Intro to Classical Listening Test 1

Question 1

In Paradisum

Answer 1

ID: Simple gregorian chant, only one
Properties: Antiphon, 7th cent, requiem mass, g-d mostly, cadence centered on g. Follows phrase pattern, modal. grows more melismatic as it goes, cadences sometimes on middle of words.
By: Unknown

Question 2

Columba Aspexit

Answer 2

ID: female gregorian chant w/ drone.
Properties: Drone for anchoring pitch, sequence style AA’BB’CC’ etc (solo then choir)
By: Hildegard of Bingen

Question 3

La Douza Votz

Answer 3

ID: twangy instrument thing, La Douza Vots beginning
Properties: secular, strophic, stanzas aa’b.
Bernart de Ventadorn, troubador

Question 4

Alleluia. Diffusa est gratia

the feet are gracious

Answer 4

ID: Greg chant choir, alleluia x2 in beginning.
Properties: Organum (addition of voice to plainchant), this is melismatic free organum [added voice melismatically does chant higher up, base voice so slow its almost drone])
By: Pérotin

Question 5

Sumer is Icumen In

Answer 5

ID: Sing Coo Coo,
Properties: More complex medieval harmony, “pes” repeating part, staggered round. six voices total, two pes and four come in. secular round

By: Anonymous

Question 6

Dame, De Qui Toute Ma Joie Vient (Excerpt)

Answer 6

ID: DAME in female voices. harmony falling in and out. 4 part harmony/ 4 lines of music, not idiomatic, what parts instruments and voices not defined. modal.

Properties: “chanson”, VERY melismatic style, imitative polyphony. aa’b form.
By: Guillaime de Machaut, medieval

Question 7

Ave Maris Stella

Answer 7

ID: Floating “Ave Maris STella”, high harmony.
Properties: Homophonic setting of a gregorian hymn (tune sung through many stanzas, then amen.) EQUALITY OF VOICES. Alternates between plainchant and paraphrase. Embellished gregorian chant. Uses 3rds harmonies in addition to 5ths 4ths and octaves. modal though
By: Guillaime Dufay, renaissance

Question 8

Pange Lingua Mass, Kyrie

Answer 8

ID: Pan-jay lingua gloriosi haunting voice, pause, then imitative polyphony kyrie.
Properties: Melody from gregorian hymn “pange lingua.” uses four voices. heavy use of imitative polyphony. Can hear kyrie/christe sections.
By: Josquin des Prez

Question 9

Pange lingua mass, gloria

Answer 9

ID: Qui Tollis sung very high. Polyphonic IN GLORIA repeated at end.
Properties: Line sung in imitative polyphony, then homophonic MISERERE NOBIS. Voices seem to fit together into chords. Centered on E.
By: Josquin des Prez

Question 10

Mille Regrets

Answer 10

ID: Imititate mille regrets, trilling.
Properties: secular chanson. two homphonic movements. slow, drooping rhythm and melody. can hear both homophonic and imitation polyphony. Consonants on strong beats.
By: Josquin Des Prez

Question 11

Pope Marcellus Mass, Gloria

Answer 11

ID: Familiar with it from Civ. Begins with small quiet voices. Ends with imitation In gloria dei patris
Properties: Almost all homophonic (counter-reformation), but has sub-choirs answering one another. 6 parts, full-bodied round. Voices go in and out but are always joined. Shows that complex music can be understood.
By: Palestrina

Question 12

As Vesta was from Latmos hill descending.

Answer 12

ID: “As vesta was from latmos hill descending”, round style.
Properties: text painting. secular madrigal, very light tune. six-part madrigal, two sop, 1 alt, 2 ten, bass. Contrasts very serious music of Palestrina and Josquin.
By: Thomas Weelkes.

Question 13

Gallaird, Daphne

Answer 13

ID: Final-fantasy sounding strings, aa bb cc repeating of melody.
Properties: Renaissance dance. Gaillaird is a faster , tuple meter kind of dance. aa bb cc repeating of melody, with embellishment added each time a thing repeats
ID: Anonymous

Question 14

Kemp’s Jig

Answer 14

ID: Flute-like final fantasy music. Lute also playing.
Properties: aab pattern. Melody done by flute first, then by viol (precurcor to modern strings). Embellishments added first just to the repeated a part, then more and more.
By: Anon, named for Shakespearan actor WIll Kemp.
Jolly!

Question 15

O Magnum Mysterium

Answer 15

ID: Opens with slow note and shrill-like organ sound. OOOOO magnum mysterium.

Two choirs, each with. 7 pt harmony and organ. Celebrates mystery that animals were first to see birth of Jesus. Homophonic at first, then into imitative polyphony, Goes from triple to duple during alleluia. antiphonal- includes different sections playing against each other. surehanded control. IS IT REALLY ANTIPHONAL?

Question 16

Poppea Tornerai?

Answer 16

ID: Tornerai? Back and forth between two women.
Properties: Recitative, arioso on Io non posso da te (more dramatic briefly). Then another rec, aria is diff part. no real melody except arioso part. speeds and slows and goes up and down.
By: Claudio Monteverdi

Question 17

Poppea Speranzi tu mi vai

Answer 17

ID: Melody at beginning-mem it. Speranza tu me via?
Properties: Aria: dramatic singing of opera but with more melody and rhythm.
By Monteverdi.

