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Intro Music Lit

by: Will Rosenbaum

Intro Music Lit MUS 010

Will Rosenbaum
GPA 3.85

Beth Levy

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Beth Levy
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This 4 page Study Guide was uploaded by Will Rosenbaum on Tuesday September 8, 2015. The Study Guide belongs to MUS 010 at University of California - Davis taught by Beth Levy in Fall. Since its upload, it has received 29 views. For similar materials see /class/187300/mus-010-university-of-california-davis in Music at University of California - Davis.


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Date Created: 09/08/15
Music 10 Winter 2008 Final Exam Study Guide The nal exam will cover primarily material from lectures and discussion sections in the second half of the quarter beginning with Schubert The exam is scheduled for Tuesday March 18 at 330pm in the Main Theatre The listening portion of the exam will take place right at the beginning of the exam so make sure that you arrive on time YOU MUST BRING A SCANTRON FORM SSS E AND A PENCIL This is the same form that we used for the midterm exam There will be three major portions of the test listening multiple choice and short essay The types of questions will be very similar to those on the midterm Listeningbased multiple choice questions approximately 15 Historical Vocabulary multiple choice questions approximately 25 Essay questions approximately 60 An important tip The individual sections of the nal exam are described in detail below In order to make your studying more ef cient and more effective think about how to prepare for one portion of the exam in ways that will also be useful for the other portions of the exam For example as you study for the listening questions make notes for yourself about each composer and each piece what makes it distinct from the other pieces on the syllabus what makes it representative of its time period or genre what ideas or concepts were associated with this piece in class This sort of information will help you prepare for the multiple choice portion of the exam In a similar way preparing thoroughly for the essay questions keeping in mind all the concepts and terms associated with the individuals or pieces we ask you to think about will dramatically increase your chances of doing well on the multiple choice questions A few practical suggestions Making notecards or ashcards can help you gure out what is most important about each piece and composer Reviewing chapters 1 and 2 of the textbook especially the timeline on page 42 can help you put your ideas into historical perspective and solidify your knowledge of musical vocabulary Finding a group to study with can make your job easier and more enjoyable Listeningbased Multiple Choice As was true on the midterm exam we will test your knowledge of musical terms and vocabulary using pieces that are not included in the textbook The best way to prepare for this portion of the test is to be thoroughly familiar with the assigned pieces and to think about what makes each of these pieces typical of its genre and time period You should know the characteristics including performing forces of the musical genres we have discussed in class and you should know when these genres were most prominent Review the material in chapters 1 and 2 especially the timeline on page 42 for a helpful overview HistoricalVocabulary Multiple Choice As was the case for the midterm this portion of the exam will test your knowledge of music history and the musical vocabulary we have covered this term focusing on the second half of the quarter Again your notes from lecture and discussion sections and your textbook are your best resources for these questions The important tip at the beginning of this document gives you ways of making sure that the studying you do for the listening and essays will also help you do well on this section of the exam A list of important terms appears at the end of this document Essay Questions You will be asked to write three essays of at least one substantial paragraph each The questions will be selected from the list below At least four of these questions will be included on the exam but you will only have to answer three Therefore you can safely neglect one and only one question as you prepare Bear in mind though that these questions are a good indication of what you should know to complete the exam successfully The material that is not covered on the exam in essay format will surely show up in the listening or multiple choice portions Because you have these questions in advance you should be prepared to answer them in thoughtful and grammatically correct prose and you should support your answers with specific examples from the pieces we have discussed If you did not do as well you would have liked on this portion of the midterm come talk to one of us and make sure that you were are addressing the question in sufficient detail We want to see how much you know so plan to be detailed and informative For most of the essay questions you need to make sure that you are connecting musical observations with historical or contextual ones Remember that these three essay questions are worth more than half of your final exam grade Possible Essay Questions 1 Describe at least four characteristics of Romanticism and explain how they affected the music of Schubert and Schumann making sure to refer to speci c works by each 2 Referring to speci c moments in their works compare and contrast the operatic ideals of Verdi and Wagner 3 During the late nineteenth century an aesthetic debate raged between those who favored program music and those who favored absolute music Identify two key composers in this debate and describe their viewpoints referring to specific pieces 4 During the twentieth century some composers favored avantgarde music Discuss THREE such composers mentioning specific pieces by each and explaining what makes each piece radical or progressive Consider each composer s views about the relationship between a composer and hisher audience Do you agree or disagree with these views 5 Many twentiethcentury pieces display a mixture of musical features that come from different cultures or traditions Choose THREE of the pieces listed below and indicate how and m each piece re ects the contact or fusion between different cultures Debussy Soiree dans Granade Joplin Maple Leaf Rag Ellington New East St Louis ToodleO Tan Dun Opera in Temple Street 6 Throughout the quarter we have discussed pieces that build on or refer to earlier pre existing music Choose THREE ofthe pieces listed below and discuss how and m each one makes use of earlier music or musical styles Bach Ein Feste Burg Schumann Carnaval Berlioz Symphonie F antastique Brahms Variations on a Theme by Haydn Ives Putnam s Camp Charlie Parker Lady Be Good 7 We have discussed numerous composers who were in uenced by their national identity Choose THREE of these composers and explain 1M and m each one incorporated national references into his or her scores Chopin Liszt Brahms Dvorak Smetana Stravinsky Ives 8 Composers often shape their pieces to suit speci c performers or locations for performance eg a particular concert hall salon church audience type etc Choose THREE pieces that were written for speci c performers or places and describe in detail how the composer s decisions were affected by its original purpose or context You should refer to at least two speci c moments in each piece as supporting evidence People Terms Genres and other Vocabulary that might be useful for the Multiple Choice PLEASE NOTE It is possible that other terms might appear on the exam but these are the ones that are most important for you to know Franz Schubert Romanticism Lied plural form Lieder strophic song cycle Robert Schumann character piece Hector Berlioz id e xe Dies irae program music programmatic symphony Franz Liszt virtuosity symphonic poem tone poem thematic transformation Fryderyk Chopin rubato mazurka bel canto opera Vincenzo Bellini scena overture Giuseppe Verdi Richard Wagner Ring Cycle music drama Gesamtkunstwerk Leitmotive Johannes Brahms theme and variations absolute music passacaglia nationalism Bedlich Smetana Antonin Dvol 1k The Mighty Handful Piotr Tchaikovsky Claude Debussy impressionism Sergei Diaghilev primitivism Sacred Harp Singing John Philip Sousa march ragtime Scott Joplin syncopation blues 12bar blues form W C Handy Bessie Smith Louis Armstrong Big Band Swing Duke Ellington bebop Charlie Parker Amy Beach Charles Ives George Gershwin Lili Boulanger Igor Stravinsky Arnold Schoenberg expressionism Anton Webern avantgarde serial music twelvetone technique Bela Bartok John Cage electronic music Milton Babbitt fusion Shulamit Ran minimalism John Adams Tan Dun


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