Performing Arts Chapter 47 Pter Form Chaa What Traditional Tonal Sentence How Are Post Tonal Sentences

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A. Questions For Review | 683

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A. QUESTIONS FOR REVIEW

1. What is a traditional tonal sentence? How are post- tonal sentences different from

tonal sentences? What is a dissolving sentence? An immobilized sentence?

2. What is a traditional tonal period? Which aspects of a traditional period are main-

tained in post- tonal practice? Which may be changed?

3. Which features of traditional sonata form are maintained in post- tonal practice?

Which may be changed?

4. What is moment form?

5. What is collage form?

6. What does it mean to say that form is process?

chapter

47 Form

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B. ANALYSIS: SENTENCES

• Identify the sentence type of these examples (sentence, dissolving sentence,

immobilized sentence) or note “no sentence.”

1. Alban Berg, Wozzeck, Act 1, scene iii (“Marie’s Lullaby”)

basic idea

continuation cadence

basic idea repeats

presentation

B. Analysis: Sentences | 685

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2. Arnold Schoenberg, Little Piano Pieces, Op.19, No. 6

sentence type: dissolving sentence

basic idea basic idea repeats

continuation cadence

presentation

3. Anton Webern, Movements for String Quartet, Op.5, No. 4

sentence type: dissolving sentence

basic idea basic idea repeats

cadence

continuation

presentation

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4. Igor Stravinsky, Petrushka, Second Tableau, “Petrushka’s Curses”

basic idea basic idea repeats

presentation continuation

cadence

5. Igor Stravinsky, Serenade in A, i

basic idea basic idea repeats basic idea repeats

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cadence

continuation

6. Kaija Saariaho, Sept papillons (for solo cello), iii

sentence type: dissolving sentence

basic idea basic idea repeats

presentation continuation cadence

C. ANALYSIS: PERIODS

• Note whether these passages should be analyzed as periods.

• Use brackets and labels as appropriate to identify the antecedent and its rela-

1. Alban Berg, Wozzeck, Act 2, scene i

The composer identified this passage as a period with an antecedent and a conse-

quent. Can you figure out what he had in mind? Hint: Focus on the instrumental

accompaniment— the vocal melody cuts across the phrase boundaries.

antecedent

consequentHC

Is this a period? yes

C. Analysis: Periods | 689

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2. Dmitri Shostakovich, String Quartet No. 3, i

antecedent

consequent

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PAC

3. Francis Poulenc, Sonata for Flute and Piano, i

antecedent

D. Analysis: Sonata Form | 691

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HC consequent

PAC

Is this a period? yes

D. ANALYSIS: SONATA FORM

Answer the questions following each example.

1. Maurice Ravel, Sonatine, i

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D. Analysis: Sonata Form | 693

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Exposition

• The primary theme begins in measure 1. In what key, and how can

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• The secondary theme begins in measure 13 . In what key(s) is it in?

Development

• The development begins in measure 26 .

• Which theme returns in measure 31 and in what key? primary theme in B

• Which theme returns in measure 40, and in what key does it begin?

• The theme that begins in measure 40 is rapidly transposed upward. Name

the measures in which it is transposed, identify the starting melodic note, and

Recapitulation

• The recapitulation begins in measure 56 . Which theme? primary

How does the key compare to the secondary theme in the exposition?

• The closing section begins in measure 75 .

2. Dmitri Shostakovich, String Quartet No. 1, i

D. Analysis: Sonata Form | 697

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