Study Guide for Exam 1, Music 1500

Exam 1 covers Chapters 1 through 5--through the Baroque Period: 

Exam 1 will have 50 questions (worth 4 points each for a total of 200 possible points.

- Match a term to its definition

- Match a composer to the correct musical era

- Match a composer to a brief description (see specific info below for Middle Ages, Renaissance & Baroque composers)

- True/False (5 questions taken from assigned readings, major points in class lectures)

- Listening Identification (5 examples taken from the following Music Guides (all of these have audio examples that have been focused on in class and are available online through the WMU Music Library at http://www.wmich.edu/mus-gened/mus150/onlineaudio.html

- Anonymous: Haec Dies (chant--Music Guide 6)

- Weelkes: As Vesta Was From Latmos Hill Descending (English Madrigal--Music Guide 10)

- Palestrina: "Agnus Dei" from Pope Marcellus Mass (Mass--Music Guide 9)

- Gesualdo: Moro lasso (Italian Madrigal--Music Guide 11)

- Purcell: "Dido's Lament" from Dido and Aeneas (Opera aria--Music Guide 13)

- Vivaldi: "Spring" movement 1 from The Four Seasons (Concerto--Music Guide 15)

- Bach: "Little" Fugue in G minor (Music Guide 17)

- Handel: "Hallelujah" from Messiah (Oratorio--Music Guide 21)

To prepare for this Listening identification section (identify Title/Composer from 5 audio examples in a multiple choice list)

• Review the above-listed Music Guides and online audio examples
• You will need to identify the example you are hearing from a multiple choice list 
• You will also need to match each piece to an important TERM that relates to that piece

- for example: Weelkes' As Vesta Was From Latmos Hill could be matched to a term such as "madrigal" or "word-painting"

To prepare for the remainder of the exam, review the following:

Elements: (Be able to match any of the following elements or subterms to its definition):

• Rhythm: (meter, beat, tempo, syncopation) 
• Dynamics: (crescendo, diminuendo, piano, forte, accent) 
• Texture: (monophonic, polyphonic, antiphonal, imitative) 
• Harmony: (consonance, dissonance, chord, tonality) 
• Melody: (conjunct, disjunct) 
• Form: (binary, ternary, ritornello, strophic form) 
• Instrumentation and Tone color: (Know the descriptions and instrumental families of the

- Strings: (violin, viola, cello, double bass)
- Woodwinds: (flute, oboe, clarinet, bassoon)--the oboe/bassoon are "double-reed" instruments
- Brass: (trumpet, horn, trombone, tuba)
- Percussion: (timpani, all drums, cymbals)

• BE SURE TO STUDY THE "APPENDIX" OF THE TEXTBOOK (pp. 143-154)

General Terms: (Be able to match any of the following terms to its definition):

• Ensemble (a GROUP of performers)--see textbook appendix pages 152-153 
• Genre (a TYPE/CATEGORY of musical composition) 
• Form (the structural SHAPE/DESIGN of a musical composition)
  - Binary Form (AB)
  - Ternary Form (ABA)
  - Ritornello Form--see textbook page 50 
• Ostinato (a short, rhythmic/melodic idea that gets stated over) 
• Polyphony (began in the Middle Ages c1000) 
• Melisma (a succession of many pitches sung while sustaining one syllable of text)
• Recitative (not a genre or an ensemble—it is a speech-like manner of singing) 
• Aria (not a genre or an ensemble—it is a smooth, metrical manner of singing) 
• "Mass Ordinary" (Kyrie, Gloria, Credo, Sanctus, Agnus Dei) 
• Counterpoint: (a complex polyphonic texture combining 2 or more independent melodic lines)
  - Imitation: a polyphonic texture with simple echoing between consecutive voices/instruments
  - Canon: a polyphonic texture with STRICT echoing of "leader" vs. "follower(s)"
  - Fugue: a complex contrapuntal manipulation of a musical "subject" 

Non-Western Terms (know these definitions, and be able to match to their non-Western culture)

