SAMPLE EXAM 012Exam1Fall2018 PDF

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Name:____________________________________________

MHIS012
Exam 1
October 2, 2018
(150 points)
I. Multiple-Choice (70). Please choose the ONE most appropriate answer.

1. Who catalogued the works of Haydn?


a. Anthony von Hoboken b. Baron van Swieten
c. Ludwig von Köchel d. Nikolaus Esterházy

2. How does the Köchel catalogue organize Mozart’s works?


a. Alphabetical order
b. Roughly chronological order of composition
c. Order of first recorded performance
d. In genre groupings

3. What is unusual about Beethoven’s Sixth Symphony?


a. It is in the Turkish style.
b. It does not have the normal number of movements.
c. It is in a rarely-used key.
d. It employs voices.

4. Which movement of a classical symphony would almost NEVER have a sonata form?
a. First movement
b. Second movement
c. Third movement
d. Fourth movement

5. What instrument is Frederick the Great known for playing?


a. clavichord b. flute c. cello d. violin

6. Leopold Mozart, Mozart’s father, wrote


a. a famous treatise on playing the clavier
b. a famous treatise on playing the violin
c. a pamphelt on opera reform
d. a statement on the problems of raising a child prodigy

7. The Bach-Abel concert series ran for almost twenty years in which city?
a. Berlin b. London c. Leipzig d. Hamburg

8. Which section of the orchestra experienced the most significant expansion of color
during the Classical period?
a. strings b. brass c. woodwinds d. percussion

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9. The person who wrote stodgy, conventional libretti that dominated Italian opera seria
was:
a. Metastasio b. Calzabigi c. da Ponte d. Salieri

10. Some musical consequences of Enlightenment aesthetics might include



a. a preference for ornamentation

b. the spread of the public concert in an attempt to raise the general education level
c. a preference for church music

d. increased elements of magic and superstition in opera plots

11. What would composers in the early eighteenth century call music in the new, modern
style?
a. learned b. Enlightenment c. classic d. galant

12. Mozart’s first patron, also the patron of his father, was
a. Archbishop Colloredo b. Emperor Joseph II
c. Frederick the Great d. Nikolaus Esterházy

13. Which is a common alteration to the symphony form?


a. Repeating the second part of the sonata form movement.
b. Exchanging the order of the second and third movements.
c. Beginning in minor and ending in major.
d. Changing out the minuet for a pavane.

14. Why is Schindler a “bad guy” of music history?


a. He sold off Beethoven manuscripts, falsified some biography, and was generally a
schmuck who bragged about being Beethoven’s friend.
b. He burned at least one-third of Beethoven’s conversation books.
c. He made many errors when he copied Beethoven’s manuscripts, not all of which have
been found.
d. He interfered in the guardianship dispute over Beethoven’s nephew Carl.

15. Why is Archbishop Colloredo a “bad guy” of music history?


a. He fired W. A. Mozart from his position.
b. He wrote a bad recommendation for W. A. Mozart.
c. He did not appreciate W. A. Mozart and would not let him travel.
d. He fired Leopold Mozart in order to put pressure on his son.

16. What is not true about Don Giovanni?


a. His servant sings an aria about how many women he has slept with.
b. He tricks his way out of receiving his comeuppance with his charms and nobility in the
final scene.
c. He duels and kills the Commendatore on stage.
d. The Commendatore’s statue comes to life and shows up at Don Giovanni’s house, then
sends him to hell.

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17. Why did Haydn write 160 works for the baryton?
a. It was a popular though short-lived instrument in the late eighteenth century.
b. It was the instrument that his patron played.
c. He was isolated and did not have normal instrument options.
d. It was the instrument that Haydn himself played.

18. Beethoven determined NOT to name his third symphony after Napoleon, apparently
because:
a. Napoleon died, ruining Beethoven’s hopes for his patronage.
b. Napoleon’s army began bombing Vienna.
c. Napoleon had himself crowned emperor.
d. Beethoven learned about Napoleon’s non-aristocratic rank.

