Music 1b Final Exam Review Saturday, 18 May, 9am-12pm LOCATION: Lowell Lecture Hall

Spring 2013 / Edwards

These guidelines are designed to help you with exam preparation. Questions are given in the same format (or very nearly so) in which they will appear on the exam itself. Terms in Section I and short essay questions in Section III include those that will be on the exam. In other words, the terms and questions in Sections I and III actually contain those terms and questions as they will appear on the exam, so if you prepare carefully, you should encounter few surprises. Good luck! I. V ocabulary Identification. (20 minutes, 4 points each for a total of 20 points) Please provide the definition for five of the eight given terms and describe how this term applies to one specific example of a work or movement. If you provide more than five responses, please mark clearly the ones you do not want to be graded otherwise, only the first five will be considered.
12-bar blues ABA form anapest da capo aria arpeggio ballad ballade binary form bitonality blues scale cabaletta cadenza canon cavatina chorale chromatic coda coloratura couplet diatonic dotted rhythm double aria double stop etude extended vocal technique fantasy/fantasia Fluxus foxtrot fugato glissando grand opera imitation jet leitmotif lied Lombard rhythm looping mazurka mlodie melisma motive music drama musique concrte obbligato opera buffa ostinato parlante patter style pedal point pentatonic scale performance art phasing pizzicato quatrain recitative refrain reminiscence motif roulade rubato scena sonata-allegro Sprechstimme strophic style hongrois subtactile pulse syllabic syncopation tempo di mezzo tercet ternary form theme and variations through-composed tone cluster tritone twelve-tone row vamp vocalise whole-tone scale

II. Listening Identification and Analysis (30 minutes, 5 points each for a total of 30 points). Please answer the following questions for these six excerpts. Each of the six excerpts will be played three times. Note that some questions will ask you to address the excerpt itself while others will test your knowledge of the entire piece or movement as a whole.

N OTE : All listening examples will be taken from the list provided at the end of this study guide and will be those versions posted to the Listening section of the course web site. [The listening portion will include questions similar to any of the following topics:] This work is an example of a [grand opera / music drama]. What is the general sense of the text? Explain the significance of the works title. Describe the significance of the [voice / piano / celesta / etc.] in this excerpt. For what type of audience was this music composed? Circle one: This excerpt is an example of sonata-allegro or ternary (ABA) form. What is the form of the text from which this excerpt is taken? Describe the interaction of the instruments / voices / electronic media. The genre of composition is a/an _____________________. How does the formal structure of this song depart from traditional song forms? True or false: this excerpt is an example of a refrain. Describe the instrumentation in this excerpt. This excerpt provides an example of a [reminiscence motif / twelve-tone row]. Describe the rhythm(s) in this excerpt. Describe the use of dynamics in this excerpt.

III. Short Essays (70 minutes, 10 points each for a total of 50 points) Please answer five (5) of the six following questions in a paragraph of approximately 5-6 sentences. Organization, legibility, and style will be taken into account since they contribute to the strength and clarity of your argument. Remember always to support your argument with specific musical examples. Grading of responses will be based on the use of relevant musical vocabulary and your familiarity with the assigned readings, the listening examples, and lectures and section discussions. The essay topics will be drawn from the following list: 1. Dolmen Music is divided into six sections although it is performed without interruption. As a postliterate work, it is up to the listener to decide where each section begins. Without recourse to track times, describe three sectional transitions in this work and explain your choices. 2. Ligeti and Oliveros both harnessed traditional vocal and orchestral ensembles to evoke the sounds of electronic media. What musical techniques did these two composers utilize to portray electronic music? Your response should include discussion of all three works assigned by these composers: Atmosphres, Lux aeterna, and Sound Patterns. 3. Whether composing in strophic or through-composed form, Schubert shows careful attention to the setting of texts in his lieder. Describe how the musical settings of Heidenrslein and Der Mller und der Bach highlight specific words, ideas, and formal aspects of their texts. 4. Bartks Concerto for Orchestra and Music for Strings, Percussion, and Celesta demonstrate what some critics consider opposing strains of modernity: populism and formalism. At the same time, both works were inspired by Bartks study of the folk music of Greater

