: 1. Kongre der
Deutschen Gesellschaft fr Musiktheorie, Dresden 2001, ed.
Ludwig Holtmeier, Michael Polth, and Felix Diergarten, 245-54.
Augsburg, 2004.

Harmonic Variants of the Expanded Cadential Progression. In


A Composition as Problem II: Proceedings of the Second
International Estonian Music Theory Conference, ed. Mart
Humal, 4971. Tallinn: Estonian Academy of Music, 2000.

Analysis Symposium: The Andante of Mozarts Symphony No. 40


in G Minor. In A Composition as Problem II: Proceedings of the
Second International Estonian Music Theory Conference, ed.
Mart Humal, 15562. Tallinn: Estonian Academy of Music, 2000.

Book reviews
The Rhythms of Tonal Music, by Joel Lester. Journal of the
American Musicological Society 41/2 (1988): 38292.

Viennese Harmonic Theory from Albrechtsberger to Schenker


and Schoenberg, by Robert Wason. Music Theory Spectrum 8
(1986): 14043.

The Strict Art of Musical Composition, by Johann Philipp


Kirnberger, trans. David Beach and Jurgen Thym. Journal of
Music Theory 28/1 (1984): 12428.

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Beyond Schenkerism, by Eugene Narmour. Zeitschrift fr


Musiktheorie 9/2 (1978): 5254.

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