MUS 2020

Music Theory IV

Project #1

Sonata Analysis/Paper

Due: Friday, March 13th

Choose one of the following (Scores are on Blackboard in Week 7 folder):

Mozart, Piano Sonata in F Major, K. 332, I

Beethoven, Piano Sonata in G Major, Op. 14, No. 2, I

3.5 – 4 pages, standard 1 inch margins, double-spaced

Attach a clean copy of the score with all measures numbered

Include a brief introductory paragraph putting the work in historical context and in the

context of Mozart or Beethoven’s life.

Provide a diagram of the movement including major formal divisions, strong cadences,

thematic areas, transitions, closing sections, etc. Indicate measure numbers eyand

principal key relationships within the piece. This may be included in the body of your

paper or as an appendix at the end.

Provide musical examples within the body of the text to illustrate your musical points

Musical examples should be inserted using notation software or scanned from the score

and inserted into the body of the paper. (Make sure all clef and key signature information

is included).

Musical examples should be numbered consecutively, labeled, and referred to by number

in the body of the text

Discuss any use of compositional techniques such as imitation, sequencing,

ornamentation, change of textures, brief tonicizations, etc.

When using information from another source, provide appropriate citations (use a

standard format such as Chicago or MLA)

Write in an appropriately academic style. Use neutral, direct, and interesting language.

Remember…. You are writing about the music, not necessarily about the composer.

Therefore avoid such statements as, “here Beethoven gives us the C theme, preparing us

for the ingenious variations that are to follow.” Instead, the following is an example of

more neutral, direct, and precise language: “The C theme follows beginning in measure

79 (Example 1). This theme, consisting initially of a circle of descending fifths presented

in two voices in contrary motion, is subjected to a series of variations as explained

below….”

In addition to length and format guidelines listed above, your grade will be based on the

following criteria:

Thoroughness and accuracy of your analysis

Clarity of organization of your paper

Appropriate use of musical terminology

Appropriateness of your examples – do they illustrate your musical points

Writing style, grammar, punctuation, and neatness of your paper

An “A” paper is completely thorough and correct in its examination of the piece and is written in

a neutrally academic tone, but is fresh and interesting. It is clearly organized and its conclusions

are based on evidence that is discussed convincingly and accurately in the paper. Musical

Examples are clear, labeled and referred to by label throughout, and are neatly inserted into the

body of the paper. The writer demonstrates familiarity with the technical vocabulary utilized

throughout the theory sequence and uses it within the paper in convincing fashion.

A “B” paper is thorough and complete in its examination of the piece, but has one or two errors

of perception in its analysis or is not done to the same degree of thoroughness as the “A” paper.

It may have some grammatical errors, or the examples may not be chosen with the same

attention to detail as the “A” paper. It is, however, generally a strong effort, with one or two

minor flaws.

A “C” paper has some major flaws in its analysis, and may also be poorly written and tedious.

However, it is clear that the individual spent substantial time with the piece and demonstrated a

serious effort. Major flaws in the analysis and an inability to adequately use theoretical

vocabulary and/or poor writing style make it an average paper.

A “D” paper is lacking in specificity, is superficial and/or inaccurate in its analysis. It generally

shows little or no understanding of the structure of the piece. It is poorly written and

demonstrates little or no use of the theoretical vocabulary learned in class.