Music M401
History and Literature of Music I:
Antiquity to 1750
Fall 2007
Review Guide For Final Examination
The final serves both as an examination on the material covered
since the second test and as a cumulative
examination on the course as a whole. Reread the course objectives
to make sure you understand what is being tested and
why.
Once Again, Make a Time Line!
Since the third exam, we have covered another hundred years, completing a
journey of over 4000 years. Along the way, we have treated many pieces and
composers by genre or nationality rather than in chronological order, in
this and in previous units. Making a time line for the entire period
since the Middle Ages (but especially since 1600, the beginning of the
Baroque period) will help you to review the dates of compositions,
composers, and important events and to see the chronological relationship
of different types of music and schools of composition.
Types of Questions
The final may include the following types of questions:
- known listening or score identification questions like those on
previous exams, covering all works studied since the third exam
- unknown listening or score identification questions, drawing on the
repertoire of the entire semester, that ask you to identify the composer,
genre, and date and describe the stylistic features that most distinguish
this style, genre, or composer from others
- questions that ask you to determine whether a known or unknown score
excerpt from the seventeenth century is modal or tonal and to give
reasons for your choice (this is a new type of question)
- short-answer questions and identification of terms and names,
drawing on the material since the third examination (including the
Weiss-Taruskin readings listed in the next section) and on the terms,
names, and related concepts given below from earlier parts of the course
- a comprehensive score question asking you to compare score excerpts
from different historical periods
(these may be from the listening list or not, but you will be told the
name, composer, and date for each excerpt)
- an essay question focusing on material since 1600
Weiss-Taruskin Readings
Some short answer questions will draw upon the readings in Weiss-Taruskin.
In reviewing Weiss-Taruskin, focus particularly on these readings:
Rameau (WT 60), von Uffenbach on Vivaldi
(WT 66), Bach's contract at Leipzig (WT 71), and C. P. E. Bach's
reminiscences of his father (WT 72 and 73).
Be prepared to identify a short passage drawn from
these readings by who wrote it (or who it is about) and about when it was
written, and to discuss the issues addressed in the passage and the
significance for music history.
Terms and Names from Previous Units
The following terms and names from material covered on the first two
examinations are fair game for short answer and identification
questions. These items are arranged in large categories so that related
items are grouped together. Reviewing these lists will also help you
review the material in each category. In addition to the following, all
composers on the listening list since the beginning of the semester and
all terms and names related to material covered since the third exam
are fair game for identification questions.
-
theory: Pythagoras, tetrachord and genera, doctrine of ethos, Plato
and Aristotle, Boethius, authentic and plagal modes, final and
tenor (reciting tone), Musica enchiriadis, Guido of Arezzo, Ad
organum faciendum, rhythmic modes, Franco of Cologne and Franconian
notation, isorhythm (color and talea),
Le Istitutioni harmoniche (Gioseffo Zarlino), prima and seconda
pratica, basso continuo, figured bass, Giovanni Maria Artusi
- chant and liturgy: Offices, Mass Ordinary and Proper
(and chant types included in each), psalm and psalm tone,
syllabic/neumatic/melismatic, trope, sequence
- secular song:
troubadour/trobairitz and trouvère, Minnesinger and Minnelied,
formes fixes, (fourteenth-century)
madrigal, caccia, ballata, frottola, (sixteenth-century) madrigal,
Francesco Petrarca, Pietro Bembo, Renaissance humanism,
musique mesurée, Musica transalpina, lute song
- medieval polyphony: organum of all types, tenor (in organum),
discant, Notre Dame polyphony, Magnus liber organi, substitute
clausula, duplum/triplum/quadruplum, conductus, motet
(thirteenth-century),
Franconian motet, Ars Nova, isorhythmic motet, Roman de Fauvel
- Renaissance vocal music: "contenance angloise," cantus firmus,
fauxbourdon, Burgundy, polyphonic Mass cycle, cantus firmus Mass,
paraphrase Mass, imitation (parody) Mass, Ottaviano de' Petrucci, Pierre
Attaingnant, Reformation, Martin Luther, chorale, Council of Trent,
Counter-Reformation, cori spezzati, polychoral motet
- Baroque concepts and genres:concertato medium, sacred concerto,
monody, recitative style, stile concitato, castrati, diva, ground bass,
stile antico, oratorio
- instrumental music: estampie, instrument
family, tablature, intabulation, dance music, prelude, ricercare, toccata,
canzona, sonata, Sonata pian' e forte
Topics for Review
The topics below are designed as a guide for organizing your review of
music during the Baroque period, especially since the third examination.
Organizing what you know in terms of
these large themes and categories should help you prepare for the
listening, short answer, and essay portions of the examination. In
addition, see the Review Questions at the end of each chapter of the
Study and Listening Guide. In preparing for possible essay
questions, remember that you will be expected to describe examples from
the music we have studied to support your points.
- The development of opera and related forms between 1600 and 1750 in
Italy, France, and England, including the different circumstances and
trends in each nation.
- Sacred music in the Baroque period.
- The origins and various uses of the concertato principle from
Gabrieli to Bach.
- National styles and traditions in Italy, France, Germany, England,
and Spain and the Spanish New World
- The development of solo instrumental music (keyboard and lute)
from 1600 to 1750, including instruments used, forms and genres, playing
styles, compositional styles, ornamentation, and mode.
- The development of instrumental ensemble and orchestral music from
the late 1500s to 1750, including instruments and ensembles used, forms
and genres, playing styles, compositional styles, ornamentation, and mode.
- Comparison of the careers, musical ideals, and styles of the major
composers whose works we have studied. [In an essay question, the names
will be supplied and may include any two of the following: Monteverdi,
Schütz, Lully, Corelli, Vivaldi, Rameau, Bach, Handel.]
Last updated: 27 August 2007
URL: http://www.music.indiana.edu/som/courses/m401/Exam4.html
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