MUSIC 345 ? Fall 2008 FINAL REVIEW SHEET The Final Exam (Friday, December 12 from 4:00 to 6:00 in Burton Tower 506) will test both the listening and the reading material that we have done since week 11. Note that since the Final weighs more than the Midterms in term of the final grade (25% rather than 15%), the exam will be longer than the midterms. The format, however, will be the same. The following pieces and reading excerpts are exam material. All excerpts are from the Bonds Cds, EXCEPT FOR Corelli?s Trio sonata, which is in Ctools. Let me know if you have difficulties listening to these Ctools excerpts Some of the exam pieces will be new, and there will be 1-2 optional pieces for extra credit. I. LISTENING: Giulio Caccini, Sfogava con le stele (CD 4, 9-13) Giacomo Peri, Al fonte, al prato (Intro CD, track 9) Claudio Monteverdi, excerpts from Orfeo (CD 4, 36-48) Claudio Monteverdi, excerpts from The Coronation of Poppea (CD 4, 49-59) George Frideric Handel, excerpts from Giulio Cesare (CD 5, 11-22) Heinrich Schüfz, Singet dem Herren ein neues Lied (CD 4, 60) Heinrich Schütz, Saul, was verfolgst du mich? (CD 5, 1-4) Johann Sebastian Bach, cantata Jesu der du meine Seele, BWV 78 (excerpts) (CD 5, 48-57) Arcangelo Corelli, Trio sonata in D major (Grave-Allegro-Adagio-Allegro) (in Ctools, Additional Listening) Arcangelo Corelli, Concerto grosso in G major, op. 6 #2 (CD 6, 1-11) Antonio Vivaldi, Concerto in A minor, op. 3, #8, 1st movement (CD 6, 12-16) J.S. Bach, Prelude in C major from WTC I (CD 6, 42-44) For each piece, be sure to review: the genre to which the excerpt belongs author, title, and period of composition. some technical features (formal structure, the character of the pieces, texture, pace, mood, how the basso continuo moves (if there is one) and so one?). Why does it make sense for that particular piece to behave like that, considering the genre to which it belongs and the instrument(s) for which it is written... text-music relationship: what the text is about, and how the music captures its syntax, declamation, mood, or images. In the case of operas, pay attention to the way in which the listening excerpts capture the psychology of the stage characters and/or the dramatic situation of the moment. READING: Textbook, Part III on Baroque music (pp. 192-301). In particular: Prelude and Ch. 7: ALL (introduction to the Baroque); skip the Focus of 216 Ch. 8: read the portions on Opera and Monteverdi only (and the Focus of p. 227 on Music and the Passions). Skip the other madrigal composers, the air de cour and the pages on Sacred Music in this chapter. Ch. 9: skip the the pages on Lully, as well as 257-261. Read also the ?windows? of p. 243, 244, and 245. Ch. 10: only the sections referring the pieces that are part of the exam. Do read the windows on J. P. Rameau, on systems of temperament, and musical rhetoric Review Robert Marshall?s article on J.S. Bach (e-reserve) Review the following illustrations and their significance to the music we have studied: 210, 235, 250, 251, 275, 277, 278, 281, 294. Review of topics: Why did such a variety of musical styles emerge in the Baroque, and rather suddenly? Which ideas, ideals, and notions about music led to that result? How does Baroque instrumental music manage to be dramatic? Examples? What does it mean to say that J. S. Bach, had a music-theological view of music? How did his music express that view? How was Bach understood by his contemporaries (at least to judge from Scheibe?s commentary)? What led to the creation of opera? Where was opera born, and how is this significant? How is opera an expression of Baroque aesthetics? Baroque opera as a mirror of society. In which way do the operas we have studied in the last few weeks (Poppea, Orfeo, Julius Caesar, Dido and Aeneas) reflect aspects of the societies that produced them? Which cultural models (virtues, gender relationships, ideal leaders?) do they put on stage? What impressed you with Baroque music, either in positive or in negative. What you would like to know more about, or to listen to more. Select 2-3 musical works that you liked the best and be ready to articulate why. REVIEW THE MEANING OF THE FOLLOWING TERMS: Sarabande -- stile rappresentativo ? concerto grosso ? cantata ? toccata ? aria ? basso continuo ? sonata ? Camerata de? Bardi ? fugue ? Church of St. Thomas ? Well-Tempered Clavier ? da capo aria ? Pietro Metastasio ? chorale ? basso ostinato ? Gian Francesco Busenello ? program music ? suite ? BWV ? equal temperament ? suite ? trio sonata ? recitativo secco ? accompanied recitativo ? Johann Adolph Scheibe
