MUSIC ESSAY PLANS

Question 1

What texture did Stamitz pioneer in his Sinfonia in D Op. 32 No. 3?

Answer 1

Stamitz pioneered the style galant, characterized by melody dominated homophony.

This contrasts with the polyphony of Baroque music.

Question 2

In the second movement of Stamitz’s Sinfonia in D, how is the accompaniment structured?

Answer 2

The accompaniment is extremely simple, with long sustained notes outlining chords.

Violin 2, viola, and bass all contribute to this texture.

Question 3

How does Stamitz reduce texture for effect in his compositions?

Answer 3

He reduces texture by having violin 1 and 2 play the same part together and the viola doubling the bass an octave higher.

This is evident in movement 3 of his Sinfonia.

Question 4

What texture does Stamitz use throughout movement 4 of his Sinfonia?

Answer 4

Stamitz uses unison texture throughout movement 4 to emphasize the melody line.

This technique punctuates the melodic phrases.

Question 5

How does CPE Bach’s approach to texture differ from Stamitz’s in his E minor symphony?

Answer 5

CPE Bach varies the texture throughout his piece, using contrapuntal, homophonic, and unison textures.

This contrasts with Stamitz’s more consistent texture.

Question 6

What is an example of unison texture in CPE Bach’s E minor symphony?

Answer 6

At the beginning of movement 1, all instruments play the theme in unison.

This establishes the theme’s importance.

Question 7

What style is CPE Bach’s E minor symphony written in?

Answer 7

The symphony is written in the empfindsamer stil style.

This style is characterized by sudden contrasts in texture.

Question 8

What unique feature does Haydn use in the fourth movement of his Hornsignal Symphony No. 31?

Answer 8

Haydn employs a two-part melody in the main theme, spotlighting the horns.

This showcases the horn section’s capabilities.

Question 9

In Haydn’s Farewell Symphony No. 45, how does the texture change in the fourth movement?

Answer 9

The texture is reduced as players leave the stage throughout the movement.

This dramatic effect conveys a message of departure.

Question 10

What type of texture does Mozart use in the final movement of his Jupiter Symphony No. 41?

Answer 10

Mozart uses fugal texture, presenting five themes individually before combining them.

This culminates in a five-voice fugato in the coda.

Question 11

What is a notable dynamic feature of Beethoven’s Symphony No. 5?

Answer 11

The opening features a unison statement of the fate motif, establishing its importance.

This motif recurs throughout the symphony.

Question 12

What unusual time signature does Haydn use in the first movement of his Hornsignal Symphony No. 31?

Answer 12

The first movement is in 3/4 time instead of the typical 4/4.

This choice adds a unique rhythmic feel to the piece.

Question 13

In Berlioz’s Symphonie Fantastique, how does he create an almost monophonic texture?

Answer 13

Berlioz presents the idée fixe in the violins and flutes with no accompaniment.

This forces the listener’s attention to the main theme.

Question 14

What rhythmic technique does Brahms frequently employ in his Symphony No. 4?

Answer 14

Brahms uses metric games such as hemiola, metric displacement, and irregularity in phrase length.

These elements create rhythmic and metric interest.

Question 15

What is a common characteristic of rhythm, tempo, and metre in symphonic works from 1750 to 1900?

Answer 15

The first movement typically features a simple duple or quadruple metre and an allegro marking.

This structure establishes a conventional framework for symphonic compositions.

Question 16

What unusual feature does Beethoven incorporate in the second movement of his Eroica Symphony?

Answer 16

The second movement is a funeral march, creating a sombre atmosphere.

This contrasts with the more aggressive character of the first movement.

Question 17

How does Liszt use tempo, metre, and rhythm in Les Préludes?

Answer 17

Liszt uses these elements to transition between different sections of the piece.

This approach serves a programmatic purpose.

Question 18

What dynamic approach does CPE Bach take in his Symphony in E Minor?

Answer 18

CPE Bach uses terraced dynamics, a characteristic of the Baroque period.

This reflects his influence by earlier stylistic conventions.

Question 19

What dynamic technique does Haydn use for dramatic effect in his Farewell Symphony?

