History Study Guide

Musicology Area

HOW TO PREPARE FOR THE MUSIC HISTORY EXAMS:
Students are advised to study from the 8th edition of A History of Western Music by Peter J. Burkholder, Donald Jay Grout, and Claude V. Palisca (New York: W. W. Norton, 2009) and the three volumes of the Norton Anthology of Western Music (6th edition).

EXAM DESCRIPTION:
The music history exam is divided into two parts: 1) Music of the Middle Ages, Renaissance and Baroque; and 2) Classicism, Romanticism, and music of the twentieth and twenty-first centuries. Each part is half an hour long and includes a combination of fill-in-the-blanks questions, matching, multiple-choice, multiple-answer, score analysis, and other questions designed to test the students’ knowledge and understanding of the historical periods, composers, repertory, forms, terms, concepts and genres.

A NOTE ON REPERTORY:
This study guide does not include specific works. You need to be able to identify MAJOR compositions associated with the composers from these periods, and discuss genres and other significant characteristics of those works.

Boethius
Guido d’Arezzo
Adam de la Halle
Bernart de Ventadorn
Walter von der Vogelweide
Hans Sachs
Hildegard of Bingen
Leonin
Perotin
Guillaume de Machaut
Philippe de Vitry
Francesco Landini
Liber usualis
Musica enchiriadis
Magnus liber organi

Cantigas de Santa Maria
Ordo Virtutum
Roman de Fauvel
Messe de Nostre Dame

Trecento
Ars nova
Ars subtilior

Notre Dame polyphony
jongleurs
troubadours
trouvères
Minnesinger
Meistersinger
plainchant/chant and its characteristics
syllabic, neumatic, melismatic settings
antiphonal psalmody / responsorial psalmody
neume
liturgical drama
modal system
chansonnier
solmization
hexachords
Guidonian hand
liturgy --> Mass (Proper and Ordinary parts); Office
sequence
trope
estampie
organum --> vox principalis / vox organalis
rhythmic modes
cantus firmus
isorhythm
formes fixes --> virelai; ballade; rondeau
musica ficta
Landini cadence
motet
ballata
caccia
madrigal
isorhythmic motet

John Dunstable
Guillaume Du Fay
Gilles Binchois
Johannes Ockeghem
Antoine Busnoys
Josquin des Prez
Heinrich Isaac
Ottaviano Petrucci
William Byrd
Thomas Morley
Carlo Gesualdo
Orlando di Lasso
John Dowland
Thomas Tallis
Giovanni Gabrieli
Giovanni Pierluigi da Palestrina
Luca Marenzio
Claudio Monteverdi
Michael Praetorius’s Syntagma musicum
Old Hall Manuscript
Mass cycle
plainsong Mass
cantus firmus Mass
parody Mass

musica ficta
motet
fauxbourdon
canon
Reformation and Counter-Reformation Martin Luther
Council of Trent
L’homme armé
chorale
anthem
frottola
madrigal (16th century); Italian and English
consort song
lute song or air
chanson
Musica transalpina
Lied
prelude
fantasia
toccata
canzona
polychoral music
cori spezzati

Giulio Caccini
Jacopo Peri
Claudio Monteverdi
Dietrich Buxtehude
Heinrich Schütz
Girolamo Frescobaldi
Johann Jakob Froberger
Georg Philipp Telemann
Arcangelo Corelli
François Couperin
Antonio Vivaldi
Jean Baptiste Lully
Alessandro Scarlatti
Henry Purcell
Jean Philippe Rameau
Johann Sebastian Bach
George Frideric Handel

Florentine Camerata
Giulio Caccini’s Le nuove musiche
L’Euridice

Affections
prima pratica—seconda pratica
basso continuo --> performance practice/instruments
figured bass
solo madrigal vs. concertato madrigal
libretto / librettist
intermedio
opera
monody --> identify two types of monody
recitative --> secco and accompagnato
ritornello
opera seria and characteristics
aria da capo --> form and characteristics
castrato
tragédie en musique or tragédie lyrique
basso ostinato or ground bass
cantata (sacred and secular)
oratorio (sacred and secular)
Passion
chaconne, passacaglia
suite (and dances associated with it)
French overture --> structure and characteristics
trio sonata: sonata da chiesa and sonata da camera
solo concerto
concerto grosso
prelude
fugue
chorale prelude

