Musical continuity – akin to cinematic editing – and its impact on large-scale form have also been fundamentally affected by Stravinsky's innovations.
The da capo aria was a large-scale form in three sections (ABA), with the third repeating the first "from the capo, or head"—that is, from the beginning.
The sheer technical finesse of his piano writing may be displayed more extrovertly in his studies, his lyrical gifts distilled down to a more concentrated essence in the preludes, and mazurkas and nocturnes, his revolutionary approach to large-scale form demonstrated more potently in the second andthird sonatas.
While Kivy acknowledges that the kinds of experiences Levinson champions are necessary to basic musical understanding, he defends the idea that grasping the large-scale form of most pieces of Western classical music, at least, is necessary for an adequate understanding of them.
Once the object is printed, it's simply folded out into its full, large-scale form.
Cannon, Floyd and Parry produced a mathematical growth model which demonstrated that some systems determined by simple finite subdivision rules can results in objects (in their example, a tree trunk) whose large-scale form oscillates wildly over time even though the local subdivision laws remain the same.
Golosov was a master of large-scale forms and managed to retain his individuality in all aspects of his practice.
Xenakis also studied the emergence of large-scale forms from minuscule, ostensibly random movements, as in gas clouds and insect swarms.
In his enthusiasm for traditional, large-scale forms, Dutilleux confounds the widely held view that French music is essentially frivolous and charming, while at the same time being steeped in the best Gallic music.
Schoenberg, famously, broke the bonds of tonality with his hyper-chromatic works of the nineteen-oughts, then spent most of a decade working out the twelve-tone method of composition, which he made use of to re-elaborate large-scale forms that brought his highly abstract and intricate music close in structure to the classics of Beethoven and Brahms.
Both Fux and Bach were products of the evolution of tonal harmony, a system of key relations which brought with it the possibility of basing large-scale forms not only on melodic variation or counterpoint, as earlier, but on harmonic tension and modulation.