19. In which decade would you most likely find Sturm und Drang works?
a. 1750s b. 1770s c. 1790s d. 1730s

20. Mozart went to Vienna because:


a. He had gotten a job there as Kapellmeister to Emperor Joseph II.
b. Archbishop Colloredo sent him there with recommendations.
c. He was angry with his patron and wanted to get a position with more recognition and
freedom.
d. He hoped to do freelance work his entire life and Vienna was a better environment
than Salzburg.

21. Baron van Swieten is a “good guy” of music history because:


a. He gave Mozart a job.
b. He supported Beethoven with an annuity to keep him in Vienna.
c. He taught counterpoint to Beethoven.
d. He loaned Mozart the works of older composers like Bach and Handel.

22. A Singspiel differs from opera buffa in that


a. It is in English instead of Italian.
b. It is serious instead of comic.
c. It replaces recitative with spoken parts.
d. It does not use da capo arias.

23. Sturm und Drang suggests a mode of expression that sought to:
a. show restraint, balance, and simplicty.
b. amuse and entertain through witty contrast of musical ideas.
c. frighten, stun, and overcome with emotion.
d. combine French, German, and Italian instrumental traditions.

24. For the last two years of his life Beethoven concentrated on writing:
a. symphonies b. concertos c. string quartets d. masses

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25. A work that does *NOT* employ Turkish style is:
a. Mozart’s Rondo alla Turca
b. Haydn’s “Military” Symphony no. 100
c. Beethoven’s 5th Symphony
d. Beethoven’s 9th Symphony

26. Johann Christian Bach’s influences on music history include all EXCEPT the
following:
a. Giving lessons to young Mozart while he was on tour.
b. Runnning a London concert series for almost 20 years.
c. Maintaining the traditions of his father.
d. Bringing galant style and the fortepiano to genres like the concerto.

27. What was NOT a likely reason that Beethoven’s Ninth symphony had a difficult
reception?
a. It was a difficult piece and rehearsals were much fewer at that time.
b. People thought that the “ode to joy” theme was not noble enough for Schiller’s poetry.
c. People thought that the form and instrumentation (voices) in the finale meant it was not
really a symphony.
d. People did not like how he followed Schiller’s poem so strictly.

28. Beethoven probably received his revolutionary ideals in part from


a. His father. b. A reading group with ties to the Bonn Illuminati.
c. Napoleon Buonaparte. d. traveling to France.

29. The “Turkish” style attempts to imitate


a. the sounds of whirling dervishes during their rituals
b. the Janissary band of the Turkish military
c. the primitives of the east
d. the folk music of Turkey

30. Which of the following is a genre in which Empfindsamkeit might be found?


a. symphony b. fantasia c. fugue d. da capo aria

31. What is a work in which a slow introduction appears in places that sonata form
usually does not permit?
a. Mozart, Piano Sonata K. 332 mvm. 1
b. Beethoven, Piano Sonata Op. 13 “Pathétique” mvm. 1
c. Haydn, Symphony no. 88 mvm. 1
d. Beethoven, Piano Sonata Op. 57 “Appassionata” mvm. 1

32. The composer most known for oratorios is


a. J. Haydn b. W. A. Mozart c. Beethoven d. C. P. E. Bach

33. Neefe was the teacher of


a. Leopold Mozart b. Beethoven c. J. Haydn d. Gluck

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34. Mozart probably did the most to solidify the position of which of the following
orchestral instruments?
a. Trombone b. Clarinet c. Flute d. Triangle e. Bassoon

35. What is true about sonata form?


a. It is mainly used for sonatas
b. It is like a ternary form AND like a binary form
c. It is always in the first movement.
d. It is always allegro.

36. Which of the following Haydn works is the best example of his “wit”?
a. Symphony no. 6, “Dawn”
b. Symphony no. 94, “Surprise”
c. Oratorio, “Creation”
d. Symphony no. 100, “Military”

37. Who was C. P. E. Bach’s patron?


a. Emperor Joseph II b. Frederick Wilhelm II
c. J. S. Bach d. King George III

38. In a minor-mode sonata form (e.g. D Minor), what would be the most appropriate key
for the secondary area?
a. III (F Major) b. V (A Major) c. v (A Minor) d. VI (B-flat Major)

39. Why was Ludwig van Beethoven confused about his birth date?
a. He lied about his age to get into the military and forgot later.
b. His family conspired to lie so young Ludwig could get paid by the court in Bonn.
c. It was incorrectly marked on his baptismal certificate, confused with his older
(stillborn) brother’s.
d. His father lied about his age to pass young Ludwig off as a child prodigy.

