Download Solved Questions for Exam 2 - Understanding Music | MUNM 1113 and more Exams Music in PDF only on Docsity!
7t
/t*
t.
{a
)(
E.
K
'
,x
MUNM I I IB: UNDERSTANDING MUSIC
TEST 2
ListeningldentificationList
l{onterverdi:L.Orbo BarbaraStrozzi:"Lagrimemie' Handef:Messiah,'There,vereshepherds" Handel:Messiah,'Halleluia'Chorus Yivaldi:The Four (^) Seasons,la primavera Bach:BrandenburgConcertoNumber 2 Bafh The Art of the Fugue,Gontrapunctuslll Gluck:Orfeoed Euridice ltlozartrPianoConcertoNumber17 in G. K.
I. Listcning ldentiflcation: (^) List the correct number from the works above which match the recordingbeing played and answerthe questionsthat accompanythe listening.
/
Which work is this? 'L
This work is an example of a: (circle the correct number) l. Opera @ Vocal Cantata
- Oratorio )
2. a. Whichwork is this?
b. The form of this movementis in: (circlethe correctnumber)
@.itornello Form
2. ABA Form
3. ThemeandVariationsForm
- a.
b.
Whichwork is this? I
What instrumentis featuredin this work?
P t a n o
'V
4. a. Whichwork is rhis? |
b. Whatp"Xd doesthis work typify? (Circlethe correctnumber)
LLJBaroque
1/
- Classical
5. a. Whichwork is this? L
b. What would you call this "style," or'technique," or *texture" of writing?
( Y 9 " '
6. a. Which work is this? 5
b. This is an exampleof: (circle the correctnumber)
- ProgramMusic
- Recitative @ Fortspinnung
II. MultiPle (^) Choice: Circle the letter that correspondsto the correct answer. (2 points (^) each)
- Speech-likesinging,usedto convey conversationaldialogue,is called: @ Recitative b. Aria c. Arioso
- Oratorio differs from operain that: a. There are no soloists b. There is no text O There^ is no staging d. There is no chorus
- The conceptof word painting as used by Handel in ',Messiah,,means: ;@-Reananging a text to make^ it fit dramaticneeds tf b.^ Using a text as^ inspirationfor a drawing or painting c. (^) The music directly portraysthe meaningof the words, so as to invoke dramatic imagery
- In opera a recitatiyes€rvesas a: a. Plaform for a "virtuoso" style of singing @ nriage between^ other numbers,^ wheri the text keeps^ the story going c. Vocal number for a soloist that is intended to stand on its own musical merit, usually having memorable (^) melodic qualities d. Sung soliloquy, where the text often dwells on a single idea
- Bach's 0echniqueof "Fortspinnung" (forward spinning) means: a. Presentingthe listener periodically with familiar material (b2Just as one instrument's melodic phraseis coming to an end, another instrument enterswith a fresh melodic idea c. utilizing a story, poem, or other extra-musical idea as a basis for creating (^) instrumental music
- The instrument that was known as "The King of Instruments" during the BaroquePeriod was: a. The Harpsichord @ The Pipe Organ c. The Piano d. The Clarinet
- The "Doctrine of the Affections" is one aestheticideal that helps explain the music of the BaroquePeriod. This idea draws on the notion that the arts should (^) move the emotions,so: a. The composermust seekstriking juxtapositionsof emotionalmessages within each (^) movement sf alarge composition !-. The composermust rely heavily on terraceddynamics @ nre artist must selecta desired^ affect, an emotional state^ that his or her work will achievein the viewer or listener,which evokesa single, unadulterated emotional state d. The artist must rely on a great amount of rhythmic freedom
III. Fill in the blrnk questions: (2 poinrseach)
l. Givethedatesof theBaroquePeriod. | 6 0o^
- (^) lhat is the term used to describethe use of dynamics in the Baroque Period. r/ ?/ -/ tfrr"q'.rlao''["+P;,"-.Jffcr I
4
- What is the name of the new keyboard instrument in the Classical Period that literally means"soft-loud?"
