1. Compare the role of musical expressivity in the first movement of Vivaldi’s “Spring Concerto” from The Four Seasons and the first movement of Beethoven’s Eroica Symphony (Symphony No. 3).

2. Compare the role of musical objectivity in the first movement of Haydn’s Symphony No. 88 (NOT Symphony 100) and Reich’s Piano Phase. Since these works are not expressive in nature, what are the most important characteristics of the music? (What was the composer interested in achieving in each piece?)

3. Drawing on assigned readings/videos, discuss factors that have shaped the career and legacies of THREE of the following composers: Barbara Strozzi, Johann Sebastian Bach, Joseph Boulogne and Julius Eastman. Consider how well known each composer was during their lifetime and how their music was celebrated, or forgotten and rediscovered, after their death. Consider the role of notation and publishing, as well as the context in which they worked (for a church, for a court, as a freelancer etc.), and socioeconomic, gender and racial biases of the time.

4. Discuss the ways in which 1) the development of the printing press and 2) the Industrial Revolution influenced the creation, performance, distribution and funding of music. Cite examples of composers and pieces that we have discussed in class in your response.

5. In his article “East and West, Old and New” (http://chouwenchung.org/writing (Links to an external site.)/excerpts-from-east-and-west-old-and-new) (Links to an external site.) Chou Wen-Chung warns that “the purely materialistic adoption of Eastern practices [in music] will only bring forth more ‘Turkish marches,’ twentieth-century style.” What does he mean by this? How does Chou’s incorporation of elements of Chinese culture in his music compare to the way in which Mozart referenced Janissary music in the “Turkish March” of the second movement of his Piano Sonata No. 11?