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.

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