f!44.) ,S{'-{d
4. What is RitornelloForm? (Doublemeaning)
R.,for"rott, Forr".^ ,E u/kc4 yo,t h^^a a'r spcrrr^$ scerw?/yl "f ^
pleCa h.^ rct,rne^ 1".&e. an ,n^ f,rq r,-"r,"rl;, of- { pV ce
- Broadly speaking,we can tracethe rise of instrumentalmusic in the Baroque Period to threemain sources.Pleaselist them.
donrn (^) nrr"x$er (^) I
v t , W o i , s
lacot ,fu'^
Pleaselist the three new dramatic-typesof vocal genresthat developedin the BaroquePeriod.
6., [*hve
a { t \
o f r O 5 o
- The "gallant style" was a term often used to describe the period 17fi-1825.
muchof themusicduring
T*.
- The Enlightenmentphilosophers,suchas Rousseau,saw man as possessing natural rights. Consequently,the impact on music was enorrnous. As the rigid relationship betweenthe composerand the powerful personagesof his or her time were broken, artists beganto servethemselvesto the extent they could.
I rve
V. (^) Essay Ouestion: Monterverdi's L.Odeo and Gluck's Orfeo ed Euridice use (^) the samelegend of Orfeo (or Orpheus)and Euridice from Greek mythology. Pleasego into as much detail as you can about the specific characteristicsof each work. How is each compositionstructured?How doeseachcompositionreflect the time period (^) it was composed? What was each (^) composertryrng to achieve? Full credit is basedon the "thoroughness"of your answer!( 18 points)
ln f4on Vr-u*-",l.'r (^) l,Orko , h,a v4e3 Avry,4npdre.ler-rcn#,
u l l , n
t\l rnow ^"n*t
",l^,rh dn* on i* -€on?n ,dn^ o{ lk bur,k,o,
nffechras , LJrtln,n l{n "p",^ l'w +h^,tr tn J.".tru n'rn r.rr,
-rnadrrJafr , rr*rjo"h-, ^ncl :r ,ln. Htr rnqdrrtr,l w^s udo{
tn tlr^{^ rl ,-as srry br 6 /..p{" "r,lh no ra t.r-,..,kt
bnrhA,-ol whtch v.r^,, g|-r**t k riln^ hiru b ecq.ft he
gefrn,'rj h [e rr^rXrn, c.le*cvrJ-q.
6rp,--
-t{-€ Se.sd?{/€
,
guCeSS ' Tkl .,hr,r/ (^) cto49 (^) r,"\ d* (^) Mc,nod rer "nct (^) b*rso
Lon hn,ro
r r h o ^ L - o C , 1 L , O r $ o o
$<.= ,s also Gluc[ Orko^ de E-ury!',te - Glurt, '*r
b" l-^ edd l <' elo'rncol (^) 4p,^ h r
cha,a,a,r rf^ o,r-avnd ,,b,f.^ l,^/[r.l* drfl'r ']hu^ fr.,, {'k
(3qro?vr v.r<rrn , r Jt* sens< of h*vrrr g a ,nafin-^|
C.ol {p- rnurtc^. t-f"^ JrJn'{^ [xlr.-.^ So *r.rcl^ ,% havtr,a
Gn (^) flowrn, rralir C , Ats (^) ycre: e.lo,r5 ,-rrl'Lr (^) hcLv, KoV rrcar'
Jan^,, (^) .-t.tq rc (^) rn Jhrg -hr.^.' a tl'hor.h .nol* .,n-c.A^ !^,..rg^ ear6,
!t" w\v\t &"Lrt r^al'lr a,'1la "rqd d'?ct
l[l,t: lofr,rr l- cr-.,"lx- rnorr of 4 dyn^r-,tc er.aa4ronal
:rerf 6 h" rs relv (^) nq hoo-rl
I
