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Typical Bates

I. Public Concert & the Triumph of Instrumental Music

=18th c., instrumental increasingly displaces vocal music in importance/prestige:

J. G. Sulzer (1772): “The Symphony’s purpose is to

prepare the listener; for the important music that follows.”

I. The Public Concert and the Triumph of Instrumental Music

=in 18th c., instrumental increasingly displaces vocal music in importance/prestige:

I. The Public Concert and the Triumph of Instrumental Music

A. Instrumental Pieces lack words to give sense & shape

=in 18th c., instrumental increasingly displaces vocal music in importance/prestige:

Spring from “The Four Seasons” Sonnet

Vivaldi Concerto

I. The Public Concert and the Triumph of Instrumental Music

A. Instrumental Pieces lack words to give sense & shape

C. Absolute Music,“Pure” Instrumental freed from function

D. Instrumental music lacks function except to be listened to

E. Instrumental Music as Autonomous

B. Absolute Music vs. Program Music

=in 18th c., instrumental increasingly displaces vocal music in importance/prestige:

I. The Public Concert and the Triumph of Instrumental Music

A. Instrumental Pieces lack words to give sense & shape

C. Absolute Music,“Pure” Instrumental freed from function

D. Instrumental music lacks function except to be listened to

E. Instrumental Music as Autonomous

F. Autonomous Music requires new ways of being intelligible (purely musical logic not reliant on words)

B. Absolute Music vs. Program Music

=in 18th c., instrumental increasingly displaces vocal music in importance/prestige:

II. Musical Forms: Basic Principles

ABACA,

II. Musical Forms: Basic PrinciplesA. Periodicity (clear-cut, often symmetrical phrases)

B. “Additive”Construction short, periodic units combine to form ever larger units. . .

Antecedent Consequent

II. Musical Forms: Basic Principles

A. Periodicity (clear-cut, often symmetrical phrases)

C. The Recognition of Return

D. Resolution of Structural Imbalance or Structural “Dissonance”

B. “Additive”Construction short, periodic units combine to form ever larger units. . .

III. Musical Forms

A. Ternary

A B A(‘)

B. Where?

1. Opera arias = da capo aria

2. Slow Movements (usually 2nd)

3. ABA unfolds over long periods

B. Rounded Binary Form (Modified Ternary)

|: :||: :||A A B A B A

‘ ‘

III. Musical Forms (cont.)

Where? 3rd mvmts. (Minuet and Trio)

C. Rondo Form(e.g., Mozart Horn Concerto III)

Where?

IV. Sonata form

A. Where?

1. First Movement of any Large Classical Pd. Work

2. Overtures

3. Elements in Slow Movements (2); finales

(Sonata-Allegro form) or 1st-Movement Sonata Form

B. The Structure of Sonata Form

A B A

Very Cool Double Return

V. The Appeal of Sonata Form

A. Based on Periodic, Hierarchical Structures

B. Uses Recognition of Return (A B A)

C. Uses Resolution of Structural Dissonance (material in “wrong” key in expo heard in “right” key in recapitulaion)

D. The Double Return (B+C happen simultaneously)

VI. Typical Sonata Form of the Classical Era:

Mozart, “A Little Night Music”

Eine kleine Nachtmusik

First Movement