Question 18

Dido and Aeneas “Thy Hand, belinda”

Answer 18

ID: Single voice singing sadly.
Properties: Dry recitative. Text painting on “darkness.” Bass string and a lute provide basso continuo. IS IT BASSO CONTINUO?
By: Henry Purcell

Question 19

Dido and Aeneas “With Drooping Wings”/Dido’s Lament

Answer 19

ID: “With drooping wings” sung by chorus.
Properties: Very sad aria, lamenting death of dido. Uses painted text on drooping wings ans soft soft. Has a ground bass repeating through out it, repeating one tune over and over. Greek chorus -
By

Question 20

Brandenburg Concerto 5 Mvt 1

Answer 20

ID: YOU KNOW IT!
Properties: Concerto grosso, soloists are flute, violin, and harpsicord. Soloists in imitative polyphony at beginning. Harpsichord does double duty as soloist and basso continuo chord. Full rittornello only at beginning and end. Features two long solos. Harpsichord cadenza near end.
By: JS Bach.

Question 21

Violin Concerto in G, la stravaganza, op 4 no 12

Answer 21

ID: Opens with happy string notes. Listen for rit-solo-rit form.
Properties: 3 movements, fast-slow-fast form. Solo concerto, so solo instrument is violin. Clear difference between rits and solos. Whole piece in triple meter. First mvt spirtuoso, 2nd largo, 3rd allegro. 2nd has ground bass, repeating notes that keep going down after repeating 4 times. Each time there’s a cadence, theme changes. themes≠ground bass.

Question 22

Violin Concerto in G mvt one.

Answer 22

spirituoso, fast played. has rits and solo parts, clearly differentiated. spirited but not too fast.

Question 23

Violin concerto in g mvt 2

Answer 23

Ground bass stepping down. sadder and more instrospective. 1 2 3 4 different sections. Small pauses.

Question 24

violin concerto in g mvt 3

Answer 24

This one weirdly starts with solo, then rit. Allegro. No clear divisioin between solo and rits. solo concerto, violin vs orchestra in solo and rit forms.

Question 25

Well-tempered clav book one c major prelude

Answer 25

ID: You know it.
Composed of arpeggios (broken chords).
Exemplifies well-tempered (even) tuning. Tonal, clear chord progression.
By: JOHANN S BACH

Question 26

Minuet and Tambourin from castor and pollux

Answer 26

ID: Baroque part that goes into thumpy tambourin.
Listen for “danciness” of minuet. Triple meter. Clear cadences to signify choreography. Tambourin in middle bookended by minuets -no second min here.. Binary form- AB AB.
By Rameau

Question 27

Gigue from Cello Suite 2 in D minor

Answer 27

ID: You know it.
Property: Stylized dance music. not actually for dancing, but written like baroque dance piece.
AB main pattern.

Question 28

Julius Caesar, “La Giustizia”

Answer 28

ID: Baroque intro, then La Justica. Opera by Handel. Normal opera stuff, this selection is an aria. Sillified roman history. Number opera stuff. ABA form

Question 29

Messiah they were shepards

Answer 29

ID: “They were shepherds” in english.

Uses oratorio form- english, choir emphasis, biblical,
Keeps number parts and nature of those parts from opera. Recitative.
Alternates dry/accomp/dry/accomp
Some parts VERy short.
TEXT PAINTING. glory to god the HIGHEST- peace on EARTH (low)

Question 30

Messiah Hallelujah

Answer 30

ID: You know it!
From Messiah oratorio by Handel. Exemplifies oratorio- in english, choir emphasis, biblical themes. Mostly homophonic choir, imitation at end (he shall reign). Uses a festive orchestra.

Question 31

Christlag stanza 3

Answer 31

ID: Wild violin, bachness. Bach harmonization of a chorale by Martin luther. Has gapped form, a piece of vocal music then instrumentation.
German lutheran sacred music. Uses BC

Question 32

christlag stanza 4

Answer 32

ID: Not gapped. Alto voice sings quarter notes others seem faster. The voices form the orchestral power here.

Question 33

Christlag stanza 7

Answer 33

Simple tune. Probably designed to be sung by whole congregation. All four soloist voices sung in homophony.

Question 34

Fugue in c major

Answer 34

ID: Simple piano but with different parts coming in.

A fugue because there are two lines of music at once. different from most fugues because there are no episodes. There is a main tune, then imitation of tune. Uses stretto- tense interruptions of main theme so it never gets to finish.

Question 35

modal vs tonal

Answer 35

SING COO COO
Modal: what does it mean
tonal is c major or minor
start c major d e f g a b c d - dorian mode
all the harmonies are also different
c major scale, c major chord CEG
modal DFA not a major chord.
thirds apart but funky
modes that start on each degree of scale.
dorian, mixolydian (3rd, E for c maj), phridgian (

tonal vs modal: tonals start on major and minor scales

certain pattern of half-steps and whole steps.
EF half step
wwhwwwh

e flat major = c sharp minor

Question 36

Music for Royal Fireworks

Answer 36

ID: You’ll know it.
Properties: Minuet. Triple meter. Countable 8:8 form. AAB repetition. clear cadences.
BY: GF Händel

Question 37

T

Answer 37

w