What to prepare for the
Final Exam: (Exam will be on Tuesday, April 22 after Listening Quiz #2)
You must
bring a No. 2 pencil and your "Secret #" (get this from the "My
Grades" link on the MUS1700 WebCT/Vista/Blackboard homepage).
There will be 80
multiple-choice/matching/true-false questions on this exam. Each question is
worth 3 points towards your final course grade. (The final exam is worth 240
possible points --24% of your final course grade).
The exam is cumulative, but
the primary focus will be on material since the midterm exam. All previous terms/material that will
appear on the final exam is referenced on this review page (no need to review
the midterm study guide)
Be able to match the
following terms with their definitions: (see the
"Glossary" link on the WebCT/Blackboard MUS1700 mainpage)
- Musical Elements (textbook, Chapter 1 + lecture
notes):
Timbre, Texture
- Non-Western (textbook Chapter 2 + lecture
notes):
gamelan, koto, call and response
- Medieval (textbook Chapter 3 + lecture
notes):
organum, Mass ordinary
- Renaissance (textbook Chapter 4 + lecture
notes):
word-painting, point of imitation, madrigal
- Baroque (textbook Chapter 5 + lecture
notes):
Basso continuo, recitative, aria, cantata, oratorio, trio sonata, suite, solo
concerto, concerto grosso, tutti
- Pre-Classic/Classic (textbook Chapter 6 + lecture
notes):
opera seria, opera buffa, ballad opera, symphony, sonata, serenade, string
quartet, the Classic 4-movement design (see Chapter 6 p. 50)
- Romantic (textbook Chapter 7 + lecture
notes):
absolute music, programmatic music, program symphony, idee fixe, symphonic
poem, character piece, Lieder, verismo, Musikdrama, Leitmotif, ballet
- 20th century "art music" (textbook Chapter 8 + lecture
notes):
impressionism, expressionism, Sprechstimme, atonality, serialism,
neo-Classicism, neo-Romanticism, minimalism, chance music, prepared piano, tone
cluster
- Jazz (textbook Chapter 9 + lecture
notes):
12-bar blues; "Hot" Jazz: (Armstrong); Swing: (Ellington/Goodman);
Bebop: (Parker, Gillespie); Cool" Jazz: (Brubeck); Fusion:
(Coltrane/Davis--blending of Jazz + Rock styles); "Free" Jazz:
(Coleman)
- Forms and
Compositional Techniques (textbook + lecture notes):
binary, ternary, canon (strict
echoing of a "leader" and "follower[s]), fugue (chapter 5),
ritornello (chapter 5), sonata form (chapter 6), theme and variations (chapter
6), minuet and trio (chapter 6), scherzo and trio (chapter 6), rondo (chapter
6),
- Other terms (textbook + lecture notes):
prima pratica, seconda pratica,
ostinato, cantus firmus (the traditional term for using a pre-existing melody
as the basis for a new work)
Be able to match the
following composers to their historical era or to their brief description:
- Machaut (chapter 3, p.15)
- Josquin des Prez. Palestrina (chapter 4, p.26)
- Monteverdi, Vivaldi, JS Bach, Handel (chapter 5, pp.32-33)
- Mozart, Beethoven (chapter 6, p.46)
- Schubert, Wagner, Brahms, Berlioz, Chopin (chapter 7, pp.69-70)
- Debussy, Schoenberg, Stravinsky, Copland, Cage, Glass, Penderecki (chapter 8,
pp.94-96)
- Armstrong ("Hot" Jazz"), B. Smith (Blues), Ellington/Goodman
(Swing), Bebop (Parker/Davis), Brubeck ("Cool" Jazz), Coltrane/Davis
(Fusion), Coleman ("Free" Jazz)
Be able to match the
following titles with the musical concept they relate to (these may also be
used as the basis for true/false questions):
- Vivaldi: "Spring" movement 1 from The Four Seasons (Baroque 3-movement programmatic solo
concerto with idiomatic violin writing)
- Mozart: Symphony No. 40 (Classic 4-movement symphony lambasts the aristocracy,
especially in 3rd movement "Minuet")
- Beethoven, Symphony No. 3 (Classic 4-movement symphony, reference to the symbolic
death of Napoleon as a socio-political hero)
- Beethoven: Symphony No. 6 (Romantic 5-movement program Symphony with German-titled
movements ennobling the common class)
- Berlioz: Symphonie fantastique (5-movement program symphony, idee fixe, distraught man
hallucinates a series of five orchestral dreams about his former lover)
- Chopin: Nocturne in E-flat Op. 9 No. 2 (Romantic character piece)
- Schubert: Erlkonig (Lieder, a young boy dies in his father's arms)
- Wagner: Die Walkure from The Ring of the Nibelungs (Musikdrama, Leitmotif, Brunnehilde, Wotan, world
destroyed by lust for the magic Rhine gold)
- Smetana: The Moldau (Symphonic poem, symbolic political statement about the freedom of a
Czech river)
- Puccini: La Boheme (verismo opera, Rodolfo, Mimi, poverty-stricken writer falls in love
with a seamstress dying from tuberculosis)
- Debussy: Prelude to the Afternoon of a Faun (20th century symphonic poem,
impressionism)
- Schoenberg: Pierrot lunaire (atonality, expressionism, Sprechstimme, 20th century song
cycle about a lunatic)
- Copland: "Simple Gifts" from Appalachian Spring (20th century ballet, Theme and
Variations, neo-Classicism)
- Bernstein: West Side Story (20th century musical theatre, modern gang-war adaptation
of Romeo and Juliet incorporating jazz elements)
- Cowell: The Banshee (20th century avant-garde character piece in which the main performer
plays directly on the strings of a piano)
- Varese: Poeme electronique (20th century "electronic poem", musique
concrete)
- Cage: Perilous Night (20th century avant-garde, prepared piano)
- Cage: 4'33"
(20th century avant-garde, chance music)
- Babbitt: Ensemble for Synthesizer (2oth century, total serialism)
- Stravinsky: The Rite of Spring (an experimental early 20th century ballet that caused a
riot during its premiere performance)