C. P. E. Bach
J. C. Bach
Domenico Scarlatti
Giovanni Battista Pergolesi
Christoph Willibald Gluck
Giovanni Battista Sammartini
Johann Stamitz
Joseph Haydn
Wolfgang Amadeus Mozart
Ludwig van Beethoven

Bartolomeo Cristofori

Mannheim
Gluck’s opera reform
Esterháza
Lorenzo Da Ponte
Friedrich Schiller

Rococo
Enlightenment
Heiligenstadt Testament

Empfindsamer Stil
intermezzo
opéra comique
Singspiel
ballad opera
opera buffa
fortepiano
symphony (movements and outline)
solo sonata
string quartet
concerto
cadenza
Sturm und Drang (Storm and Stress)
sonata form
rondo form
minuet and trio form
theme and variations
symphony
binary form vs. ternary form scherzo
oratorio
Requiem

Franz Schubert
Hector Berlioz
Robert Schumann
Fryderyk Chopin
Felix Mendelssohn
Gioachino Rossini
Gaetano Donizetti
Vincenzo Bellini
Carl Maria von Weber
Franz Liszt
Johannes Brahms
Giacomo Meyerbeer
Giuseppe Verdi
Richard Wagner
Georges Bizet
Giacomo Puccini
Anton Bruckner
Gustav Mahler
Richard Strauss
Hugo Wolf
Modest Mussorgsky
Pyotr Ilyich Tchaikovsky
Alexander Scriabin

Lied (pl.: Lieder)
song cycle  
program symphony
idée fixe
Neue Zeitschrift für Musik (New Journal of Music)
Florestan, Eusebius
concert overture
character pieces
Mazurka
Nocturne
tempo rubato
program music vs. absolute music
bel canto
cantabile – cabaletta
grand opéra
Bayreuth Festival Theatre
Gesamtkunstwerk
leitmotive
music drama
endless melody
exoticism
opéra comique
developing variation
piano quintet
piano quartet
New German School
symphonic poem
tone poem
thematic transformation
verismo
The Mighty Handful

Erik Satie
Claude Debussy
Maurice Ravel
Francis Poulenc
Benjamin Britten
Aaron Copland
George Gershwin
Charles Ives
William Grant Still
Henry Cowell
Paul Hindemith
Kurt Weill
Olivier Messiaen
Arnold Schoenberg
Alban Berg
Anton Webern
Igor Stravinsky
Béla Bartók
Dmitri Shostakovich
Edgard Varèse
Karlheinz Stockhausen
Pierre Boulez
Krzysztof Penderecki
Milton Babbitt
John Cage
George Crumb
György Ligeti
Alfred Schnittke
Luciano Berio
Iannis Xenakis
Elliot Carter  
Sofia Gubaidulina
Ellen Taaffe Zwillich
John Adams
Arvo Pärt
John Tavener
Steve Reich
Philip Glass

impressionism
expressionism
neoclassicism
formalism
serialism
atonality
polytonal music
Ballets Russes
Les Six
post-tonal music
New Objectivity
social realism
Gebrauchsmusik
Sprechstimme

Second Viennese School
principle of nonrepetition
emancipation of dissonance
developing variation
chromatic saturation
pitch-class set
twelve-tone (or, dodecaphonic) method
Klangfarbenmelodie
octatonic scale
avant garde
parlando-rubato
palindrome
musique concrète
electronic music
indeterminacy
chance music
total serialism
prepared piano
tone clusters
minimalism
post-minimalism
twelve-bar blues
jazz
big band
swing
pop music
rhythm and blues
Broadway music / musical theatre
film music
quotation and collage
postmodernism
neo-Romanticism