40. What is unusual about the Eroica symphony?


a. It has a first movement that is not in sonata form.
b. There is a per aspera ad astra paradigm over the 4 movements.
c. There is a new theme in the development of the first movement.
d. It has a slow introduction that returms to introduce the development and coda.

41. Which of the following is a “heroic,” middle-period work?


a. Symphony no. 5 b. “Hammerklavier” Sonata
c. Symphony no. 9 c. Sonata “Pathétique”

42. What is J. Haydn LEAST known for writing?


a. String quartets b. masses c. oratorios d. Singspiel

43. Where was Mozart born?


a. Vienna b. Salzburg c. Bonn d. Paris

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44. Which of the following is a work of Sturm und Drang?
a. Mozart, Symphony no. 41 in C Major “Jupiter” K. 551
b. Mozart, Symphony no. 25 in G Minor, K. 183
c. Haydn, The Creation
d. Haydn, Symphony no. 100 “Military”

45. Which of these is NOT a Metastasian opera convention?


a. Singers depart the stage after the aria.
b. Recitative is spoken, not sung.
c. There is a lieto fine or happy ending.
d. There are three acts.

46. What does opera reform do?


a. It re-establishes the importance of the singer over the importance of the plot.
b. It introduces recitative and a standard aria form.
c. It loosens the conventional recitative/aria order by introducing arioso, accompanied
recitative, and more ensemble numbers.
d. It creates opera that is closer to oratorio by taking out spectacle and effects.

47. Why did Gluck choose the plot of Orpheus for his first reform opera?
a. It symbolized the struggle of convention versus new ideas.
b. It was the plot used for two of the very first operas and recalled their spirit.
c. It was suggested to him by his librettist.
d. It was impossible to set using the conventions of opera seria.

48. Which of the following Mozart operas was NOT on a libretto by Lorenzo da Ponte?
a. Don Giovanni b. Le nozze di Figaro (The Marriage of Figaro)
c. The Magic Flute d. Così fan tutte (That’s What Women Are Like)

49. Of the following crises for Beethoven, which of them is NOT a primary occupation of
his last ten years?
a. Financial problems after the death of his patrons
b. The guardianship dispute over Carl
c. His profound deafness
d. Coping with the loss of his parents

50. Who is most associated with the Mannheim school?


a. G. B. Sammartini b. Johann Stamitz c. J. C. Bach d. Chip Davis

51. How did the death of Nikolaus Esterházy affect Haydn most?
a. He was free to write baryton works.
b. He had to write one polyphonic Mass a year for the new prince’s birthday.
c. He was free to travel and publish.
d. He was left without a job and scrambled for job security.

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52. Why is Freemasonry, which seemed so popular in Germany, forbidden at the end of
the 18th century in Vienna?
a. Secret crimes by the Illuminati had come to light.
b. Aristocratic members did not really care for the “universal brotherhood” of non-
aristocratic members and therefore took the movement underground.
c. The French Revolution terrified the aristocracy and its ideals sounded remarkably close
to those of Fremmasonry
d. Mozart had revealed all its secrets in an opera and in the backlash ordinary
membership was banned.

53. In a sonata form, what is the job of the Transition?


a. To dissolve one theme and transition it into the next.
b. To modulate.
c. To kill time between themes.
d. To impart a sense of forward motion.

54. Which of the following is borne out by documentary evidence?


a. Mozart wrote his first symphony at age 3.
b. Beethoven took the legs off his pianos to hear better.
c. Haydn had to wear a uniform for his patron.
d. Salieri poisoned Mozart to death out of jealousy.

