“I find this work well presented in every aspect.  In particular:  the flow from simple to more complex forms is done well; the attention to any one form is commensurate with the others; the author's clear familiarity with the genres in each category and each musical period; the continual emphasis on the significance of the aural aspect of analysis; the very helpful historical references throughout; and the content in paragraphs. I think it has much to offer in terms of its thoroughness and comprehensiveness, its clarity and its many excellent well-chosen examples and references.—Joyce Dorr, U of North Carolina, Asheville   There is no question that the author has identified an area of continuing need: a text on musical form for undergraduates who have completed their required study of harmony and voice-leading.I am pleased that Mathes plans to emphasize "aural experience and contextual listening". Also that "analysis and performance" issues will play a role; this responds both to the special interest and relevance of such considerations for performance majors, and to the increasing attention shown in recent scholarship and pedagogy. . . . We have needed such a book for a long while.—Robert Fleisher, Northern Illinois University   “Textbooks on musical form can easily become very wordy and abstract.  Mathes' use of musical examples and figures lessens this tendency.  He wisely has included at least one example or figure to illustrate each important concept.  This approach will make the text more accessible especially to visual and aural learners. The author has continued his systematic presentation building on previously learned elements.  I find the text easy to follow, well organized, and understandable. The approach is good especially the emphasis on listening.  Musical examples and figures strengthen and clarify the presented items.”—Gene Trantham, Bowling Green State U  

“I find this work well presented in every aspect.  In particular:  the flow from simple to more complex forms is done well; the attention to any one form is commensurate with the others; the author's clear familiarity with the genres in each category and each musical period; the continual emphasis on the significance of the aural aspect of analysis; the very helpful historical references throughout; and the content in paragraphs. I think it has much to offer in terms of its thoroughness and comprehensiveness, its clarity and its many excellent well-chosen examples and references.—Joyce Dorr, U of North Carolina, Asheville   There is no question that the author has identified an area of continuing need: a text on musical form for undergraduates who have completed their required study of harmony and voice-leading.I am pleased that Mathes plans to emphasize "aural experience and contextual listening". Also that "analysis and performance" issues will play a role; this responds both to the special interest and relevance of such considerations for performance majors, and to the increasing attention shown in recent scholarship and pedagogy. . . . We have needed such a book for a long while.—Robert Fleisher, Northern Illinois University   “Textbooks on musical form can easily become very wordy and abstract.  Mathes' use of musical examples and figures lessens this tendency.  He wisely has included at least one example or figure to illustrate each important concept.  This approach will make the text more accessible especially to visual and aural learners. The author has continued his systematic presentation building on previously learned elements.  I find the text easy to follow, well organized, and understandable. The approach is good especially the emphasis on listening.  Musical examples and figures strengthen and clarify the presented items.”—Gene Trantham, Bowling Green State U  

JAMES MATHES is Associate Professor of Music Theory and Coordinator of Theory and Composition a Florida State University. He received the B.S. in Music Education from the University of Maryland and an M.M. and Ph.D. in Music Theory from the Florida State University College of Music. He has published articles and presented papers based on his research and interests in music theory pedagogy, the analysis of recent music, and the relationship between theoretical and practical aspects of music.