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Music History III: Classical Music, November 28th.docx

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MUSI 3380
Paul Sanden

November 28 – History III Listening p.224 • Exposition o 3 motives in Theme 1 (motive a: m.1-4; motive b: m.5-7; motive c: m.19-22) o 1 in Transition (motive d: 56-57) o 2 motives in theme 2 (motive e: m.74-75; motive f: m.76-77)  Gives us some counterpoint by combing motives • Development, recapitulation, coda – no new motives introduced, instead combines motives in different ways (reorchestration) • Motive a: John Fux (Baroque) o Gradus ad parnassum – reference  Counterpoint treatise Mozart’s opera • Innovative opera #1 • Opera seria mid-eighteenth century o Not fixed o Different tastes in different regions o Characterization of music for each character  Key area  Orchestration o Not 100% demonstrating the influence of the reform (diminish national distinction) o Orchestra more involved o Continuo disappear and replaced by 4 voice strings o Continuity of Italian tradition o Written primarily for celebrations (coronations, weddings) • Opera Buffa (1760) o More popular then opera seria o Rise of middle class makes more desirable o Comedy is more sentimental, more engagement o Parody is still very important (mocking upper class and opera tradition) o Operatic finale: moment
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