MUS 15 Final Study Guide (Unit 6-9) PDF

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Summary

This study guide includes the main topics covered in Unit 6-9, unit-related questions to be considered in the final, and the overall questions of the course....

Description

MUSIC 15 – MUSIC APPRECIATION Final Exam Study Guide - Summer 2021 Session A Below is a collection of key terms, people, musical works, and study questions that will guide your preparation for the final exam. Some important information on the exam format: • • • • •

The exam will be available as a PDF on GauchoSpace starting on Thursday, July 29 at 12:00pm PST until Sunday, August 1, 12:00pm PST. The exam will consist of three short essay questions drawn from three of the four units we have covered since the midterm. You will be asked to respond to each prompt in 2-3 full paragraphs. There is a two hour time limit for the exam, and you must start and finish it within that period. You may use your class notes. However, you are NOT allowed to use any outside resources or work with anyone else to complete the exam. The lectures will be unavailable for viewing at the time the midterm is available.

Key People and Musical Works Claudio Monteverdi L’incoronazione di Poppea George Frederic Handel Giulio Cesare in Egitto John Gay (playwright) The Beggar’s Opera Georges Bizet Carmen Claude Debussy Pagodes from Estampes Colin McPhee Tabuh-tabuhan Franz Schubert “Gretchen am Spinnrade” poem by Johann Wolfgan von Goethe Robert Schumann “Im wunderschönen Monat Mai” poem by Heinrich Heine Gioachino Rossini “Una voce poco fa” from The Barber of Seville Erich Wolfgang Korngold The Adventures of Robin Hood Arnold Schoenberg Ode to Napoleon Survivor from Warsaw

Key Terms Libretto Opera Seria Aria Recitative Castrato/Castrati Ballad Opera Air (song type) Lied/Lieder Salons (Schubertiades) Romanticism Opera Buffa Prima Donna (also “Diva”) Ornamentation Bel canto Exoticism Pure Exoticism Transcultural Composing “Orientalism” The Roma People Diegetic and Non-diegetic Music Gamelan Émigré Leitmotif Underscoring Twelve-tone method

Study Questions Unit 6 – Public and Private II: The Business of Italian Opera •

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Consider the production of an Opera in seventeenth century Venice. What were the goals and of those on the financial side of the production? What were the aesthetic priorities of the creators of Venetian Opera? What did consumers value? Be prepared to discuss how specific works support your answers. Consider the audience for Italian opera in eighteenth century London. How would you describe this audience socially and culturally? What do they value as consumers? How did creators cater to these values? Be prepared to discuss how specific works support your answers. Consider the audience for ballad opera in eighteenth-century London. How would you describe this audience socially and culturally? What did they value as consumers? Be prepared to discuss how John Gay’s The Beggar’s Opera supports your answer.

Unit 7 – The Many Examples of Musical Exoticism • •

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What is exoticism? What is the spectrum of exoticism according to Ralph Locke? What are the exotic elements of Georges Bizet’s Carmen? Where would this piece fall on the spectrum of exoticism and why? How is the character Carmen treated differently than the character Don José? Consider this in terms of both the Opera’s narrative and its musical characterizations. What is the importance of Paris’s Exposition Universelle of 1889 to our discussion of gamelan music? What are the exotic elements of Claude Debussy’s Pagodes? Where would this piece fall on the spectrum of exoticism and why? How was Colin McPhee introduced to gamelan music? Where would his piece TabuhTabuhan fall on the spectrum of exoticism and why? How might the work’s use of exotic elements be compared to Debussy’s Pagodes?

Unit 8 – Public and Private III: The Voice at Home and on the Operatic Stage •

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What is a Lied? Who would have played or listened to them? How was the music written to be appealing to its audience? How was the audience intended to approach this music? Be prepared to discuss using Schubert’s “Gretchen am Spinnrade” and Schumann’s “Im wunderschönen Monat Mai.” What musical characteristics were valued by the audience for Italian opera in the early nineteenth century? How did these characteristics differ from the vocal music often heard in domestic spaces of the time? Be prepared to discuss using Rossini’s aria “Una voce poco fa.”

Unit 9 - Émigrés in America: Displacement, Adaptation, and the Composer's Duty • • • •

What were some of the challenges that émigré musicians faced in the United States? How did they respond and adapt to these challenges? How did Korngold view the task of writing music for films? What are some techniques that he used? What is the overall goal of a successful film score? Briefly describe the purpose of Schoenberg’s twelve-tone method of composition. How did the public initially receive it? What did Schoenberg think of this response? What did Korngold and Schoenberg believe to be a composer’s duty to society? How did their views differ? How might their musical works support their respective ideas?

Overall questions to consider • • • • •

How do the musical pieces connect with the cultural and social implications of each unit? Do you see any cross-unit connections between themes? What kinds of primary source material did we look at in each unit? How does perception (in the eyes of the composer, audience, history, scholars, etc.) factor into our unit discussions? Do musical artists (musicians, composers, or even impresarios and others involved in a production) bear a responsibility to society to use their music affect social change? Why or why not?...