• Africa: "Call-and-response", improvisation, polyrhythm 
• Japan: Koto, Shamisen 
• Indonesia: Gamelan (especially from Bali)--Bonang 
• Latin America: Marachi 
• Middle East: 'Ud, Darabukkah
• India: Sitar, Tabla, Raga, Tala, Guru

The Middle Ages (know these definitions and examples)--see textbook for Chapter 3

• Chant (Anonymous Haec dies--see Music Guide 6)--in online examples for MUS1500
• Organum (Anonymous Haec dies--see Music Guide 6)--heard in class 
• Mass (Machaut "Agnus Dei" from Missa Notre Dame--see Music Guide 7) 
• Main Composers of the Middle Ages: You may need to match them to a brief description, or to the era they composed in--see textbook page 15
  - Perotin (French, Notre Dame, organum)
  - Machaut (French, late-Middle Ages, motet, Mass--he wrote the first polyphonic setting of the Mass Ordinary--the "Missa Notre Dame")

The Renaissance (know these definitions and examples)--see textbook for Chapter 4

• Imitation 
• Word-painting 
• Motet (Josquin Desprez Ave Maria . . . virgo serena--see Music Guide 8)--heard in class
• Madrigal (Weelkes As Vesta Was From Latmos Hill Descending--see Music Guide 10)--in online examples for MUS1500
  -also Gesualdo Moro lasso--see Music Guide 11)--heard in class
• Mass (Palestrina "Agnus Dei" from Pope Marcellus Mass --in online examples for MUS1500
• Main Composers of the Renaissance: You may need to match them to a brief description, or to the era they composed in (see textbook page 26)
  - Josquin Desprez (French/Flemish, Mass, motet)
  - Weelkes (English, Madrigal)
  - Gesualdo (Italian, highly-experimental madrigals)--transition between Renaissance and early Baroque
  - Palestrina (Italian, late Renaissance, Mass)

The Baroque (know these definitions and examples)--see textbook for Chapter 5

• Basso continuo (the background ensemble of the Baroque; keyboard + bass)--see textbook page 32 
• Opera (genre; secular--voice & instruments stage--Purcell Dido and Aeneas--see Music Guide 13) -- in online examples for MUS1500
• Trio sonata (genre; 2 high instruments with basso continuo--Corelli Trio Sonata in D--see Music Guide 14)--heard in class 
• Canon (basic type of strictly-imitative counterpoint--Pachelbel Canon in D--see Music Guide 16)--heard in class 
• Solo Concerto (genre; solo vs. orchestra--Vivaldi Four Seasons--see Music Guide 15) -- in online examples for MUS1500
• Fugue (type of counterpoint--Bach Little Fugue in G minor--see Music Guide 17) -- in online examples for MUS1500
• Suite (collection of dances for keyboard or small orchestra--Bach Orchestral. Suite 1--see Music Guide 18)--also know what a "Forlane" is 
• Concerto grosso (genre; small "solo group" vs. orchestra--Bach Brandenburg 5--see Music Guide 19) 
• Cantata (genre; sacred--for voices and instruments--Bach Cantata No. 140--see Music Guide 20) -- in online examples for MUS1500
• Oratorio (genre; sacred--large, for voices and instruments--Handel Messiah--see Music Guide 21) -- in online examples for MUS1500
• Main Composers of the Baroque: You may need to match them to a brief description, or to the era they composed in (see textbook page 32-33)
  - Monteverdi (Italian, early opera)
  - Purcell (England, mid-Baroque, opera)
  - Corelli (Italian, mid-Baroque, trio sonata)
  - Vivaldi (Italian priest, late Baroque taught violin at a girl's orphanage, concertos)
  - JS Bach (German, late Baroque, greatest master of Baroque counterpoint--cantata, concerto, keyboard music)
  - Handel (German, late-Baroque, worked mostly in Italy and England--opera, oratorio)

General Review:

• Complete the "E-Workbook" Assignments (Blackboard/Vista) for Chapters 1-5. 
• You can also practice/review the questions from the first five E-Workbook Assignments by taking the "Exam 1 Review for E-Workbook #1-5" on the MUS1500 Blackboard/Vista site.