Music Demidrills

MUSIC

2 0 1 3 2 0 1 4E D I T I O N

Music in the Early 1900s

YEARS

19DOING OUR BEST, SO YOU CAN DO YOURS

®

the World Scholar’s Cup®

EDITORJosephine Richstad

MUSICDEMIDRILLS

ALPACA-IN-CHIEFDaniel Berdichevsky

MUSIC DEMIDRILLS | 1

I. Basic Elements of Music Theory

This DemiDrills section covers pages 8-36 in the official curriculum guide. It discusses basic musical concepts and also explores more sophisticated details related to the creation and enjoyment of sound. This material is very challenging; don’t

worry if it doesn’t all make sense at once.

1.01 MATCHING (8-14) Left sock, right sock. Match the letter of the word on the left with its description on the right. Use each letter only once.

a. music

b. improvisation

c. pitch

d. scale

e. half-step

f. harmony

g. enharmonic

h. music concréte

i. melody

j. fundamental

k. overtone

l. whole step

m. partial

n. interval

_____ 1. the loudest and strongest sound wave

_____ 2. the occurrence of two pitches in succession

_____ 3. the distance between every other key on a keyboard

_____ 4. a sequence of notes in ascending or descending order

_____ 5. a frequency higher than the fundamental

_____ 6. the difference between two pitches

_____ 7. sound organized in time

_____ 8. the combination of a fundamental and overtones

_____ 9. the simultaneous occurrence of two pitches

_____ 10. the distance between each key on a keyboard

_____ 11. spontaneous musical composition and performance

_____ 12. highness or lowness of a sound

_____ 13. collage of sound performed via loudspeaker

_____ 14. notes identical in pitch


1.02 CLASSES (8-9) Classify me. All of the most common Western orchestral instruments can be grouped using the Hornbostel-Sachs Classification System. In the table below are instruments that are just begging to be reunited with their comrades.

Example: violin chordophone

1. doublebass

2. flugelhorn

3. harpsichord

4. timpani

5. tubular bells

6. celesta

7. saxophone

8. gongs

9. wood block

10. piccolo

11. guitar

12. piano


1.03 JUST LABEL IT! (12, 23) Yes labels. Since you’ve spent so much time studying the curriculum guide, illustrate your smarts and/or memorization skills by diagramming each of the images below. On the first image, label the keyboard with all the chromatic pitches; use the top lines for the black keys and the bottom lines for the white keys. On the second image, label each section of the Circle of Fifths with the appropriate major key.


1.04 FILL IN THE BLANK (8-10) Security blank-it. Below is a word bank and a series of statements about music. Fill in each blank with the appropriate word or words. All words will be used once.

WORD BANK

wave ritual scale sound

culture chordophones amplitude distance

intervals time air vibrations

frequency aerophones octave tone

1. and are the only elements absolutely required to create music.

2. In some languages, there is no separate word for “music” because it is such an important part of

and .

3. When the frequency of a is between 20 and 20,000 cycles per second, the normal

human ear hears it as a single, sustained .

4. Violins, harps, and guitars, also known as , depend on to produce

a sound wave.

5. The first electronic instrument, the theremin, requires the performer to regulate with one

hand and with the other.

6. Both half-steps and whole steps are the basic of any in Western music.

7. Woodwinds are because they depend on vibrating to create

music.

8. The musical term for the between A and the next-higher or next-lower A is a(n)

.


1.05 DEFINITIONS (13-21) Greek power. Music has a lot of weird words that you need to learn in order to understand the material. Some words related to musical theory are listed below. Define each term as thoroughly as possible.

Example: trend A prevailing tendency, as when we decided the ‘80s were cool again

1. dominant pitch

2. leading tone

3. register

4. rhythm

5. tempo

6. meter

7. polymeter

8. syncopation

9. beat

10. triad

11. cross-rhythm

12. time signature


1.06 EITHER OR (15-23) Eeny-meeny. Each of these statements about music theory needs to be finished. Circle the term that best completes the sentence. An example is provided.

Example Hillary Clinton was the first (MAN, WOMAN) to become president of the United States.1

1. Two scales are known as (RELATIVE, PARALLEL) when they use the same pitches but different tonics.

2. Only one pitch at a time occurs in a (HARMONY, MELODY).

3. The “Star-Spangled Banner” is an example of a (CONJUNCT, DISJUNCT) melody.

4. A (TESSITURA, ANDANTE) represents the range of possible pitches that an instrument or voice is capable of producing.

5. “I Wants to Be (A Actor Lady” features a (POCO A POCO, SUBITO) tempo change between its verses and choruses.

6. The term (ALLEGRO, PRESTO) is used to describe a song with 200 beats per minute.

7. A song’s (ANACRUSIS, ADAGIO) occurs when the first word falls before the downbeat.

8. Music with a perceived beat that speeds up and slows down for expressive effect is called (RUBATO, UNMETERED).

9. Normally, each beat in a song is divided using (COMPOUND, SIMPLE) subdivision.

10. In (MIXED, ASYMMETRICAL) meter, measures with different meters occur in rapid succession.

11. In (MIXED, ASYMMETRICAL) meter, measures with different meters alternate in an irregular pattern.

12. Parts of The Rite of Spring employ layered (SIGNATURES, POLYRHYTHMS).

13. Common-practice (TONALITY, RHYTHM) is a system of organizing pitch and harmony often used in Western cultures.

14. A (MAJOR, MINOR) triad has a major third on the bottom and a minor third on the top.

15. When the third of a triad is on the bottom, the chord is in (SECOND, FIRST) inversion.

16. Chromatic pitches are usually (DECORATIVE, STRUCTURAL)

1 Yes, these DemiDrills were apparently lifted from an alternate universe.


1.07 TRANSLATION STATION (17, 31) Break out the Babel fish. In the following chart, match each musical term in its original language with its appropriate translation.

Example: schadenfreude An excuse to laugh at others

1. piano a. as loudly as possible

2. fortissimo b.very quietly

3. pianississimo c. very fast

4. andante d.slow

5. moderato e. at a walking tempo

6. lento f. as quietly as possible

7. fortississimo g. moderate

8. presto h.fast

9. adagio i. very slow

10. pianissimo j. loud

11. allegro k.quietly

12. forte l. very loudly


1.08 TRUE OR FALSE (23-30) Cross my heart and hope to score 10,000. Some of the statements below are true. Others are false. If it’s false, make it true and explain why the statement was wrong. An example has been provided.

T F Example: My dog won the Most Obedient Dog Ever competition.

never, ever, ever

T F 1. The key signature of E is a set of accidentals that indicates the key of music.

T F 2. A harmonic progression is a series of chords that moves from consonance to dissonance.

T F 3. A chord or melody is chromatic if no accidentals are needed other than those already indicated on the key signature.

T F 4. A diminished chord, the triad built on the seventh-scale degree, is highly unstable.

T F 5. A second-scale degree is called supertonic, while the fourth-scale degree is subdominant.

T F 6. Common practice harmony became simpler after 1750.

T F 7. Modal mixture normally occurs between a major key and its parallel minor key.

T F 8. Eighteenth-century composers used complex chromatic harmonies to convey their emotions.

T F 9. Anton Webern initiated the “emancipation of dissonance” when he called for composers to abandon conventional common-practice harmony.

T F 10. In the twelve-tone method, each piece has its own tone row consisting of all twelve chromatic pitches.

T F 11. Twelve-tone techniques did not catch on in the musical world until after World War II.

T F 12. Claude Debussy’s “Voiles” offers an example of an octatonic scale.


1.09 NAME THAT NOTE (19, 32) Break out your cryptograph. Test your musical know-how by labeling each of the following symbols.


1.10 FILL IN THE BLANK (30-31) If the words don’t fit, you must not quit. Below is a word bank and a series of statements about music. Fill in each blank with the appropriate word from the word bank. All words will be used once.

WORD BANK

homophonic instrumentation melodic unison

density texture heterophonic counterpoint

polyphonic registers monophonic melody

resonance harmonic overtones timbre

1. in music describes the number of things that are going on at once in a piece.

2. ______________________ music consists of a single, unaccompanied line; multiple instruments

may play the melody in .

3. In music, a and a

accompaniment occur simultaneously.

4. When two performers produce versions of the same melody at the same time but are not playing in

unison, the texture is called .

