(musicTheory2) Assignment: Ch. 24, Analysis of Two-Reprise Form

Due Monday, 4/16:

Wkbk pp. 208 – 209, Beethoven, Piano Sonata in D Major, Op. 28, III, up to, but not including the Trio.

Listen to the sonata.

Keep in mind a few things:

  • Although there are not repeat signs around the first 32 measures, compare mm. 1 – 16 and 17 – 32 and you’ll see that the repeat is written out, with slight elaborations. This is still a two-reprise form.
  • It’s necessary to fully identify the big-picture formal/tonal aspects of a two-reprise form, e.g., sectional or continuous, rounded, balanced, etc., but this is not the full analysis of the interaction of formal design and tonal structure.
  • A full analysis will include a voice-leading reduction that will include harmonic features indicated where needed. (You will have to include some Roman numerals in your reduction, but not necessarily all.) Start by labeling harmonies in the score, but keep in mind larger functions like prolongation, essential vs. embellishing, and so forth.
  • Clearly label any modulations in your reduction by indicating the Roman numeral of the new key area in a box.
  • Don’t forget about rhythm and meter, especially the rhythmic and metrical dissonances you learned about in chapter 18. (hint: this is a fast piece…)
  • In clear prose (written English), write about some of the key aspects of your analysis. Start big, with the overall formal design, and then delve into it at the phrase level in terms of thematic material, progression, key area. You can use large-scale tonal structure to work your way out and conclude. This is NOT a five-paragraph essay, with introduction and conclusion paragraphs that have to state a thesis and re-state what you have proved. Just take the reader through the work by means of an explanation.
  • Remember, this is fun!


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