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MUC 122 – Dorey, Sp 2018

Chapter 17 – Written Assignment #1 (35 pts)

1. What is the usual number of movements in a symphony after 1770? (1 pt)

4 movements-allegro, andante moderato, minuet and trio, allegro.

2. How many players were in the typical orchestra of the late 18th c? (1 pt)
25, including wind instruments.

3. List (without diagrams) the usual formal structures associated with each of the
movements of a symphony after 1770? (2 pts)

First Movement (Exposition): Slow Intro, Opening theme/first theme, transition/

bridge, second theme, closing section
Development: Restatement of opening subject, rearrangement of motifs
Recapitulation & coda: Exposition in tonic key, rescoring of opening, transition
altered, secondary and closing themes (potentially given more emphasis than in the
expo), coda as final statement in tonic.
Movement II: Slow Movement (Sonata form, theme & variations, or ABA [aria])
Movement III: Minuet & Trio (Shorter, more popular, ABA [minuet-trio-minuet], each
large section binary or rounded binary. Trio has later orchestration, and often in same
key as minuet, or close key.)
Movement IV: Finale, Allegro (Faster & shorter than first, pre 1770 sonata, rondo or
variation, after 1770, often sonata rondos: ABACABA.)

4. What does Sturm und Drang imply in terms of compositional style/content? (3 pts)
It featured dynamic extremes, sudden contrasts, crescendos and sforzatos, along with
richer and more varied harmonies.

5. What is the harmonic function of the transition in the Expo of a sonata form? (2
In that transition, the harmony would modulate to the dominant, or relative
major or minor.

6. In what tonal area would you expect to hear the second theme group material in
the Recap of a sonata form? (2 pts)

7. How does the scoring of the Trio section of a Minuet and Trio form usually differ
from that of the minuet? (2 pts)
The scoring is often thinner, or at least changed in the trio section.

8. In what two genres were both Haydn and Mozart most likely to experiment with
new techniques before incorporating them into their symphonies? (2 pts)
Quartets & concertos.
MUC 122 – Dorey, Sp 2018

9. Haydn wrote two oratorios late in his life. Give their (English) titles: (2 pts)
The Creation (1798), The Seasons (1801)

10.What was Haydn’s primary source of income for most of his life? (1 pt)

11.How did Mozart earn a living while he resided in Vienna? (2 pts)

Through private and public concerts, composition, and teaching private students.

12.The Leonard Bernstein discussion of Mozart’s Symphony in G minor, K. 440 (slide

22, is brilliant. In your own words,
describe the most enlightening, interesting, cool, fascinating, (whatever), thing
you heard in this clip as is you were telling a friend or audience about that
moment. (This response is, in part, an exercise in writing about music.) (5 pts)

I found it particularly interesting when Bernstein spoke about the downward circle of
fifths used to adjust the piece for the appearance of the second thematic section. His
understanding of the musical and theoretical adjustments required to launch the
piece into its next segment was intriguing. I also enjoyed the portion about halfway
through where he talked about the competing elements of diatonicism and
chromaticism, that add to the dynamism of the piece and help balance its structure.

13.The Mozart piano concerto, K. 488 in A major, follows the first movement concerto
proceedure almost exactly. (The timings are given in the notes to slide 27.) Your
task is to describe/explain some of the techniques Mozart uses within one of the
following sub-sections: the Primary group of the Expo, the transitional tutti of the
Expo, or the Development. I am not asking for a theoretical (chord) analysis, I
want you to describe how Mozart treats the thematic material (if he repeats, does
he change anything? If so, what – key, rhythm, accompaniment, orchestration,
adds counterpoint, varies the theme, etc.?). Please be sure to indicate which
section you describe. (10 pts)
In the primary group of the exposition, within the first movement, or allegro, Mozart
presents the main themes as first and second subjects, as played by the orchestra
echoed back and forth between the strings and woodwind sections. An initial short
melody is echoed by the woodwinds following a statement by the strings. This then
transitions into the second part of the theme, which is played by both groups. A
contrasting theme then appears-which, similar to the first subject, is initiated by the
strings and then repeated by the woodwind. This remains in the tonic key. After both
subjects are stated, these are then repeated by the piano in the same order, adding
no new material beyond small decorations, although the second subject is now played
in the dominant. At this point, the orchestra transitions from the main focus point to
a minor accompaniment, occasionally resurging to the same level as the piano.