5. A texture includes two or more lines unfolding

simultaneously.

6. After about 1350, Western composers developed to create simultaneous melodies in

different .

7. In , each instrument has a unique pattern of .

8. The of a pitch is affected by the thickness and of an

instrument’s material, as well as the amount of .


1

2

3

4

5

6

7

8

9

10

12

11

1.11 STEP TO IT (13) This, then that, then that. Use the Interval Bank below to place the twelve most common intervals in the proper order on the chart. Each part of the chart is labeled with the number of half steps in that interval.

INTERVAL BANK

Tritone (TT) Major sixth (M6) Half step (V)

Minor seventh (m7) Major seventh (M7) Perfect fifth (P5)

Perfect fourth (P4) Whole step (M2) Minor third (m3)

Major third (M3) Minor sixth (m6) Octave (P8)


1.12 FALSE (32-36) Absolutely not. Each of the statements below is false. Your job is to determine which piece of information is wrong and then correct it on the lines provided. An example is done for you.

Example: My recipe for rice and beans is pretty much the best ever. worst

1. Articulation describes how music is organized on a larger time scale.

______________________________________________________________________________

2. The first four notes of “Happy Birthday” could be considered a phrase.

______________________________________________________________________________

3. A half cadence, also called an authentic cadence, uses the progression V-I.

______________________________________________________________________________

4. The twelve-bar blues can be summarized as four lines of three measures, each ending at the tonic.

______________________________________________________________________________

5. First movements more often use sonata form, while last movements are usually in ternary form.

______________________________________________________________________________

6. In the early days of popular music, the 32-bar form was the most common formal architecture.

______________________________________________________________________________

7. A composer usually develops a fugue subject by using a countersubject.

______________________________________________________________________________

8. In a sonata, the development section ends with a recapitulation on the dominant chord of the original key.

______________________________________________________________________________

9. Three-movement sonata cycles usually follow a slow-fast-slow pattern of tempos.

______________________________________________________________________________

10. An entire sub-field of musical studies called “musicking” exists to address the question of how music really sounded in history.

______________________________________________________________________________


c. 800-1400

c. 1400-1600 c. 1750-1800

c. 1600-1750

c. 1900 onward

c. 1800-1900

II. Classical Music and Modernism

This DemiDrills section covers pages 38-70 in the official curriculum guide. It provides a basic overview of musical history and includes five listening examples spanning the

twentieth century.

2.01 TIMELINE (38-39) Which came first, the alpaca or the egg? Each time period on the timeline below corresponds to a musical era listed in the Event Bank. Match each era with its approximate years.

EVENT BANK

Modern Era Renaissance Era Classical Era

Baroque Era Romantic Era Middle Ages

Shashwath Murthy

Middle Ages

Shashwath Murthy

Renaissance

Shashwath Murthy

Baroque

Shashwath Murthy

Classical

Shashwath Murthy

Romantic

Shashwath Murthy

Modern

Shashwath Murthy


2.02 ANSWER ME THIS (38-43) Time to play “10 Questions.” Test your knowledge of music history by answering the following questions.

Example What superhero can leap tall buildings in a single bound?

A: Superman

1. Who took the lead in developing the first known system of musical notation?

A:

2. What composer’s death traditionally marks the end of the Baroque period?

A:

3. Into what musical sub-era are composers like Gustav Mahler and Sergei Rachmaninoff often categorized?

A:

4. What present-day school opened its doors as the Institute of Musical Art in 1905?

A:

5. What innovation changed the face of music at the beginning of the 20th century?

A:

6. From where was the first public radio broadcast transmitted?

A:

7. What law required all U.S. radio stations to be licensed by the federal government?

A:

8. What was the first poem to be recorded on a phonograph?

A:

9. In 1913, what composition did the Berlin Philharmonic record?

A:

10. In what feature film did spoken dialogue first appear?

A:

Shashwath Murthy

Catholic Church

Shashwath Murthy

Shashwath Murthy

Johann Sebastian Bach

Shashwath Murthy

post-Romanticism

Shashwath Murthy

Juilliard School of Music

Shashwath Murthy

Shashwath Murthy

Wireless transmition of sound

Shashwath Murthy

Metropolitan Opera, NYC

Shashwath Murthy

Radio Act of 1912

Shashwath Murthy

Shashwath Murthy

Mary Had a Little Lamb

Shashwath Murthy

Bethovens


2.03 NAME THAT GENIUS (39-44) Is his name Sheldon?2 Music wouldn’t be the same without the efforts of some smart cookies. Match each person below to his accomplishment.

1. Leopold Stokowski a. invented the kinetoscope and the kinetophone

2. Guglielmo Marconi b.recorded more than 2,000 Native American songs

3. Lee DeForest c.wrote Three Pieces in the Form of a Pear in response to Claude Debussy’s criticism

4. Thomas Edison d. former conductor of the Philadelphia Orchestra

5. Enrico Caruso e. art critic who coined the term “Impressionist”

6. Frances Densmore f. composed The Tides of Manaunaun in 1912

7. Zoltán Kodály g. publically condemned experimental art

8. Erik Satie h. presented the first “public” radio broadcasts

9. Henry Cowell i. ethnomusicologist and composer

10. Louis Leroy j. one of the first people to experiment with wireless technology

11. Jules-Antoine Castagnary k. singer who began making recordings in 1904

12. Charles Baudelaire l. Symbolist poet

2 Sheldon may be a genius, but he’s not a prodigy: the actor playing him is over 40.


2.04 DEFINITIONS (39-44) Deminitions. Music has a lot of weird words that you need to learn in order to understand the material. Some words related to musical theory are listed below. Define each term as thoroughly as possible.


1. canon

2. tone color

3. gramophone

4. graphophone

5. ethnomusicology

6. kinetoscope

7. avant-garde

8. tone cluster

9. whole-tone scale

10. Impressionism


2.05 LABEL ME (43-53) Stereotypes abound here. Despite some of their best efforts, most early 20th century musicians were classified in some way. Label each of the following musicians by checking the box in the appropriate column; the first has been done for you.

Impressionist Expressionist Primitivist Musician

! Ex: Edvard Munch

1. Charles Griffes

2. Béla Bartók

3. Alban Berg

4. Claude Debussy

5. Igor Stravinsky

6. Ottorino Respighi

7. Maurice Ravel

8. Anton Webern

9. Arnold Schoenberg

10. Frederick Delius


2.06 FILL IN THE BLANK (44-48) Sentences with cavities. Below is a word bank and a series of statements about music. Fill in each blank with the appropriate word from the word bank. All words will be used once.

WORD BANK

Expressionism dissonance pentatonic “The White Peacock”

glissando Impressionism cadences song cycle

uneasiness twelve-tone serialism Second Viennese School Symbolism

Fountains of Rome phrases commedia dell’arte consonance

1. Historians see parallels between musical and an early movement in French

poetry called .

2. Impressionism is evident both in Ottorino Respighi’s and Charles

Griffes’ .

3. In the middle of “Voiles,” Claude Debussy switches to a scale, gliding upward in a

.

4. A common feature of is that it reflects on the part of the

musician or artist.

5. Musical Expressionism often avoids clear and balanced .

6. In nearly all Expressionist music, dominates over .

7. In the 1920s, Arnold Schoenberg unveiled , which was eventually

employed by the .

8. Arnold Schoenberg’s Pierrot lunaire employs a traditional character to create

a .


2.07 FALSE (49-54) Don’t bury the false witness. Each of the statements below is false. Your job is to determine which piece of information is wrong and then correct it on the lines provided. An example is done for you.

Example: Most American Idol winners are from California. the South

1. The term “Riesenfalter” describes a variation form in which new melodies appear over a repeating bass line.

______________________________________________________________________________

2. The ostinato tells the performers to sustain a particular note longer than its written value.

______________________________________________________________________________

3. Word-painting is a subset of the broader concept of Sprechstimme, in which a composer might make very general associations between poetry and the musical setting.

______________________________________________________________________________

4. Musical Primitivism focused on creating polished and elegant effects.

______________________________________________________________________________

5. Béla Bartók’s The Rite of Spring is an excellent example of the Primitivist approach.

______________________________________________________________________________

6. A prima donna is the chief money-manager and decision-maker for artistic organizations.

______________________________________________________________________________

7. Sergei Diaghilev’s performance in Igor Stravinsky’s Petrushka is regarded as legendary.

______________________________________________________________________________

8. The first notes of The Rite of Spring are played by a solo flute in a surprisingly high register.

______________________________________________________________________________


2.08 LISTENING GUIDE (57) Listen up! Fill in the blanks to complete the Listening Guide chart for Igor Stravinsky’s The Rite of Spring, “Introduction.”

