Rondo
Sonata
Binary
Theme and variations
A moderate or fast movement in sonata form that sometimes has a slow introduction
The fastest, lightest movement
In minuet form and triple meter
A slow movement with beautiful, relaxing melodies
In minuet form and triple meter
A slow movement with beautiful, relaxing melodies
The fastest, lightest movement
A moderate or fast movement in sonata form that sometimes has a slow introduction
A moderate or fast movement in sonata form that sometimes has a slow introduction
A slow movement with beautiful, relaxing melodies
In minuet form and triple meter
The fastest, lightest movement
A slow movement with beautiful, relaxing melodies
In minuet form and triple meter
The fastest, lightest movement
A moderate or fast movement in sonata form that sometimes has a slow introduction
The coda
The first theme followed by all the other elements of the exposition
Various themes from the development
Only the second theme and cadence theme from the exposition
Is a closing section of a movement
Is a crucial element of sonata form
Is never used in theme and variations form
Often appears at the beginning of a movement
A rondo
In sonata form
In minuet form
In theme and variations form
Slow and lyrical
In sonata form
A minuet and trio
In theme and variations form
Piano
Recorder
Organ
Harpsichord
One
Two
Three
Four
Rondo
Double-exposition
Sonata
Double-development
Recapitulation
Coda
Ritornello
Cadenza
Symphony
Bopong
Gamelan
Gongan
One
Two
Three
Four
Small intimate gatherings
Cathedrals
Large concert halls
Opera houses
Arioso opera
Ensemble opera
Opera buffa
Da capo opera
Classical; Romantic
Classica; Baroque
Baroque; Romantic
Romantic; Medieval
Thomas Jefferson
King George of England
Emperor Franz Joseph II
Napoleon Bonaparte
Cantata
Symphony
Opera
Oratorio
Minuet
Rondo
Oratorio
Sonata
Rhythmic drive
Motive consistency
Disregard for Classical Forms
Psychological progression during a work
Paralysis
Deafness
Blindness
Mental illness
Jean Jacques Rousseau
Ludwig van Beethoven
Franz Schubert
Victor Hugo
They avoided all involvement in political and social revolution, feeling that music transcended politics
People used their music to promote revolutionary movements, but the composers did not associate themselves with such movements
They wanted to promote emotional expression without disrupting the established social order
As rebels against the social order, they associated themselves with revolutionary and libertarian politics
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