Masterpieces of Western Music, Fall 2012, Section 32

Study Sheet for the Final Exam (Classical Era to the Present)
Date of Final: Wednesday, December 19, 2012; 9:00 a.m.- 10:30 a.m. in Room 622 Dodge Hall

I. Listening Identification
The Listening Identification section will test your ability to hear and name elements in a
composition as well as placing it in a historical context. There will be four identification
questions total. All selections will be from the 6-CD set accompanying the textbook and/or
from the Courseworks syllabus (see list below) — please note that these selections will not
necessarily be played from the beginning of a track. The selections will be drawn from the
following list:

J. Haydn, Symphony No. 95.

W. A. Mozart, Symphony No. 40, i.
W. A. Mozart, Piano Concerto in A, K. 488, i.
W. A. Mozart, Opera Don Giovanni (selections from Act I).
L. v. Beethoven, Symphony No. 5.
L. v. Beethoven, String Quartet in F, Op. 135, ii.
F. Schubert, Lied Erlkönig.
F. Schubert, Miniature Moment Musical No. 2 in A-flat.
R. Schumann, from Song Cycle Dichterliebe, i, xvi.
R. Schumann, from Collection of Character Pieces Carnaval, "Eusebius," "Florestan," "Chiarina."
F. Chopin, Miniature Nocturne in F-sharp, Op. 15/2.
H. Berlioz, Fantastic Symphony, v.
G. Verdi, Opera Rigoletto (selections from Act III)
J. Brahms, Violin Concerto in D, iii.
R. Wagner, Music Drama The Valkyrie (selection from Act I) from the cycle The Ring of the
Nibelung.
G. Mahler, Symphony No. 1, i, iii.
G. Mahler, Songs of a Wayfarer, ii ("Ging heut' morgen übers Feld")
C. Debussy, "Pour invoquer Pan" from Six Épigraphes Antiques (piano version)
I. Stravinsky, Ballet The Rite of Spring (selections from Part I).
A. Schoenberg, from Melodrama Cycle Pierrot lunaire, viii, xviii.
A. Berg, Opera Wozzeck (selections from Act III).
A. Webern, from Five Orchestral Pieces, iv.
C. Ives, from Second Orchestral Set, ii.
C. Ives, Orchestral Piece The Unanswered Question.
G. Ligeti, Orchestral/Vocal Piece Lux aeterna.
J. Cage, from Sonatas and Interludes for prepared piano, v, vi, vii.
E. Varèse, Musique concrète work Poème électronique.
I. Xenakis, Orchestral Piece Metastaseis.

There will be four identification questions and each will look like this (with each ID you can
earn up to 7 points):

ensemble:________________________________________________________________________

texture(s), content of compositional devices:__________________________________________

era, century, genre, composer:______________________________________________________

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II. Definition of terms
Please do not just memorize the definitions in the back of Kerman or in the Sonic Glossary. A
mere "quoting" of definitions will prove only that you have a good memory, not that you
actually have understood a particular concept. Try to come up with your own wording,
provide a historic context and examples. Eight terms will be asked for in total. For four of
these you will write a short definition yourself, whereby you can earn up to 7 points with each.
There will also be four terms to which you will have to match definitions provided on the exam
sheet. Each correct match will earn you 1 point.

List of terms (please note that many of these terms appeared on the midterm study sheet
already):
frequency, register, tone color (timbre), pitch, tonic, interval, octave, scale, mode, key,
dissonance (very general), dynamics, pulse, tempo, beat, accent, meter (duple and triple),
measure, rhythm, dotted rhythm, syncopation, rubato, texture, melody, harmony, atonal music,
microtonality, monophony, counterpoint, homophony, non-imitative polyphony, imitative
polyphony, style (in music), sonata form, exposition, development, recapitulation, coda,
double-exposition form, bridge, retransition, minuet, trio, scherzo, rondo, variation form,
phrase, cadence, cadenza, syllabic, melismatic, sequence, word painting, tone painting,
ostinato, pedal, fermata, fragmentation, movement, mass, overture, oratorio, opera, opera
buffa, music drama, Gesamtkunstwerk, recitative, aria, arioso, ensemble, strophic, da capo aria,
through-composed, Leitmotiv, idée fixe, twelve-tone composition, serialism, minimalism,
musique concrète, chance music, electronic music, fugue, subject, countersubject, subject entry,
exposition, episode, suite, sonata, string quartet, concerto, symphony, program symphony, lied,
song cycle, melodrama, Sprechstimme, bel canto, coloratura, chamber music, character piece,
nocturne, miniature, festive Baroque orchestra, Classical orchestra, Romantic orchestra.

III. Two Essay Questions

Four out of the six questions below will be on the final exam. You will pick only two for your
essays. In your essays, make reference to specific pieces and composers. With each essay you
can earn up to 20 points.

• The use and nature of sonata form in Classical and Romantic music
• Styles and developments in opera from the Classical era to the 20th century
• The symphony in the Classical and Romantic eras
• Styles and trends in music from 1900-1960
• Styles and trends in music from the 19th century
• Chamber music in the Classical and Romantic eras

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