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Question
How did Beethovens Symphony No. 5 fit the parameters of the Classical style and also push beyond them?
Answer
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Related questions
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Beethoven set Schillers Ode to Joy in the finale of his Symphony No. 5.
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Which of the following describes the final movement of Beethovens Symphony No. 5?
a. The three-note rhythmic motive returns.
b. There is a break preceding the beginning of the movement.
c. The movement ends in despair, just like the first movement.
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How many movements does Beethovens Symphony No. 5 have?
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The Ode to Joy is the finale of Beethovens:
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Q:
The Trumpet Concerto in E-flat Major, composed in 1796, was Haydns last orchestral work.
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Haydns Concerto for Trumpet was written for ________.
a. the natural trumpet c. the valve trumpet
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Which of the following best depicts a rondo in its simplest form?
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What is the form of the third movement of Haydns Trumpet Concerto in E-flat Major?
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How many movements are in a Classical concerto?
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In sonata-allegro form, the contrasting key is established by the statement of the:
a. development. c. second theme.
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Why is Haydn considered to be the father of the symphony?
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The Classical symphony had its origins in the Baroque concerto.
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The Classical symphony had its roots in the:
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Describe the overall outline of a multimovement cycle. Be sure to mention the tempo and chronological character of each movement. Which genres generally follow multimovement cycles?
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Discuss how composers expand their musical ideas.
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The term multimovement cycle is applied not only to sonatas and chamber music but also to concertos and symphonies.
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Thematic development provides clarity, coherence, and logic to larger musical forms.
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Which term or terms best describe the character of the third movement in the multimovement cycle?
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The repetition of a motive at a higher or lower pitch level is called:
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b. a theme. d. a sequence.
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Discuss the fugue, its structure, and its polyphonic devices.
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In which voice is the subject first heard in Contrapunctus I, from The Art of Fugue?
a. the top voice, or soprano
b. the second voice from the top, or alto
c. the second voice from the bottom, or tenor
d. the bottom voice, or bass