MUS 1021 Exam #2

concerto grosso

(baroque) multi-movement piece, contains the orchestra and smaller group of soloists

"open" form

(baroque/classical) infinitely extendable/repetitive

ritornello form

(classical) different key each time it repeats / partial returns - bringing back themes over again/any part can be repeated and in different modes ||: A :||: B :||: A' :||: C :||: A" :||: D :||: A'" :||

"closed" form

(classical) one main "problem" whose systematic solution is the story (sonata form)

ground bass form

(open form) a bass line simply repeating while other changing stuff happens over it (the orchestra has all it knows)

Essay #2: Beethoven accepted many of the conventions of Mozart and Haydn in general, but also pressed beyond them. Discuss some specific ways in which Beethoven expands, abandons, or moves beyond earlier conventions in his 5th symphony. Make reference to at least five specific features of Beethoven's symphony.

- motivic saturation of movement I - motive comes back from I in movements II, III, and IV - movement I: oboe cadenza in the middle of the recapitulation of 1st subject (unusual thing) - length of codas (very long) - return of III material in development section of IV - write out the form of each movement

Essay #1: Describe sonata form as fully as you can. When did it come into use?

- second half of the 18th century (classical) - "closed form" and rounded binary (in essence) - The sonata form is also called the first movement form because it is so often used in the first movement of sonatas, symphonies, and concertos. However, this does not mean that every first movement is in sonata form. Sonata form is comprised of three main sections: exposition, development section, and the recapitulation. The first section, the exposition, contains two subjects, separated by a bridge, and closing material to transition into the development section. The first subject is typically in the tonic key, whilst the second subject tends to be in a different key (not the tonic); however, when these subjects are repeated in the recapitulation, the second subject is adjusted and played in the tonic key. The second section, developmental section, is filled with fragments of earlier subject material interspersed in a variety of keys. This material works fantastically as a transition into the recapitulation. The recapitulation is, in a sense, a repeat of the exposition material, containing a first and a second subject. However, as stated briefly before, the second subject this time is in the key of the tonic, which is not the same key it was played in previously. Then, finally, after the closing material is delivered, the sonata form typically concludes with a Coda (extra material that the composer adds to amplify the piece's ending).

3 ways ritornello is different from rondo form

1. ritornello belongs to the orchestra and it is all the orchestra knows and plays 2. it never comes back to the same key twice in a row (rondo only plays the same key) 3. can begin at the beginning, middle, or the end (doesn't have to start the repeated music at the beginning each time)

example of ritornello form

Bach, Bragenburg Concerto No. 5, I

example of non-rounded binary form

Bach, Gigue from Cello Suite No. 2

example of rondo form

Haydn, Symphony #101, IV (ABACA)

example of theme and variations form

Haydn, Symphony #94, II *the surprise*

example of rounded binary form

Haydn, Symphony #99, III (minuet)

Beethoven's 5th symphony movements written out

I: sonata form II: theme and variations III: scherzo and trio IV: sonata form

example of sonata form

Mozart, Symphony No. 40

example of ground bass form

Purcell, Dido and Aeneas, aria, "When I am laid"

Essay #3: Rondo form and ritornello form are alike in some ways, different in some. Compare the two forms, in terms of both musical particulars and where each fits historically.

The two forms, comparatively, are more similar than they are different. They are both from the classical era and are considered open forms of musical expression. Both of these forms consist of episodes (B, C, D, etc) and a main theme (A); the main theme begins and is interspersed with episodes, such as: A B A C A D A. However, one of the main differences between these forms is that in a ritornello, the main theme that returns has slight variances each time. This is specifically called the ritornello (the variation on the main theme that reoccurs, which is commonly known to be key changes). ...BLAH BLAH BLAH - rito has orchestra whole - rito never plays in the same key twice - rito can start at beginning, middle, or end - rito: Bradenburg Bach Con. No. 5, I - rondo: Haydn symphony #101, IV

theme and variations form

a form of music that begins (typically) with a theme that is the main melody and is followed by one or several more variations of this theme; this can occur in different keys or through different rhythmic interpretations of the main theme.

motive

a little idea from which bigger ideas are woven (repeated in the Beethoven's 5th symphony I) - motivic saturation

non-rounded binary form

a type of binary form that only has two parts, which do not repeat, but finish completely before moving onto the next part (the complete question and answer form)

rondo form

comes back in the same key and at the beginning: ||: A :||: B :||: A :||: C :||: A :||

symphony

made up of four movements typically. the first movement is the fastest with most of the music comprising of the main theme; it is typically the fastest and most important and contains predictable forms. the second movement is much slowly and has flexibility when it comes to its form. the third movement most likely consists of minuets and trios, this form is predictable the same as the first movement. and finally, the fourth movement is fast, like the first movement, and is very short, unlike the first movement. the fourth movement is the most flexible and has the most area for variation within the entire symphony. - complete orchestra work

rounded binary form

||: A :||: B A' :|| (classical) two musically related sections, that are usually repeated