Formal Segment

Timeline Musical Features

Intro – A

:00 Monophonic 1_______________ melody

:10 Horn joins in to create 2___________________

Intro – B

:20 Various clarinets enter to create 3__________________

:46 English horn is featured over 4_______________ notes

:55 Bassoon and layered 5_________________ re-enter

1:01 6_______________________ featured again

1:14 More and more instruments enter

1:38 Quieter 7____________________ patterns take over

1:52 More and more instruments enter

2:18 Briefly quieter for oboe, then high clarinet, but build-up of 8____________________ begins again

Intro – A

2:53 9__________________ bassoon melody returns

3:03 Clarinet adds accompanying trill; both instruments sustain a 10_________________

Transition

3:06 Violins introduce a few interrupted repetitions of 11______________

3:21 Violins resume 12_________________________


Omens of Spring

3:27 Pounding of “new” 13________________ with 14_________________ accents

3:36 15_____________________ plays Ostinato 1, 16___________________ plays Ostinato 2, 17______________________ play Ostinato 3

3:40 Pounded 18___________________ and 19___________________ accents resume; more instruments added

3:51 Layered 20___________________ return, with more instruments added

4:04 Pounded 21___________________ and 22__________________ accents resume

4:13 Bassoons introduce 23_______________ tune in 24_________________ with pounded 25____________________

4:41 Loud 26__________________

4:48 Layered 27__________________ return (fade out of recording excerpt)


2.09 NAME GAME (58-60) I get by with a little help from my friends. And so did all the composers of the early 20th century. Each of the following musicians was involved in the Nationalist movement; write one or two significant points about each one’s connection to Nationalism.

Ex: Arnold Schoenberg Noted for his role in promoting Expressionist music; one of the three musicians in the Second Viennese School; composed Pierrot lunaire; future California governor was named after him

1. César Franck

2. Ralph Vaughan Williams

3. Gustav Holst

4. Jean Sibelius

5. Manuel de Falla

6. Enrique Granados

7. Charles Ives

8. Igor Stravinsky


2.10 MATCHING (58-68) Matchbox 2.10. Match the letter of the word on the left with its description on the right. Use each letter only once.

a. “Ars gallica”

b. Les Six

c. field recording

d. “colinde”

e. modal

f. Ionian

g. Aeolian

h. drone

i. tonal music

j. atonality

k. bagatelle

l. aggregate

m. pizzicato

n. mute

o. pointillism

p. “Klangfarbenmelodie”

_____ 1. former term for minor scales

_____ 2. the use of various scales that predate the common-practice system

_____ 3. closely parallels the Cubist visual arts style

_____ 4. something of little value or importance

_____ 5. to request a tone color in which a string is plucked instead of bowed

_____ 6. a group of musicians who rejected Germanic tradition

_____ 7. a small device that limits a string’s ability to vibrate

_____ 8. Romanian Christmas carol

_____ 9. a very light texture that separates notes

_____ 10. music with a resting tone

_____ 11. former term for major scales

_____ 12. a motto intended to promote French music

_____ 13. describes a piece in which the timbre of each sound matters more than the rise and fall of a conventional tune

_____ 14. a popular way of documenting folk music

_____ 15. the complete set of notes used in Western music

_____ 16. a form of accompaniment heard at the beginning of Béla Bartók’s Romanian Christmas Carols


2.11 UNLIKELY PARTNERS (58-59) Now legalized in more states. In the table below, each group of unlikely friends has something significant in common. Write the group’s common trait in the empty box next to each.

Example: Doom, Evil, Octopus They’re all doctors…sort of.

Société Nationale de Musique, Purcell Society, Plainsong and

Mediaeval Music Society

Claude Debussy, Maurice Ravel, Isaac Albéniz

Igor Stravinsky, Alban Berg, Arnold Schoenberg

atonality, Second Viennese School, twelve-tone serialism

Expressionism, Primitivism, Cubism

William Byrd, Orlando Gibbons, Thomas Weelkes

Ralph Waldo Emerson, Nathaniel Hawthorne, Henry David Thoreau


2.12 LET’S MAKE A LIST (61-65)

Lists, lists, and more lists. Make a list of attributes for each of the items below. An example has been provided for you to help you along.

Ex: Animals Dorothy feared 1. Lions 2. Tigers 3. Bears (oh, my…)

1. The five levels of folk-music adaptation that can be found in Béla Bartók’s music

a.

b.

c.

d.

e.

2. Five compositions that glorified Spain in the early 20th century

a.

b.

c.

d.

e.

3. Four Traditional musical elements present in Béla Bartók’s Romanian Christmas Carols

a.

b.

c.

d.

4. Three characteristics of Arnold Schoenberg’s “emancipation of the dissonance”

a.

b.

c.


2.13 LISTENING GUIDE (63-65) Listen up! Fill in the blanks to complete the Listening Guide chart for Béla Bartók’s Romanian Christmas Carols. The first one has been done for you as an example.

Song Number & Tempo Meter(s) Mode of Original Colind

No. 1 Allegro Duple with some triple E Dorian

No. 2 Allegro

No. 3 Allegro

No. 4 Andante

No. 5 Allegro moderato

No. 6 Andante

No. 7 Andante

No. 8 Allegratto

No. 9 Allegro

No. 10 Più allegro


III. Early 20th Century ‘‘Popular’’ Music

This section covers pages 71-108 in the official curriculum guide. It examines the origins of early twentieth-century

popular music forms. If satellite radio had existed back then, these songs would have played on station 1.

3.01 FILL IN THE BLANK (71-74) Mad libs for AD. Below is a word bank and a series of statements about music. Fill in each blank with the appropriate word. All words will be used once.

1. Folk performance is sometimes called music.

2. The term is often applied to folk music because it is customarily performed

for purposes beyond sheer entertainment.

3. As immigrants moved from place to place, their traditional styles of music

with other styles.

4. The terms and refer to the most celebrated performers in an opera.

5. Italian operas influenced the development of the German and the French .

6. In 1887, an international copyright law was passed at the to prevent pirated

stage productions.

7. The earliest “home-grown” musical stage productions in the United States were ,

the first of which did not debut until 1794.

8. The American entertainers who mimicked English actor Charles Matthews’ “black-face” stage

productions originally called themselves .

9. _____________________ in America resembled the much older commedia dell’arte traditions that

made use of stock figures like Pierrot.


3.02 TRIPLE MATCH (74-80) Will you light my three fires? Match each musician below to the appropriate musical style and then to the appropriate performance. The first has been done as an example to help you along.

Musician Style Performance

1. Ralph Chaplin

2. James Reese Europe

3. Drane and Alexander

4. Thomas Dartmouth Rice

5. Catharina van Rennes

6. Helen May Butler

7. W.C. Handy

8. John Philip Sousa

9. Dame Ethel Smyth

10. Stephen Foster

11. Kenneth J. Alford

12. Francis Scott Key

A. MINSTREL SHOWS

B. VAUDEVILLE

C. BAND MUSIC

D. POLITICAL MUSIC

a. “Jim Crow”

b. 369th U.S. Infantry Regiment Band

c. “Colonel Bogey”

d. Songs of Sunrise

e. “Solidarity Forever”

f. “Mutt and Jeff”

g. Opening of the International Women Suffrage Alliance Fourth International Congress

h. “The Stars and Stripes Forever”

i. “My Old Kentucky Home”

j. “The Star-Spangled Banner”

k. “St. Louis Blues”

l. Ladies Brass Band


3.03 DEFINITIONS (74-85) Word-ology. Music has a lot of weird words that you need to learn in order to understand the material. Some words related to musical theory are listed below. Define each term as thoroughly as possible.


1. turn

2. circuit

3. cue sheet

4. dialect comedian

5. march

6. multi-thematic form

7. rags

8. waltz

9. swing

10. stride piano


3.04 POP QUIZ (74-80) The wonderful Qwizard of Jazz. Answer the following questions to prove you’ve got musical chops.

Example What force does Pikachu wield with its cheeks? A: Electricity

1. What two styles did the variety (or vaudeville) show combine in America?

A:

2. Who broke the theatrical color barrier in 1883 by employing African Americans to perform in a theater previously reserved for whites only?