Answer 19

Haydn employs repeated sforzando markings to create drama and tension.

This technique is prominent in the first movement.

Question 20

What is the significance of the fermatas used by Haydn in his London Symphony No. 104?

Answer 20

Fermatas create an unmeasured pause, questioning the sense of rhythmic drive.

This adds a layer of complexity to the symphony.

Question 21

What innovative use of dynamics does Stamitz introduce in his Symphony in D?

Answer 21

Stamitz uses sudden dynamic contrasts, including the Mannheim hammer strokes.

This technique engages the audience and sets a dynamic precedent.

Question 22

What dynamic marking does Haydn use at the beginning of the London Symphony No. 104?

Answer 22

Fortissimo unison idea

This sets an exciting and dramatic tone for the entire symphony.

Question 23

What motif does Haydn use in the slow introduction of the first movement of Symphony No. 104?

Answer 23

Sighing motif

This motif is presented with a piano dynamic, creating a mysterious atmosphere.

Question 24

What dynamic technique is highlighted in Beethoven’s Eroica Symphony No. 3 during the development of movement 1?

Answer 24

Repeated sf markings

These create tension and showcase dynamic force.

Question 25

How does Beethoven typically handle dynamics in his scores?

Answer 25

Frequent contrast and crescendos ## Footnote Often includes at least one dynamic marking every few bars.

Question 26

What dynamic contrast does Beethoven use at the beginning of his Symphony No. 5?

Answer 26

Fortissimo followed by piano ## Footnote This creates an echo effect in the strings and a sense of uncertainty.

Question 27

What unique dynamic choice does Beethoven make in the opening of his Pastoral Symphony No. 6?

Answer 27

Opens with a piano dynamic ## Footnote This evokes a sense of peacefulness in the programmatic work.

Question 28

What dynamic technique does Beethoven utilize in the first movement of the Pastoral Symphony No. 6?

Answer 28

Sudden swells in dynamics ## Footnote This allows him to depict the countryside through sound.

Question 29

What dynamic marking does Berlioz use in the religiosamente section of Symphonie Fantastique?

Answer 29

ppp marking ## Footnote This is an extreme of the spectrum of dynamics.

Question 30

What stark dynamic contrast does Mendelssohn create between movements 3 and 4 of his Italian Symphony No. 4?

Answer 30

Soft overall in mvmt 3, tutti forte in mvmt 4 ## Footnote The sudden change reinforces the dramatic opening to the finale.

Question 31

What dynamic marking is noted in Tchaikovsky's Pathetique Symphony No. 6?

Answer 31

pppppp marking ## Footnote This is the quietest dynamic ever written.

Question 32

How does Tchaikovsky's Pathetique Symphony No. 6 end?

Answer 32

Fading away into nothingness ## Footnote The symphony ends pppp, underscoring pessimistic implications.

Question 33

What was the typical dynamic approach in early classical music (1750-1900)?

Answer 33

Lack of dynamic markings in scores ## Footnote Performers had a greater role in interpreting the music.

Question 34

What did composers like Stamitz pioneer regarding dynamics?

Answer 34

Techniques like the Mannheim rocket and hammer strokes ## Footnote These rely heavily on dynamic techniques such as crescendos.

Question 35

What was the significance of the slow introduction in Haydn's London Symphony No. 104?

Answer 35

Sets atmosphere and is memorable ## Footnote This feature made the opening movement distinct.

Question 36

How did Beethoven expand the first movement of his Eroica Symphony?

Answer 36

Included a third subject and expanded the development section ## Footnote This obscured the clear-cut roles of sections in sonata form.

Question 37

What does the first movement of Berlioz's Symphonie Fantastique introduce?

Answer 37

The idee fixe ## Footnote This theme is returned to in every movement, heightening the opening movement's significance.

Question 38

How does Tchaikovsky's Pathetique Symphony No. 6 contrast with Beethoven's Fifth Symphony?

Answer 38

Ends like the opening movement ## Footnote This defies typical conventions of resolution in the finale.

Question 39

What is the role of the opening movement in symphonic works from 1750 to 1900?

Answer 39

Introduces key thematic material ## Footnote It often sets the stage for the entire symphony.