International Baccalaureate

Music
Standard and Higher Level

Study Guide 2014

“The Visual and Performing Arts represent the foundation of all human culture.
When we study the arts in any world culture, we study the creative minds of that
culture.”
- Andrew Kidd 2009

Andrew Kidd, Diploma Examiner

IB World Teacher Trainer – Americas

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 International Baccalaureate Music
Study Guide for the May Exam
Students should have a thorough knowledge of the following musical concepts

The Medieval Era (476 – 1400)

476AD = the Fall of the Roman Empire and the plunging of Europe into the Dark Ages
The Medieval Era is the longest and most remote period of musical history. It is important to note that
this musical era consists of almost a thousand years worth of music. For most of the middle ages, the
Church was the focal point of social life, learning, and the arts. Saint Gregory, who was pope from 590 -
640 C.E., is said to have organized a huge repertoire of chants that developed during the first centuries of
the Christian church. Thus the term of "Gregorian Chant" came about.

Early Medieval music notation did not look like the notation that is used in present day music. The
earliest signs of a notational system notational system for music used neumes. For a long time, musical
notation consisted of the pitch or note that was to be sung. Other musical notation, such as rhythm didn't
begin until the 12th or 13th centuries.

Gregorian Chant is monophonic, having one melodic line without an accompaniment. It is said to be
very serene, with pure shapes of melody. It is not known who wrote the melodies of the Gregorian Chant.
Similar to folk melodies, it probably changed over time as it was passed down through generations.

Toward the latter part of the Middle Ages, music consisted of two or more melodic lines that were heard
simultaneously, called polyphony. This appeared around the 1200s. Polyphony was more difficult to
compose than the monophonic chant, because a composer had to combine multiple melodic lines in a way
that would be pleasing to the listener. Most of the Medieval polyphonic music was anonymous, as the
names of composers were never written down. However, there are a few exceptions, as some composers
had works so important that their names were preserved along with their music.

Although little of it has been preserved, secular song was important to the medieval era.. Secular
song was monophonic and stylistically more diversified than plain song. It was stronger, and utilized
regular rhythms, and had short rhythmic patterns. It was generally modal but favored major (Ionian) and
minor (Aeolian) modes. (Troubadours, trouvers, minnesingers)

1. Me/ Me/ Ha/ Me/ Fo/ St/ Co

Acronym for Medium, Melody, Harmony, Meter, Form, Style, Context
(socio/religious/political/economic)

2. Transcribe Gregorian Chant to modern notation

3. Define Melismatic, Nuematic and Syllabic Chant

4. Discuss the transition from monophonic chant to two and three voice organum

5. Define cantus firmus

6. Name the two composers from the Notre Dame Paris school that moved music toward two and three
voices.(organum)

7. Define Antiphonal compositions – Name one or two compositions of the Renaissance that uses
antiphonal writings
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8. St. Marks Basilica in Venice and its role in the music history

9. Gabrelli and his role in the development of European music

10. Palistrina and the Council of Trent

11. Word Painting and its role in music of the Baroque and Renaissance period

12. The Sonata Allegro Form (complete model- including the Roman Numeral notation)

13. Ternary, Binary, Rondo and Strophic Compositional Forms

14. The Parts of the Fugue

15. Define Concerto. Define Overture.

16. Compare and Contrast the musical compositional elements of the Renaissance and the works in the
Baroque

17. Vivaldi Four Seasons - Spring - a complete analysis and description

18. Mozart Eine Kline Nacht Music - a complete analysis and description

19. Beethoven - Mvt. 1 of Ninth Symphony - a complete analysis and description

20. Doctrine of Affections and its role in the history of music

21. The Protestant Reformation and the role of it played in the evolution on European music history

22. The Council of Trent and its role in music of the Catholic Church.

23. The Well-tempered scale. Who invented it and why is it important in our European Music history?

24. Describe the main characteristics of the Baroque Style period (socio-economic and well as musical)

25. Musical Terms from flash cards in class. – Do you know and understand each?

26. Name the scale degrees in Roman numerals – with their proper upper and lower case.

27. African Santus – by David Fanshawe: main purpose of composition/ innovative compositional
technique used.

28. African Santus: describe the interesting juxtaposition of movement 2 (Call to Prayer)

29. Describe the musical and socio/religious and economic characteristics of the following musical style
periods. Can you name 3 composers and works for each style period?

