Final

Question 1

In paradisum

Answer 1

• Anon
• Gregorian antiphon
• syllabic
• plainchant
• monophony (all singers on 1 pitch)
• choir
• melismas
• religious, for Catholic Church
• for after the Mass for the dead

Question 2

Violin Concerto in G, op. 4

Answer 2

• Vivaldi

1st mvmt

• begins & ends w/ ritornello form
• triple meter
• 1st and 2nd violin echo brightly

2nd mvmt

• gentle & slow
• ground bass variation form (repeating bass figure)
• real melody is in the bass
• theme → variation → theme

3rd mvmt

• starts w/solo, then ritornellos follow

Question 3

Ritornello

Question 4

Bass variation form

Question 5

ostinato

Question 6

Kyrie

Answer 6

• Josquin
• from Pange lingua Mass
• prayer, uses melodic fragment of pange lingua (a monophonic chant)
• BTS sing in a round
• point of imitation
• imitative polyphony → a round

Question 7

Gloria

Answer 7

• Josquin
• from Pange lingua Mass
• chordal homophony
• changes # of parts singing as well as diff. groupings of singers
• many points of imitation
• polyphony & homophony contrasted

Question 8

Christ lag in Todesbanden

Answer 8

• Bach
• cantata → sacred → Lutheran church service
• Martin Luther composed hymn tune
• Easter chorale
• minor mode gives sober shadow over rejoicing
• voices & string orch w/ continuo
• all stanzas except last are gapped chorales
• not all voices sing in all stanzas

Stanza 3

• accompanied by organ continuo, violin plays melody @ beg and end
• abrupt ending
• tenor = melody = gapped chorale

Stanza 4

• alto = melody = gapped chorale
• continuous music assigned to STB → singing faster, imitative polyphony to same chords

Stanza 7

• no longer gapped
• straightforward presentation of hymn
• S = melody, ATB = rich harmonies, doubled by instruments
• restful conclusion

Question 9

Don Giovanni

Aria

Answer 9

• “vengo vengo”
• “signor, si!”
• “ho capito”
• only a guy singing
• very short phrases
• repeated cadences
• ends in angry rush by orch

Question 10

Don Giovanni

Duet

Answer 10

• sounds cheesy lolz
• “la ci darem la mano”

Section 1

• andante
• A A’ B A’’ coda → form
  
  • A → Don Giovanni
  • A’ → Zerlina
  • B → both
  • A’’ → both, shared phrase by phrase

Section 2

• allegro, 6/8
• both singing

Question 11

Don Giovanni

Recitative

Answer 11

• harpsichord-y accompaniment
• secco recitative
• sung w/just continuo accompaniment (characteristic of classical style)
• sung in speech-like, conversational rhythms

Question 12

Symphony 95 in C minor

mvmt 1

Answer 12

Haydn

• sonata form (a bad example of sonata form, etc. recap not entirely in minor)
• minor → major
• extended recap → imaginative rewrite, treats expos material freely
  
  • whereas Mozart’s recaps mostly mirrored the expos

Question 13

Symphony 95 in C minor

mvmt 2

Answer 13

• variation form
• variation theme = |:a:||:b:|
• waltzy, sipping tea, proper
• haydn wrote variations w/in variations

Theme a a b b

Var 1 a₁ a₁’ b₁ b₁ cello solo, triplets

Var 2 a₂ b₂ b₂’ minor mode, mood shift

Var 3 a₃ a₃’ b₃ a₃= just like a

cadences p → pp → ff

Question 14

Symphony 95 in C minor

mvmt 3

Answer 14

• minuet and trio

minuet

• minor → major (in a) → minor (in a’)
• phrase a’ → long sudden rest w/ fermata
• forte
• ||:a:||:ba:||

trio

• quieter, solo cello after key change
• tempo slows, mode change from minor → major
• violins cue, then cello again
• ||:c:||:dc:||

Question 15

Symphony 95 in C minor

mvmt 4

Answer 15

• rondo
• |:a:||:b:|
• A B A C A
• starts and stops in this piece → very Haydn-like
• A
• B → free fugue (no systematic imitative counterpoint)
  
