MUS 306 Spring 2012 MUS 306 Spring 2012 Study Guide for first midterm examination (Tuesday,

February 28, 2012; review session: Thursday, February 23 during class) There will be two parts to the exam. Part I will be questions on the assigned listening, and Part II will be questions on the assigned reading and a list of musical terms that I will give you here. These terms are defined both in some of the Powerpoint slide presentations I have used in class and posted later, as well as in the Glossary of Terms at the end of your textbook, pp. 442-454. Part I Questions on the listening. There will be fifteen questions, each divided into two parts: a) First you will be asked to check the correct description of the excerpt you hear (out of two given alternatives); b) Then you will be asked to identify the work by checking the correct answer (out of two given possibilities). I will play each example twice. You will be responsible for all of the listening assignments from January 31 through February 21 (7 complete symphonies in all): 1. Haydn, Symphony No. 44 in e minor (Trauer) 2. Mozart, Symphony No. 29 in A major, K. 201 3. Mozart, Symphony No. 40 in g minor, K. 550 4. Haydn, Symphony No. 104 in D major (London) 5. Beethoven, Symphony No. 5 in c minor, op. 67 6. Beethoven, Symphony No. 9 in d minor, op. 125 **need to listen in library** 7. Schubert, Symphony No. 9 in C major (Great) To prepare for the listening part of the exam, first you should listen to each of these symphonies all the way through. Then you will need to concentrate on the BEGINNING of each track (there are four tracks for each symphony--one for each movement, except for Beethovens 9th--five tracks). The listening examples will be taken ONLY from the beginning of a track. As you try to learn these excerpts, study the following descriptions, which will help you to tell them apart. The first part of each listening question will involve exactly the same kind of descriptions. In what follows I am going to separate the symphonies by composer (two for Haydn, two for Mozart, two for Beethoven, and one for Schubert). None of these excerpts will be very long (except the one for the first movement of Haydn Symphony No. 104); most of them will be no longer than 20 or 30 at the most.

A. Haydn Symphony No. 44 in e minor (Trauer) I (first movement); Exposition, theme A1 Quadruple meter, quick tempo, minor mode Starts loudly with unison strings, oboes and horn strings continue unison, but softly New lyric melody in Violin I, with repeated notes in lower strings imitated by horn End of the phrase is suddenly softer II Second movement: Minuet, Part I Triple meter, quick tempo, almost felt in one beat per measure, minor mode Begins softly with Violins I and II in unison Cellos and basses imitate the violins exactly one measure later (canon at the octave) The music is suddenly louder when the oboes enter III Slow movement, Theme A Moderately slow tempo, four beats per measure, major mode Begins softly with Violins I and II (with mutes) playing an elaborate melody in unison Simple accompaniment in Violas, Cellos and Basses A variation of the same melody follows, now in playful dotted rhythms IV Finale, Exposition, Theme A Duple meter, very quick tempo (felt in one beat per measure), minor mode Begins loudly with energetic theme played by strings in unison Then the same material softly in Violins I and II (now in two separate parts) Suddenly loud again, with the full orchestra (including oboes and horns) B. Haydn Symphony No. 104 in D major (London) I First movement: slow introduction and beginning of Sonata-Allegro exposition, theme A1 Quadruple meter, slow tempo, minor mode Begins loudly, with full orchestra playing prominent dotted rhythm in unison Continues softly with same material, now harmonized, strings and bassoon Eventually, after a short silence, change to duple meter, quick tempo, major mode for beginning of exposition Theme A1 is played softly by the strings, ending with a loud entrance of the full orchestra II Second (slow) movement: First part of the theme (repeated) upon which the subsequent variations are based Duple meter, moderate tempo, major mode Starts softly, strings only Two offbeat accents The passage is repeated

III Minuet, Part I Triple meter, quick tempo (felt in 1); major mode Begins loudly with full orchestra; strong accents on the third beats The phrase is repeated softly with strings, flute, oboe, and horns IV Finale, Exposition, Theme A Duple meter, quick tempo, major mode Starts softly with a long, low note sustained by cello and two horns Violin I plays a rustic tune above this The tune is repeated, but now Oboe doubles Violin I, and the melody is harmonized by the lower string parts C. Mozart, Symphony No. 29 in A major, K. 201 I First movement, Exposition, Theme A Duple meter, moderately fast, major mode Starts softly, strings only First violins play a motive repeated in a rising sequence After a short extension in Violins I and II, the counterstatement begins loudly, in the full orchestra Violas, cellos and basses imitate Violins I and II with the main motive II Slow movement, Exposition, Theme A Quadruple meter, moderate tempo, major mode Starts softly in the strings only (Violins I and II are muted) Later Oboes and Horns enter to finish the section III Minuet, Part I (repeated) Triple meter, quick tempo, major mode Begins softly with dialogue between Violins I and II Alternations with full orchestra (loudly) and strings (softly) Ends with repeated notes in unison, played by the oboes and horns IV Finale, Exposition, Theme A Compound duple meter (6/8), felt in two, quick tempo, major mode Full orchestra, loud Strings repeat same material, but softly at first, the loudly Full orchestra ends the section D. Mozart, Symphony No. 40 in g minor, K. 550 I First movement, Exposition, Theme A Duple meter, quick tempo, minor mode Starts softly, strings only Violins I and II play melody in octaves

