the enjoyment of music 10 th shorter edition

The Enjoyment of Music 10th, Shorter Edition

The Enjoyment of Music 10th Shorter Edition


Part 5 More Materials of Form


Unit IX Expanded Elements of Form

“I alter some things, eliminate and try again until I am satisfied. Then begins the mental working out of this material in its breadth, its narrowness, its height and depth.”

—Ludwig van Beethoven


27. The Development of Musical Ideas Themes

Mozart: Symphony No. 40, I

Mozart, Eine kleine Nachtmusic, K. 525, I


27. The Development of Musical Ideas

Motives

Mendelssohn: Italian Symphony, I

Beethoven: Symphony No. 5



Thematic development

Purcell: Rondeau from Abdelazar

Berlioz: Symphonie fantastique, I (idée fixe)

Berlioz: Symphonie fantastique, II (idée fixe)

Berlioz: Symphonie fantastique, III (idée fixe)

Berlioz: Symphonie fantastique, IV (idée fixe)

Berlioz: Symphonie fantastique, V (idée fixe)


os t

i na

t oo

s ti n

at o

os t

i na

t oo

s ti n

at o

• An Italian word that means “obstinate” or “stubborn”• A figure that repeats over and over, usually in the bass

Ostinato



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The Enjoyment of Music 10th Shorter Edition


28. Classical Forms • Absolute music Mozart: Sinfonia Concertante

Symphony & String Quartet• I - Fast• II - Slow• III – Triple-meter dance• IV - Fast

Sonata & Concerto• I - Fast• II - Slow• III - Fast

Beethoven: String Quartet in C Op. 59, IV

Mozart: Piano Concerto No. 21

Beethoven: Piano Sonata No. 8

Multimovement Cycles

Mozart: Symphony No. 40, I


The First Movement (I)

• Sonata-allegro form / first-movement form / sonata form

Theme I

Closing Theme

Theme IITheme I Closing Theme

Bridge

Bridge

Theme II

Coda

Exposition (repeated) Development Recapitulation

A B A’


Exposition (First Movement)

Theme I

ClosingTheme

Theme IITheme I ClosingTheme

Bridge

Bridge

Theme II

Coda


A B A’

TonicKey

TransitionalPassage

ContrastingKey


Development (First Movement)

• Musical conflict and action• Frequent modulations• Tension• Thematic development, motives

Theme I

Closing Theme

Theme IITheme I ClosingTheme

Bridge

Bridge

Theme II

Coda


A B A’


Recapitulation (First Movement)

Theme I

ClosingTheme

Theme IITheme I Closing Theme

Bridge

Bridge

Theme II

Coda


A B A’

TonicKey

TonicKey!

Closes the entire movement


The Second Movement (II)

Typically an Andante or Adagio tempo

• Ternary (A-B-A) form

• Shortened sonata form

• Theme and variations (next slide)

• Slow rondo

Mozart: Piano Concerto No. 21, II

Beethoven: Symphony No. 7, II


Theme and Variations

||: a :||: b :||: a' :||: b' :||: a'' :||: b'' :||: a''' :||: b''' :||: etc.

Theme Variation I Variation II Variation III

“Greensleeves”

• Change of key

• Melodic variation

• Harmonic variation

• Rhythmic variation

• Meter, texture, dynamics, and timbre


The Third Movement (III)

Minuet/Trio

A B A

||: a :||: b :||: c :||: d :|| a | b |

Minuet Trio Minuet

Dance I Dance II(3 instruments)

Dance I(no repeats)

(Rounded Binary)

or

||: a :||: b -a :||


Scherzo

• Scherzo-trio-scherzo

• Faster pace and rhythmic drive


The Fourth Movement (IV)

• Rondo

Form:

A-B-A-B-A, or

A-B-A-C-A, or

A-B-A-C-A-B-A, etc.


The Multimovement Cycle as a Whole

• 18th century: movements of cycle as individual– First, third, and fourth movements in

home key– Second movement in contrasting key

• 19th century: movements as part of the whole– Cyclical structure


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the enjoyment of music 10 th shorter edition

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