  • polyphony → homophony → monophony

Question 16

Erlkonig

Answer 16

• Schubert
• poem by Goethe
• Lied (1 singer + piano accomp)
• through composed setting (music changing w/successive stanzas)
• setting up rhythm of the horse riding → triplets

Question 17

Carnaval

Answer 17

• Schumann
• cycle of piano miniatures
  
  • character pieces
• descriptive titles → topoi
• rubato → tempo flexes, slows down (performer controls tempo)

Question 18

Nocturne in F# major

Answer 18

• Chopin
• concert music
• virtuosity
• chromaticism → liquid quality of melody
• rubato
• no sharp demarcations or literal returns; music seems to grow spontaneously in an improvisational way

Question 19

Fantastic Symphony

Answer 19

• Berlioz
• program symphony
• idee fixe = obsession
  
  • notion of having a single theme recur in all mvmts as a representation of the musician’s beloved
• ugly → dream of a witches’ sabbath
• lots of bells
• gregorian chant
  
  • topoi
  • idee fixe + program
  • unusually large orchestra = tone color effects
• program, breakthrough experimentation

Question 20

Rigoletto

Answer 20

• Verdi
• Victor Hugo
• all recitatives accompanied
• bel canto → never allowed voice to be overshadowed by orch

Aria

• stophic form

Question 21

The Valkyrie

Answer 21

• Wagner
• Leitmotivs
• wagner packs a ot into minimal character gestures using leitmotivs
• also includes some lush Romantic harominzation of new melody

Question 22

Overture-Fantasy, Romeo and Juliet

Answer 22

• Tchaik
• many themes (love theme, vendetta, Friar)
• lively development → suggests sonata form
• original form of vendetta → suggests sonata form recap
• descriptive program music - symphonic poems
• topoi
• orchestral sonata form

Question 23

Symphony 1

Answer 23

Mahler

Question 24

Council of Trent

Answer 24

said music must be monophonic; thought polyphonic compositions were secular

Question 25

Da capo aria

Answer 25

An aria in ABA form, i.e., one in which the A section is sung da capo at the end v

Question 26

Violin Concerto in D, mvt. 3

Answer 26

Brahms

• classical form
• ​definition of concerto has not changed since Vivaldi:
  
  • 3 mvmts
  • virtuosity
• 3rd mvmt ⇒ rondo, A B A’ C B A’’ cad₁ cad₂ coda
  
  • Theme A = a a b’ a traditional form, quicker and quicker repetitions (seems to contradict meter ⇒ very Brahms)
  • Ep B = upward scale_solo , downward scale_orch
  • Ep C = ¾ time
  • coda = 6/8 time, swinging march tempo
  • transitions in mvmt = rapid virtuoso scales

Question 27

Symphony no. 1, mvt. 3

Answer 27

Mahler

• march and trio form (like Classical minuet and trio)
• irony - sentimentality, nostalgia
• tension
• high art (fugue) × pop/children’s tune
• use canon or chase (strict imitation)
• hyper-Romanticism
• excessive emotionalism
• between major and minor
• Section 1: distortions/alterations of Frere Jacques
  
  • minor mode @slow tempo
• Section 2: distorted, fragmentary dance-music phrases alternate with fragments of funeral march
• Section 3: “trio,” in warm major mode w/triplet harp accomp.
  
  • melody by strings, then oboe and solo violins
• Section 4: combines 1 and 2, in a diff key, new counterpoint in trumpets

Question 28

“Clouds” from Three Nocturnes

Answer 28

Debussy

• Impressionism?
• start = quiet chords by clarinet & bassoons
  
  • ​chords aren’t definitive; they don’t lead anywhere
• motive in English horn ⇒ vague rhythm and fading conclusion
• parallel chords ⇒ very Debussy
  
  • ​chords all share rich, complex structure
  • pitches slip downwards, moving parallel w/o est. a clear tonality
• approx A B A’ form; very fluid
• Romanticism
  
  • descriptive title
  • ref. Nocturne
• Anti-Romanticism
  
  • melody
  • harmony
  • rhythm & meter
  • orchestration
  • form

Question 29

The Rite of Spring

Answer 29

Stravinsky

• Introduction: puts bassoon in uncomfortable range (tbt to Mahler)
  
