Please answer all three questions. Each essay should keep to two or three paragraphs (250-
400 words) and do not require a formal introduction or conclusion. You do need to use intext citations for direct quotes and paraphrased information (for both reading and lecture),
but you do not need to include a works cited page.
1. Consider the ways that the orchestra has developed through time by looking at the
following works: Corelli’s Concerto Grosso in D Major, Haydn’s “Surprise” Symphony,
and Beethoven’s “Eroica” Symphony. How does each piece represent new ways of
composing, performing, and/or listening to large instrumental ensembles? What role does
the location of each piece’s premiere play in these compositional changes? Consider the
cultural, political, and/or economic influences around music in each location to answer
this second question and be sure to include musical details for each piece.
2. The development of the musical canon has had a range of long-lasting effects on both
listeners and composers of western art music. Briefly describe the social, economic, and
aesthetic factors that led to the canon’s creation in the 19th century. How were listeners
expected to engage with western art music after the canon’s conception? Then, consider
the proposed program below for a concert that could take place in 2021. In what ways
does this program both adhere to and defy the expectations set by the canon/the musical
Proposed Program:
Ludwig van Beethoven (1770-1827): Symphony No. 9 in D Minor, Op. 125
Alberto Ginastera (1916-1983): Variaciones Concertantes op. 23
Aaron Copland (1900-1990): Fanfare for the Common Man*
Jennifer Higdon (born 1962): Percussion Concerto*
*Note that you are not required to discuss musical details for pieces we did not cover in class
3. Discuss the various societal and cultural limitations on women as professional musicians
and composers in the nineteenth and early twentieth centuries. In your answer, compare
and contrast the lives and careers of two (2) of the following composers: Fanny Hensel,
Clara Schumann, Amy Beach, or Florence Price. How did these composers defy and yet
also adhere to societal expectations of female musicians? What unique challenges did
they face, and how did this affect their music-making? Use one piece by each composer
you choose to demonstrate your answer.

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