OBJECTIVE: The purpose of this project is to allow you to demonstrate your understanding of late eighteen-century theories of Sonata Form (Chiefly those of H.C. Koch), and to apply that knowledge in the analysis of a work from the late eighteenth century. You should also learn about a few useful resources for music research, and improve your skills in wriitng about music.

In the course of this project you will do the following:

• Assemble a group of three (3) students, i.e., find two other people with whom you will work.
• Choose a composition (a first movement) from the list below.
• Read at least one required and possibly a few optional articles about the theories of sonata form in the late 18th century.
• Analyze the chosen movement in terms of your readings.
• Submit a single neat copy of the group's written (prose) analysis of the chosen work.

STEP 1: Assemble the Group

All groups must consist of three members (only) from the current section of MUH 3212. Should there be any individual students remaining after all other groups have formed, one or two final groups may have an additional fourth member. (Do not request such a group, as it will not be assigned until after all other groups have been formed.) NB. Should your group lose a member who drops the class, you may be assigned an extra person (by me).

Each group should have a leader, who is the one person who communicates with the instructor. Each group will be identified by its leader, and the graded item for the group will be submitted by that person only.

To request a group, the leader should send me an email identifying him/herself as the group leader and including the full names of the other people in the group. NB. That message may also include the group's first three choices (see step 2.2 below).

The group should consider itself a "committee of equals" with NO division of labor. All members of the group must read and discuss the required article, all members should complete and discuss the analysis of the chosen/assigned work, and the final document should be written with contributions from all members of the group.

SPECIAL NOTE ON FORMING GROUPS: Every member of MUH 3212 must be part of an approved group, i.e., one whose membership has been submitted to me for approval, by Monday, 6 February 2012, at 12:00 noon, with No exceptions. Students who have not formed or joined a group (submitted electronically to me for approval) by that date and time will have their indivudal grades on this project penalized by 10 points for every day (or fraction thereof) after the deadline that they remain unaffiliated.

STEP 2: Choose a Work for Analysis

Each group will work on one of the following works by W.A. Mozart. No other compositions may be requested or suggested:

• W. A. Mozart, String Quartet in G, K. 387, 1st mvt - 1. Kimpel (leader), McGarvey & Pace; 2. Santa-Coloma (leader), Meier & Rosa
• W. A. Mozart, String Quartet in E-flat, K. 428, 1st mvt (421b in the K6 catalog) - 1. Conrod (leader), Morgan & Prevot
• W. A. Mozart, String Quartet in B-flat, K. 458, 1st mvt - 1. Prince (leader), Knight & Wexler; 2. Lang (leader), Wisser & Hodges
• W. A. Mozart, String Quartet in A, K. 464, 1st mvt - 1. Godwin (leader), Moorman & Waid; 2. Buonanni (leader), Dempsey & Orta
• W. A. Mozart, String Quintet in C-minor, K. 406, 1st mvt (516b in the K6 catalog) - 1. Maruniak (leader), Crane & Woloshin
• W. A. Mozart, String Quintet in D, K. 593, 1st mvt - 1. Klumpp (leader), Lewis & Wellmaker; 2. Perdue (leader), Jean-Rejouis & Hernandez
• W. A. Mozart, String Quartet in E-flat, K. 614, 1st mvt - 1. Matthews (leader), Clark & Vizoso

Updated: 6 February 2012 @ 4:00 pm

NB. No more that two (2) groups may work on any one particular movement. Thus, requests for specific pieces are "first-come," and when you make your choice include at least three choices (in order of preference), in case your first choice is already taken. You are encouraged to look at the scores and listen to the recordings before making your choice (see Step 3 for specifics on how to see the scores and hear the recordings).

STEP 3: Acquire a Score and Recording for Your Analysis

Free Downloadable scores are available at IMSLP / Petrucci Music Library, by doing the following:

• The International Music Score Library Project (IMSLP) attempts to create a virtual library containing all public domain musical scores, as well as scores from composers who are willing to share their music with the world without charge.
• Use the window at the left on the home page to search "Mozart," or use the "Browse Scores" to open an alphabetical list. Look within the list or search results to locate your chosen piece. NB. All seven items for this project are available in this database.
• When you have located your piece, click it and you will be directed to a page with various options for downloading. In general, the best choice is the "Complete Score" in the Leipzig: Breitkopf & Härtel edition.
• Clicking the word "Complete Score" should open the score as a PDF. The item can then be saved to your own computer or flash drive.
• If you experience any difficulties, do not contact me for help. Re-read these instructions and the instructions on the IMSLP web site. Also, take note of the file size (given in the header) of the item you are trying to download. You may need to use a server with more bandwidth, and always remember to set your browser to allow downloads.

