Exam I

Question 1

Scarlatti

Answer 1

1749

• sonata form
  -self:parroting
  -defined by large leaps, rushing scales, and rapid arpeggios

Question 2

Bach

Answer 2

1765

• structured by expressive
  -absolute music
  -written for amateurs to play at home
  -unpredictable restless feeling

Question 3

Sammartini

Answer 3

1774

• Symphony
  -three movements in binary form
  -strings in four parts
  -repeated ideas vary slightly

Question 4

Hadyn

Answer 4

1781

• symphony: 4 movements
  -plays on audiences expectations
  -sonata form and rondo
• the joke

Question 5

Motzart

Answer 5

1786

• symphony: 3 movements
  shows of the virtuosity of the soloist
  ritornello and sonata form

Question 6

Pergolesi

Answer 6

1773

comedic opera
Uberto represents people in charge
form: De Capo - shows its an aria
patter singing
tenor voice vs bass voice
focus on the lyrics/the singer

Question 7

Gluck

Answer 7

1762

wants to reform the opera - wants opera to serve poetry
ballet - combined french and Italian elements
dotted rhythm - french style
Orpheus and Euridice
orchestra is a spectacle

Question 8

Motzart

Answer 8

1787

Don Giovanni - Italian opera for the german people
large orchestra
thick texture
De Capo Aria
mixes genres - plays with audiences expectations
makes audience think about issues of class, morality, liberty, and responsibility

Question 9

Fife and Drum Band

Answer 9

simple instrumentation, simple melody, no harmonies
easy to memorize and learn
easy to carry
cuts through the battle, can be heard easily, guides the army

Question 10

Beethoven

Answer 10

1803

symphony 3
french revolution and napoleon –> Heroic title
sonata form
four movements interested in variations
motive is treated like a character in a drama

Question 11

Schubert

Answer 11

1827

german salon music
vertuostic
dynamics are important, very performative
voice and piano, running piano part breaks apart the singing

Question 12

Schumann

Answer 12

1840

composer sets a series of poems to an orchestra that all together tell a story
strophic form
poem describes newly confessed love
dissonance gives the music a sense of unfulfilled longing

Question 13

Foster

Answer 13

1854

memorable and toneful melody
making music at home - show piece
simple accompaniment
piano doesn’t compete with voice
strophic - highlights the text
easy to remember chorus

Question 14

Hutchinson Family Singers

Answer 14

1844

Get off the track
now have printed sheet music
politically active
for the home - easy to memorize hook/chorus
simple harmony and melody
political message about the abolition of slavery

Question 15

Chopin

Answer 15

1831

Character piece - polish dance
syncopation , slippery
large intervals and jarring notes
distinct personal and national style
focus on the pianists performance

Question 16

Mendelssohn

Answer 16

1841

december song
character piece - program music
Bach reminiscent - a lot going on - arpeggios and chromatics
no clear melodic line
more focus on rhythm, texture, and mood - telling a story

Question 17

Schumann

Answer 17

1846

parlor music - in the home
advanced amateurs
no harsh melody/harmony
melody switches part, moves around, gives everyone a chance to show off
absolute music

Question 18

Listz

Answer 18

1845-9

practice and performance
the sigh
virtuostic elements
dense texture
show off piece
variations of opening idea - no form

Question 19

Gottshalk

Answer 19

1887

character piece - imitating porto rico music
dance music
melodic - lots of syncopation
variations
performance

Question 20

Rossini

Answer 20

1816

Form: Scena ad Aria
- new form has a recitative
writing operas for opera houses - building is a display of wealth
Andante vs Moderato
- slow triple meter vs fast double meter
instrumentation serves the drama
composer has control

Question 21

Verdi

Answer 21

1851

form isn’t the focus
- ghost of the Scena ad Aria form
becomes all about the story
no more celebrity singer
everything serves the story/the drama

Question 22

Wagner

Answer 22

1859

“writing opera as an heir to the instrumental music of Beethoven”
involved in designing the opera houses in Germany - moving away from the Italian style
wants control of everything - bringing all the arts together
does not care about form
uses motifs to show motive and character
orchestra is bigger - less about the singer
doomed love motif

Question 23

Brahms

Answer 23

1885

symphony
combining various eras and elements of music
two motives/themes
each variation is distinct - but an extension of what we’ve heard before