Final Exam Terms and Concepts

Question 1

Regarding Arcangelo Corelli, Trio Sonata Op. 3, No. 2,

Know plan of movements for genre, how concerto grosso developed from trio sonata

Answer 1

1. Plan of movements for the genre: slow (expressive), fast (imitative), slow, fast
2. The trio sonata became a concertino of the concerto grosso (which was a group of 3 and a ripieno–which means “full”–was a larger group). Basically, the trio sonata grew into a larger ensemble which became known as the concerto grosso.

Also, remember that a trio sonata has two treble voices and a basso continuo line (which could include between 1 and a dozen players besides).

Question 2

Regarding Antonio Vivaldi, Violin Concerto, Op. 3 No. 6, Know plan of movements for genre, be able to explain how ritornello structure derived from da capo aria A section

Answer 2

1. Fast (with ritornello structure), slow, fast

2. The ritornello structure is taken from the da capo aria A section to become a form in and of itself.

Question 3

Regarding George Frideric Handel, Giulio Cesare, Act II, scenes 1 - 2 (excerpt, incl. “V’adoro pupille”), Know act and scene structure of opera seria, structure of da capo aria; identify Italian and French influences in this work

Answer 3

1. In opera seria, there are three acts with a recit and an aria for each scene.

The structure of a da capo aria is ABA.

For this particular work, there is a blend of the French dance known as the “sarabande” and the Italian da capo aria form.

Question 4

Regarding Jean-Philippe Rameau, Hippolyte et Aricie, conclusion Act IV, Know act and scene structure for tragédie en musique, components of scene-complex; identify French and Italian influences in this work

Answer 4

1. Tragédie en musique consists of an ouverture followed by a prologue followed by five acts, each of which contain a divertissement. The scenes are governed by the principle of “scene complex” (They may contain a recit, air, chorus, dance, instrumental sections, etc.)

French and Italian influences in this work: violin writing very influenced by Vivaldi

Question 5

Regarding J. S. Bach, Nun komm, der Heiden Heiland, For parts a, b, c, e, f, be able to identify their genre, but you don’t need to know their separate titles. Know components of a sacred cantata. Be able to explain the organization of the opening chorus, and its relation to the chorale. Know performance circumstances of a Lutheran cantata.

Answer 5

Components of a sacred cantata: it is built around a chorale tune (4 part harmonization of popular song) and it was intended to allow the masses in the congregation to be able to sing music that was more technically feasible.

The organization of the opening chorus: it combines ritornello form with a chorale tune and is interwoven with counterpoint.

STUDY THE J.S. BACH Nun komm chart

Question 6

Regarding Christoph Willibald Gluck, Orfeo ed Euridice, Act II, Explain elements of Gluck’s reforms of opera seria in this work

Answer 6

1. Beautiful simplicity, always making sure to serve the text in every way possible, preserving proportionality between the orchestra and the soloists (the amount that each is used respectively).

Question 7

Regarding Joseph Haydn, String Quartet Op. 33, No. 2 (The Joke), Know plan of movements for the genre; be able to explain rondo form

Answer 7

The plan of movements is the same as for the 18th century symphony (before late Beethoven): Fast (sonata form, slow, minuet/scherzo and trio, fast)

Question 8

Regarding Wolfgang Amadeus Mozart, Piano Concerto in A major, K.488, Know plan of movements for the genre; explain how sonata form is merged with ritornello structure in this movement.

Answer 8

Plan of movements for this genre: fast, slow, fast (usually a rondo)

1. The passages for full orchestra alone resemble the Baroque ritornellos and the soloistic sections resemble the episodes of a ritornello structure. However, the piece can also be viewed as having an exposition (a double exposition; first in the orchestra, then in the piano), and development, and a recapitulation.

Question 9

Regarding Wolfgang Amadeus Mozart, Don Giovanni, Act I, Explain how Goldoni’s reforms of opera buffa are reflected in this work.

Answer 9

Talk about the ensemble finale

and the 3 levels of character being used (opera seria, opera buffa, and opera mezza)

Question 10

Ludwig van Beethoven, Symphony No. 3 in E-flat (Eroica), Know plan of movements for the genre, know social function of the genre; know how this work reflects the concerns of Beethoven’s middle period (Neue Weg).

Answer 10

1.

Question 11

Ludwig van Beethoven, String Quartet in C-sharp minor, op. 131 :
Know how this piece departs from the conventional plan of movements for the genre; know open form; explain how the piece reflects concerns of Beethoven’s late period.

Answer 11

First of all, Beethoven marks every movement “attaca” (played without pause between movements). Also, it is in seven movements, and although the conventional fast, slow, minuet and trio movements are included, they are reordered and varied.

Open form is the idea of having no absolute stop or checkpoint (hence, every movement is marked “attaca”).

Cyclic form (material returns at the end)

Question 12

Franz Schubert, “Gretchen am Spinnrade”:

Know how the piece reflects romantic values; explain role of piano.