For recordings of these works, you have several options. Among them are:

• Classical Music Library: A streaming web database that includes all but one of the seven acceptable works. Find this source under "Articles and databases" in the UCF Library. Search or browse under "Mozart" and then "genres" (chamber music) to listen specific works. NB. Off-campus users will need your "Library ID" and "password" to access this resource.
• The "Mozart Tower" web site contains downloadable files of recordings of nearly all of Mozart's works, including the String Quartets and Quintets. Follow the links to your chosen work and click the movement to download a "wma" file. Be aware that these sound files may be large and require more bandwidth to download within a reasonable amount of time.
• Many of these works are available on YouTube or many other streaming radio web sites. Use any of these with care.

STEP 4: Analyze Your Chosen Example

Begin your work by reviewing the late 18th-century definitions of (first movement) "Sonata Allegro" form, chiefly as defined by H.C. Koch (or scholars following Koch's models). Especially, see (1) the document "An Eighteenth-Century Description of the Symphony and Sonata Form: Heinrich Christoph Koch Introductory Essay on Composition," which is available in the Music History Resource Center on the textbook publisher's web site, and also as (2) a chart in your Wright/Simms textbook. You may seek out other sources of information, if you wish, but these two items are sufficient for the purposes of this assignment. Again, make sure that you understand Koch's description and the more detailed model used by later scholars (in the textbook).

Before analyzing your movement, make sure that the score you use has measure numbers, and if not, add them yourself, remembering the following:

• Do not give a number to any partial opening measure. Rather, the measure count begins with the first full measure.
• Count only full measures. Be careful of measures that are broken over staves or interrupted by repeat marks.
• Number consecutively through any first and second endings, e.g., First ending measures = 100, 101, 102, and second ending measures = 103, 104, etc.

Using your knowledge of "Sonata Form," start the analysis by doing the following (in this order):

1. Identify the large divisions/sections in Koch's model.
2. Identify the four basic subdivisions in the first section of the movement.
3. Identify (roughly) the same four subdivisions in the latter part of the movement.
4. Identify any introductory or closing sections that are not mandatory parts of Koch's model.

After you have identified these basic sections, look more closely at the smaller divisions of the work, focusing on such matters as:

• The melodic and harmonic content of each area.
• The nature of the phrase structure (regular, irregular, ant/consq., etc.) within each area.
• The cadences (scale degree, weight, etc.).
• The texture, accompaniment patterns, use of dynamics, etc.

NB. In this sort of analysis, you should not attempt to account for every note in every part. (This is not a Bach chorale or a simple harmony exercise.) Rather, you should be guided by Koch's model, which is based on harmonic goals and melodic content to determine the form. Look for "large-scale" events that mark the boundaries and smaller areas of the movement.

Compare your analysis with your group partners and reconcile any major differences in what you each find. You must come to a unified conclusion over what you (as a group-pair) believe the movement and its form to be before writing up your analysis.

STEP 5: Preparing Your Final Document

With your group partners, prepare a written document that describes your unified analysis of your chosen movement. In particular, provide the following in this or some other logical order:

• a brief introduction to the paper and to musical form in the late 18th century (1-2 paragraphs maximum),
• (OPTIONAL) a brief introduction to the movement and work that you are analyzing, e.g., historical background on composition, publication and early performance (1 long paragraph at most),
• a broad overview of the movement and how it does or does not conform to the main points in Koch's model and our expectations for such a movement (1 page at most),
• a more detailed explanation of how the various subsections are defined and differentiated within the composition, i.e., what, specifically does the composer do to make the form audible to the listener, e.g., how are areas of stability different from those of transition, how are sections closed off or connected to what follows, how do multiple elements combine to mark off divisions, etc. In particular, you should note any exceptional or unusual traits that you discovered (at least 1 full page or longer),
• a brief summary to the paper. (1 paragraph)
• (OPTIONAL) You may append a chart that outlines your analysis of the movement, but only after the body of the text. There is no penalty for not including a chart, but you may be awarded extra points for a clearly defined chart.

The FINAL DOCUMENT must conform to the following guidelines:

• The paper must prepared as if on 8-½” x 11” white paper, with 1” margins on all sides, except for the first page of text, which has a 2” top margin.
• Use a 12-point typeface, type in double-space, and indent all paragraphs.
• In writing, use a formal tone, avoid slang and contractions, spell all words and technical terms correctly, etc.
• All references to the music of your example must be to specific measures. (See above on numbering your score)
• You must cite any materials or ideas that quote, paraphrase or even allude to, with some sort of footnote, endnote, or other system of citation. NB. Failure to credit sources is plagiarism and will result in a grade of "F" for the assignment, as well as notification of your act to the appropriate UCF authorities for additional discipine.
• The absolute minimum length is 1,000 words (about 4-5 pages, not including any title page or appended charts, bibliography and notes; “Word Count” under “Tools” in most word-processor programs gives this information). You are allowed and encouraged to write more than the minimum, but do not simply pad the content.

SUBMISSION and GRADING

The final paper is due in my email as a WORD document in electronic attachment on Friday, 24 February 2012 by 5:00 pm.

The final paper itself counts for 15% of your course grade, with the value split between writing (40%) and content (60%).

All members of the group pair will receive the same grade.

Anyone who fails to contribute equally to a group's will have his/her grade reduced (after anonymous discussion with the other members of the group).