[Listening] Test 2 (Easy Mode)

Question 1

D__ F_____ - The W_____ G_____
W_____
-Most striking _____ _____ in _____ _____
-S_____
-M_____
-_____ _____ section
-_____ of _____: _____, _____

Answer 1

Der Freischütz - The Wolf’s Glen
Weber
-Most striking Romantic movement in operatic literature
-Singspiel
-Melodrama
-Allegro moderato section
-Themes of Romanticism: Supernatural, Death

Question 2

D__ F_____ - The W_____ G_____
W_____
-Most striking _____ _____ in _____ _____
-S_____
-M_____
-_____ _____ section
-_____ of _____: _____, _____

Answer 2

Der Freischütz - The Wolf’s Glen
Weber
-Most striking Romantic movement in operatic literature
-Singspiel
-Melodrama
-Allegro moderato section
-Themes of Romanticism: Supernatural, Death

Question 3

N_____ No. _
J_____ F_____
-C_____ p_____
-S_____ m_____
-_____ _____ accomp. w/_____
-Writing demonstrates _____ _____
-Forefunner to _____ _____

Answer 3

Nocturne No. 5
John Field
-Character piece
-Singing melody
-Broken chord accomp. w/pedal
-Writing demonstrates piano capabilities
-Forefunner to Chopin’s Nocturnes

Question 4

N_____, Op. __ no. _
C_____
-Similar to _ _____ _____ __ _
-_____ _____ _____ accomp.
-_____ _____ melodic line
-_____ markings
-Shows off the _____ of the _____
-H_____ o_____
-_____ after _____

Answer 4

Nocturne, Op. 32 no. 2
Chopin
-Similar to J. Fields Nocturne No. 5
-Extended left hand accomp.
-Single-note melodic line
-Pedal markings
-Shows off the capabilities of the piano
-Harmonic overloading
-Return after contrast

Question 5

E_____ - _____ _____ _____ (recitative) and _____ _____ _____ _____ (chorus)
M_____
-Similar writing to _____ and _____
-_____ orchestration
-Chorus alternates between _____ and _____

Answer 5

Elijah - Call him Louder (recitative) and Hear and Answer Baal (chorus)
Mendelssohn
-Similar writing to Handel and Haydn
-Full orchestration
-Chorus alternates between homophony and polyphony

Question 6

C_____, Op. _ - E_____
S_____
-C_____ p_____
-Represents Schumann’s _____, _____ character traits

Answer 6

Carnaval, Op. 9 - Eusebius
Schumann
-Character piece
-Represents Schumann’s dreamy, introverted character traits

Question 7

C_____, Op. _ - F_____
S_____
-C_____ p_____
-Represents Schumann’s _____, _____ character traits

Answer 7

Carnaval, Op. 9 - Florestan
Schumann
-Character piece
-Represents Schumann’s passionate, extroverted character traits

Question 8

D__ N_____, Op. __, No. _ L_____
S_____
-M_____ S_____ L_____
-_____ and _____ true partnership
-_____ begins phrase, _____ finishes
-H_____ c_____

Answer 8

Der Nussbaum, Op. 25, No. 3 Lied
Schumann
-Modified Strophic Lied
-Piano and voice true partnership
-Voice begins phrase, piano finishes
-Harmonic color

Question 9

M_____, Op. __, No. _ L_____
S_____
-M_____ S_____ L_____
-not an example of _____/_____ _____
-repeated ___ _____

Answer 9

Mondnacht, Op. 39, No. 5 Lied
Schumann
-Modified Strophic lied
-not an example of voice/piano partnership
-repeated 8mm phrases

Question 10

N_____, Act __, Scene _
B_____
-S_____ __ A_____ including a C_____ and c_____
-New ___ _____ style
-One of most familiar _____ of _____ __
-_____ writing

Answer 10

Norma, Act II, Scene 4
Bellini
-Scene ed Aria including a Cavatina and cavalletta
-New Bel Canto style
-One of most familiar arias of 19th c.
-Stepwise writing

Question 11

N_____, Act __, Scene _
B_____
-S_____ __ A_____ including a C_____ and c_____
-New ___ _____ style
-One of most familiar _____ of _____ __
-_____ writing

Answer 11

Norma, Act II, Scene 4
Bellini
-Scene ed Aria including a Cavatina and cavalletta
-New Bel Canto style
-One of most familiar arias of 19th c.
-Stepwise writing

Question 13

N_____, Act __, Scene _
B_____
-S_____ __ A_____ including a C_____ and c_____
-New ___ _____ style
-One of most familiar _____ of _____ __
-_____ writing

Answer 13

Norma, Act II, Scene 4
Bellini
-Scene ed Aria including a Cavatina and cavalletta
-New Bel Canto style
-One of most familiar arias of 19th c.
-Stepwise writing

Question 14

O_____, Act __, Scene __
G_____ V_____
-M_____ d_____
-S_____ C_____ (S_____ c_____, a_____, a_____ “c_____ s_____”, c_____, t_____, o_____)
-S_____ Q_____ of o_____
-S_____/S_____ c_____

