Form Question

Question 1

Music and Rhetoric. 1st

Answer 1

Lippius Synopsis musicae novae (1612)

Question 2

Parts of Rhetoric

Answer 2

inventio, dispositio, elocutio, memoria, and pronunciatio

Question 3

Parts of Inventio

Answer 3

propositio (proposed plan of the speech), confirmatio (proof of the
arguments), to refutatio (refutation of the opponent’s arguments), and peroratio (the conclusion).

Question 4

Matheson

Answer 4

Der vollkommene Capellmeister (1739)
In his discussion of rhetoric, turns focus away from Elocutio and the associated figurenlehre
Focuses instead on inventio and dispositio
In particular, how to use loci topici to write full melodies.

Question 5

More on matheson

Answer 5

This forms a foundation for later theories of form, based on analogy between dispositio and musical form.
First attempt to sectionalize piece into rhetoric. Example of form as overcoming a conflict.

Question 6

Johann Adolph Scheibe

Answer 6

List of rhetorical terms, terms, general and flexible, but well defined; can apply to great variety of music (really almost any). Useful for analyzing late 18th, early 19th century music.

Question 7

18th century vs. 19th century approach

Answer 7

18TH CENTURY FORM DISCUSSION BASICALLY PRACTICAL, COMPOSERS, WITH OWN EXAMPLES. ADD GALEAZZI TOO. ALSO QUANTZ. Not so much a fundamentally diffetent outlook, (I mean themes vs sections, 2 vs 3 part, okay, but diff in method, theory vs. Practice. Schema vs Sonata theory almost?.

Question 8

Riepel title and basics

Answer 8

Anfangsgründe zur musicalischen setzkunst (1752-68)
Riepel discusses small form (minuet) and larger forms, but in form of a dialogue.
7 criticisms of the student minuet.

Question 9

Riepel: Phrases

Answer 9

Four measure unit is best. Zweier, Dreier, twosome, threesome, foursome. Two and four measure phrases are considered best.
Later discusses complete and inconclusive phrases as, as our half and authentic cadences.
The same sort of cadence should not usually occur twice in a row.

Question 10

Riepel minuet details

Answer 10

Minuets will begin complete, inconclusive (the second really a modulation to V).
The second part may however contain two complete cadences.
The third phrase,
Monte, Ponte and Fonte.
Monte is V/IV, IV, ii, V Ponte V/ii, ii, V, I. Fonte involves a dominant pedal.

Question 11

Riepel Larger form

Answer 11

Larger form is basically the same as a small form, but expanded.
discusses how to compose a larger form. Such as can be even the first movement of a symphony.

Question 12

Koch title

Answer 12

Versuch einer Anleitung zur Composition 1782-93

Question 13

For each (Riepel Koch Marx)

Answer 13

Phrasing! Smaller forms. Larger forms.

Question 14

Koch first to (harm and phrase)

Answer 14

to discuss modern idea of cadence.
Phrase as entity.
Cadential progressions belong at the end of a phrase
Incidental chords before.
Discusses a Perfect authentic cadence, but not labled as such.

Clarifies difference between modulation and tonicization.
Earlier theorist, any brief chromatic progression a modulation.
Koch makes distinctions between “optional,” “incidental,” “passing” key changes, and “formal” key change, which we would see as modulation.

Question 15

Koch Basic German terms

Answer 15

Phrase (Satz), Segment or incise (einschnitt), Period (Period)

Distinguishes I-Phrase (Grundabsatz) and V-Phrase (Quintabsatz)

Question 16

Koch’s approach

Answer 16

APPROACH LIKE RIEPEL, HIGHLY COMPOSITIONAL. WAYS OF WRITING THE SAME THING. MANY WAYS OF EXTENDING THE SAME PHRASE, MATERIAL.

Question 17

Koch Period

Answer 17

Period
Can be two phrases, as in the modern use of the term.
May contain many more phrases. Can extend to the size of a sonata exposition, etc…

Question 18

Koch Small form

Answer 18

Koch shows how to compose a binary form that modulates to V in the first part.
(Open square means IAC). Second phrase V, I

Question 19

Koch Large form

Answer 19

Our sonata form
Part 100, on the symphony:
So he conceives our sonata form as primarily, or at least foundationally, symphonic.