55. Which is least influential for Mozart?


a. The symphonies of Sammartini
b. The keyboard works of J. C. Bach
c. The operas of Haydn
d. The string quartets of Haydn

56. Who is most associated with Empfindsamkeit?


a. Carl Philip Emmanuel Bach b. Johann Christian Bach
c. Wilhelm Friedmann Bach d. Johann Sebastian Bach

57. Why didn’t Beethoven study with Mozart in Vienna?


a. Mozart was too busy composing operas and so Beethoven turned to Haydn instead.
b. Haydn was the more famous composer and Beethoven preferred to study with him.
c. Mozart died before Beethoven ever set foot in Vienna.
d. Beethoven returned to Bonn when his mother died, then Mozart died before Beethoven
came to Vienna again.

58. The Heiligenstadt Testament was:


a. Beethoven’s confessions of deafness and depression in the guise of a last will and
testament.
b. Beethoven’s confession of undying love for an unknown woman.
c. The evidence adduced by the Heiligenstadt court against Beethoven’s nobility.
d. A document signed by aristocrats near Vienna vowing to support him.

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59. Which of the following is an early-period work of Beethoven’s?
a. Sonata “Pathètique”
b. “Eroica” Symphony
c. “Pastoral” Symphony
d. Op. 131 String Quartet

60. What is the best description of how Beethoven supported himself as an adult?
a. He had a nominal position as a court composer.
b. He received money from regular public performances.
c. He supported himself entirely via teaching and publication.
d. He had some support from wealthy patrons but no official position, supplementing his
proceeds from teaching and sale of works.

61. Which was NOT a patron of Beethoven’s?


a. Prince Kinsky b. Emperor Joseph II
c. The Elector of Bonn d. Archduke Rudolf

62. An influential instruction book written by C. P. E. Bach which gives still-useful


information on performance practice is:
a. Essay on the True Art of Playing the Keyboard
b. Essay On Playing the Flute
c. The Complete Capellmeister
d. Essay on the Fundamentals of Violin-Playing

63. What is a “scherzo”?


a. A slow triple-meter dance with an accent on the second beat of each measure.
b. An exuberant triple-meter dance that frequently replaces the more stately minuet in
symphonies and chamber music of the Classical period.
c. A lyrical movement that attempts to imitate the vocal style of Italian arias.
d. A slow movement written with a lilting rhythm in compound meter that
characteristically features parallel thirds gliding in conjunct motion.

64. What is a comic work that is shown in between acts of an opera seria?
a. opera buffa b. scherzo c. intermezzo d. da capo aria

65. What was unusual about Beethoven’s Sonata “Pathétique”?


a. It was in the key of C Minor.
b. It has a double exposition.
c. It has a slow introduction which returns at points within the sonata form.
d. It has a new theme in the development.

66. Roughly how many symphonies did Haydn write?


a. 10 c. 50 c. 100 d. 200

67. A term that means sensibility or sensitivity is:


a. Scherzo b. Empfindsamkeit c. Sturm und Drang d. Pathétique

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II. Dates/Chronology (16).
A. Give birth and death dates for the following composers. Each date must be accurate
within 2 years. (8)

Ludwig van Beethoven

Joseph Haydn

Wolfgang Amadeus Mozart

Give commonly accepted dates for Beethoven’s late period:

_____________ - _______________

B. Chronology (8) Place in order, putting a 1 next to the earliest, 4 next to the latest.

___ Haydn goes to London


___ Haydn starts working for Nikolaus Esterházy
___ Haydn teaches Beethoven
___ Haydn writes a lot of operas, chamber music, and works for baryton

___ Mozart goes to Vienna


___ Mannheim orchestra disbands
___ Beethoven goes to Vienna
___ Beethoven’s Ninth Symphony premiers

___ Gluck’s Orfeo ed Euridice


___ Mozart’s Don Giovanni
___ Beethoven’s “Eroica” Symphony
___ Haydn’s “Joke” Quartet

(1-lowest to 4-highest)

___ Number of symphonies by Mozart


___ Number of symphonies by Haydn
___ Number of symphonies by Beethoven
___ Number of operas by Beethoven

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III. Matching (25)
A. Galant or Baroque? (8) Below is a list of statements or descriptions. Circle whether
the statement/description applies more to the galant style or to baroque (learned) style:

The preferred texture is imitative or fugal. baroque galant

Crescendos and smooth dynamic changes are expected. baroque galant

The fortepiano is the keyboard instrument of choice. baroque galant

Ornamentation is expected baroque galant

Cadences might be evaded for many bars, making irregular


phrases. baroque galant

An Alberti bass is a great accompanimental style. baroque galant

A symphony by Sammartini is baroque galant

A fugue by J. S. Bach is baroque galant

B. Styles (10): Write the letter of the correct style from the following 5 choices in the
blank for each question in this section:
A. Turkish, B. Pastoral, C. Sturm und Drang, D. galant, E. Empfindsamkeit
1. A minor-mode fantasia for clavichord is: _________
2. A work with sforzandi, tremolos, and angular melodies is: _________
3. A G-major minuet with balanced, periodic phrases is: __________
4. A work featuring triple meter, parallel thirds, and prominent woodwinds is: ________
5. A march with parallel thirds, grace notes, and heavy drones is: ___________
6. A minor-mode section with cymbals, triangle, and piccolo is most likely: __________
7. An intimate work that runs through many different emotions and keys is: _________
8. An opera overture with dramatic dynamics, minor mode, and syncopation is: _______
9. An F-major work with slow harmonic rhythm, emphasis on the subdominant, and
sounds imitating nature is: _______
10. A major-mode fortepiano work featuring Alberti bass is: ________

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C. Classical Composers (7). Consider the works of Joseph Haydn, W. A. Mozart, and
Ludwig van Beethoven. Circle your answers.
With which composer would you most expect or do you most associate:

a slow introduction to the first movement? Haydn Mozart Beethoven

a minuet rather than a scherzo? Haydn Mozart Beethoven

a monothematic exposition in a sonata form? Haydn Mozart Beethoven

a long coda like a second development? Haydn Mozart Beethoven

a Singspiel? Haydn Mozart Beethoven

father of the string quartet Haydn Mozart Beethoven

master of the piano concerto Haydn Mozart Beethoven

IV. Completion (14).


A. Answer the following briefly but completely:

Give the classical rondo form: ______________________________________________

If the form above were a sonata-rondo form, which section would be where the
development would go? _______
Name three features of Beethoven’s late style (3):

____________________________________________________________________

____________________________________________________________________

____________________________________________________________________

Name two things that are different in the first movement of a concerto than in the first
movement of a symphony with respect to form, being clear which feature belongs to
concerto vs. symphony (2):

____________________________________________________________________

____________________________________________________________________

Beethoven’s “favorite” key, used for the Fifth Symphony and the Páthetique Sonata, is:

______________________________________________________________

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Name a Singspiel: _______________________________________________

What is a Mannheim steamroller? One word will suffice:

______________________________________________________________

Name a middle-period symphony of Beethoven’s: ______________________________

Who is the “London” Bach? ________________________________________________

Name one Enlightenment thinker or ruler: _____________________________________

The city that Haydn, Mozart, and Beethoven all had connections to was:

________________________________________________

CONTINUE TO FORMS ON LAST TWO PAGES!!!

Extra Credit here to save space:

Date of the premiere of Beethoven’s 9th symphony:

Mozart’s clarinet concerto was written for a clarinetist named:

The Querelle des Bouffons (La Guerre des Bouffons or War of the Buffoons) was
between the advocates of Italian opera buffa and?

Give dates for each of Mozart’s Da Ponte operas:

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V. Forms (28). Use reverse of page if you need more room.
A. Large-scale forms (11). For each of the following genres, give below:
1. Number of movements
2. A name (tempo or subgenre) for each movement, in order
3. The form of the movement (do not need to list all possibilities)
4. A sample key relationship between the movements.
[Here is a sample (with intentionally inaccurate answers)]:

Sonata - 3 movements
I 1. Slow – theme and variations
ii 2. Fast – binary
IV 3. Pavane – rondo

1. Symphony

2. Concerto

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B. Sonata form (17) Look at the following chart of sonata form. Identify the correct
terminology for each section and write it below. Consider only a major-key work.

Keys (major-key work): [Can use sample keys or Roman numerals]

1.

2.

3.

4.

Large sections (Do not abbreviate):

5.

6.

7.

Subsections (abbreviations ok):

8.

9.

10.

11.

12.

13.

14.

15.

16. (bonus)

Optional sections:

17.

18.

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