A:

3. By the late nineteenth century, what did people mean when they used the term “band”?

A:

4. Besides James Reese Europe, name three other men who led African-American ensembles in the early 20th century.

A:

5. Who became known as “The March King”? A:

6. What meter and tempo were typical to early 20th-century American marches?

A:

7. What two early pieces for concert band were composed by Gustav Holst?

A:

8. What two hymnals introduced the term “gospel” in print?

A:

9. In 1910, what company founded a professional quartet to help market their gospel songbooks?

A:

10. What two gospel songs proved to be especially popular among American military troops in the early 20th century?

A:

11. What English drinking song provided the tune for “The Star-Spangled Banner”?

A:

12. What group endorsed a piece called A New National Anthem in an effort to get the United States to change its anthem?

A:


3.05 CLASSIFY THIS (81-87) Who said stereotyping is wrong? Not in this guide, it isn’t! List three people, songs, or events for each of the classifications given to you on the left.

Example: The best doctors Eleventh, Tenth, and Ninth3

Organizations that used political music to advance their causes

a.

b.

c.

Types of music that influenced the creation of ragtime

a.

b.

c.

Core members of the “classic” school of ragtime composers

a.

b.

c.

Emerging dance styles influenced by ragtime

a.

b.

c.

European compositions influenced by American ragtime

a.

b.

c.

Traditional elements of African music

a.

b.

c.

3 Clearly a new fan.


3.06 EITHER OR (87-93) Donkey Kong or Yoshi? Each of these statements about music history needs to be finished. Circle the term that best completes the sentence. An example is provided.

Example Lobsters and crabs are the (CHICKENS, SPIDERS) of the sea.4

1. (SPIRITUALS, BLUE NOTES) were heartfelt expressions of grief that sometimes had a hopeful, optimistic spirit and could be sung energetically by people in “shouts.”

2. Work songs tended to be sung by (GROUPS, INDIVIDUALS), whereas field hollers tended to be sung by (GROUPS, INDIVIDUALS).

3. Many of the first blues singers seem to have lived in the (CHICAGO, MISSISSIPPI) region.

4. The (32-bar, twelve-bar) blues allowed illiterate performers to play together without needing sheet music to guide them.

5. In “Poppa’s Blues,” Andrew Lloyd Webber spoofs the (A-B-A, A-A-B) pattern of blues music.

6. The (THIRD, SECOND) and (SIXTH, SEVENTH) steps are inflected in the “blues scale” so that they are no longer in tune with major or minor scales.

7. The (COUNTRY, CLASSIC) blues are most commonly recognized as the earliest style of blues; they are also sometimes known as the (VAUDEVILLE, DELTA) blues.

8. The earliest blues singer to be preserved on disk was (BLIND LEMON JEFFERSON, CHARLIE JACKSON).

9. (ROBERT JOHNSON, HUDDIE LEDBETTER) gained a large following because of the myth that he had sold his soul to the devil to become a better musician.

10. Many (CLASSIC, COUNTRY) blues vocalists were women who were supported by (BANDS, COMBOS).

11. (GERTRUDE RAINEY, BESSIE SMITH) earned the nickname “Mother of the Blues.”

12. One of the first blues to appear in print was (“ST. LOUIS BLUES,” “DALLAS BLUES”), which was released by (WAND & GARRETT, W.C. HANDY).

13. (CHICAGO, NEW ORLEANS) is widely considered to be the “cradle of jazz.”

14. The most popular music in “Storyville” was (STRIDE PIANO, RAGTIME).

4 Lobsters used to be prisoner food.


3.07 LISTENING GUIDE (91-92) Most guides won’t stop talking. Fill in the blanks to complete the chart for W.C. Handy’s “St. Louis Blues.”

Formal Segment Structure Timeline Text and Musical Features

Intro – A 1________ :00 “Church-like” chord in 2_____________

A

3________

:05 I hate to see the evening sun go down [4________ mode]

:14 [cornet response]

:20 I hate to see the evening sun go down


:34 It makes me think of how my life go round.


A

5________

:50 Feeling tomorrow like I feel today


1:05 Feeling tomorrow like I feel today

1:13 [cornet response]

1:19 I’ll pack my grip and make my getaway.


B

6________

1:34St. Louis woman, with her diamond ring [7________ mode, faster 8__________]


1:47 Pulls that man around by her apron string


2:03 ‘Twasn’t for powder and the store-bought hair,


2:16 The man I love wouldn’t go nowhere, nowhere.

C

9________

2:28I got them St. Louis blues, just as blue as I can be, [10__________ mode]


2:44 He’s got a heart like a rock cast in the sea,


2:57 Or else he would not go so far from me.Coda 11_______ 3:08 [cornet and 12__________ sustain brief 13____________]


3.08 ALL THAT JAZZ (92-94) Alpaca jazz is called pwaazz. Use the box below to help you fill in the Venn diagram describing similarities and differences across the three main types of jazz.

Faster tempo & swing rhythms Longer and more solo breaks Collective improvisation created heterophony

Reflected more musical literacy Musicians were largely self-taught African Americans

Few and brief solo breaks

Less collective improvisation Resembled Latin American and African traditions

Involved more pre-planning

Dominated by well-trained white musicians

Lacked rawness of more traditional jazz

Increased sophistication and instrumental expertise

New Orleans

ChicagoDixieland


3.09 TRUE OR FALSE (92-97) True or false: DemiDec Dan scored 9297. Some of the statements below are true. Others are false. If it’s false, make it true and explain why the statement was wrong. An example has been provided.


never, ever, ever

T F 1. The earliest hub of jazz activity was centered in the city of Chicago, where brothels in the “red-light district” used it to compete for customers.

T F 2. More early jazz pianists played ragtime because of its fast tempo and improvisation.

T F 3. Two main types of performers were employed in brothels: solo piano and combo.

T F 4. King Oliver’s Creole Jazz Band made the first known jazz recording, “Livery Stable Blues.”

T F 5. The U.S. Secretary of War demanded the closure of Storyville in 1917 because it was close to an army training camp.

T F 6. Lillian Hardin became known as the “Jazz Wonder Child” for her lively jazz improvisations.

T F 7. The four choruses in “Dippermouth Blues” is more reminiscent of Chicago jazz than New Orleans jazz.

T F 8. Darius Milhaud incorporated the swing rhythms of jazz into a chamber piece called Naughty Marietta.

T F 9. George Gershwin’s Rhapsody in Blue did much to legitimize jazz among listeners who had previously scorned it.

T F 10. Victor Herbert wrote the score for The Wizard of Oz to ensure that the music was of a very high caliber.


3.10 FILL IN THE BLANK (97-100) Break open the piggy blanks. Below is a series of statements about music. Fill in each blank with the appropriate word

1. In 1907, Americans went wild over a Viennese , The Merry Widow, resulting in a

rush of that has continued to this day.

2. and were

children’s operettas created in America and exported to Europe.

3. The hit song by Victor Herbert, , was introduced in a play

called Naughty Marietta.

4. In England, experimented with musical comedy in the late nineteenth

century, while American succeeded with this genre shortly thereafter.

5. “Yankee Doodle Dandy,” the opening song of , demonstrates

, a boisterous form of patriotism.

6. In Dahomey proved to be a hit both on and in the .

7. Will Marion Cook teamed up with poet to showcase the talents of two

minstrel show and vaudeville stars, and .

8. Because she did not have enough spotlight time in In Dahomey, was given

a new .

9. “I Wants to Be (A Actor Lady),” composed by and

, was called an because it was added after the

show had begun its run.

10. In addition to operettas and musical comedies, became popular in America after

they originated in .


3.11 LISTENING QUIZ (99-100) Listen with your heart—and a USAD guide. Test your familiarity with Listening Example 9, “I Wants to Be (A Actor Lady)” from In Dahomey by answering a few questions.

1. What is the name of Aida Overton Walker’s character in In Dahomey?

2. How did George M. Cohan make In Dahomey more relevant for audiences in both the United States

and England?

3. What musical technique follows the instrumental introduction of “I Wants to Be (A Actor Lady)”?

4. What is the name of the musical technique in which narrative verses alternate with a refrain?

5. What style did Harry von Tilzer use to make the song’s chorus sound fresh and “modern” (by 1902

standards)?