Question 20

Koch exposition

Answer 20

All the familiar stuff: First section, single period, “plan of the symphony” etc. Main phrases presented. Add an appendage (small codetta)
Theme and a continuing phrase; third phrase modulates to key of the 5th.
(Later, comments on how basic formula can be extended by adding phrases)
Remaining sections in key that has been modulated to (V, III in minor)
This is the second and larger part of the period.
Andrew on this:
v. Also foreshadows the phrases’ functions
1. Hauptsatz is main theme
2. Schlußsatz is a closing theme
vi. There is overlap in types of satz though
vii. A period is just a group of phrases, any number allowed
viii. Sonata form is binary and more detailed than just an expansion
1. Main Theme = 2 phrases
2. Transition = 1 phrase
3. Secondary Theme = longer than Main
ix. Second half of binary has two periods (Dev and Recap)

Question 21

Koch dev

Answer 21

Modulation through several keys, sequences, passing modulations,
Themes repeated or dissected. Period ends in V phrase in home key.

Question 22

Koch build sonata form by; also, thematic differentiation?

Answer 22

Expansion; Koch does have cantabile idea as second theme; so too does Galeazzi (passo carataristic)-main formula.

Question 23

18th vs. 19th–difference of 19th

Answer 23

18th Century theory has composers as its audience. More about how to write music. Analysis serves this purpose.

19th century theory is, as Dr. Boss says it, “Analysis for analysis sake” with and audience of not simply composers but of performers and listeners. This is really the modern conception of analysis.

Question 24

Momigny

Answer 24

Momigny, Cours Complet, Shifts important to themes. Period of Exposition, period of verve, etc…

Question 25

Antonin Reicha

Answer 25

Traité de mélodie (1814), Traité de haute composition musicale (1824) Analyzes arias as “large binary form” (grand coup binaire) including Mozart’s “Non so piu.” New: Bracketing of phrases (though Riepel and Koch had the squares filled in or not), formal designations at different levels. “Large Binary form can be used not only for opera arias, but also for instrumental music for the first movements of sonatas symphonies etc…” (FORM CHART) Grand Coup Binaire

Question 26

Adolph Bernhard Marx: Title

Answer 26

Die Lehre von der Musikalischen Komposition, praktisch-theoretisch (1837-47)

Question 27

Marx: (Adolph that is) Background/education | application

Answer 27

``` HEGELIAN Senior Professor was Hegel. Hence, Hegelian philosophy, musical form a step by step, thesis, antithesis, synthesis process. (Oy veh here we go) In Particular, Rest--Motion--Rest ```

Question 28

Marx: contributions to phrase theory

Answer 28

2. Idea of Parallel period: Vordersatz, Nachsatz: Makes a very very very (really very) basic period I-V, V-I, but it desperately needs improvement (this is the antithesis). Developes this period in many many stages. For example, improves rhythm, but lacking sharply drawn motive.

Question 29

Marx derivaton of forms

Answer 29

Derivation of Musical forms (From Burnham): Some HEAVY DUTY theory here SATZ VS GANG AS BASIC ELEMTN First derives Binary and ternary from the Satz

Question 30

Marx larger forms

Answer 30

He then posits another – and higher – family of forms, the motion-oriented rondo forms. The characteristic feature of this family of forms is the Gang.

Question 31

Marx final Rondo

Answer 31

Sonata form MS SS1 G CS (2nd Part) MS SS1 G CS (Just memorize this one!) Marx refers to the three large sections of sonata form not as exposition, development, and recapitulation but simply as First Part, Second Part, and Third Part. These designations help Marx show the relation of sonata form to the foregoing fourth and fifth rondo forms

Question 32

Marx just sectional and tripartite

Answer 32

BECOMING

Question 33

Marx new terms.

Answer 33

Sonata form! Parallel period! Musikalische Idee!

Question 34

Musikalishe...

Answer 34

4. Musikalische Idee, Is the interpretation of the progress of the piece using an extramusical narrative. In Life and Works of Beethoven analyzes the Eroica symphony in terms of Napoleon narrative. But cannot be a piece by piece description of the narrative, but has to be more abstract, while meaning something.

Question 35

19th century sonata idea | Hauptsatz and gegensatz

Answer 35

In this pair of themes... the first theme is the one determined at the out- set, that is, with a primary freshness and energy - consequently that which is energetically, emphatically, absolutely shaped... the dominat- ing and determining feature. On the other hand, the second theme... is the [idea] created afterward [Nachgeschaffne], serving as a contrast, dependent on and determined by the former - consequently, and according to its nature necessarily, the milder [idea], one more supple [schmiegsam] than emphatically shaped, as if it were [gleichsam] the feminine to that preceding masculine. In just this sense each of the two themes is different, and only with one another [do they constitute something] higher, more perfect.1