1900- present – Modern Era – Composers:

1825- 1900 – Romantic Era– Composers:
1750- 1825 – Classical Era– Composers:
1600- 1750 – Baroque Era – Composers:
1400 – 1600 – Renaissance Era– Composers:
475 – 1400 – Middle Ages (Dark Ages) – Composers:
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30. Define the term double-entandra and its role in world music – Site musical examples:

31. Describe the vocal techniques for the English, French, German, and Italian singing.

32. Describe the MUSICAL CHARACTERISTICS of the Renaissance, Baroque, and Classical Romantic
and Twentieth Century time bands.

33. Name three or more composers from each time band that we have studied and two representative
works for each composer.

34. Describe the three main parts of The Messiah by Frederick Handel

35. Define Oratorio, Cantata, Opera

36. Describe word painting in “The Messiah”

37. Given a recorded excerpt - describe the style, composer, musical characteristics and vocal techniques:
German, Italian, French, British, American Pop/ Broadway

38. Compare and contrast any TWO musical style periods that we have studied.

39.. Describe the role of nationalism in music of any era or culture.

40. What is French Impressionism – Name two composers and works representing this era.

41. Define IMPRESSIONISM and EXPRESSIONISM

Review musical instruments and research projects of Eastern Europe, Japan, Indonesia, Ghana, Ireland,
and all other cultures that we have studied.

20th Century Music and its Socio/ Economic Characteristics

1900 – 1940 – Small Orchestras – Great Depression

Serialism- 12 Tone Music – Arnold Schoenburg, Anton Webern, Alban Berg

20th Century Composers in FOUR BRANCHS:

1. Folk
2. Neo- Classical
3. Twelve-tone
4. Experimental/ Electronic

Phenomenal changes in technology.

The advent of instantaneous global communication.

The growth and eventual decline of totalitarian cultures.

Ambivalent Attitudes toward the Musical Past

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A Widening Gap between "Art" and "Popular" Music

The Advent of Sound Recording – Digital Recording

The Birth of a World Music Culture

Music of the Andes Mountains- Who was Victor Jara of Chile – What is his story?

Define Nueva Cancion -

List the instruments of the Andean mountains.

Indonesian Music – Bali and Java – What are the two scales? What is the contextual issues regarding
this non-western music?

50. Time Band 1600- 1750

List four composers and one representative work for each composer:

a.

b.

c.

d.

Describe the socio/ religious/ political influences of the time band 1600 - 1700.

Describe the musical characteristics of the time band 1600 - 1700.

51. Time Band 17500 - 1825:

List four composers and one representative work for each composer:

a.

b.

c.

d.

Describe the socio/ religious/ political influences of the time band 1750 - 1825

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Describe the musical characteristics of the time band 1750-1825

52. Time Band 1825 - 1900:

List four composers and one representative work for each composer:

a.

b.

c.

d.

Describe the socio/ religious/ political influences of the time band 1825-1900

Describe the musical characteristics of the time band 1825-1900

52A. Time Band 1880 – 1925 – French Impressionism

Describe the musical characteristics of the time band:

List TWO COMPOSERS of the FRENCH IMPRESSIONISM STYLE:

1.

2.

53. Time Band 1900 – present day:

Name the Four branches of 20th century music

National Folk – Define and List Composers

Dodecophonic- Twelve-tone – Define and List Composers
Electronic / Experimental - – Define and List Composers
Neo- Classical - – Define and List Composers
List four composers and one representative work for each composer:

a.

b.

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 c.

d.