6. In the first verse of the selection, to what does the phrase “the Maiden’s Prayer” refer?

7. What purpose do the fermatas in the second verse of the selection serve?

8. What tempo and melody are used in the chorus of “I Wants to Be (A Actor Lady)”?

9. What rhythm is employed twice in a row in the line “star in a play, up on Broadway”?

10. How does the final line of “I Wants to Be (A Actor Lady)” end?


3.12 MATCHING (100-108) Left, right, left-right-left. Match the letter of the term on the left with the appropriate fact on the right. Use each letter only once.

a. musical revue

b. “skit-based” entertainment

c. The Passing Show of 1917

d. Florenz Ziegfeld

e. Reinald Werrenrath

f. Monroe Rosenfelt

g. “Tin Pan Alley”

h. song-plugger

i. barbershop

j. Raymond Hubbell

k. “magic-lantern” show

l. “Tempo di Valse”

m. sequence

n. Max Skladanowsky

o. the Lumière brothers

p. “Music! Music! Music!”

q. Georges Méliès

r. Camille Saint-Saëns

_____ 1. wrote “Lafayette (We Hear You Calling)”

_____ 2. a type of music in which four voices support a melody in tight harmony with no instrumentals

_____ 3. helped form the American Society of Composers, Authors, and Publishers (ASCAP) in 1914

_____ 4. stage show that popularized the song “Goodbye Broadway, Hello France”

_____ 5. brief show that filled the gap between reels in a movie house

_____ 6. ideal method of playing “Take Me Out to the Ballgame”

_____ 7. stage show containing independent scenes without a continuous plot

_____ 8. a piano player hired by a music publisher to market songs to customers

_____ 9. first to show films to a paying public

_____ 10. created the lasting American image of “show girls”

_____ 11. the kind of music that music businesses published in the early 1900s

_____ 12. repetition of a melody one step higher

_____ 13. stage show in which different entertainers appear in each scene

_____ 14. helped coin the term “Tin Pan Alley”

_____ 15. introduced the concept of a nickelodeon

_____ 16. wrote the first original orchestral film score

_____ 17. first to employ a pianist in a movie theater

_____ 18. included a score with his film Kingdom of the Fairies


3.13 BACK TO THE FUTURE (106-107) 88 events per hour. Use the Event Bank below to place the early twentieth-century events in the proper order on the timeline.

EVENT BANK

First film score is produced “Sound-on-film” approach is adopted

First original score is produced for an American film First public film showings occur

First anthology of music cues is published First original orchestral film score is produced

1895:

1903

1905

1908

1916

1928


IV. Musical Responses to ‘‘The Great War’’

This DemiDrills section covers the final section (pages 109 on) of the official curriculum guide. It discusses the

important social and political roles of music during the First World War.

4.01 TO SERVE OR NOT TO SERVE (109-111) That is the question. Many musicians jumped on the soldier bandwagon in the early 20th century… but not all of them. Check whether each of the following musicians went to war and then briefly summarize his role during the war.

Musician Nationality Yes No Role in the war

Example: Lili Boulanger French X Founded the Franco-American Committee of the National Conservatory

1. Maurice Ravel

2. Anton Webern

3. Béla Bartók

4. George Butterworth

5. Ralph Vaughan Williams

6. Gustav Holst

7. Alban Berg

8. Arnold Schoenberg

9. Irving Berlin


4.02 FILL IN THE BLANK (109-112) A blank canvas is art, but this, not so much. Below is a word bank and a series of statements about science and evolution. Fill in each blank with the appropriate word or words. All words will be used once.

WORD BANK

Ferruccio Busoni Yip, Yip Yaphank allegiance peace plan

Cameron Vincent d’Indy Expressionist Claude Debussy

New York Tin Pan Alley Scholz Alban Berg

Maurice Ravel neutral Gurrelieder Barret

international Hindenburg England xenophobia

1. Reflecting on a nineteenth-century opera, completed an

opera, Wozzeck, after the war ended.

2. Although he never published his , Arnold Schoenberg discussed it with

fellow composer .

3. Irving Berlin, one of the foremost composers, wrote

in response to a request by the U.S. Army.

4. After the outbreak of World War I, there was some awareness that music might be

and that artistry might transcend .

5. In 1917, Arnold Schoenberg was unable to perform his in

because the war prevented travel.

6. , , and made an

influential gesture in 1916 when they refused to stop performing German music.

7. To prevent the problems that could arise from their ethnic names Basil

became Basil and Gus became Gus .

8. The problem of was not as big of a problem in as

in other places because it typically played host to many players.


4.03 EITHER OR (111-115) Peanut butter or jelly. Each of these statements about music history needs to be finished. Circle the term that best completes the sentence. An example is provided.

Example Toilet paper should be (FOLDED, CRUMPLED).

1. After World War I broke out, the (BERLIN PHILHARMONIC, CHICAGO SYMPHONY) decided that works from enemy nations could not be performed.

2. In (AUSTRIA, RUSSIA), no opera house performed works by (WAGNER, SCHOENBERG) for the duration of the war.

3. The (PITTSBURGH SYMPHONY, METROPOLITAN OPERA) banned all German music from its programs, although the (BOSTON SYMPHONY ORCHESTRA, CHICAGO SYMPHONY) made no such ruling.

4. Because he had spent time in the Austrian army, (KARL MUCK, FRITZ KREISLER) was banned from playing in (THE UNITED STATES, ENGLAND), where he went after being discharged.

5. In a speech meant to mobilize Americans against the enemy, President Woodrow Wilson referred to (PARTIAL, HYPHEN) citizens who (ACKNOWLEDGED, REJECTED) their ancestry.

6. In 1917, society ladies in (BOSTON, BALTIMORE) insisted that the orchestra should play (“AMERICA THE BEAUTIFUL,” “THE STAR-SPANGLED BANNER”).

7. After playing at Carnegie Hall, Karl Muck was arrested and incarcerated in (NEW YORK, MASSACHUSETTS).

8. To protest restrictions on performances of foreign works, (CLAUDE DEBUSSY, VINCENT D’INDY) performed (STRING QUARTET, SOLEMN MASS) at the Schola Cantorum.

9. During a performance of (STRING QUARTET, BERCEUSE HÉROIQUE), German musician (ALBAN BERG, PAUL HINDEMITH) learned of Debussy’s death.

10. In December 1914, a “Christmas truce” took place between (ITALIAN, GERMAN) and (BRITISH, AMERICAN) soldiers.

11. After Belgium’s King Albert upheld an 1839 treaty, (RUSSIA, GERMANY) invaded and (ENGLAND, THE UNITED STATES) entered the war to defend its ally.

12. Writer (EDWARD ELGAR, HALL CAINE) began gathering essays for a charity book called (KING ALBERT’S BOOK, THE BOOK OF THE HOMELESS).

13. One significant piece in the book, (IN WHITE AND BLACK, CARILLON), alluded to the tower bells that dominated Belgium’s medieval (CHURCHES, CASTLES).

14. (EDITH WHARTON, IGOR STRAVINSKY) also developed a charity project to support the (BELGIAN FUND, CHILDREN OF FLANDERS RESCUE COMMITTEE).


4.04 TRUE OR FALSE (115-117) Cross my heart and hope to score 10,000. Some of the statements below are true. Others are false. If it’s false, make it true and explain why the statement was wrong. An example has been provided.


never, ever, ever

T F 1. Among the 52 contributions to the charity book Le livre des sans-foyer was Igor Stravinsky’s Recollection of a Kraut March.

T F 2. En blanc et noir was Claude Debussy’s final composition before his death from cancer.

T F 3. Edward Elgar produced The Spirit of England in 1917 because he was too old to join the military effort himself.

T F 4. In the score for Le Tombeau de Couperin, Maurice Ravel included a finale called “Aeroplanes.”

T F 5. Igor Stravinsky’s Three Songs for Unaccompanied Mixed Chorus contains a reference to the soldier as a victim of world conflict.

T F 6. Because he had lost his right arm in battle, Paul Wittgenstein began commissioning pieces written only for the left hand.

T F 7. Sergei Prokofiev dedicated his Concerto No. 4 to Richard Strauss.

T F 8. The editorial “New Songs of War” appeared in a 1918 Saturday Evening Post.

