Music 2251 Review final PDF

Preview

Summary

Music 2251 Review final...

Description

Review sheet for the final examination The final will take place on Monday, May 1, from 8:00 to 9:45 a.m. in our normal classroom (Hughes 100). The test is 1 hour and 45 minutes long, i.e., a ‘two hour’ test. It is a closedbook test: you are not allowed to use any notes, books, electronic devices, or any other external aids to help with your answers. We will provide you with the necessary paper, but please bring something hard to write on and a pen or pencil with which to write. The questions on the test will cover course material according to the following formula: roughly 65% will involve material after the 2nd midterm; roughly 35% will involve material up through the 2nd midterm. The format of the exam is similar to that of the two midterms, but longer. There will be no short essay questions. The test will include: 1. 2. 3. 4.

six listening excerpts (involving multiple-choice questions), thirty or more multiple-choice identifications of names or terms, one major essay on a broad theme in music history up to the present day, at least one bonus question.

For the listening questions (1), you must be able to recognize the beginning of any one of the pieces or excerpts listed below, in order to identify it by its composer (if known), title, approximate date of composition, musical era (e.g., ‘late Baroque’), and basic elements of style or form as discussed in lecture and section. You should also be able to write a brief but clear version of the title. For the identifications (2), you must know basic information, as discussed in lecture and section, about the various composers, genres, styles, formal elements, techniques, and historical factors named in the list below. For the essay question (3), please study the topics given at the end of the review sheet below. It is essential that you provide a substantial, organized, and pertinent answer, citing musical examples to support your points. For the bonus question (4), you might want to memorize a combination of things, suitable for drawing on a map of Europe and also of the United States, including the boundaries of major countries we have discussed in this class (including at least ten countries, including the U.S.); the precise location of major musical cities (including at least ten cities, including American cities); and the (or a) principal city (or cities) of activity of numerous major composers from different historical eras (including at least fifteen composers). For each of the items on the list below, the number to the left indicates the first chapter in which the item was discussed. Please be aware that many items are discussed in several chapters, and sometimes the most important discussion is not in the chapter listed here (as for example with the symphony, or Modernism). 1. Listening selections 8 11 11 13 17 18

Anonymous L'On dit qu'amors est dolce chose ‹trouvere-anon-lon-dit-qamors.mp3 (Links to an external site.) › Tallis If Ye Love Me ‹Tallis-If-Ye-Love-Me.mp3 (Links to an external site.) › Palestrina Kyrie — Missa Papae Marcelli ‹Palestrina-missa-PM-kyrie-1.mp3 (Links to an external site.) › Monteverdi 'Tu sei morta' — L'Orfeo ‹Monteverdi-tu-sei-morta.mp3 (Links to an external site.) › Corelli first movement — Trio Sonata, op. 3 no. 1 ‹Corelli-trio-sonata-op-3-1-mvt-1.mp3 (Links to an external site.) › J. S. Bach Fugue in C major — Well Tempered Clavier ‹Bach-fugue-in-C-major-gilbert.mp3 (Links to an external site.) ›

