Sonata Form Essay

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Eduqas Music A-level Revision

Last updated 5:59 PM on 6/6/26
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23 Terms

1
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What Baroque structure did Sonata form develop from?

Baroque Ritornello form

2
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What are 2 examples of symphonies that show the influence of Baroque ritornello form?

  • Stamitz No. 2

  • CPE Bach’s Symphony in E minor

3
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In what ways is the structure of the first movement of Stamitz’s symphony No. 2 different to sonata form?

  • Development is similar to exposition - just presents themes in closely related keys (doesn’t fragment or modulate any quicker than the exposition)

  • The recapitulation is presented backwards with S2 first

4
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What does Stamitz’s Symphony No. 2 show?

That the mature principles of sonata form (e.g. a development that fragments and modulates the themes and a recapitulation that includes both subjects in the tonic) had not been established by 1750

5
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What is an example of a manipulation of Sonata form after it had been consolidated in the mid-Classical era?

Haydn’s No. 31 (1965)

6
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How did Haydn manipulate sonata form in his 31st symphony in 1965?

  • He started the recapitulation in the tonic minor with new material which undermined the expected return of previous material

7
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How did Mozart manipulate sonata form in his 40th Symphony (4 points)?

  • No slow introduction (usual for that time)

  • Starts piano

  • Manipulation of sonata form to fit the style - Sturm und drang (minor key, restless rhythms, fast tempo)

  • Fugue in the development section

8
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What did Haydn add to Sonata form (2 points)?

  • Transitions between S1 and S2

  • A slow introduction

9
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What was unusual about Haydn’s slow introduction?

  • Ambiguous tonality

  • Starts symphony in tonic minor

10
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What thematic device did Haydn use in his 1st movement?

Monothematicism

11
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What was Beethoven’s primary contribution to the development of sonata form?

The ‘dramatisation’ of sonata form

12
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How does Beethoven manipulate sonata form for dramatic purposes in his 3rd Symphony?

  • He makes the simple triadic theme more weighty through its orchestral presentation

  • Adds a non-diatonic C# to the theme presented in the exposition which gives the idea of a problem that must be solved

  • In the recapitulation, the C# is removed, indicating that the problem had been overcome through the journey through sonata form

13
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How does Beethoven manipulate sonata form for dramatic purposes in his 9th Symphony (3 points)?

  • Massively extends the movement

  • Introduces themes that would recur throughout the symphony

  • Includes a fugue and counterpoint (elements not traditionally associated with sonata form) to suit his vision

14
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How did Berlioz manipulate sonata form for his programmatic purposes (2 points)?

  • Long slow introduction to set the stage for his epic work

  • Idee fixe as the main theme for his sonata form

15
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What did Berlioz pioneer in sonata form which was also employed by Mendelssohn?

He put a development section in the recapitulation

16
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What were the traditional elements of Mendelssohn’s use of sonata form?

  • Follows the broad plan of sonata form

  • Follows the tonal trajectory of sonata form

17
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What did Mendelssohn add to sonata form?

  • Third subject introduced in the development (originally introduced in the exposition before it was revised)

  • False reprise that cuts the development into two sections

  • Third subject developed in the recapitulation (making 3 developmental sections)

  • Long coda

18
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At what bar is a third subject introduced in Mendelssohn’s 4th Symphony?

At bar 225

19
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At what bar is the false reprise in Mendelssohn’s 4th Symphony?

At bar 285

20
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At what bar is the coda of Mendelssohn’s 4th Symphony?

At bar 510

21
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How many bars long is the coda in Mendelssohn’s 4th Symphony?

77 bars long

22
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What two symphonies in the romantic era show manipulation of sonata form and when were they written?

  • 1847 - Farrenc Symphony No. 3

  • 1896 - Coleridge-Taylor Symphony No. 1

23
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How did Farrenc manipulate sonata form in her Symphony No.3?

She used the basic outline of sonata form, but was more experimental in her use of harmony (e.g. incorporating Db in the transition and Gb in the codetta when the tonic key of her movement was G minor)