Music History I
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This 10 page Study Guide was uploaded by Reece Rath on Monday October 12, 2015. The Study Guide belongs to MUS 350 at Indiana State University taught by Terry Dean in Fall. Since its upload, it has received 38 views. For similar materials see /class/222208/mus-350-indiana-state-university in Music at Indiana State University.
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Date Created: 10/12/15
EXAM 1 STUDY GUIDE The exam will be made up of the following sections 1 LISTENING IDENTIFICATION This section will be similar to the listening quiz You will be asked to identify each selection by composer if appropriate title genre and date and will be asked to answer questions based on each selection s salient musical characteristics 11 DEFINITIONS In complete sentences you will be asked to de ne a selection of terms In your de nition you should discuss the term in a musicalhistorical context That is provide a speci c musical example relate the term to a particular genre or musical movement or point out its association with a particular composer and work For example if you were going to de ne rondeau you would explain the formal structure explain that it was a type of formes fixe and that it was rst cultivated by composers in the latter part of the 1339h century such as Adam de la Halle A musical example would be Robins m aime Not all of these terms will have speci c musical examples from your listening If this is the case you should still do your best to relate them to musical performance andor composition 111 SHORT ANSWERS You will be asked to provide concise answers in com lete sentences Toics your lecture and your reading 39 will be drawn from both Explain the criteria used to determine a chant s mode Explain Charlemagne s role in music history What was the early church fathers view of music Did they feel the same about vocal as well as instrumental music Explain the origins of Gregorian chan Explain the difference between Ordinary and Proper Describe the functionliturgy of the MassOf ce Describe the different possibilities for troping a chant What types of chants were more likely to be troped Explain the importance of Hildegard of Bingen s musical contributions Explain the concept of courtly love What were the origins of the medieval motet Explain Explain the system of rhythmic modes Describe the importance of Paris as a center of polyphonic composition What is the importance of the Magnus Liber Organi In early polyphony how and in what cases was polyphonic texture used Which feature of Ars Nova composition was most offensive to conservatives Explain Give the forms for the balladerondeauetc IV ESSAY QUESTIONS There will be one or two essay questions 1 539 ANTI UL IH39T EJT 139 Detail developments in the history of polyphonic composition from Leonin through Landini Developments in notational practice had major repercussions for the performance composition and dissemination of medieval music Explain Describe the ways in which Guillaume de Machaut was unusual for his time Cite musical examples from NAWM as appropriate 39lua row sum lEY liT 0 Discuss the ways in which the secularization of society impacted the music of the fourteenth century Cite musical examples from NAWM as appropriate 0 Compare and contrast the main features of the 1339h century motet and the polyphonic conductus TERMS TO BE FAMILIAR WITH Rite Liturgy Monophonic Final Range Tenor Authentic Plagal Guido D Arezzo Neumes Solesmes notation Church Calendar Antiphonal Responsoryial Canticle Direct Syllabic Nuematic Melismatic Recitational Trope Jubilus Sequence Organum Conductus Motet Parallel Organum Oblique Organum OOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO OOOOOO 000000000000 000000000000 Free Organum Guido d Arezzo M ikrologus Aquitanian polyphony Discant FloridMelismatic Organum Notre Dame Leonin Perotin Rhythmic Modes Ligature Breve Long Tempus Magnus Liber Organi Clausula pl clausulae Substitute clausulae Organum duplum triplum quadruplum Conductus Caudae sing cauda Motet DoubleTriple motet Cantus rmus Franco of Cologne Franconian Notation Perfection Franconian Motets Rota Ars Nova Minims OOOOOOOOOOOOO OOOOOOOOOOOOOOOO Mode Time Prolation Perfect Imperfect Mensuration Isorhythm Talea Color Hocket Contratenor Cantus rmus Mass cycle vs Uni ed Mass Roman de Fauvel Formes xe Lai Virelai Ballade Rondeau Ars subtilior Trecento Squarcialupi CodeX Ripresa Piedi Volta Landini cadence Ballata Musica cta Double leadingtone cadence Exam 3 Study Guide I LISTENING IDENTIFICATION This section will be similar to the listening quizzes and the previous exams You will be asked to