20 21 23 24 25 26 prelude) 27 28 29 30 31 32 33 34 34 35 35

Haydn first movement — First String Quartet (op. 1, no. 1) ‹Haydn-string-q-op-1-1-mvt-1.mp3 (Links to an external site.) › Mozart first movement — Symphony no. 40 ‹Mozart-symphony-40-mvt-1.mp3 (Links to an external site.) › Beethoven first movement — Moonlight Sonata (op. 27 no. 2) ‹beethoven-moonlight-sonata-mvt-1.mp3 (Links to an external site.) › Schumann Im wunderschönen Monat Mai ‹schumann-im-wunderschönen.mp3 (Links to an external site.) › Mozart Act 1, scene 1 — Don Giovanni ‹mozart-DG-leporello-notte-e-giorno-faticar.mp3 (Links to an external site.) › Wagner Act 1, scene 1 (beginning ) — Das Rheingold (not the orchestral ‹Wagner-rheingold-act-1-sc-1--1-weia-waga.mp3 (Links to an external site.) › Smetana 'River Theme' (second section) — The Moldau ‹Smetana-moldau-2-river-theme.mp3 (Links to an external site.) › Musorgsky Coronation scene (Act 1, scene 2) — Boris Godunov ‹musorgsky-boris-coronation-scene-1.mp3 (Links to an external site.) › Debussy Prelude to the Afternoon of a Faun ‹debussy-prelude-a-l'apres-midi.mp3 (Links to an external site.) › Stravinsky first movement — Dumbarton Oaks Concerto ‹Stravinsky-dumbarton-oaks-concerto-1.mp3 (Links to an external site.) › Schoenberg 'Mondfleck' — Pierrot Lunaire ‹schoenberg-mondfleck.mp3 (Links to an external site.) › Bartok second movement — Fifth String Quartet ‹Bartok-string-quartet-5-mvt-2.mp3 (Links to an external site.) › Copland seventh movement — Appalachian Spring ‹copland-appalachian-spring-mvt-7.mp3 (Links to an external site.) › Babbitt All Set ‹babbitt-all-set.mp3 (Links to an external site.) › Stockhausen Gesang der Jünglinge ‹Stockhausen-gesang-der-jünglinge.mp3 (Links to an external site.) › Glass Part 8 — Music in Twelve Parts ‹glass-music-in-12-parts-8.mp3 (Links to an external site.) › Schnittke first movement — Third String Quartet ‹schnittke-string-q-3-mvt-1.mp3 (Links to an external site.) ›

2. Multiple-choice identifications Musical types and genres 7 7 8 9 10 13 16 16 16 16 16 17 17 18 18

chant mass ordinary cycle (know the five movements) organum troubadours motet madrigal opera cantata recitative aria sonata (know basic types) symphony concerto (know basic types) prelude fugue

19 19 20 21 24 24 24 27 28 34

opera buffa oratorio string quartet divertimento Lied song cycle character piece symphonic poem ballet electronic music Formal, technical, stylistic terms

3 8 8 11 11 12 15 16 17 17 17 19 21 23 25 25 26 26 26 27 29 30 30 31 31 31 31 33 34 34 34 34 35 35 35

diatonic vs. chromatic scale monophony polyphony counterpoint imitation canon basso continuo libretto modulation ritornello program music da capo aria sonata form, and its constituent parts bridge bel canto coloratura Stabreim Gesamtkunstwerk Leitmotiv absolute music pointillism collage polytonality atonality abstraction Sprechstimme 12-tone or serial music Copland sound total serialism indeterminacy prepared piano electronic music world music Minimalism eclecticism Musical people

5 8 10 11 11

Pythagoras Perotinus Guillaume de Machaut Josquin des Pres Giovanni da Palestrina

16 17 17 18 20 20 23 24 24 25 26 27 28 29 30 31 33 33 33 34 34 35 35

Claudio Monteverdi Arcangelo Corelli Antonio Vivaldi Johann Sebastian Bach Franz Joseph Haydn Wolfgang Amadeus Mozart Ludwig van Beethoven Franz Schubert Franz Liszt Giuseppe Verdi Richard Wagner Gustav Mahler Modest Musorgsky Claude Debussy Igor Stravinsky Arnold Schoenberg Charles Ives George Gershwin Aaron Copland Milton Babbitt John Cage Philip Glass Alfred Schnittke Historical and general terms

5 6 11 13 16 20 20 22 22 28 29 29 29 29 29 33 34 35 35

Antiquity Middle Ages Renaissance Reformation Baroque Enlightenment Classicism Romanticism Nationalism Exoticism Impressionism Expressionism Abstraction Modernism Neo-classicism High-brow / low-brow High Modernism Post-Modernism Minimalism

3. Historical essay Please write an extended essay on one of the ideas listed below. Tell us what this idea is all about (including a good definition) and then how it relates to music -- with regard to history (generally), music history in particular, or in other ways we have discussed, which might not be historical at all. It is important that you write a full and constructive answer, as opposed to a short, vague one. Without detailed historical and musical facts to support your arguments, including specific musical examples, you can't get a good grade on the essay.

classicism polyphony Apollo vs. Dionysus Europe America art music musical notation the Romantic the Modern the Post-modern...