Describe the socio/ religious/ political influences of the time band 1900-PRESENT

PRESCRIBED WORKS:
Can you describe, in detail each movement and it’s form?
Can you identify European and Chinese influences in the Yellow River Concerto?
Can you identify and describe the tonal relationships with in each of the prescribed works?
Know your study score. Is it marked?
Do you have all themes and motives marked?
Do you have compositional devices marked?
Can you compare and contrast both works?
Can you find musical links between the two works?
Find the following musical concepts in the Prokofiev Score:
1. Polymeter
2. Rocket Effect – Mannheim Effect
3. Homophonic Writing Style
4. Polyphonic Writing Style
5. Canonic Imitation
6. Fragmentation
7. Abrupt Dynamic Shifts
8. General Tonal Relationships in all movements
9. Form of each movement
10. List and Find 4 modernist compositional techniques
11. List and Find 4 neo-classical compositional techniques
12. Augmentation of the Rocket Theme ( Mannheim Effect- movt. 1)
13. Find examples of ostinato
14. Find the modernist technique of an extended range of the violin
15. Find the new material added in the Recapitulation of Movt. 1
16. Find the extreme syncopation of theme 2 in movt. 1
17. Movement 3 – give several examples of modernist vs. neo-classicism

Find the following musical concepts in the Xian Score:

1. Chromatic runs – representing the waves of the Yellow River
2. Imbroglio of themes
3. Find three examples of Russian Influence
4. Name the four pentatonic scales used in this selection
5. Find the use of the “Internationale Theme” – representation of socialists
6. Which movement represents the people of China living along the Yellow River
7. What was the year the Cantata was composed? Why?
8. What was the year the Cantata was transcribed for full orchestra and piano? Why?
9. Movement 4 – Augmentation of the Theme in French Horns
10. Movement 4 – theme that is the retrograde of the work chant from Movement 1? (horses
galloping)
11. Find where the piano performs in the style of a Chinese Zither
12. Find examples of the theme “East is Red” – Chairman Mao’s Communist Anthem
13. Describe the Chinese Cultural Revolution of 1969-1973 – How does Yellow River reflect the
philosophy of this social movement?
14. Find the use of the Dizi – the bamboo flute

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 15. Name the four movements of the Yellow River Concerto
16. Find homophonic writing style
17. Name three examples of Chinese folk influences
18. Name three examples of Euro-Russian Influence
19. Why is there a Russian influence in this music?

Do you know some biographical background of Prokofiev? Do you know some biographical background of
Xian?

Can you relate SPECIFIC musical concepts that relate to the innovative compositional techniques to each
of the composers scores?

VENN DIAGRAM of CONTRASTS and COMPARISONS?

Name the following scale degrees:

I = tonic ii - _______________ iii = _________________IV=________________
V=____________________ vi =________________
vii = ___________________

Name the parts of the FUGUE:

1.__________________2.____________________3.________________
4.__________________5.____________________

You must be familiar with at least TWO other cultures that we have studied in class.
Use the research group handouts that we have used in class.
Use the Internet or other sources. Make sure that you can describe the music in relation to:
1. Use in it’s culture or society
2. ME ME HA ME FO STY CO
3. Comparing and contrasting the music to another world music
4. MUSICAL ISSUES
5. STRUCTURE ISSUES
6. CONTEXTUAL ISSUES

Who are the Kings of Polyphony? ___________________ and _____________________ Where did this
first occur? ____________________

Who is the King of Antiphonal Music?_________________________________________Where?

___________

Who is the King of the Fugue? _______________________________________________

Who is the founder of the Even Tempered Scale? ________________________________

Who is the King of the German Lied? __________________________________________

Who is the King of the Waltz? ________________________________________________

Who is the King of the Ragtime? ______________________________________________

Who is the King of electronic warping of vocal sound? _____________________________

Who is the Inventor of the Synthesizer? ________________________________

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Who is the King of the Electric Guitar? _________________________________________

