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MUSIC 101 FINAL EXAM REVIEW QUESTIONS WITH COMPLETE ANSWERS
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MUSIC 101 FINAL EXAM REVIEW QUESTIONS WITH COMPLETE ANSWERS
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MUSIC 101 FINAL EXAM REVIEWQUESTIONS WITH COMPLETE
ANSWERS
Romantic Era - Answer-1810-1910
Arrangement - Answer-R
Rewrite of pre-existing composition for a different instrument or ensemble (when
composer changed the style of the piece considerably)- aka paraphrase and
transcription
Ballet - Answer-R
GENRE
Story was told (and depicted) wordlessly through music and dance (mostly ROMANTIC
ERA)
Hetor Berlioz - Answer-R
-France
-mainly used term "idee fixe"- came up with it
-quotes/borrows Dies Irae
-Genre- Program Symphony
Georges Bizet - Answer-R
France
-composed Habanera for opera Carmen- thought based on anonymous composer, but
after performed, realized it was written by a known composer (Sebastian)- so added
attribution to published score)
-genre- Opera
Johannes Brahms - Answer-R
-Germany
-preferred classical era structure and form
-used metric displacement (make music In one meter sound like it was in another meter
for short sections)
-absolute**(Neo- Classical)
-genre- orchestral and chamber music
Chamber music - Answer-R
-Freedom from form and structure
-fashionable to host chamber music performances In the home
-Franz Liszt moved solo piano music from the chamber to the concert hall (for larger
audiences)—followed by many other composers and performers
**piano quintet a lot- one piano, four strings**
,Character piece - Answer-R
Relatively short piano piece with no set form (somewhat program music but not
necessarily trying to tell a story- they were trying to briefly convey a particular emotion,
mood, or character)
-had non-programmatic titles, somewhat programmatic titles, and completely
programmatic titles
-meant to evoke a feeling, mood, image or dance
Title of character piece - Answer-Bagatelle
Title of a Character Piece - Answer-Ballade
Title of character piece - Answer-Capriccio
Title of character piece - Answer-Etude
Title of character piece - Answer-Humoresque
Title of character piece - Answer-Impromptu
Title of a Character Piece - Answer-Intermezzo
Title of a Character Piece - Answer-Lied Ohne Worte (song without words)
Title of character piece - Answer-Mazurka
Title of character piece - Answer-Nocturne
Title of character piece - Answer-Polonaise
Title of a Character Piece - Answer-Prelude
Title of a Character Piece - Answer-Valse
Frederic Chopin - Answer-R
-Poland
-cough
-polonaise (polish dance)= nationalistic
-genre- character pieces (piano)- pretty, flowery
Concert overture - Answer-R
Single-movement orchestral piece
-not traditional overture (like at start of opera, oratorio, or suite)
-one piece among many pieces in a concert
, -later in era, composers decided to write "overtures" that weren't even attached to a
larger work
-generally programmatic in nature
-sonata form at first, to no form
Concerto - Answer-R
Still popular in romantic era
-major composers of instrumental music wrote many concerti
-difference from previous time periods:
- less reliance on form
-less strictness with number of movements
-cadenzas were written out by the composer (not improvised)
French Grand Opera - Answer-R
Type of opera where everything was grand- length, cast, and spectacle
-length- usually 5 acts (not 3, at most 4- like Italian and German operas)- intermissions
between each act (15 min each)
-cast- more than normal number of leading characters- numerous main characters,
dancers and large chorus
-spectacle- a lot based on historical events so designers created detailed historic sites
and architecture on stage- special effects= elaborate (like re-creations of massacres,
volcanoes, executions, and ghostly visitations)
-crossed borders- operas in other languages and countries with characteristics of
F.G.O.
-expensive- so few of them
Gesamtkunstwerk - Answer-R
Aka- music drama (literally "Total Work of Art")
-what Richard Wagner (german) called his own operas
-Wagner felt romantic operas had not achieved a convincing level of realism
-he attempted to separate himself from other opera composers - so used new terms
(wanted new kind of opera where orchestra helped express emotion more directly than
mere words can achieve)
-he did this in a few different ways:
-used leitmotivs that helped the audience make connections to individual characters
more immediately (whether character on stage or not)
-used "unending melody" that went on and on, rarely reaching a solid cadence point=
much more true to real human emotion- not contained in neat, evenly spaced packages-
but evolving and developing as each moment passed
-used own libretti (one of only opera composers to act as own librettist)- believed to
create a perfect opera, same creative force must be in control of both the music and the
words
**Wagner influenced set sets, staging, and costuming- wrote lengthy texts on
philosophy behind music dramas and designed an opera house that was built to his
specifications**
**much extended brass section and singers**
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