Music 130 A - Final Exam Guidelines
- Fall 2001
The exam will take place on Thursday, December 13, 2001
guidfrom 11:00 AM-1:00 PM in Room 146.
The test will include listening and general identification questions.
The format will be like the other tests and will feature multiple choice,
matching, and true/false.
Part One will focus on listening identification.
Know the following selections:
- Pixinguinha: Yao (YUMCD130a.10 on reserve in Music Library)
- Luiz Gonzaga: Vira e Mexe
- Traditional candomble: Ogum (YUMCD130a.10 on reserve in Music
Library (YUMCD130a.10 on reserve in Music Library)
- Jaja - Preto Rico - Manoel: Lendas do Abaete (YUMCD130a.10 on
reserve in Music Library)
- Jobim and Moraes: A Felicidade (YUMCD130a.10 on reserve in Music
Library)
- Heitor Villa-Lobos: Bachianas Brasileiras No. 5 (YUMCD130a.10 on reserve
in Music Library)
- Veloso: Sol Negro (Black Sun) with Virginia Rodrigues, soloist
(MUS130A&B in the Music Library)
- Caymmi: Noite de Temporal (Stormy Night) also with Virginia
Rodrigues, soloist (MUS130A&B in the Music Library)
- Stravinsky: The Rite of Spring (Wright CD5: 7-10)
- Schoenberg: selections (the opening and closing movements) from Guerrelieder
(CD616 in Music Library)
- Schoenberg: selections from Pierrot Lunaire (CD5:11-12)
- Schoenberg: selections Trio from Suite for Piano (CD5: 13)
- Music for Chinese qin: Guanshanyue (heard in class)
- Hua Yanjuan: The Moon Mirrored in the Pool (YUMCD -On reserve
in Music Library. Intro to Listening CD Wright 2nd Ed.)
- Handel: "Rejoice greatly, O daughter of Zion" from Messiah
(Wright CD2:1,)
- Handel: "Hallelujah" from Messiah (Wright CD2:14)
- Handel: selection from "Water Music" (Wright Intro. CD: 19)
- J.S. Bach: Brandenberg Concerto No. 5 (Wright CD1:18)
- J.S. Bach: Cantata No. 140 "Wachet Auf" (Wright CD1:)
Be able to identify each work by composer, title, key performer(s), date
(of composition), style, genre, and typical performance context (original
and current). Know important features of instrumentation and structural
design (form).
Part Two will require you to recognize and identify terms.
Review from Wright's book: Chapter 7 pp. 125-145; Chapter 17 pp. 333-351;
and Chapter 19 pp. 402-403.
Specific items to review for identification.
- da capo aria
- baroque
- concerto gross
- overture
- recitative
- chorus
- qin or ch'in
- Confucius
- Ballets usses
- S. Diaghliev
- N. Roerich
- V. Nijinsky
- Maria Rombert
- Joffrey
- polychord
- polyrhythm
- polymeter
- octave displacement
- atonal music
- matrix (Schoenberg)
- retrograde
- cabaret culture (as applied to Pierrot Lunaire)
- sprechstimme
- twelve-tone composition
- serial music
- Expressionism
- Sigmund Freud
- Kokoska
- Edvard Munch
- microtones
- cents as a means of measuring pitch (The Harvard Dictionary of Music
is a good source of information if your notes are lacking on this or many
of the other items on this list)
- pipa
- Tang Dynasty
- er hu
- tremolo
- pentatonic
- heterophony
- choro
- xamego
- forro
- pandeiro
- candomble
- orisha (orixa)
- bermibau
- capoeira
- samba
- cuica
- surdo
- reco-reco
- ago-go
- tumbadores
- cavaquinho
- violão
- bossa nova
- embolados
- MPB
Resources. Remember: there are online notes for the Brazilian
selections linked to the class workschedule. You can access the notes directly
by going to Brazilian
Excursion Notes <http://www.u.arizona.edu/~sturman/syllabus/Mus130/excursions_brazil.html>.
For additional discussion of Chinese music (including nice pictures of
the instruments) you can visit the "China
Silk Instruments" site.
Larger topics to Review
- the backgrounds of the composers we have studied this half of the semester
[very important]
- the formal structures and techniques employed by the composers we have
studied
Closing Questions
- Though I will not ask for essays, I will work points related to these
questions into multiple choice options and true/false formats. Reviewing
chapters 3 and 4 in Cook will help.
- Where does the fundamental essence of music reside? In the score, in
an individual performance? In the original inspiration?
- How does composition differ from improvisation? In what ways does each
preserve some aspect of the other?
- How did Schoenberg try to address the crisis he felt afflicted classical
music at the end of the 19th century in Vienna
- Is the crisis that Schoenberg addressed the same crisis that classical
music faces today? (See Cook, chapter 3 for some perspectives on what many
people feel to be the crisis and different views on the nature of the problems.)
- Be able to describe different ways we use metaphors to describe music.