  • ​dissonant polyphony
  • like a static series of preliminary fanfares
• Omens of Spring - Dance of the Adolescents: rhythmic irregularity
  
  • ​very dissonant chord repeated until the end of time
  • heavy accents reinforced by French horns; upset ordinary meter
  • ostinato ⇒ repeating chords overlaid w/new motives
    
    • ​motives repeated w/slightly diff rhythms and lengths
• music interrupts itself
• polyrhythm
• ostinato

Question 30

Pierrot Lunaire

Answer 30

Schoenberg

• sprechstimme ⇒ Schoenberg’s invention, sound isnt fully organized into pitches; not exactly singing or speaking
• expressionism
• song cycle - singer, unusual –> ensemble
• text ⇒ Giroud, symbolist
  
  • tension, nervousness
  • insanity
• lunacy
• maximized dissonance
• “Night”: passacaglia; dominated by 3 note chromatic ostinato
  
  • nightmarish aspect of expressionism
• “Moonfleck”: dense, dissonant, atonal, intense motivic insistence
  
  • high pitched motives depict flickering moonlight

Question 31

Wozzeck

Answer 31

Berg

• play - Büchner
• expressionist opera
  
  • ​uses leitmotives, contains no arias
• master rhythm ⇒ single short rhythm, repeated over and over with slight modifications, but presented in many diff tempos
  
  • ​gives sense of nightmare and fixation
• dissonant, atonal

Question 32

“The Rockstrewn Hills”

Answer 32

Ives

• false starts
• dance fragment first in strings, then woodwinds, gets more dissonant and atonal
• passage of forceful, irregular rhythms
• @climax = homophony and irregular pounding rhythms ala Rite
• new section = fragmentary march in trombones

Question 33

Music for strings, percussion, celest

Answer 33

Bartok

• mvmt 2 = sonata form
• Magyar folk melodies → Hungarian
• modern harmony (atonality)
  
  • dissonance, but controlled dissonance

Question 34

Appalachian Spring

Answer 34

Copland

• original ballet → Martha Graham Dance co
• neoclassical elements: theme & variation form
  
  • controlled dissonance
  • other traditional signifiers → program music

Question 35

Neoclassicism

Answer 35

classic period form

control of dissonance

emphasis on imitation, sequence, classical structure

backwards & forwards-looking

a response to fascism?

Question 36

Alexander Nevsky

Answer 36

Prokofiev

• help shape the emotional resonse to film
• episodic
  *

Question 37

Lux aeterna

Answer 37

Ligeti

• dissonance, continuous, tone cluster
• virtuosity → written music, vocal productions
• acapella choir
• setting of hymn from Requiem Mass
  
  • no liturgical function
  • antiphon
• uses long music for words - like Perotin in stretching the syllables

Question 38

Poeme Electronique

Answer 38

Varese

• history of electronic music
  
  • music concrete - recorded sounds, processed
• newly created sounds
• designed for Phillips Pavilion
• context no longer exists

Question 39

Music for 18 musicians

Answer 39

Reich

• minimalism
• rhythm → ostinato (recurring pattern)
• pulse
• percussion → think, mallets & bassoon
• rediscovery of tonal harmony
• repetition & slight variation
• phase shift

Question 40

From the Grammar of Dreams

Answer 40

Saariaho

virtuosity

new vocal techniques

reminds us of madrigalism

Middle Ages - motet

Question 41

El Nino

Answer 41

Adams

syncopation, rhythmic

Question 42

Minimalism

Answer 42

simple melodies and harmonies repeated many times

Question 43

Ligeti

Answer 43

sound complexes → slowly change with time, blocks of sound that has so many pitches all sense of consonance and dissonance are lost

Question 44

Prokofiev

Answer 44

at one point, moved away from modernist extremes and towards clear tonality and use of Russian folk themes

use of scherzo as sharp satirical style

Question 45

Copland

Answer 45

pomoted American music

drew on American folk music

Question 46

Bartok

Answer 46

heavy commitment to folk music, more successful in integrating folk music into classical music than any other composer