MUMH 1600 1st EditionExam # 2 Study Guide The exam will consist of three parts: Multiple Choice, Listening Identification, and Short AnswerQuestions. You will have the full class period in which to complete the exam. Bring a pencil to use on the scantron form (we will provide the scantron form).Multiple Choice (20 questions, worth 30 points)These questions will be similar to questions from the daily quizzes, and they will be based on material from the daily study guides (Key Terms, People, Repertoire). You should know the definition of each Key Term and why it is relevant. You should know the dates of People (early/middle/late in the century) and why they are relevant. See below for Repertoire guidelines.Key Terms People RepertoireBaroque/Baroque EraAffect/PassionBasso continuoOperaRecitativeAriaSeconda prattica (“second practice”)ChorusOvertureFrench overtureBinary formGround bass/ostinatoConcertoSolo concertoConcerto grossoClaudio MonteverdiHenry PurcellAntonio VivaldiJohann Sebastian BachGeorge Frideric HandelJoseph HaydnWolfgang Amadeus MozartOrpheus (L’Orfeo), excerpt from Act IIDido and Aeneas Overture and Excerpt from Act IThe Four Seasons, “Winter,” 1st movementBrandenburg Concerto no. 2, finale“Little” Fugue in G minor [the version for organ, not theorchestral arrangement]Cantata 140, Awake, A Voice Calls to Us (Wachet auf), movements 1 and 7Recitative, Aria, and Chorus from MessiahString Quartet in C major, op.76, no. 3, second movementSymphony no. 102 in B-flat major, third and fourth These notes represent a detailed interpretation of the professor’s lecture. GradeBuddy is best used as a supplement to your own notes, not as a substitute.RitornelloRitornello principle/Ritornello formProgram musicFugueFugal expositionSubjectMiddle entriesEpisodeChorale cantataChoraleOratorioClassical EraEnlightenmentChamber musicString quartetPeriodic phrase structureTheme and variationsSymphonyMinuet/minuet formTrioTernary formRounded binary formRondo/rondo formTonicmovementsSymphony no. 40 in G minor,K. 550, 1st movementPiano Concerto in A major, K. 488, first movementThe Marriage of Figaro (Le nozze di Figaro), Act I, “Cosasento”Sonata formExpositionDevelopmentRecapitulationCodaConcertoDouble-exposition concerto formCadenzaOpera buffa/Comic operaTrio (in an opera)Accompanied recitativeListening Identification (20 questions, worth 40 points)These questions will be similar to questions from the daily quizzes. For each example, you should know the title, composer, date of composition (early/middle/late in the century), and genre. You should also review the Elements of Music that we discussed in class related to each example. These questions will draw from the following repertoire list:Claudio Monteverdi, recitative from Orpheus (Orfeo)Antonio Vivaldi, “Winter”, 1st movementJohann Sebastian Bach, Little Fugue in G minorJohann Sebastian Bach, chorus (1st movement) from Cantata 140 (Awake, a Voice Calls to Us)George Frideric Handel, chorus from MessiahJoseph Haydn, Symphony in B-flat major, 3rd movementWolfgang Amadeus Mozart, Piano Concerto in A major, 1st movement*This example will be played from the beginning of the solo exposition.Wolfgang Amadeus Mozart, The Marriage of Figaro (Le nozze di Figaro)Short Answer Questions (3 questions, worth 30 points)You will write a paragraph of 3–5 complete sentences answering each question. The questions onthe exam will be taken from the following (based on the Questions for Study):Using our two examples of Baroque opera (give the title and composer of each), describetwo ways in which these operas are similar and two ways in which they are different(Italian vs. English does not count)Composers of Baroque chorale cantatas sought to balance a desire for the text and originalmelody to be understood with a desire for a musically elaborate work. Using our example (titleand composer), describe two ways that the composer tries to make the original melody clear.Then, describe two ways that this piece is musically elaborate and may obscure the originalmelody. In your discussion, be sure to specify which movement you are describingIn the Classical Era, string quartets were often described as being like a conversation.How does this interpretation reflect the influence of the Enlightenment? In our example (title andcomposer), describe one way that the manner of performing this piece is like a conversation. Then describe two ways that the music itself is like a conversationScholars and musicians have long interpreted standard sonata form as a drama or narrative. Using our example of a movement in standard sonata form (title and composer), describe four ways that the form in this example can be heard as dramatic or narrative.Using our example of opera from the Classical Era (title and composer), describe two specific ways in which the dramatic situation in our selection from this work is emblematic of opera buffa/comic opera. Then, describe two ways that the music in this excerpt contributes to the effectiveness of this