identify each selection by composer if appropriate title and genre and will be asked to identifydiscuss each selection s salient musical characteristics You will be responsible for identifying the following selections from the NAWM NAWM 66 Claudio Monteverdi Cruda Amarilli madrigal NAWM 67 Guilio Caccini Vealro l mio sol continuo madrigalsolo madrigal NAWM 68ab Jacopo Peri Le musiche sopra L Euridice opera NAWM 69ae Monteverdi L Orfeo opera NAWM 70 Monteverdi L Incoronazione di Poppea Act 1 Scene 3 Venetian opera NAWM 7lab Antonio Cesti Orontea Venetian opera NAWM 72 Barbara Strozzi Lagrime mie cantata NAWM 73 Gabriel Bataille Ma bergere non legere air de cour NAWM 74 Giovanni Gabrieli In ecclesiis solo motetsacred concerto NAWM 76ab Giacomo Carissimi H istoria di Jepthe oratorio NAWM 75 Alessandro Grandi O quam tu pulchra es motet NAWM 77 Heinrich Schutz O lieber Herr Gott SWV 287 sacred concerto from Kleine geistliche Konzerte I sacred concerto NAWM 78 Schutz Saul was verfolgst du mich SWV 415 sacred concerto from Symphoniae sacrae HI sacred concerto NAWM 79 Girolamo Frescobaldi Toccata no 3 toccata NAWM 80 Fresobaldi Ricercare after the Credo from M ass for the Madonna in F iori musicali ricercare NAWM 81 Biagio Marini Sonata I V per il violino per sonar con due corde sonata for violin and continuo NAWM 82a JeanBaptiste Lully Overture to Armide French overture NAWM 82b Lully Act 11 Scene 5 from Armide tragedie lyrique NAWM 83 Lully In te Domine speravi from Te Deum grand motet NAWM 84 Denis Gaultier La Coquette virtuose from La rhe torique ales diewc courtante from dance suite for lute NAWM 85ah Jacquet de la Guerre Suite in A Minor from Pieces ale clavecin keyboard suite NAWM 86ac Purcell Dido and Aeneas opera NAWM 87 Torrejon y Velasco Y bien Jque es lo que adviertes from La purpura ale la rosa opera NAWM 88 Juan de Arauj 0 Los co ades ale la estleya villancico NAWM 89 Alessandro Scarlatti Clori vezzosa e bella recitative and aria from cantata NAWM 90 A Scarlatti In volver cio che tu brami from Griselda aria from opera NAWM 9lad Arcangelo Corelli Trio Sonta Op 3 No 2 trio sonata NAWM 92 Dieterich BuXtehude Praeludium in E Major BuXWVl4l organ prelude NAWM 93ac Antonio Vivaldi Concerto for Violin and Orchestra in a minor Op 3 No 6 solo concerto NAWM 94ab Francois Couperin Vingt cinquieme ordre keyboard suite NAWM 95 JeanPhilippe Rameau Act IV conclusion of H ippolyte etAricie opera FINAL EXAM LISTENING ONLY NAWM 96 Johann Sebastian Bach Prelude and Fugue in a Minor BWV 543 prelude and fugue NAWM 97 Bach Chorale Prelude on Durch Adams Fall BWV 637 chorale prelude Listen NAWM 98af Bach Nun komm der Heiden Heiland BWV 62 cantata NAWM 99 Georg Frideric Handel Act II Scenes 12 of Giulio Cesare opera NAWM 100 Handel Act II Scene 10 of Saul oratorio II DEFINITIONS In complete sentences you will be asked to de ne a selection of terms In your de nition you should discuss the term in a musicalhistorical context That is provide a speci c musical example relate the term to a particular genre or musical movement or point out its association with a particular composer Intermedio Capriccio Girolamo Mei Fuge Florentine Camerata Canzona Vincenzo Galilei Sonata Monody Organ verse Aria Chorale prelude Solo madrigal Variations Recitative style Partita Ritornello Chorale variations Sinfonia Chorale partita Strophic variation Suite arioso Subject Concertato style Instrumental monody Concerto madrigal Sun King Sacred concerto Court Ballet Basso ostinato Ground bass Descending tetrachord Music of the Chamber Music of the Great Stable French overture Chacona Binary form cantata Unmeasured prelude Stile antico Allemande Stile moderno Courante Solo motet Sarabande Lucrezia Vizzana Gigue Oratorio Tragedie en musique Salarnone Rossi Tragedie lyrique Toccata Divertissements Fantasia Recitatif simple Prelude Recitatif mesure Ricercare Airs Masque Solo concerto Zarzuela Tutt1 Juan hidalgo Ripieno Da capo aria Da capo aria Cantata Cantata Sonata Fugue Sonata da camera Exposition Sonata da chiesa Subject Trio sonata Answer Walking bass Countersubject Concerto Episode Orchestral concerto Fundamental bass Concerto gross Lullistes vs Rameau 111 SHORT ANSWERS Bold Items for Final Exam Only Describe differences between the Italian vocal cantata in the early l7Lh century and at mid century and later What were the aesthetic goals of the Florentine Camerata and how do they relate to the development of opera Describe three types of aria settings used in l7Lh century opera Describe the changing meanings of the word sonata from the early l7Lh century to the early 18Lh century Describe the typical traits of Arcangelo Corelli s musical style Describe