Answer 12

REVIEW MY ANSWER FOR THE PREVIOUS TEST

Question 13

Robert Schumann, “Eusebius” and “Florestan” from Carnaval:

Explain changing role of piano in 19th century; know significance of these “characters” to Schumann.

Answer 13

The piano was becoming the quintessential instrument of the 19th century; talk about the piano recital being initiated by Chopin and Liszt; talk about the piano’s shift to the concert hall.

The significance of these characters to Schumann: Schumann used both of these characters to represent two sides of his own personality (Eusebius as the “contemplative dreamer” and “Florestan” as more protean and volatile in mood. He also used these characters in his literary writings.

Question 14

Hector Berlioz, Symphonie Fantastique, 5th mvt. “Dream of a Witches’ Sabbath”:
Know the program for this piece and how it reflects romantic values; be able to identify the idée fixe in the score.

Answer 14

The idée fixe is a recurring melody that Berlioz uses to unify all of the movements of this piece.

In regards to the program of the piece, and how it reflects romantic values, remember that Berlioz was highly influenced by Goethe’s Faust and the Beethoven symphonies. You could also elaborate on the fascination with the supernatural, such as “witches”, etc.

Berlioz wrote out a detailed program for the score, which was given to the audience at the premiere. He viewed this program as being similar to that of an opera libretto; it is incredibly detailed and it explains the music of the symphony in the same way that a libretto explains the music for an opera.

Question 15

Giuseppe Verdi, La traviata, Act III:
Be able to identify the components of the scene (scena, tempo d’attacco, cantabile, tempo di mezzo, cabaletta) and explain their dramatic function.

Answer 15

A scena sets up the scene/the situation, the tempo d’attacco introduces Alfredo, the cantabile is reflective, the tempo di mezzo provokes change, the cabaletta is an expression of said change.

Question 16

Richard Wagner, Tristan und Isolde, Act I excerpts (not the prelude):
Know the composer’s key concepts and how they are reflected in the scene. Be able to identify the “Tristan” chord in the score.

Answer 16

Gesamtkunstwerk (total work of art): Wagner felt that anything in art should be all-encompassing and he took great pains to blur the line between drama and music. He didn’t just create an opera, he created an entire “world” and painstakingly crafted every aspect of the music to serve this world. Also talk about how he was involved in the stage setup process.

Unending melody: REMEMBER, THIS DOES NOT HAVE TO BE A MELODY! TO WAGNER, ANYTHING WITH MUSICAL SIGNIFICANCE CONSTITUTES A MELODY. Therefore, this could also include harmonic or rhythmic ideas.

Leitmotiv

Question 17

Johannes Brahms, Quintet op. 34 in F minor, 1st mvt.:

Know the 19th-century approach to sonata in this movement. Know concept of developing variation.

Answer 17

The 19th century approach to sonata was the 3 key exposition and also a huge expansion of the coda.

(In more detail, the main theme begins at measure 1, at measure 47, the secondary theme begins (in c# minor instead of f minor), and the closing theme begins at measure 74 (in the key of Db major).

Developing variation: all of the thematic material is closely related to the first material presented in measure 1, with only slight variations; this is what is known as developing variations.

Question 18

Richard Strauss, Don Quixote, themes and variations 1-2:

Be able to define the genre; know who the themes relate to, and what the program is for the variations.

Answer 18

Tone poem: A tone poem, also known as a symphonic poem, is a piece of music of a programmatic nature, intended to evoke a certain mood or depict, sometimes in more detail, the content of a story, poem, or extra-musical idea.

In the first variation, Don Quixote is musically depicted as being knocked off his horse, then picking himself up and remounting.

In the second variation, Don Quixote is bold and heroic nature is mocked by the orchestra, depicting the encounter with the sheep by flutter-tonguing in the winds and brass.

Question 19

Giacomo Puccini, Madama Butterfly, Act I:

Explain how 19th-century exoticism is reflected in this piece; know how the concept of “verismo” applies

Answer 19

19th century exoticism: Puccini borrows from Japanese stylistic music practices, but Westernizes them. He also evokes a “primitive” Japanese style. Finally, he references American music by quoting “The Star Spangled Banner” in the accompanying music.

Verismo: realism (expression in a very realistic manner; based on actual stories or reality)

Question 20

Mily Balakirev, Russ:
Explain Balakirev’s approach to using folk music in this work. Know the names of the other composers of the Mighty Handful/Kuchka/Five.

Answer 20

Mily Balakirev (he was the leader), César Cui, Modest Mussorgsky, Nikolai Rimsky-Korsakov, and Alexander Borodin.

Question 21

Bedrich Smetana, String Quartet No.1 in e minor:

Know how programmatic, personal and nationalist elements merge in this movement.

Answer 21

Smetana composed the fourth movement as an autobiographical personal memoir. According to Smetana, this movement reflects the journey that led him to the discovery of Czech music. Remember that the crucial point is that he found a way to combine program music with nationalism. That is, he declared that this is an autobiographical piece and that it depicts his personal discovery of Czech music–while at the same time incorporating Czech elements in the music.