Violas, cellos and basses play accompaniment Flute, Oboe, and Bassoon enter together near end of excerpt Full orchestra loudly at the end II Slow movement, Exposition, Theme A1 Compound duple meter (6/8): 6 quick beats per measure but felt in two; major mode Starts softly with imitative entrances of the strings Horns enter later Imitative entrances again with new, high, slow-moving line in Violin I III Minuet, Part I (repeated) Triple meter, quick tempo (felt in one), minor mode Full orchestra, loud Strong movement from the tonic key, g minor, to a different key (d minor) The whole section is repeated IV Finale, Exposition, Theme A Duple meter, very fast tempo, minor mode Starts softly, with strings only playing Mannheim rocket Answered loudly by full orchestra This same pattern is heard four times E. Beethoven, Symphony No. 5 in c minor, op. 67 I First movement, opening of Exposition, Theme A Duple meter, very fast tempo (felt in one), minor mode Begins loudly with 2 statements of the basic motive played by strings and clarinets Continuation is soft: strings and bassoons with imitations of the same motive Sudden increase in volume with entrance of full orchestra, ending with three loud chords II Slow movement, beginning of variation theme (A1) Triple meter, moderate tempo, major mode Starts softly with expressive melody played by Violas and Cellos in unison, accompanied by Double basses, pizzicato The woodwinds have an expressive closing phrase at the end of the excerpt III Scherzo, beginning of Part I Triple meter, quick tempo (felt in one), minor mode Cellos play melody very softly, unaccompanied Rest of the strings enter later, along with horns, bassoons, clarinets Last note is held This pattern is heard again New theme announced loudly by the horns in unison (motive from first movement), accompanied by short chords in the strings

IV Finale, beginning Duple meter, majestic tempo, major mode Very loud, full orchestra with addition of piccolo, contrabassoon, and three trombones Triumphant, march-like character F. Beethoven, Symphony No. 9 in d minor, op. 125 I. First movement, opening (preparation for first theme) Duple meter, moderately fast, open fifth (major or minor? impossible to tell) Statements of rhythmic motive in strings and entrances in woodwinds fill the musical space and lead to Very loud presentation of first theme by the full orchestra, now clearly in the main key of d minor II Scherzo, Part I, beginning Triple meter, fast tempo (felt in one), minor mode Begins loudly with 4 statements of a characteristic motive, the first two by the strings, the third by the kettle drums, and the fourth by the whole orchestra This motive becomes the head of a fugue subject, which is played softly, first by the second violins, then violas, then cellos, then first violins, then basses III. Slow movement, introduction and first theme Quadruple meter, slow tempo, major mode After a short introduction featuring the bassoons and clarinets, the strings play a simple, almost hymn-like theme very softly, with the clarinets, bassoons, and horns echoing the ends of phrases. IV Finale: beginning of the purely orchestral section Triple meter, fast tempo (felt in one), minor mode After a very loud and dissonant opening, the cellos and basses protest in an instrumental recitative (operatic origin) The orchestra proposes the themes of all three of the previous movements, but the cellos and basses reject all of them Finally the woodwinds anticipate the Ode to Joy theme, and the Cellos and Basses accept it enthusiastically V Finale, beginning of the Vocal section Begins the same way as the previous excerpt, but now a baritone soloist enters in place of the cellos and basses He then sings the Ode to Joy theme, accompanied by strings pizzicato, oboe, and clarinet G. Schubert, Symphony No. 9 in C major (Great)

I First movement, beginning of slow introduction Quadruple meter, moderately slow tempo, minor/major ambiguity Starts softly with melody played by two horns in unison Strings enter at end of phrase Same melody now played by oboes, clarinets, and bassoons, now harmonized and accompanied by pizzicato strings II Second (slow) movement: beginning Duple meter, moderate tempo, minor mode Starts softly with short repeated chords in the Violins and Violas, as accompaniment to a melody of the cellos and basses, featuring dotted rhythms Then the oboe enters with a variant of the same melody Clarinet doubles oboe the second time; and there is a beautiful turn to the major mode at the end III Scherzo, beginning of Part I Triple meter, quick tempo (felt in one), major mode Strings play main motive loudly, in unison Woodwinds, horns and timpani answer softly with imitations of same motive The same pattern is repeated, leading to a strong ending with three loud chords of the full orchestra IV Finale, beginning of the Exposition Duple meter, very fast tempo, major mode Begins with a short motive played loudly by the full orchestra but answered softly by the strings alone Strings continue alone and build up to the full orchestra developing the opening idea loudly, and coming to a strong close Part II Questions on the Reading and musical terminology There will be twenty questions in all, a mixture of true-false, multiple choice, and fill in the blank. For the reading, you are responsible only for the following: A. Stedman, Chapter 3, pp. 41-62; Chapter 4, pp. 63-65 and 73-82; Chapter 5, pp. 96-100 and 103-104 B. From the supplemental readings: Lewis Lockwood, Beethoven: the music and the life, the Ninth Symphony, pp. 411-440; and Louise Cuyler, The Symphony, pp. 88-92. Both of these readings are posted on Blackboard. Musical terminology: I expect you to know the definitions of the following musical terms (see the Powerpoint slides from 1/31 and 2/2, as well as Stedmans Glossary of Terms, pp. 442454.)

1. Sonata-allegro form 2. Exposition 3. Development 4. Recapitulation 5. Coda 6. Minuet sonata form (Rosen) = Stedmans Song form with Trio 7. Sonatina form 8. Variation form 9. Binary form 10. Theme 11. Motive 12. Sturm und Drang 13. Style galant 14. Homophonic 15. Polyphonic 16. Major mode 17. Minor mode 18. Tonic 19. Dominant 20. Antecedent, Consequent Remember that your review of the February 25 Stony Brook Symphony Concert will also be due at the midterm on February 28 (see Blackboard for the assignment).

No questions on Art/Architecture slides No questions on Jan 21-24 Lectures T/F, MC, Fill in (20 questions each)