MUSC 362 - Unit 1 Exam Review Sheet.docx

Unit 1 Exam – Review Sheet

MUSC 362 - Music History I

Fall 2024

Instructor: Dr. Spencer Brand

Exam Structure:

10 Listening “Drop the Needle” Questions – 2 points each (20 points total)

10 Short Answer Questions – 2 points each (20 points total)

3 Short Essay Questions (1 paragraph) – 10 points each (30 points total)

1 Long Essay Questions (3 paragraphs) – 30 points

List of Key Terms: Become familiar with the following terms, people, and compositions (not in the Listening List) that were discussed during lectures. These are all topics that may appear on the exam. Take notes of when each key person was alive and when specific compositions were completed or premiered. Keep in mind how these key terms are related to each other.

Epitaph of Seikilos

Politics

Republic

Pythagoras

Tetrachords (ancient Greek)

Die institutione musica

Plainchant

The Divine Office

The Mass

Mass Ordinary

Mass Proper

Saint Gregory

Antiphonal

Responsorial

Direct (manner of performance)

Syllabic

Melismatic/melisma

Neumatic

Recitation formula

Psalmtone

Strophic

Free form (chant)

Trope

Sequence

Hildegard of Bingen

Scivias

Ordo Virtutum

Church modes

Solmization (medieval)

Goliards

Chansons de geste

Troubadours/Trobaritz

Trouvères

Canso

Alba

Tenso

Fine amour

Minnesinger

Crusade Song

Organum

Discantus style

Leoninus

Magnus Liber Organi

Perotinus

Clausula

Saint Augustine

Rhythmic Modes

Motet

Franconian motet

Conductus style

Ars Nova

Speculum musica

Isorhythm

Talea

Color

Roman de Fauvel

Guillaume de Machaut

Messe de Nostre Dame

Hocket (rhythm)

Chanson

Formes Fixe

Mille tracento

Squarcialupi Codex

Madrigal

Francesco Landini

Landini Cadence

Breve

Caccia

Ballata

Musica ficta

Haut

Bas

Ars subtilior

Reduced Listening List: These are the pieces that could appear on the “drop the needle” portion of the exam. All these pieces were played during lecture. You should be able to provide the composer’s name and the composition title (must include work/opus numbers). A bonus point will be awarded for the correct century it was composed.

Anonymous – Epitaph of Seikilos (1st century, NAWM 1)

Anonymous – Mass for Christmas Day, Kyrie (11^th century, NAWM 3b)

Hildegard of Bingen – Ordo virtutum, In principio omnes (12^th century, NAWM 7)

Bernart de Ventadorn – can vei lauzeta mover (12^th century, NAWM 8)

Comtessa Beatriz de Día - A chanter (13^th century, NAWM 9)

Walther von der Vogelweid - Palästinalied (13th century, NAWM 11)

Anonymous – Cantiga 159 Non sofre Santa maria (13th century, NAWM 12)

Anonymous – Alleluia justus ut palma (12th century, NAM 15)

Leoninus – Jubilemus, exultemus (12th century, NAWM 16)

Perotinus – Viderunt omnes (12th century, NAWM 19)

Anonymous – Factum est salutare/Dominus (13th century, NAWM 20a)

Anonymous – Super te lersualem/Sed fulsit virginitas/Dominus (13th century, NAWM 20c)

Adam de la Halle – De ma dame vient/Dieus comment porroie/Omnes (13th century, NAWM 21)

Philipe de Vitry – Cum statua/Hugo, Hugo/Magister invidie (14th century, NAWM 24)

Guillaume de Machaut – Messe de Nostre Dame, Kyrie (14th century, NAWM 25A)

Guillaume de Machaut – Douce dame Jolie (14th century, NAWM 26)

Guillaume de Machaut – Rose, liz printemps verdure (14th century, NAWM 27)

Jacopo da Bologna – Non al suo amante (14th century, NAWM 29)

Francesco Landini – Non avrà ma’pietà (14th century, NAWM 31)

Philipoctus de Caserta – En remirant vo douce pourtraiture (14th century, NAWM 28)

Possible Essay Topics: the following is a list of potential topics that could appear as essays on the exam. The answer lengths for these essay prompts may vary in length depending on the phrasing of the question, and the exam prompt will request a specific length. One of the following potential topics may even be split into two or more shorter essays.

1. Discuss the musical styles of Guillaume de Machaut and Francesco Landini. List specific compositional techniques associated with each composer, differences in their compositional output, and list representative works for both composers. Discuss different types of harmonies, rhythms, and melodic styles.
2. Discuss the secular works of Goliards, Troubadours, Trouvères, and Minnesingers. Include specific characteristics of content of the songs, and technical characteristics of the music they composed, and list representative works for all four groups of performers. Discuss the song forms, melodic and rhythmic characteristics, and different genres of songs that they composed.
3. Describe how the Christian Church used music in worship and transmitted Greek music theory throughout the Roman empire. Discuss the Church’s relationship with ancient Rome, and specific works that helped with the spread of Greek ideas in the Christian church
4. Carefully outline the development of the medieval Motet. Begin by discussing the characteristics of the early motet, such as the languages used, the origin of the Cantus Firmus, and whether motets were for liturgical or nonliturgical purposes. Then, describe isorhythm and its importance to the Isorhythmic motet. Be sure to discuss the role of the Tenor voice, and describe the Talea and the Color. Be able to list examples of early motets, and examples of isorhythmic motets.
5. Describe the development of chant into sacred polyphony. Be able to discuss the origin of chant, creation of Gregorian chant, the beginning of notation, and musicians such as Hildegard of Bingen. Then discuss the development of Polyphony and the contribution of Leoninus and Perotinus during their time at Notre Dame. Also consider the work of Guillaume de Machuat and how his work fits into this development. List the important works and composers associated with this development.