This study examines interactions among form, Schenkerian voice-leading structure, and certain dramatic features in two Mozart expositions: the second movement of the G-minor symphony, K. 550, and the opening movement of the G-minor string quintet, K. 516. The analyses frequently refer to two concepts: “dramatic fitness” and “rational acceptability.” The former clarifies dramatic aspects of the expositions, such features as uncertainty, postponement of resolutions, or false clues. The latter charts the scope of technically possible analytical alternatives within the applied theoretical contexts. Ultimately, the dramatic and technical factors are intertwined. Context also plays an important role in arriving at a plausible interpretation: In these expositions, the first impression suggested by the local context often changes when the ensuing musical material, the global context, is taken into consideration.

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