Please note that this review sheet differs slightly from the previous ones, since the final exam in MUL 2010 is comprehensive. Rather than simply repeat all of the materials covered on previous review sheets, this one will serve as a "guide for how to study" for the final exam (Section 0002 - Friday, 12 December 2008 at 7:00 am - 9:50 am).

You should plan your studying with the following facts in mind:

1. The final exam will be comprehensive, that is, it may include questions on any materials covered in the semester.
2. The exam itself will have 100 Multiple Choice or True/False questions (the maximum number of answers allowed on the strawberry scantrons used in MUL 2010).
3. Ten-fifteen (10-15) questions will be from the Terminology Quiz that you took early in the semester.
4. Twenty (20) questions will involve identification of music examples drawn from the Listening Guides covered this semester (more information below).
5. A handful of questions--about ten-fifteen (10-15)--will pertain to the newest materials covered, i.e., the beginnings of the 20th century.
6. The remaining questions will come from the previous exams that you took this past semester (Medieval-Renaissance-Baroque Midterm [#1], Classical Midterm [#2], and Romantic Midterm [#3]).

Read on for specific information about how to prepare for any of the possible questions on the Final Exam

LISTENING

The expectation for the 10 Listening Questions is that you will be able to identify the general style period from which any listening example comes, as well as the possible composer, title or genre. You will not be required to identify other specific facts or "trivia" about the pieces. Rather, you should concentrate on the basic "sound" of each era. Please note that even though you do not need to know the factual information for the Listening Questions, such knowledge will help you with other portions of the exam.

As on previous exams, each item will be about 30-40 seconds in length, and each will be played twice.

Listening items will be taken from the items listed on the previous review sheets, plus the following more recent items:

Chapter 31 - Listening guide, p. 344

Chapter 34 - Listening guides, p. 376 and 380

Chapter 36 - Listening guides, p. 399 and 402

NEW MATERIALS

The following materials concepts and terms [presented in Wright, Listening to Music (5th ed.)] in boldface (as well as a few others not specifically listed, but indicated in these review questions) may be included on the Final Exam. You should know all of these terms, including their (1) spelling, (2) definition, and (3) be able to use them correctly in speaking and writing about music.

Dictionary definitions may be found in glossary section of your textbook or in the Music Materials section of the publisher-sponsored web site that supports your textbook.

Additionally, you should know the music examples (Listening Guides p. 344, 376, 380, 399 and 402) that support this portion of the textbook. Please note that you are responsible for all parts of these works, including portions not played in class.

Chapter 31

1. What is "Impressionism," especially as it refers to the visual arts? What are its primary stylistic traits, and how and why might this term be applied to music?
2. Who were the Symbolist poets, what is their poetry like, and how might this poetry have influenced Impressionist composers?
3. Who was Claude Debussy, when and where did he live, and what sort of a composer was he?

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Listening Guide (p. 344, Debussy)

4. What kind of piece is this, and who composed it?
5. What are the chief stylistic traits of this music (especially when compared to Wagernian and Post-Romantic music), e.g., how does Debussy use the orchestra, what are his melodies like, how easily can you find classical forms, etc.?
6. What are the performing forces of this music, and how does Debussy's use of these instruments differ from that of earlier composers?
7. What is the rhythm of this piece like? How easily can you feel or hear a beat?
8. How is the use of pitch different from that of earlier composers? Can you hear a "home note"? How are dissonances used?

Chapter 32

1. What is "exoticism", and how is it "expressed" in music?
2. Who was Maurice Ravel, when and where did he live, and how is his music "exotic"?
3. What is a Bolero, and how is Ravel's Bolero organized?

Chapter 33

1. What is the historical background for 20th-century music? What general trends and events affect the arts and especially music?
2. What are some of the primary "-isms" of the 20th century? Are there any dominant trends that can be heard in all music of the era?
3. What are some of the very basic traits of music musical styles in the 20th century? How common are all of these traits?
4. What limits, if any, are placed on composers in the 20th century?
5. What does the phrase, "Emancipation of the Dissonance" mean or suggest for music in the 20th century?