Answer 14

Otello, Act II, Scene II
Giuseppe Verdi
-Music drama
-Strong Characterization (Sinister character, appoggiatura, acciaccatura “crushing sound”, chromaticism, trills, ornamentation)
-Symphonic Quality of orchestra
-Strong/sharp contrasts

Question 15

S_____ F_____, mov. _
H_____ B_____
-P_____ S_____
-1st symphony presentation of _____
-1st movement with _____ _____ _____ __ _____
-_____ _____ in clarinet
-P_____ (_____ scene; designates _____)

Answer 15

Symphonie Fantastique, mov. 5
Hector Berlioz
Program Symphony
-1st symphony presentation of Macabre
-1st movement with multiple scenes linked by storyline
-idee fixe in clarinet
-Polyrhythm (eerie scene; designates confusion)

Question 16

S_____ F_____, mov. _
H_____ B_____
-P_____ S_____
-1st symphony presentation of _____
-1st movement with _____ _____ _____ __ _____
-_____ _____ in clarinet
-P_____ (_____ scene; designates _____)

Answer 16

Symphonie Fantastique, mov. 5
Hector Berlioz
Program Symphony
1st symphony presentation of Macabre
1st movement with multiple scenes linked by storyline
idee fixe in clarinet
Polyrhythm (eerie scene; designates confusion)

Question 17

S_____ F_____, mov. _
H_____ B_____
-P_____ S_____
-1st symphony presentation of _____
-1st movement with _____ _____ _____ __ _____
-_____ _____ in clarinet
-P_____ (_____ scene; designates _____)

Answer 17

Symphonie Fantastique, mov. 5
Hector Berlioz
Program Symphony
1st symphony presentation of Macabre
1st movement with multiple scenes linked by storyline
idee fixe in clarinet
Polyrhythm (eerie scene; designates confusion)

Question 18

T_____ u__ I_____, P_____
R_____ W_____
-H_____ is t_____, but his use of a_____ c_____ and u_____ r_____ will p_____ the t_____ l_____
-C_____ p_____ and a_____ a_____ tie in with h_____ s_____ in regards to p_____ t_____ b_____
-[4 notes] “T_____” chord, _____ _____ motive

Answer 18

Tristan und Isolde, Prelude
Richard Wagner
-Harmony is tonal, but his use of altered chords and unorthodox resolution will press the tonal limits
-Chromatic passages and accented appogiaturas tie in with historical significance in regards to pushing tonal boundaries
-F-B-D#-G# “Tristan” chord, love potion motive

Question 19

S_____ No. _
J_____ B_____
-Following t_____ of B_____ in m_____ d_____
-Demonstrates Brahms’ _____ _____
-M_____ s_____ and y_____ “r_____ u__” e_____ by end of first movement
-Added p_____, c_____, ___ h_____ and _ t_____
-_____ form
-C_____ r_____ with use of h_____ prominent
-W_____ L_____

Answer 19

Symphony No. 4
Johannes Brahms
-Following tradition of Beethoven in motivic development
-Demonstrates Brahms’ lyric quality
-Melodic-signs and yearning “ramp up” emotion by end of first movement
-Added piccolo, contrabassoon, 4th horn and 3 trombones
-Sonata form
-Cross-rhythm with use of hemiola prominent
-Wide leaps

Question 20

A_____ G_____, L_____
H_____ W_____
-Based on a _____ by G_____
-W_____ in style (h_____ c_____)
-_ p_____ t_____
-talks about A_____ g______
-T_____: N_____ and D_____

Answer 20

Anakreons Grab, Lied
Hugo Wolf
-Based on a poem by Goethe
-Wagnerian in style (highly chromatic)
-4 part texture
-talks about Anakreon’s grave
-Themes: Nature and Death

Question 21

K_____ No. _
G_____ M_____
-L_____
-Similar to W_____, but M_____ uses o_____ a_____
-V_____ s_____ often treated as p_____ of the c_____ while o_____ a_____ serves as r_____, not i_____
-I_____ between p_____
-D_____ of l_____ (for c_____); d_____ e_____ of t_____ l_____; D_____

Answer 21

Kindertotenlieder No. 5
Gustav Mahler
-Lied
-Similar to Wolf, but Mahler uses orchestral accompaniment
-Vocal solo often treated as part of the counterpoint while orchestral accompaniment serves as reflection, not interruption
-Interludes between phrases
-Depth of love (for child); deep emotion of tragic loss; Death

Question 22

P_____ _ L_____-m_____ D___ F_____
C_____ D_____
-S_____ p_____
-Based on poem by M_____
-Flute represents f_____ p_____
-C_____
-R_____ V_____ and u_____
-C_____/S_____ to create a_____
-R_____

Answer 22

Prélude á L’aprés-midi D’un Faune
Claude Debussy
-Symphonic poem
-Based on poem by Mallarmé
-Flute represents faun’s panpipes
-Chromaticism
-Rhythmically Vague and unmetered
-Color/Shade to create atmosphere
-Rests