Need help about "Beethoven sonata in f minor op.2 no.1" !!!!!!!!

[cyurs]

i have to sit an exam in this Oct. but i am now suffering from writing the report about my exam topic - "Beethoven sonata in f minor op.2 no.1". this is my first time to write that kind of report. i really don't know how to start it. i also have a hard time to find those informations.
does anyone can give me the following informations about this song??
1) texture
2) structure and form
3) articulation
4) style and period
5) tonality
6) metre
7) tempo
8) form
9) phrase structure
10)dynamics
11) harmony
12) melody
13) character
14) rhythm
or if you know anything about this song, PLEASE contect me or left a message to me. THANKS !!!!!

[Marta]

Hi Cyurs.

Are you a music student? What you are asking is basically what is known as a Musical Analysis of a specific musical work.

Cyurs, if you are a music student then is expected that you do the necessary research, to get the information that will aloud you to do the Musical Analysis of the work.
Now, first a Piano Sonata is NOT a song, is an instrumental work, secondly I would like to organize your points.

There are five Components in any Musical Analysis.

SOUND GROWTH HARMONY MELODY RHYTHM

SOUND
Timbre: selection,combination, degree of constrast of instruments and voices.

Range: tessitura, gaps, special effects, explotation of the idiom.

Texture and Fabric: doubling, overlap, constrast of the components; homophonic, poliphonic.

Dynamics: terrace, gradual.


GROWTH

This Component is about the elements that create the structure and form of the work, and it should be analize after all the other Components have been analized.

Large-dimensions considerations

Evolution of control

Sources of Shape

Sources of Movement

Modules


HARMONY
Main Function: Color and Tension.

Stages of Tonality: linear and modal, migrant, bifocal, unified, expanded, polycentric, atonal, serial.

Movement relationships: keys schemes, modulatory routes.

Chord vocabulary: direct, indirect, remote, dissonances, progressions, sequences.


MELODY
Range: mode, tessitura, vocal or instrumental.

Motion: stepwise, skipping, leaping, chromatic, active/atable, articulated/continuos.

Patterns: rising, falling, level, undulating.

New or derived: Function as primary (thematic) or secondary (cantus firmus).
Mixed functions
Displaced functions
Subfunctions: component phrases
subphrases
motives

Middle and large dimensions


RHYTHM
Surface rhythm: vocabulary and frequency of durations and patterns.

Continuum: meter (regular, irregular, heterometric, polymetric).

Interactions: textural rhythms, harmonic rhythms, contour rhythms.

Patterns of change: amount and location of stress.

Fabrics: homorhythmic, polyrhythmic.

For vocal works, ther is another Musical Component, TEXT INFLUENCE.

Cyurs, you have first to organize your points and to know to which Musical Component belongs, before you can begin the Anayisis.
When the Analysis have been done, then you may proced to see to which Stereotype of Shape the work belongs, as the standard options of Style Growth, as Sonata form, Rondo form, Theme and Variations, Fugue, Two-Part form, Three-part form, Dance form..etc.


Cyurs, my reply to you has been on the base that you are a music student, there are many good books that could help you to approach your analysis. "Guidelines for Style Analysis" by Jan La Rue is one of them.

I hope that this will help you.

LOVE
Marta

[Sophia]

Dear Marts,

Are you serious?!?

You expect that he can understand ALL the componenst of western european music included in one page?

Apparently he doesn't know about analysis of a piece of music. So, we should take this level forgranted, and we shouldpropose that all he has to do is simply name the form of every movement, the tonic plan, primary and secondary themes and derivation (if there is) and describe the components of the bridge sections, and of course of the development sections. That should be a start, you know, the basic things: it's impossible to embark on a whole scale professional analysis just like that!

[Peter]

Originally posted by cyurs:
i have to sit an exam in this Oct. but i am now suffering from writing the report about my exam topic - "Beethoven sonata in f minor op.2 no.1". this is my first time to write that kind of report. i really don't know how to start it. i also have a hard time to find those informations.
does anyone can give me the following informations about this song??

Try and get hold of Tovey's analysis of Beethoven's piano sonatas. A good 2nd hand bookshop or perhaps a local library should have a copy.

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'Man know thyself'

[Sophia]

Hi, I forgot to say one thing.

I didn't have time to look into the F minor sonata, but I clearly remember the second subject, and it is a clear and very audible derivation from the first. Also, look for new thematic-melodic elements presented in
in bridge sections. I remember something like scales I think, that are presented in bridges (transitional material).

Also see linear functions (schenkerian approach): this sonata is a good example for long range linear functions.

[Joy]

Originally posted by Marta:

There are five Components in any Musical Analysis.

SOUND GROWTH HARMONY MELODY RHYTHM

SOUND
Timbre: selection,combination, degree of constrast of instruments and voices.

Range: tessitura, gaps, special effects, explotation of the idiom.

Texture and Fabric: doubling, overlap, constrast of the components; homophonic, poliphonic.

Dynamics: terrace, gradual.


GROWTH

This Component is about the elements that create the structure and form of the work, and it should be analize after all the other Components have been analized.

Large-dimensions considerations

Evolution of control

Sources of Shape

Sources of Movement

Modules


HARMONY
Main Function: Color and Tension.

Stages of Tonality: linear and modal, migrant, bifocal, unified, expanded, polycentric, atonal, serial.

Movement relationships: keys schemes, modulatory routes.

Chord vocabulary: direct, indirect, remote, dissonances, progressions, sequences.


MELODY
Range: mode, tessitura, vocal or instrumental.

Motion: stepwise, skipping, leaping, chromatic, active/atable, articulated/continuos.

Patterns: rising, falling, level, undulating.

New or derived: Function as primary (thematic) or secondary (cantus firmus).
Mixed functions
Displaced functions
Subfunctions: component phrases
subphrases
motives

Middle and large dimensions


RHYTHM
Surface rhythm: vocabulary and frequency of durations and patterns.

Continuum: meter (regular, irregular, heterometric, polymetric).

Interactions: textural rhythms, harmonic rhythms, contour rhythms.

Patterns of change: amount and location of stress.

Fabrics: homorhythmic, polyrhythmic.

[/B]

Marta, thank you for this very informative
and interesting analysis. I really learned a lot!



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'Truth and beauty joined'