Chapter 34

1. Who was Igor Stravinsky, and when and where did he live?
2. What is The Rite of Spring, and what was the audience reaction to it when the work was first heard?
3. What are polyrhythm and polytonality, and why are they important to understanding Stravinsky's music?
4. Who was Arnold Schoenberg, and when and where did he live?
5. What style did Schoenberg use for his earliest works, and what did he use later?
6. What is "Expressionism", what does it sound like, and why?
7. What is atonal music, what is 12-tone music (or serial music)? What are some of the traits of this style?

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Listening Guide (p. 366-7, Stravinsky)

8. What kind of piece is this, and who composed it?
9. What are its performing forces? How is the use of this ensemble different from earlier orchestral pieces?
10. Why is it hard to "tap your foot" to this work? (different answers for each of the two sections)
11. What makes the harmony of this work so dissonant?

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Listening Guide (p. 370, Schoenberg)

12. What kind of piece is this, and who composed it?
13. What are its performing forces?
14. Why is this piece so dissonant?
15. What is the vocal technique used in this work called?

Chapter 35

No materials from this chapter will be included on the test

Chapter 36

1. Who was Charles Ives, and how did he "stretch his ears" with musical experiments?
2. What is collage technique, and how might it be related to polytonality and polyrhythms?
3. Who was Aaron Copland, and how does he represent tradional musical values in the 20th century? What is Copland's attitude toward the audience, and how is that different from the attitude of someone like Schoenberg?
4. Who is Ellen Taaffe Zwilich and why is she a significant composer?

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Listening Guide (p. 379, Ives)

5. What kind of piece is this, and who composed it?
6. What are its performing forces?
7. What are some of the ways in which the tune is varied in this piece? Which are the strangest?

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Listening Guide (p. 389-90, Copland)

8. What kind of piece is this, and who composed it?
9. What are its performing forces?
10. Why is this music so much less dissonant than Schoenberg's music?
11. What is the source of the tune used on track 14?

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Listening Guide (p. 391, Zwilich)

12. What kind of piece is this, and who composed it?
13. What are its performing forces?
14. How is this music like Baroque music?

Chapter 37

1. Who was Edgard Varèse, and how did he expand musical resources in the 20th century?
2. What is music concrète, and how might that lead to electronic music?
3. Who was John Cage, and how did he expand the bounds of acceptable musical sounds and techniques?
4. What is a prepared piano and what is chance music? What is 4'33" and is it music?
5. Who is John Adams and what influences his music?
What is minimalism?

Chapters 38, 39, 40 and 41

No materials from these chapter will be included on the test

OLD MATERIALS

Use the old review sheets to prepare for questions about the materials covered on previous exam. Remember there will be only about 10-15 questions (maximum) from any particular style period, so concentrate on the basics of each era.

In particular, you should know:

• What were the general aesthetic concerns for each era (the background covered in the overview chapters for each era), e.g., how, when and why did those people make music, and for what reasons.
• What are the most basic style traits of each era (also covered in the opening chapters of each era), e.g., what are the 3-4 most important traits of the "sound" of the music in each era? How would you know it, if you heard it?
• Who were the most important composers of each era and their works? Who were they (1-2 most important facts about each), what kinds of music did they make, and for whom?
• The most important genres of each era.

Remember, the questions for the final exam will be drawn from questions used on the various tests and exams given earlier in the semester. You will not be asked any new materials (except for the "20th-century music" covered on the last day of class). This is not a "trivia quiz," so focus on the "big issues" of each chapter (look at the "KEY POINTS" at the beginning of each chapter) and you'll be well prepared.

This Review sheet is COMPLETE as of 3:45 pm on 5 December 2008.