T F 9. One example of sentimental wartime music was the revival hymn “When the Roll is Called Up Yonder.”

T F 10. Sam M. Lewis and Joe Young wrote the lyrics for “Hello, Central, Give Me No Man’s Land.”


4.05 POP QUIZ NOSTALGIA (117-123) Feel like you’ve done this before? That’s because you have…and now it’s time to do it again. Answer the following questions about sentimental war songs.

Example What animal took second to the alpaca in our mascot election?

A: emu

1. What song was written as a tribute to the Red Cross nurses who risked their lives on the battlefield?

A:

2. What two men wrote “There’s a Long, Long Trail” for a Yale University reunion?

A:

3. What poet wrote the words to Ivor Novello’s “Keep the Home Fires Burning”?

A:

4. How did “It’s a Long, Long Way to Tipperary” become famous?

A:

5. What nickname was given to “It’s a Long, Long Way to Tipperary”?

A:

6. What French song of worship was sung to the popular tune “C’est si joli la femme”?

A:

7. Who collected the music he encountered while serving with the American Expeditionary Force?

A:

8. To whom was the song “The Bravest Heart of All” a tribute?

A:

9. What was the most famous poem to come out of World War I?

A:

10. What humorous tune could often be heard being sung by French soldiers?

A:

11. What macabre song was written during World War I and can still be heard at Halloween?

A:

12. What type of music urged America to sustain its isolation from the war?

A:

13. Who wrote the music for “Don’t Take My Darling Boy Away”?

A:

14. What surprising song did Irving Berlin write to protest the war?

A:


4.06 LISTENING GUIDE (118-119) Listen up! Fill in the blanks to complete the Listening Guide chart for Jack Judge’s “It’s a Long, Long Way to Tipperary.”

Structure Timeline Musical Features

Intro :00 [1_________________ effect]

a

(2___________) :09 3____________ featuring John McCormack; ends with 4________________

B

(5___________)

:28

1:03 Back-up singers join in, using 6_____________-style 7________________

8____________ 1:36 [McCormack recording inserts Rule, Britannia

quotation]

a

(9___________) 1:44 Ends with 10________________

B

(11___________)

2:03

2:38 Back-up singers join in, using 12_____________-style 13________________

14____________ 1:36 [McCormack recording omits 15______________

and 16_________________]


4.07 THE FACTS OF MUSIC (123-124) It takes a pillage. Each of the following facts has something to do with the Listening Guide 12 selection, “I Didn’t Raise My Boy to Be a Soldier.” Match the appropriate letter to each number.

1. Wrote the lyrics a. “marziale”

2. Composed the music b. “The Moreen”

3. The song’s march-like tempo c. Alexander Fichandler

4. The song’s original publisher d. “A Mother’s Plea for Peace”

5. School principal who got in trouble for promoting the song among his students

e. chromaticism

6. The song’s original distributor f. barbershop

7. An Irish song with a similar melody g. Alfred Bryan

8. Primary musical form h. animated

9. Technique that adds poignancy to mother’s pleas

i. ragtime

10. Performance style j. Leo Feist

11. Part of the subtitle k. coda

12. Harmony frequently found in the song l. Victor Talking Machine Company

13. One popular interpretation m. Al Piantadosi

14. Location where introduction is repeated n. verse-chorus


4.08 FALSE (125-131) Cerebral falsie. Each of the statements below is false. Your job is to determine which piece of information is wrong and then correct it on the lines provided. An example is done for you.

Example: Any restaurant claiming to be world-famous must be excellent. a tourist trap

1. Paul A. Rubens wrote “What Kind of American Are You” to help recruit soldiers.

______________________________________________________________________________

2. Irving Berlin’s “Let’s All Be Americans Now” was “The Official Recruiting Song” in 1917.

______________________________________________________________________________

3. In France, it became common practice for women to open and close stage shows by singing “Chant du départ.”

______________________________________________________________________________

4. “God Save the King” and “The Star-Spangled Banner” were not suitable as marching tunes because they were both written in duple meter.

______________________________________________________________________________

5. Vincent Bryan and Harry von Tilzer wrote “Keep Cool! The Country’s Saving Fuel” and “I’ll Do Without Meat and I’ll Do Without Wheat But I Can’t Do Without Love.”

______________________________________________________________________________

6. John Philip Sousa arranged the old song “Solid Men to the Front” to serve as the U.S. Field Artillery March.

______________________________________________________________________________

7. In Italy, “estradas” were eventually presented in hospitals and near the battlefront.

______________________________________________________________________________

8. British entertainers began organizing concerts for the war in Paris in 1915.

______________________________________________________________________________

9. Glenn Watkins wrote “Over There” as the ultimate patriotic tune after America entered World War I.

______________________________________________________________________________

10. Nora Bayes’ recording of “Over There” includes drums that mimic machine-gun fire.

______________________________________________________________________________


4.09 FILL IN THE BLANK (132-137) Making blank. Below is a series of statements about music. Fill in each blank with the appropriate word.

1. Most popular music publications during World War I reflected the traditions of ,

, and .

2. Despite the valiant service of the 10th Calvary – one of the regiments –

during the War, Americans were ambivalent about deploying non-white soldiers.

3. Lieutenant , the bandleader for the all-black 369th United States Infantry

, expressed his admiration for the French.

4. In 1918, and wrote a tribute to soldiers of color

called .

5. James Reese Europe helped found the in New York, a for

black musicians.

6. The and helped James Reese

Europe “organize and develop the finest band in the U.S. Army.”

7. “On Patrol in No Man’s Land” looks like a conventional song, with in

introduction, , verse, and a repeated .

8. At the beginning of “On Patrol in No Man’s Land,” drums mimic , despite a

bright in the background.

9. In “On Patrol in No Man’s Land,” the phrase “ “ was a reference to a

popular 1915 .

10. James Reese Europe was killed by , one of his drummers, after the .


ANSWER KEY SECTION I (BASIC ELEMENTS OF MUSIC THEORY) 1.01 MATCHING 1. J 2. I 3. L 4. D 5. K 6. N 7. A

8. M 9. F 10. E 11. B 12. C 13. H 14. G

1.02 CLASSES 1. chordophone 2. aerophone 3. varies (usually chordophone) 4. membranophone 5. idiophone 6. idiophone

7. aerophone 8. idiophone 9. idiophone 10. aerophone 11. chordophone 12. varies

1.03 JUST LABEL IT!

1.04 FILL IN THE BLANK 1. sound, time 2. ritual, culture 3. wave, tone 4. chordophones, vibrations

5. frequency, amplitude 6. intervals, scale 7. aerophones, air 8. distance, octave

1.05 DEFINITIONS 1. the fifth scale above the tonic; leads to the tonic 2. the seventh scale degree; leads to the first scale degree 3. the high, middle, and low parts of an instrument’s range 4. the way music is organized in time 5. the speed of a beat 6. a pattern of emphasis superimposed on groups of beats 7. the simultaneous operation of two or more meters 8. the accent or emphasis of notes that fall on weak beats or in between beats in a rhythm 9. a regular underlying pulse that is not always audible but is always felt or imagined


10. a three-note chord consisting of two intervals of a third 11. the simultaneous presence of two conflicting rhythmic pattern 12. musical notation consisting of two numbers that indicate meter

1.06 EITHER OR 1. relative 2. melody 3. disjunct 4. tessitura

5. subito 6. presto 7. anacrusis 8. rubato

9. simple 10. mixed 11. asymmetrical 12. polyrhythms

13. tonality 14. major 15. first 16. decorative

1.07 TRANSLATION STATION 1. K 2. L 3. F

4. E 5. G 6. I

7. A 8. C 9. D

10. B 11. H 12. J

1.08 TRUE OR FALSE 1. True 2. False – A harmonic progression is a series of chords that moves from dissonance to consonance. 3. False – A chord or melody is diatonic if no accidentals are needed other than those already indicated on the key signature. 4. True 5. True 6. False – Common practice harmony became more complex after 1750. 7. True 8. False – Nineteenth-century composers used complex chromatic harmonies to convey their emotions. 9. False – Arnold Schoenberg initiated the “emancipation of dissonance” when he called for composers to abandon conventional common-practice harmony. 10. True 11. True 12. False – Claude Debussy’s “Voiles” offers an example of a pentatonic (or whole-tone) scale.