the different types of concerto writing from the 1680 s on The return of instrumental material known as a ritornello becomes an important structural device in many of the genres we have studied Explain giving speci c examples There are some major differences in the approach to writing Baroque instrumental music from the instrumental music we have seen earlier this semester What are some of those differences Various genres of keyboard music highlight the use of imitative counterpoint Name the genres How is their use of imitative counterpoint different Explain why the Germanspeaking regions of Europe were such vibrant locations for musical patronage performance and composition Compare the social and economic factors in Britain with those of Germany and explain how each situation affected the production of musical culture How was the music of J S Bach viewed by his contemporaries Outline the course of Bach s musical career and explain how his compositional choices were in uenced by where he was working How does the music of other composers in uence Bach s work Make sure you touch on various genres of composition and provide speci c examples What are Lutheran church cantatas How are they different than cantatas we ve seen earlier in this class What was their function Be prepared to look at a score of a cantata movement with translation on the exam You may be asked to provide an analysis of what you see and hear The textbook describes Bach s musical style as a synthesis Explain IV ESSAY QUESTIONS Bold Items for Final Exam Only There will be two or three essay questions from which you will choose You will need to provide speci c musical and historical examples to support your argpment Possible topics are BUT NOT LIMITED TO the following Describe the development of Italian opera from the early 17111 century through the early 18Lh century Discuss the in uence of Italian opera on musical theater traditions in England and France h D1scuss the ways 1n wh1ch 17 century vocal mus1c 1n uences the compos1tlon of 1nstrumental music How are 17111 century Italian innovations in opera exported to and adapted by other cultures Make sure to give speci c examples Describe the political and cultural circumstances in the following regionsplaces and their effects on music and music making Venice Naples Rome France England Germany The 17111 and early 18Lh century witness remarkable innovations in and development of music written for the keyboard Discuss Dance and dance music has showed up as an important in uence on many of the musical genres both vocal and instrumental that we have studied Explain giving speci c examples Describe differences between the Italian vocal cantata in the early 17Lh century and at mid century and later Compare the operatic style of Lully and Rameau How are they the same How are they different Handel s career followed a remarkably different trajectory than that of Bach or Vivaldi or Rameau Explain How did Handel s cosmopolitanism in uence his musical style How does patronage affect Handel s musical output Describe the salient features of Handel s operatic style What is the difference between simple and accompanied recitative What is coloratura Describe Handel s innovations in the oratorio genre Both Handel and Bach frequently borrowed and reworked earlier musical material both by themselves and others How was this viewed in their day Later on How was Handel viewed by his contemporaries In this sense how can we comparecontrast his career with that of J S Bach What has been each composer s musical legacy Exam 2 Study Guide I LISTENING IDENTIFICATION This section will be similar to the listening quizzes and the previous exam You will be asked to identify each selection by composer if appropriate title and genre and will be asked to identifydiscuss each selection s salient musical characteristics You will be responsible for identifying the following selections from the NAWM however you should be able to discuss all works covered since Exam n0 1 when writing your essaydiscussion questions NAWM 33 John Dunstable Quam pulchra es motet NAWM 38 Antoine Busnoys Je ne puis Vivre virelai NAWM 40 Henricus Isaac Innsbruck ich muss alieh lassen Leid NAWM 42 Josquin M issa Pange Linga Kylie and Credo excerpt from Paraphrase Mass NAWM 46 William Byrd Sing joyfully unto Goal full anthem NAWM 47b Giovanni Pierlugi Palestrina Pope Marcellus Mass Agnus Dei I from Mass NAWM 48b Victoria Missa 0 magnum mysterium Kylie from Imitation Mass NAWM 49 Orlande de Lassus Cum essem parvulus motet NAWM 50 Juan del Encina 0y comamos y bebamos Villancico NAWM 51 Marco Cara 0 non compropiu speranza frottola NAWM 56 Claudin de Sermisy T ant que