MUSIC1100_NET04_LA8YasminAli
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Music Appreciation (MUSIC-1100-NET04)
Listening Assignment 8
Yasmin Ali
Following the listening outline, listen to the entire Symphony No. 5, Op.67. Then, please respond to the following:
Movement 1:
1. Can you hear the four distinct sections of this movement (exposition, development, recapitulation, and coda?
Yes, The coda quickly follows the Recapitulation and is notably brief. In the initial moments of the coda, brief yet powerful repeated chords, accompanied by extended pauses, contribute to a dramatic atmosphere. The lower strings and bassoons once again echo the horn-call, harmonizing with a fresh violin melody in the tonic key. A brief descending pattern in the violins introduces an entirely new theme, creating a sense of anticipation reminiscent of the second theme in both the Exposition and Recapitulation that the listener can now recognize more closely.
2. How does Beethoven contrast the first and second themes in the exposition? The second theme is notably more lively and direct, yet it maintains the grandeur and regal quality present in the first theme. The repetition of both the first and second themes emphasizes the contrasting foreboding nature of the first theme with the cheerful exuberance of the second theme.
3. How is the main theme exploited (developed) in the development section? The main theme is exploited by The music that undergoes slight alterations to diminish its grandiose quality. The subsequent passage features a call-and-response dynamic between the upper strings and the winds, steadily intensifying until reaching the climax of the initial theme, culminating in a solo performed by the horns.
4. What new events occur in the recapitulation? In other words, what events occur in the recapitulation that were not present in the exposition?
In the recapitulation, themes 1, 2, 3, and 4 are reiterated, guiding the composition toward the coda. The coda extends the development of the third theme before transitioning into a variation of theme two.
A sequence of piccolo scales is succeeded by the reappearance of the strings, followed by an accelerando culminating in the violins repeating theme four.
Movement 2:
There are two main sections that act as themes in this movement (Kamien identifies these themes as A and B on p. 251).
1. How does Beethoven vary these two themes in A1 and B1?
A1: Bold and iconic motif consisting of four short notes (short-short-short-long).
Creates a sense of urgency and tension.
Repeated throughout the symphony, serving as a unifying element.
Often associated with fate or destiny due to its pervasive nature.
B1:
Features a contrasting lyrical melody with a smoother, more flowing character.
Provides a respite from the intensity of Theme A1.
Acts as a counterbalance to the rhythmic and harmonic drive of A1.
Exhibits Beethoven's skill in juxtaposing contrasting musical ideas within the same composition.
2. How does Beethoven then vary the A theme further in A2 and A3?
A2:
Beethoven elongates or compresses certain rhythmic elements of the A theme, altering its temporal character.
A2 introduces new harmonic progressions, adding complexity and depth to the theme's tonal palette.
Beethoven may change the orchestration, employing different instruments or textures to present A2 with a fresh sonic perspective.
A3:
A3 sees changes in the melodic contour of the A theme, with variations in pitch, intervals, or ornamentation.
Beethoven introduces dynamic variations within A3, emphasizing different parts of the theme with varying levels of intensity.
A3 may incorporate contrapuntal techniques, such as imitative counterpoint, enhancing the complexity of the A theme.
3. How does Beethoven use orchestration, i.e. the various combinations and layerings of specific instruments, to keep your interest in this movement?
Beethoven maintains interest through varied instrument combinations, contrasting dynamics, and intricate counterpoint, creating a dynamic and expressive orchestral landscape. Solos and dialogues highlight individual instruments, while changes in texture and orchestration ensure a diverse and captivating listening experience. The strategic use of instrumental colors and dynamic contrasts contributes to the movement's overall richness and engagement.
Movement 3:
As was customary with Beethoven, he named the third movement Scherzo and Trio, rather than Minuet and Trio. The overall form, however, is still a compound song form.
1. What is the overall form of this movement?
The overall form of the third movement is a compound song form, consisting of a Scherzo and Trio. Beethoven deviates from the conventional Minuet and Trio naming convention in this movement, a departure that was customary for him.
2. Now concentrate on the the scherzo section. What is the form of this scherzo? Simple binary or simple
ternary or perhaps something else?
The Scherzo section of Beethoven's third movement typically follows a simple ternary (ABA) form. This structure involves an initial section (A), a contrasting middle section (B), and a return to the initial section
(A) with potential variations or developments. Beethoven often infused his own innovations and creative
twists within traditional forms, so specific details may vary based on the composition.
3. Now, same question for the trio. What is the form of this trio? Is it simple binary, simple ternary or something different?
The Trio section in Beethoven's Scherzo and Trio movement often adheres to a simple ternary (ABA) form. Similar to the Scherzo, this structure consists of an initial section (A), a contrasting middle section (B), and a return to the initial section (A). However, Beethoven's creativity and penchant for experimentation may introduce variations or unique elements within this overall framework.
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Movement 4:
1. This is a remarkable finale to this symphony. Notice the extraordinary transitional bridge passage that links the third and fourth movements. How does Beethoven build tension in this bridge passage?
Beethoven builds tension in the bridge passage between the third and fourth movements through rhythmic intensity, dynamic gradation, harmonic ambiguity, accelerando, crescendo, instrumental layering, melodic ascent, foreshadowing themes, and persistent rhythmic motifs. This creates a sense of urgency, unrest, and anticipation, seamlessly connecting the emotional atmosphere of the two movements.
2. This movement is also in sonata form. However, it has traits that mark it a precursor of the romantic period. Read ahead on pages 265-268 which outline characteristics of romantic music and then listen again to this fourth movement. What romantic traits do you hear?
In the fourth movement of Beethoven's Symphony No. 5, precursor traits to the Romantic period include
expressive melodies, dramatic dynamics, an expanded orchestra, potential programmatic elements, emotional depth, individual expression, occasional use of rubato, rich harmonies, chromaticism, and the possibility of cyclic form or motivic unity. These elements reflect the evolving stylistic features characteristic of the Romantic era.
3. This symphony is an early example of cyclic structure, where a musical idea is not restricted to one movement but rather is carried over and exploited throughout all the movements, thus linking the movements. How does Beethoven link this fourth movement to earlier movements?
Beethoven achieves the cyclic structure in Symphony No. 5 by linking the fourth movement to earlier movements through the persistent use of a distinctive four-note motif. This motif, famously known as the "Fate Motif," is introduced in the first movement and recurs throughout the symphony, serving as a unifying element. In the fourth movement, Beethoven not only reintroduces this motif but also explores and transforms it, creating a cohesive thread that connects the entire symphony. The recurrence and transformation of the Fate Motif contribute to the overall unity and cyclic structure of Beethoven's Symphony No. 5.
Other:
After studying the music of the classical era in the last two units, what is your general impression of this music, i.e. the music of Haydn, Mozart and Beethoven? Do you prefer one's music over the music of the other two? If so, why?
I prefer Hadyn because I enjoy his inventive use of musical forms. Mozart's music is marked by its melodic beauty, emotional depth, and mastery of form. I consider it the most pleasing to hear.