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)