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    MUSC 266 Assignment III

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    frances thorpe
    This document contains an assignment with multiple questions analyzing the form and structure of excerpts from Mozart and Beethoven sonata movements. The assignment requires identifying different formal sections like expositions, transitions, themes, and cadential areas. It also asks for metric interpretations and reasons for alternative hearings of the meter.

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    MUSC 266 Assignment III

    Uploaded by

    frances thorpe
    25 views4 pages
    This document contains an assignment with multiple questions analyzing the form and structure of excerpts from Mozart and Beethoven sonata movements. The assignment requires identifying different formal sections like expositions, transitions, themes, and cadential areas. It also asks for metric interpretations and reasons for alternative hearings of the meter.

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    This document contains an assignment with multiple questions analyzing the form and structure of excerpts from Mozart and Beethoven sonata movements. The assignment requires identifying different formal sections like expositions, transitions, themes, and cadential areas. It also asks for metric interpretations and reasons for alternative hearings of the meter.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    25 views4 pages

    MUSC 266 Assignment III

    Uploaded by

    frances thorpe
    This document contains an assignment with multiple questions analyzing the form and structure of excerpts from Mozart and Beethoven sonata movements. The assignment requires identifying different formal sections like expositions, transitions, themes, and cadential areas. It also asks for metric interpretations and reasons for alternative hearings of the meter.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    of 4

    MUSC

     266  Assignment  III  


     
     
    Question  1)  Mozart  K.  330,  1st  mvt.,  exposition  (25  marks)  
     
     
    1)  Is  this  a  two-­‐part  exposition  or  a  continuous  exposition?  
     
     
     
    2)  Where  does  the  TR-­‐zone  (transition  section)  begin?  
     
     
     
    3)  Give  two  features  of  this  TR-­‐zone  that  are  typically  characteristic  of  a  TR-­‐zone  
     
     
     
    4)  Where  is  the  MC  (medial  caesura)?  
     
     
     
    5)  Is  there  introductory  material  before  the  S-­‐theme  (after  the  MC  but  before  the  
    S-­‐theme)?  What  is  it?  
     
     
     
    6)  Where  does  the  S-­‐zone  (secondary  area)  begin?  
     
     
     
    7)  Are  the  first  8  bars  of  the  S-­‐theme  best  described  as  a  sentence,  period,  or  
    small  ternary?  
     
     
    8)  Where  is  the  EEC  (essential  expositional  close)?  
     
     
    9)  Give  two  features  of  the  C-­‐cone  (cadential  zone,  or  postcadential  area)  that  are  
    typically  characteristic  of  a  C-­‐zone  
     
     
     
    10)  Give  four  reasons  (that  is  four  MPRs)  for  why  you  might  hear  the  meter  of  
    the  opening  one  or  two  lines  exactly  as  the  bar  lines  are  written?  (Give  specific  
    bar  numbers/locations  that  correspond  to  your  MPRs.  Your  four  MPRs  must  
    refer  to  at  least  two  different  locations).  
     
     
     
    Question  2)  Mozart  K.  570,  1st  mvt.,  exposition  (25  marks)  
     
    1)  Where  does  the  TR-­‐zone  (transition  section)  begin?  
     
     
    2)  What  is  unusual  about  the  beginning  of  this  transition  section?  That  is,  what  
    other  device  does  it  sound  like  in  rhythmic  and  textural  quality?  
     
     
     
    3)  What  features  of  this  TR-­‐zone  are  typically  characteristic  of  a  TR-­‐zone?  
     
     
     
    4)  Where  is  the  MC  (medial  caesura)?  
     
     
    5)  Where  does  the  S-­‐zone  (secondary  area)  begin?  
     
     
    6)  What  is  unusual  about  the  thematic  content  of  this  S-­‐theme?  
     
     
     
    7)  Where  is  the  EEC  (essential  expositional  close)?  
     
     
    8)  Give  four  reasons  (that  is  four  MPRs)  for  why  you  might  hear  the  opening  of  
    the  opening  one  or  two  lines  exactly  as  the  bar  lines  are  written?  (Give  specific  
    bar  numbers/locations  that  correspond  to  your  MPRs.  Your  four  MPRs  must  
    refer  to  at  least  two  different  locations).  
     
     
     
     
    Question  3)  Mozart  K.  331,  opening  8-­‐bar  theme  (20  marks)  
     
    1)  What  kind  of  form  is  this  opening  8-­‐bar  theme?  A  sentence,  period,  or  small  
    ternary?  
     
     
     
    2)  Give  two  reasons  for  your  answer  in  (1)  above  
     
     
     
     
    3)  Try  to  hear  the  meter  differently  from  what  is  written.  Try  to  hear  the  
    downbeats  half  way  through  the  written  bars.  Give  four  reasons  (four  MPRS)  for  
    why  one  might  hear  the  meter  this  way.  (Give  specific  bar  numbers/locations  
    that  correspond  to  your  MPRs.  Your  four  MPRs  must  refer  to  at  least  two  
    different  locations).  
     
     
     
     
     
    Question  4)  Beethoven  Op.  2  No  3  (30  marks)  
     
    1)  There  is  something  unusual  about  this  exposition.  Why  might  this  exposition  
    be  seen  as  neither  a  two-­‐part  exposition  or  a  continuous  exposition?  
     
     
     
    2)  Are  the  opening  8  bars  best  described  as  a  sentence,  period,  or  small  ternary  
    form?  
     
     
    3)  Give  two  reasons  for  your  answer  in  (2)  above    
     
     
     
    4)  Are  the  harmonies  in  bars  5–6  best  described  as  prolongational,  cadential,  or  
    sequential?  
     
     
    5)  Where  does  the  TR-­‐zone  (transition  section)  begin?  
     
     
    6)  Give  two  features  of  this  TR-­‐zone  that  are  typically  characteristic  of  a  TR-­‐zone  
     
     
     
    7)  Where  is  the  MC  (medial  caesura)?  If  there  seem  to  be  more  than  one  MC  then  
    name  the  locations  of  both  MCs.  
     
     
     
    8)  Is  there  introductory  material  before  an  important  area  in  this  exposition?  If  
    so  where?  
     
     
     
     
     
    9)  Where  does  the  S-­‐zone  (secondary  area)  begin?  If  there  seem  to  be  two  S  
    zones,  name  the  locations  of  both.  
     
     
     
    10)Are  the  harmonies  in  bars  47–51  best  described  as  prolongational,  cadential,  
    or  sequential?  
     
     
     
    11)  Where  is  the  EEC  (essential  expositional  close)?  
     
     
    12)  Give  two  features  of  the  C-­‐cone  (cadential  zone,  or  postcadential  area)  that  
    are  typically  characteristic  of  a  C-­‐zone  
     
     
     
     
    13)  Give  four  reasons  (that  is  four  MPRs)  for  why  you  might  hear  the  meter  of  
    the  opening  four  bars  exactly  as  the  bar  lines  are  written?  (Give  specific  bar  
    numbers/locations  that  correspond  to  your  MPRs.  Your  four  MPRs  must  refer  to  
    at  least  two  different  locations).  
     

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