1.09 NAME THAT NOTE1. whole note 2. staccato 3. triad 4. tenuto

5. flat note 6. marcato (or accented) 7. slur 8. half note

1.10 FILL IN THE BLANK 1. texture 2. monophonic, unison 3. homophonic, melody, harmonic 4. heterophonic

5. polyphonic, melodic 6. counterpoint, registers 7. instrumentation, overtones 8. timbre, density, resonance

1.11 STEP TO IT 1. Half step (V) 2. Whole step (M2) 3. Minor third (m3)

4. Major third (M3) 5. Perfect fourth (P4) 6. Tritone (TT)

7. Perfect fifth (P5) 8. Minor sixth (m6) 9. Major sixth (M6)

10. Minor seventh (m7) 11. Major seventh (M7) 12. Octave (P8)

1.12 FALSE 1. Articulation, Form 2. phrase, motive 3. half, full 4. four lines of three measures, three lines of four measures 5. ternary, rondo

6. 32-bar, verse-chorus 7. a countersubject, imitative counterpoint 8. recapitulation, half cadence 9. slow-fast-slow, fast-slow-fast 10.musicking, performance practice

SECTION II (CLASSICAL MUSIC AND MODERNISM) 2.01 TIMELINE c. 800-1400: Middle Ages c. 1400-1600: Renaissance Era c. 1600-1750: Baroque Era

c. 1750-1815: Classical Era c. 1815-1900: Romantic Era c. 1900 onward: Modern Era

2.02 ANSWER ME THIS 1. the Catholic Church 2. Johann Sebastian Bach


3. post-Romanticism 4. the Juilliard School 5. the wireless transmission of sound 6. Metropolitan Opera, NYC

7. Radio Act of 1912 8. “Mary Had a Little Lamb” 9. Beethoven’s Fifth Symphony 10. The Jazz Singer

2.03 NAME THAT GENIUS 1. d 2. j 3. h

4. a 5. k 6. b

7. i 8. c 9. f

10. g 11. e 12. l

2.04 DEFINITIONS 1. a collection of music widely considered to be classic; also a type of imitative polyphony created by using different timbres 2. a rich array of musical timbres 3. a phonograph that played flat-disc sound recordings 4. a phonograph that used a wax cylinder to play sound recordings 5. the study of musical traditions within cultures 6. a device that allowed one person at a time to view silent images 7. a modern style of music that attempted to move away from past practices 8. blocks of sound produced on a piano keyboard 9. an unconventional scale that does not include half-steps at all 10. musical form in which pieces were often vague and inexact

2.05 LABEL ME 1. Impressionist 2. Primitivist 3. Expressionist 4. Impressionist 5. Expressionist & Primitivist

6. Impressionist 7. Impressionist 8. Expressionist 9. Expressionist 10. Impressionist

2.06 FILL IN THE BLANK 1. Impressionism, Symbolism 2. Fountains of Rome, “The White Peacock” 3. pentatonic, glissando 4. Expressionism, uneasiness

5. cadences, phrases 6. dissonance, consonance 7. twelve-tone serialism, Second Viennese School 8. commedia dell’arte, song cycle

2.07 FALSE 1. Riesenfalter, Passacaglia 2. ostinato, fermata 3. Sprechstimme, text expression 4. polished and elegant, primal and uncultured

5. The Rite of Spring, Allegro barbaro (or Béla Bartók’s, Igor Stravinsky’s) 6. prima donna, impresario 7. Sergei Diaghilev’s, Vaclav Nijinsky 8. flute, bassoon

2.08 LISTENING GUIDE 1. bassoon 2. homophony 3. polyphony 4. sustained 5. clarinets 6. English horn 7. oscillating 8. orchestra 9. Monophonic

10. fermata 11. Ostinato 1 12. Ostinato 1 13. polychord 14. syncopated 15. English horn 16. bassoons 17. cellos 18. polychord

19. syncopated 20. ostinatos 21. polychord 22. syncopated 23. folk 24. alternation 25. polychord 26. fermata 27. ostinatos

2.09 NAME GAME 1. French composer who helped found the Société Nationale de Musique after World War I 2. English composer who used old English materials as the foundation for many works; composed Fantasia on a Theme of Thomas Tallis3. English composer who showcased geographic features of his native country in works like Somerset Rapsody 4. Finnish composer who galvanized his nation with Finlandia, which eventually became an unofficial national anthem 5. Spanish composer who wrote Nights in the Gardens of Spain6. Spanish composer who wrote tributes to Francisco Goya, including a piano suite and an opera entitled Goyesca 7. American composer whose pieces were initially not embraced because they were too “Modern”; commemorated American landscape, history, and artists in pieces like Piano Sonata No. 2 8. Russian composer who wrote most of his works outside the country; used raw folk tunes in The Rite of Spring to celebrate heritage


2.10 MATCHING a. 12 b. 6 c. 14 d. 8

e. 2 f. 11 g. 1 h. 16

i. 10 j. 3 k.4 l. 15

m. 5 n. 7 o. 9 p. 13

2.11 UNLIKELY PARTNERS 1. Organizations formed to promote nationalist music 2. Composers who wrote music glorifying Spanish culture 3. Composers who debuted music that resulted in riots 4. Principles/movements initiated by Arnold Schoenberg 5. Movements that parallel or accommodate atonality 6. Renaissance composers whose work was rediscovered through the nationalist movement 7. American writers after whom movements in Charles Ives’ Piano Sonata No. 2 were named

2.12 LET’S MAKE A LIST 1. a. Genuine folk tales are featured and invented additions are of secondary importance b. Folk tune and invented material are treated equally c. Folk tune is presented as “motto” and invented material is of greater significance d. Composition based on themes that imitate genuine folk tunes e. Abstract compositions in which neither folk tunes nor imitations are used but “spirit” of folk music pervades the piece 2. a. Ibéria (Claude Debussy) b. Rapsodie espagnole (Maurice Ravel) c. Nights in the Gardens of Spain (Manuel de Falla) d. Iberia (Isaac Albéniz) e. Goyescas (Enrique Granados) 3. a. Modal tunes b. End on a relatively high pitch c. Flexible meter d. Includes a drone accompaniment 4. a. Excludes the tonic b. No resolution of complex chords into simpler chords c. No distinction between extremely chromatic consonance and dissonance

2.13 LISTENING GUIDE No. 2: Meter alternates 5/8, 2/4, and 3/8; G Ionian No. 3: Meter alternates between 4/8 and 3/8; D Aeolian No. 4: Shifting meter – 2/4, 3/8, 3/4; D Dorian No. 5: Duple meter; G Aeolian No. 6: 2/4 and 3/4 alternate; E Phrygian & Aeolian

No. 7: 2/8 + 3/8 + 3/8 = pulsation within each measure; E Dorian No. 8: Duple meter, then 2/4 and 3/4 alternate; G Dorian No. 9: Duple meter; C Mixolydian No. 10: Shifting meters; F Ionian

SECTION III (EARLY TWENTIETH-CENTURY “POPULAR” MUSIC) 3.01 FILL IN THE BLANK 1. vernacular 2. functional 3. fused 4. prima donna, primo uomo5. Singspiel, opéra-ballet

6. Berne Convention 7. ballad operas 8. Ethiopian dilineators 9. Minstrel shows

3.02 TRIPLE MATCH 1. D, e 2. C, b 3. B, f 4. A, a

5. D, g 6. C, l 7. C, k 8. C, h

9. D, d 10. A, i 11. C, c 12. D, j

3.03 DEFINITIONS 1. a long series of acts in a vaudeville show 2. chain of vaudeville theaters 3. a list of music desired at each cue in spoken dialogue or stage action 4. comedians who perpetuated ethnic stereotypes by mimicking regional dialects on stage


5. a form of band music usually featuring duple meter to set the pace 6. the customary 19th-century march form featuring several melodies that repeat at least once 7. pieces written specifically for piano 8. a couple’s dance traditionally written in triple-meter 9. a performance style that lengthens the first note in a pair, subtracting a corresponding amount of time from the second note’s value 10. a form of music created by combining a ragtime piece with a swing rhythm

3.04 POP QUIZ 1. music halls and minstrel shows 2. Harrigan and Hart 3. usually a brass band (consisting solely of brass and percussion instruments) or a wind band (consisting of brass, woodwinds, and percussion) 4. Tim Brymm, William H. Tyers, and Ford Dabney 5. John Philip Sousa