Hungary. Why are these works considered to represent opposing modernist ideals? How does Bartk incorporate aspects of Hungarian folk music differently in these two works? 5. In conceiving Kind of Blue, Miles Davis chose to have Wynton Kelly perform piano for only one track, utilizing Bill Evans for the rest. Although Kelly has been described as the more traditional blues pianist, Evans also plays blues on this album. Describe these two pianists approaches to their instrument in light of specific tracks from Kind of Blue. How are the particular skills of these two performers highlighted in the album? 6. Musical culture in the 1930s was more overtly political than other periods we have studied. Describe the political dimensions of works by Weill and Shostakovich, citing specific musical examples as well as material from the readings to support your ideas. What were the political circumstances to which Weill and Shostakovich were responding? 7. Evaluate the status of Porgy and Bess as an opera based on what we have learned about opera in this class as well as what contemporary musicians have said about Gershwins work as found in the readings. Discuss at least two specific extracts from Porgy and Bess in your response. 8. Choose a movement from one of the following works and provide a detailed description of the form and compositional innovations as discussed in lecture/section: Bartks Music for Strings, Percussion, and Celesta; Dvoks New World Symphony; or Reichs Music for 18 Musicians. 9. How does Cage view the term experimental music and how does his philosophy of music and sound manifest in his compositions? Discuss the works performed in lecture as well as his essay, Indeterminacy. 10. Describe the use of snare drum and piano in Stravinskys Petrushka. What do these instruments represent or signal in the work as a whole? 11. Varse, The Beatles, and Anderson all combine electronic, acoustic and recorded media in the works weve studied in class. Describe the differing ways these three composers balance these media in their music. What messages or content do the composers seem to be communicating about human interaction with technology? 12. In the readings and video excerpts played in class, Reich and Monk discuss the formation of their own ensembles as integral to their compositional processes. To what extent are collective compositional approaches discernible in Music for 18 Musicians and Dolmen Music? In light of the music weve studied throughout the semester, why might such approaches be important for this generation of composers? List of musical works that may appear on the Listening portion of the exam: Ludwig van Beethoven, Symphony No. 3, Op. 55 (Eroica), mvt. I Gioacchino Rossini, Il barbiere di Siviglia, Act 1, Scene 2: Largo al factotum Franz Schubert, Heidenrslein Niccol Paganini, Caprice, Op. 1, No. 24 Frdric Chopin, Prelude, Op. 28, no. 2 Antonn Dvok, New World Symphony, mvt. II Richard Wagner, Die Walkre, Act 2 Scene 1 Giuseppe Verdi, Rigoletto Act 1, Questa o quella Giuseppe Verdi, Rigoletto Act 3, Scena, Terzetto e Tempesta Jacques Offenbach, Orphe aux enfers. Act 2, 3rd tableau. Couplets des regrets Jacques Offenbach, Orphe aux enfers. Act 2, 3rd tableau. Ballet des mouches Maurice Ravel, String Quartet in F major, mvt. II

Erik Satie, Trois sarabandes no. 1 Claude Debussy, Voiles Gabriel Faur, Le parfum imprissable, Op. 76. no. 1 Richard Strauss, Ah! jai bais ta bouche from Salome Arnold Schoenberg, Der Mondfleck from Pierrot Lunaire, Op. 21 Igor Stravinsky, Petrushka, First Tableau: The Shrovetide Faire Igor Stravinsky, Petrushka, Third Tableau: The Moor's Room Kurt Weill, Die Dreigroschenoper, Overture Kurt Weill, Die Dreigroschenoper, Cannon Song Kurt Weill, Die Dreigroschenoper, The Song of No and Yes (Barbara Song) George Gershwin, Porgy and Bess, Bess, you is my woman now (Act II Scene 1) George Gershwin, Porgy and Bess, It ain't necessarily so (Act II Scene 2) Franz Liszt, Fantasy on Hungarian Folk Tunes for Piano and Orchestra Bla Bartk, Concerto For Orchestra, mvt. 2. "Giuoco Delle Coppie" Bla Bartk, Music for Strings, Percussion and Celesta, mvt. 3. Adagio Dmitri Shostakovich, Symphony No. 5, mvt. 4 John Cage, Imaginary Landscape no. 1 Miles Davis, Kind of Blue, Flamenco Sketches Edgard Varse, Pome lectronique Gyrgy Ligeti, Atmosphres Gyrgy Ligeti, Lux aeterna Big Mama Thornton, Hound Dog The Beatles, Tomorrow Never Knows The Beatles, A Day in the Life Steve Reich, Music for 18 Musicians, Pulses Steve Reich, Music for 18 Musicians, Section I Philip Glass, Koyaanisqatsi, Koyaanisqatsi Philip Glass, Koyaanisqatsi, Pruitt Igoe Meredith Monk, Dolmen Music Laurie Anderson, O Superman