Recordings for new handouts (thematic transformation/Chapter 12)

Below are the recordings for the new handout. Listen to each excerpt a few times. Try to figure out why each excerpt is on the handout--what does it exemplify? (FYI, some actually have more than one concept.) The vocabulary from the handout is listed below. You should use your textbook (first half of chapter 12) as a resource to try to figure out the concepts. I'll call on students to give their best shot at explaining each example.

When there are two excerpts for the same example (29 and 32), you should compare the motives in both to each other.

Concepts/vocabulary

Repetition

Transposition

Melodic Sequence (specify tonal or real)—also modified sequence

Imitation (only briefly mentioned in textbook)

Intervallic contraction OR intervallic expansion

Inversion

Augmentation

Diminution

Change of mode

Melodic Retrograde

Fragmentation

Example 20. Mozart, Piano Sonata in D Major, K. 284, third movement, Theme

Example 21. Mozart, Piano Sonata in A Major, K. 331, third movement 

Example 22. J.S. Bach, Two-Part Invention no. 1 in C Major, BWV 772 (This recording has an audio glitch, but Gould is very important, so you should be aware of him)

Example 23. Haydn, Canon "Thy voice, O harmony, is divine"


Example 24. Beethoven, Piano Sonata op. 10 no. 1, i (opening)

Example 25. Wagner, Overture to Tannhauser, mm. 12-23

Example 26. Beethoven, Piano Sonata op. 10, no. 2, ii, mm. 1-15

Example 27. Beethoven, Piano Sonata op. 31, no. 2, i, mm. 1-12

Example 28. Beethoven, Symphony no. 5, i, mm. 1-12

Example 29. Brahms, Handel Variations op. 24, Fugue

• a) mm. 1-5
• b) mm. 48-62

Example 30. Brahms, Intermezzo op. 118, no. 2, mm. 1-8

Example 31. Franck, D-minor Symphony, mm. 1-6

Example 32. Dvorak, New World Symphony, iv

• a) mm. 10-16
• b) mm. 293-297

Example 33. Barbara Strozzi, "Hor che Apollo" from Arie, op. 8