The test will include listening and general identification questions. The format will be multiple choice, matching, and true/false.
Know items 1-37; 60 on your listening list:
Be able to identify each work by composer, title, key performer(s), date (of composition, or in the case of jazz, by performance), style, genre, and typical performance context (original and current). Know important features of instrumentation and structural design (form). Not all of these criteria apply to every selection.
Part Two will cover chapters 12,13 and 18 in the Wright text, and chapters 5 and 6 in Cook.
Know the keywords at the end of each chapter (pp.245, 277, and relevant terms on p. 399).
Review:
_the backgrounds of the composers
we have studied this half of the semester
_the classic forms (c.f.Wright chapter 9) that Romantic composers continue to
use
_new performance settings for music during the Romantic period
_concepts regarding the role of the performer
_concepts regarding the notion of a masterpiece
_views on authenticity of performance
Additional Identification
guajiro
charanga
danzˆ„n
clave
son
son form
rumba
Cotton Club
Chick Webb
Fletcher Henderson
Jimmy Lunceford
Duke Ellington
Spanish Harlem
Maurio Bauza
Chano Pozo
Chico O'Farrill
Cubop
Machito
Palladium
Lorenz Hart
Richard Rodgers
Stephen Sondheim
Leonard Bernstein
Showboat
Pacific Overtures
Kabuki theater
the "golden years" of
the American musical
George Balanchine
On Your Toes
George Ira Gershwin
Ziegfeld Follies
Cole Porter
vaudeville blues
downhome blues
blue notes
Ragtime
piano roll
march form
Dixieland
Charleston
Cakewalk
head, chorus, bridge (in a jazz
piece or performance)
Swing
Lindy Hop
Foxtrot
Bebop
Hard Bop
Cool
Funk
Fusion
fill
riff
break
scat
syncopation
group improvisation
altered tones (mutes)
walking bass
triple subdivision of the beat
Doctrine of Affections
Wittgenstein
Sapir-Whorf
Goethe
Paganini
Crossroads
Romantic attitudes and obsessions