vivray chanson NAWM 58 Claude le Jeune Revecy venir alu printans chanson NAWM 52 Jacques Arcadelt l biancoy dolee cigno madrigal NAWM 53 Cipriano de Rore Da le belle contrade al oriente madrigal NAWM 54 Luca Marenzio Solo e pensoso madrigal NAWM 61 John Dowland F low my tears airlute song NAWM 62ac Tylman Susato From Danserye Book III dances NAWM 63b Narvaez Cuatro aliferencias sobre Guardame las vacas Variations for Vihuela NAWM 65 Giovanni Gabrieli Canzon septimz39 toni a 8 from Sacrae symphoniae ensemble canzone New Listening Challenge I will give you the score to a piece that you have not yet been exposed to in class I will play the entire piece for you and ask you to identify speci c musical characteristics and where they happen in the score You will specify the genre Based on your analysis of the piece you will make an educated guess as to the composer and approximate date of composition 11 DEFINITIONS In complete sentences you will be asked to de ne a selection of terms In your de nition you should discuss the term in a musicalhistorical context That is provide a speci c musical example relate the term to a particular genre or musical movement or point out its association with a particular composer For example if you were going to de ne Psalter you would say that it is the term used to describe published collections of Metrical Psalms explain that Psalters were rst created during the Reformation by the Calvinists and that they were disseminated via published printed editions A musical example of the type of thing found in a Psalter would be the setting of Psalm 134 Or sus serviteurs du seigneur now commonly known as Old Hundredth not all of these terms will have speci c musical examples from your listening If this is the case you should still do your best to relate them to musical performance andor composition Contenance Angloise Faburden Burden Cantilena Paraphrase 15Lh century chanson Fauxbourdon Point of imitation Lieder Lied Text depictiontext expression Imitation mass Paraphrase mass Protestant Reformation Lutheran Chorale Lied technique Chorale motet Metrical Psalms Psalter Church of England Full Anthem Council of Trent Counter Reformation Imitation mass Villancico Frottola Chanson Madrigal Lute song III SHORT ANSWERS Estribillo Coplas Mudanza Vuelta Vers mesure a l antique Francesco Petrarch Piacevolezza Gravita Concerto delle donne Madrigalisms Musica T ransalpina Balletto A Plaine and Easie Introduction to Practical Musicke The T riuimphs 0f Oriana Instrument families Consorts Basse Dance Branle gay Dance pairs Tabulature Intabulations Variations Diferencias Cori Spezzati Canzona Affections You will be asked to provide concise answers in complete sentences Topics will be drawn from both lecture and text readings Possible topics include BUT ARE NOT LIMITED TO these are to give you an idea of the TYPE of question you might expect the following The 15111 century theorist Johannes Tinctoris recognized Guillaume Du Fay and Gilles Binchois as the founders of a new musical style Describe three of the musical innovations that Tinctoris was responding to and that scholars today still recognize as being the beginnings of the musical Renaissance Describe the differences between l4Lh and 15Lh century chansons Describe the musical innovations introduced by Ockeghem and Busnois What were the musical sources for Lutheran music How did the chanson change in l6Lh century France What are some of the differences between the Italian madrigal and other Italian secular music genres we have studied such as the frottola Describe the types of instrumental music being produced and consumed in the l6Lh century IV Essay questions There will be one or two essay questions You will need to provide speci c musical and historical examples to support your argpment Possible topics are BUT NOT LIMITED TO the following Discuss the music of the early 39 as a r v 1 Discuss the development of national secular styles during the l6Lh century giving speci c examples Discuss the effects of the Protestant Reformation and the Catholic CounterReformation on music and music making Be sure to provide specific examples The arts and culture of ancient Greece and Rome were a tremendous in uence on all aspects of Renaissance arts Discuss how composers incorporated this fascination with classicism into their works Discuss the development of the madrigal from the early to the late l6Lh century Make sure to reference individual composers and comment on their musical style Discuss at least three of the ways in which the composition of the polyphonic mass changed from the Middle Ages to the Renaissance
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