6. duple meter with a tempo of about 120 beats per minute 7.First Suite in Eb and Second Suite in F 8. Gospel Songs (1874) and Gospel Hymns and Sacred Songs (1875) 9. Vaughan Music Publishing Company 10. “His Eye is on the Sparrow” and “The Old Rugged Cross” 11. “To Anacreon in Heav’n” 12. the National Song Society

3.05 CLASSIFY THIS 1. Industrial Workers of the World (the IWW), International Woman Suffrage Alliance, National Song Society 2. brass band marches and dances, European piano music, African syncopated rhythms (could also include Latin and South American elements) 3. Scott Joplin, James Scott, Joseph Lamb 4. “animal dances” (turkey trot, bunny hug, grizzly bear); tango; foxtrot 5. “Golliwog’s Cakewalk” (Debussy), A Soldier’s Tale (Stravinsky), “Ragtime for Eleven Instruments” (Stravinsky) 6. call-and-response pattern group singing, melismatic embellishment technique, non-standard pitches

3.06 EITHER OR 1. spirituals 2. groups, individuals 3. Mississippi 4. twelve-bar 5. A-A-B

6. third, seventh 7. country, Delta 8. Charlie Jackson 9. Robert Johnson 10. classic, combos

11. Gertrude Rainey 12. “Dallas Blues,” Wand & Garrett 13. New Orleans 14. stride piano

3.07 LISTENING GUIDE 1. fermata 2. organ 3. 12-bar blues 4. major 5. 12-bar blues

6. 8 bars 7. minor 8. tempo 9. 12-bar blues (new melody) 10. major

11. fermata 12. organ 13. fermata

3.08 ALL THAT JAZZ

New Orleans

• Faster tempo, swing rhythms

• Collective improvisation created

heterophony

• Resembled Latin American and African

traditions

• Musicians were largely self-taught

African Americans

• Few and brief solo breaks

Chicago

• Most evolved form of classic

jazz

• Increased sophistication and

instrumental expertise

• Reflected more musical literacy

• Less collective improvisation

• Longer and more solo breaks

Dixieland

• Faster tempo, swing rhythms

• Collective improvisation

• Musicians were largely trained

whites

• Lacked rawness of more

improvisational counterparts

• More pre-planning


3.09 TRUE OR FALSE 1. False, Chicago New Orleans 2. False, ragtime stride piano 3. True 4. False, King Oliver’s Creole Jazz Band the Original Dixieland Jazz Band 5. True

6. True 7. True 8. False, Naughty Marietta The Creation of the World 9. True 10. False, The Wizard of Oz Babes in Toyland

3.10 FILL IN THE BLANK 1. operetta, merchandizing 2. The Wizard of Oz, Babes in Toyland 3. “Ah! Sweet Mystery of Life” 4. George Edwardes, George Cohan 5. Little Johnny Jones, jingoism

6. Broadway, West End 7. Paul Laurence Dunbar, Bert Williams, George Walker 8. Aida Overton Walker, star-turn 9.Harry von Tilzer, Vincent Bryan, interpolation 10. revues, Paris

3.11 LISTENING QUIZ 1. Rosetta Lightfoot 2. by incorporating contemporary references and theatrical catchphrases 3. a vamp 4. verse-chorus form 5. ragtime rhythms

6. a poem by Edith Nesbit 7. to add suspense 8. moderato tempo, disjunct melody 9. Ragtime Rhythm B 10. with a sharp chord

3.12 MATCHING a. 7 b. 13 c. 4 d. 10 e. 1

f. 14 g. 11 h. 8 i. 2 j. 3

k. 5 l. 6 m. 12 n. 9 o. 17

p. 15 q. 18 r. 16

3.13 BACK TO THE FUTURE 1895: First public film showings occur 1903: First film score is produced 1905: First anthology of music cues is published

1908: First original orchestral film score is produced 1916: First original score is produced for an American film 1928: “Sound-on-film” approach is adopted

SECTION IV (MUSICAL RESPONSES TO “THE GREAT WAR”) 4.01 TO SERVE OR NOT TO SERVE… 1. French; yes; After being rejected from the Air Force several times, he became an ambulance driver. 2. Austrian; no; He was initially rejected for his poor eyesight but was later accepted to recruit soldiers. 3. Hungarian; no; He was determined unfit to serve so instead, he was tasked with collecting national folksongs. 4. British; yes; He joined as a private and was soon after commissioned as an Infantry officer. 5. British; yes; He enlisted as a wagon orderly, became an artillery officer, and eventually was named Director of Music. 6. British; no; Though unfit to serve in the army, he became the YMCA’s music organizer and worked with demobilized troops. 7. Austrian; yes; After he was drafted, he was assigned an office job because he was asthmatic. 8. Austrian; yes; He was drafted into the war but was soon after discharged because of poor health. 9. Russian/American; yes; He was drafted, promoted to sergeant, and asked to write a fundraising musical revue.

4.02 FILL IN THE BLANK 1. Alban Berg, Expressionist 2. peace plan, Ferruccio Busoni 3. Tin Pan Alley; Yip, Yip Yaphank 4. neutral, allegiance

5. Gurrelieder, New York 6. Maurice Ravel, Vincent d’Indy, Claude Debussy 7. Hindenburg, Cameron, Scholz, Barret 8. xenophobia, England, international

4.03 EITHER OR 1. Berlin Philharmonic 2. Russia, Wagner 3. Pittsburgh Symphony, Chicago Symphony 4. Fritz Kreisler, the United States 5. hyphen, acknowledged 6. Boston, “The Star-Spangled Banner” 7. Massachusetts

8. Vincent d’Indy, Solemn Mass 9. String Quartet, Paul Hindemith 10. German, British 11. Germany, England 12. Hall Caine, King Albert’s Book 13. Carillon, churches 14.Edith Wharton, Children of Flanders Rescue Committee


4.04 TRUE OR FALSE 1. True 2. False; En blanc et noir Noël des enfants qui n’ont plus de maisons3. True 4. False, “Aeroplanes” “Toccata” 5. False, Three Songs for Unaccompanied Mixed Chorus A Soldier’s Tale

6. True 7. False, Richard Strauss Paul Wittgenstein 8. False, Saturday Evening Post New York Evening Post9. True 10. True

4.05 POP QUIZ NOSTALGIA 1. “The Rose of No Man’s Land” 2. Zo Elliott and Stoddard King 3. Lena Guilbert Ford 4. Journalist George Curnock reported an Irish regiment singing it. 5. “The Marching Anthem on the Battlefields of Europe” 6. Cathédral de Reims7. John Jacob Niles

8. Edith Cavell (a Red Cross nurse) 9. “In Flanders Fields” (by John McCrae) 10. “Quand Madelon” (or “La Madelon”) 11. “The Hearse Song” 12. pacifist songs 13. Albert von Tilzer 14. “Stay Down Here Where You Belong”

4.06 LISTENING GUIDE 1. military band 2. verse 3. solo 4. fermata

5. chorus 6. barbershop 7. harmonies 8. interlude

9. verse 10. fermata 11. chorus 12. barbershop

13. harmonies 14. coda 15. final verse 16. chorus

4.07 THE FACTS OF MUSIC 1. g 2. m 3. a 4. j

5. c 6. l 7. b 8. n

9. e 10. h 11. d 12. f

13. i 14. k

4.08 FALSE 1. “Your King and Your Country Want You” 2. “For Your Country and My Country” 3. “La Marseillaise” 4. triple meter 5. “The Makin’s of the U.S.A.” and “In My Merry Oldsmobile”

6. “Over Hill, Over Dale” 7. Russia 8. Le Havre 9. George M. Cohan 10. Enrico Caruso’s

4.09 FILL IN THE BLANK 1. Tin Pan Alley, music hall, vaudeville 2. Buffalo Soldier, Spanish-American 3. James Reese Europe, “Hellfighters” 4. Grant Clarke, George W. Meyer, “You’ll Find Old Dixieland in France” 5. Clef Club, union 6. U.S. Steel Corporation, John D. Rockefeller, Jr. 7. Tin Pan Alley, vamp, refrain 8. explosions, tempo 9. Very Good Eddy, musical comedy 10. Herbert Wright, Armistice

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