Blonde’s aria, in Die Entfuhrung aus dem Serail, by Mozart is a piece that is not easily categorized. There are fairly clear thematic types, but the form of the piece is hard to distinguish. In this aria, there are many sections. However most of the sections are quite short so its difficult to group the small sections together in order to figure out the small form of the piece. The aria starts with an instrumental introduction. The first 8 measures introduce the A melody of the singer and is a straight-forward interrupted period. Then the singer comes in and sings the A melody which is similar to the intro except for an “extra” cadence which I just called c in an asymmetrical period (Mozart has these extra cadences tagged on the end of a lot of phrases). I decided that this section be called A because it comes back through out the piece. Then the aria continues to the B section in which the key change clarifies a new section. The piece modulates to E major, V in the original key of A major. The B section is quite a bit longer than the A section and has what I called a double period, containing two asymmetrical periods. I could of split up this B section but I decided this entire E major part sounds as one section. Then the aria goes back to A, and modulates back to A major. Next there is a couple measures of transition. This section is very different than the rest of the piece. It has a very different mood. I believe it is safe to say that this mood change is related to the lyrics. She begins by saying how maidens are won easily by men when they are charming. But then she changes the mood suddenly when she is saying how rude orders and tormenting make love fall away. So this is what she is talking about in the section I called the transition. Then the B section is faintly brought back when she speaks again of pleasantries and flattery of men. The combined transition with the B1, I decided to call the C section. Together this part of the music is different enough to be recognized
