Study Sheet for Exam 1 (4 October 2007)

MUS 622 (Fall 2007): Study Guide for Test 1 (4 October 07)

Final Version (9/29/07)

Here is the final form of the study guide that will help you focus on specific topics so you can prepare for the exam efficiently and without excess stress. It is best to listen to pieces in a relaxed manner, not “third-circle” freaked out, trying to cram. You can’t enjoy the music that way. I know this is easy to say, but I have to make the suggestion anyway, just to offer you the opportunity to listen in different ways, and perhaps experience the contrast between pragmatic listening (to identify form or stylistic features) and in an open manner (to make friends with the piece and get to know it more intimately). Your choice.

I. Identification (I will not necessarily play the beginnings of movements, so do not just listen to the opening measures, please).
A. Six recorded excerpts will be played, 4 from the assigned listening and 2 that are not required. For each you should list the composer, work, and approximate date, if you know these, and include two of the most obvious stylistic traits that led you to name that composer. If you do not recognize the work, list a likely composer, type of piece and two style traits that led you to this answer.
B. There will also be 3 score excerpts (two from the assigned list, one not assigned), and you will be asked to choose 2 of them to write about, answering the same questions as I. A., above.

II. Essays and Outlines: Questions in Four Sections are given below. During the exam I will ask you to choose one question from two of the four categories to answer. You can prepare these questions before hand and be sure that they will be asked on the exam, but I do not want you to bring in previously written materials for the exam. I would like your answers to be as thorough as possible I the time allows (you should have 20-25 minutes for each essay). You may also answer in the form of key words and phrases, but make them coherent and well organized. Note that if you choose to make up your own question (in D.), you must have my approval first. These questions should address a broad area or representative work, not a highly specialized topic, but you can try out the questions of me beforehand.

A. The Early Classical Orchestra: formation and repertory
1. Stauffer article—what are some of the principal contributing factors to the formation of the orchestra?
2. Describe the style of either Sammartini or Stamitz Symphony

B. Haydn and Mozart
1. Kyle Gann, in the review we read of his called “No More Heroes,” claimed that Haydn’s music was experimental and radical, often introducing elements of surprise or humor into his music. Through specific examples from the symphonies we studied (or other ones), show some of the most important ways Haydn was an innovator and an “experimental” composer.
2. How was Haydn and his music received during his two trips to London? How effects did his trips there have on Haydn’s style and musical life?
3. In what ways did Mozart’s symphonic output differ from that of Haydn? Discuss especially the quantity of symphonies and their reception among contemporaries. Why were Haydn’s symphonies more popular?
4. Mozart’s “Jupiter” Symphony (K. 551) is considered a tour de force in
symphonic writing. What is so special about this symphony?
5. Contrast how you hear the music of Haydn and Mozart.

C. Beethoven
1. Discuss how Beethoven’s “Heiligenstadt testament” is reflected in one or more of his symphonies.
2. The Eroica Symphony is considered a monument in the history of symphonic literature. Why? Consider especially first movement, but also overall form. How was symphonic writing different after the Eroica? (Botstein’s article is useful, as well as Lockwood’s writing on Symphony No. 3 (among others, of course).
3. What is special about Symphony # 5, movement1 and the overall symphony?
4. Discuss the program of the Pastoral Symphony. How is it realized?

D. Your own questions: Several of you have submitted sample questions which I have not included here. However, I would like to give you the freedom to ask and answer one of your own questions, if you would like. But you must submit question (or two if you like) to me for my approval to make sure it is appropriate for the exam (that is not too narrow or outside of our topic). Once I have given approval of the question, you are free to use it in this section of the exam.
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Note: The scores and recordings for the Schubert Assignment for Tuesday, 2 October, did not get on E-reserve yet (the reading assignment did, though). But you can get the scores to Symphonies Nos. 8 and 9 at one of the following two sites. You already know the sites where you can get the recordings through the FA Library electronic resources (although you can’t download those files, I am sorry to say).

Score library:

http://www.dlib.indiana.edu/variations/scores/symphonic.html

http://imslp.org/wiki/Main_Page
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NOTE: All of this will be up on the Blog, along with Erica’s report on the London Symphonies by tonight or early in the morning, but this should be enough to get you going.
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MUS622 Listening/Score IDs for Identification on Exam (4 October 2007)
[All Selections on E-reserve]

1.) Beethoven, Ludwig / Symphony no.3, Eroica, all 4 movements
2.) Beethoven, Ludwig / Symphony no.5 in C minor, op.67, all 4 movmenets
3.) Beethoven, Ludwig / Symphony no.6 in F Major, op.68 "Pastoral," movement 1 only
4.) Haydn, Joseph / Symphony no.45, movement 1 only
5.) Mozart, Wolfgang / Piano Concerto No. 40 in D minor, K.466, movements 1 & 2 (recognize)
6.) Mozart, Wolfgang / Symphony no.38 in D, K.504 movements 1 & 3
7.) Mozart, Wolfgang / Symphony no.40, all 4 movements
8.) Mozart, Wolfgang / Symphony no.41 "Jupiter" all 4 movmenets
9.) Sammartini, Giovanni / Symphony in F Major, no.32, first movement
10.) Stamitz, Johann / Sinfonia no.8 in Eb Major, first movement