History of Western Music (Music 330B)

Midterm No. 2: Sample Questions and Answers (2009)

Please read the instructions carefully and allow sufficient time to complete each section.

I. Multiple Choice Questions. Please place the letter that best completes the question in the left hand column (two points each):

1. In Italian opera, the fast concluding section of an aria is called the: (a) cabaletta (b) tempo d'attacco (c) cantabile (d) cavatina

2. An example of a work that is cyclic is: (a) Berlioz's "Symphonie fantastique" (b) Schubert's "Unfinished" Symphony (c) Mendelssohn's Violin Concerto in E Minor (d) Clara Schumann's Trio in G Minor, Op. 17

3. Mendelssohn's "Songs Without Words" were written for: (a) virtuosos (b) amateurs (c) operatic use (d) song recitals

4. Robert Schumann's "Year of the Symphony" was: (a) 1839 (b) 1840 (c) 1841 (d) 1842

Answers: 1 (a), 2 (a), 3 (b), 4 (c)

II. Identifications. In two or three sentences, please characterize the following, including historical figures, musical works, and dates where relevant (5 points each):

1. cavatina (and an example) [used in early 19th-century Italian opera; a major character's entrance aria; Rosina's aria from "The Barber of Seville"]

2. Cecilian movement [revival within Catholic Church music, including a capella performance and chant]

[Points to mention: give general meaning and definition of foreign language terms, mention important composers and important works, include relevant dates; if an individual, clarify the relationship with composers and works; if a musical form or genre, note principal characteristics as well as a representative composer and work.]

III. Short Answers. In one or two brief paragraphs, please answer the following (15 points each):

1. (a) Discuss briefly the difference between a "reminiscence motive" and a "leitmotive." (b) Provide an example of one motive, note the reason it is either a "reminiscence motive" or "leitmotive," and briefly describe the way it is used dramatically. Be sure to include composer, title, and date of the work in which the motive is used.

[1 (a), a "reminiscence motive" is stated the same way at each occurrence and a "leitmotive" is often subjected to thematic transformation; (b) "Samiel's motive" reveals the presence of this evil character in "Der Freisch¸tz" (1821). It is a "reminiscence motive" because it never changes its form or orchestration. — or — the "love potion" from "Tristan und Isolde" (1859). It is sung by Isolde and heard in the orchestra when she drinks the love potion with Tristan. It is a leitmotive as it is also used in the orchestra, transformed and in development throughout the rest of the scene.]

2. Choose one of the songs ("Lieder") discussed this semester. (a) Discuss briefly the text of the song. (b) Describe one way that this text is projected in the music (be as specific as you can). Be sure to include composer, title, and date of the song.

[2 (a), "Gretchen at the Spinning Wheel" by Schubert (1814) depicts a girl at a spinning wheel, singing about a man she has just met and with whom she is smitten; (b) the piano reflects the turning of the spinning wheel, otherwise not mentioned in the text.]

IV. Listening. Three musical excerpts will be heard twice. For each excerpt please provide the following information (5 points each):

(a) composer

(b) title of composition

(c) date of composition (as precisely as possible)

(d) genre

In addition, please answer the following question relating to one of the above excerpts (5 points):

(e) Choose one of the vocal works and summarize the text of what is being sung. If from an opera, be sure to note the character(s) singing and the dramatic situation.