Who is the King of BeBop? _______________________

Matching:
____ Appoggiatura a. chord built on the 1 3 5 of scale

____ Escape Tone b. 7th degree of scale

____Neighboring Tone c. melody composed backwards and

upside down

____Picardy Third d. return of principle theme in original key

____Retrograde Inversion e. chord built on 1 b3 5 of scale

____ Minor Triad f. non-chord tone moving stepwise from one

chord to another

____ Major Triad g. non-chord tone approached by a leap,

resolved by step

____Diminished Triad h. melody and chordal accomp in the

same rhythm

____Homophonic i. fragment of melody stated on various scale

degrees

____Sequential Repetition j. melodic shape of a musical phrase

____Contour k. abrupt modulation to a major tonality at the

final cadence
____Recapitulation l. chord built on the 1 b3 5 of the scale

____Leading Tone m. non-chord tone approached by a step/

resolved by leap

____Hemiola n. feeling of pulse of 3 against pulse of 2

Authentic Cadence –

Plagal Cadence –

Half Cadence –

Deceptive Cadence -

Melodic Fragment –

Motive –

Binary Form -

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 Ternary Form-

Melodic Sequence –

Retrograde –

Octave Displacement –

Dominant –

Tonic –

Sub-Dominant –

Mediant –

Piccardy Third –

Hemiola –

Polyrhythm -

Monophony –

Homophony –

Polyphony -

Tessitura–

Imbroglio of Musical Themes –

Imbroglio of Rhythms -

Canon –

Passacaglia - Chaconne -

Absolute Music Composer–

Program Music Composer–

Neo-Classical Composer –

Nationalist Composers-

Impressionist Composers –

Expressionist Composers –

French Impressionism –

German Expressionism -

Chord Streaming or Pandiatonisism -

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Quartal Harmony – site example

Tertian Harmony – site example

Polymetric Organization – site example

Bi-Tonality Harmony – site example

Octatonic Scale – site the intervallic relationship

Pentatonic Scale – site the intervallic relationship

Pelog Scale( Indonesia)-

Slendro Scale (Indonesia)-

Whole Tone Scale – site the intervallic relationship

Antecedent –

Consequent –

Structural Issues in Music Analysis (site examples)- Look at your pink Guide Sheet

Technical Issues in Music Analysis (site examples)- Look at your pink Guide Sheet

Contextual Issues in Music Analysis (site examples)- Look at your pink Guide Sheet

Exoticism in Music –

Nationalism in Music –

Serialism –

Minimalism –

Chance Music –

Aleatoric Music-

Cantus Firmus –

Basso Continuo –

Ein Kliene Nacht Music - Amadeus Mozart -

Four Seasons - Amadeus Mozart

Symphony No. 5 in C minor ( 1st and 2nd Movement) - Ludwig Beethoven

Symphony No 9 - Ludwig Beethoven

The Messiah - George F. Handel

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Symphonie Fantastik - (4th and 5th movements) - Hector Berlioz

Mendlessohn – A mid-summer’s nights dream

Franz Schubert The ErlKing

Gregorian Chant

Two Voice Organum

Sonata for Piano e Forte – Gabrielli

Madrigal - Fair Phyllis - H. Farmer

Symphony No 40 – Mozart

Symphony No 41 – Mozart (The Jupiter Symphony)

Beethoven Piano Sonata in F minor

Sonata Allegro Form

Schumman – Scenes from Childhood

Descriptive Analysis

Any work by Palistrina

Any work by Gabrielli

In Memoriam to Benjamin Britten – Arvo Parte

Paul Lansky’ s Alphanumeric Song -

El Salon Mexico – Aaron Copland

Appalachian Spring – Aaron Copland

Fanfare for the Common Man – Aaron Copland

John Cage – 4’33

Sonatas and Interludes for Prepared Piano- John Cage

Music for Radios – John Cage

WTC 911 – Steve Riech

Electronic Music – Switched on Bach – the Moog Synthesizer – Wendy Carlos

Minimalism – Selections and Examples – Riech/ Glass/ Chance/ Adams/ Lansky

It’s Goin’ Rain –Steve Reich

Music for Pieces of Wood – Steve Reich

Clapping Song – Steve Reich

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Short Ride on a Fast Machine – John Adams

The “Brain Drain” of the middle and late 1940’s – What is this?

Woodstock and the musical revolution (political, social musical changes

Helpful Hints to Pass the Listening Perception Paper of the IB Music Exam:

1. Answer IN WRITING every question in this packet

2. Have another student ask you, in a question answer session, information provided in this packet.

3. Know four composers or artists and two representative works from each composer – from each
musical style period. Middle Ages – Renaissance – Baroque – Classical – Romantic – Modern (20th-21st
Century)

4. Know how to use correct musical terminology to describe what you are hearing on the exam. Review
your musical terms. Be able to use them in sentences.

4a. – BE ABLE TO DESCRIBE MUSICAL. STRUCTURAL and CONTEXTUAL characteristics

REGARDING ALL MUSIC.

5. Using the radio – in your mind describe, using musical terminology, what you are hearing. ME ME HA
ME FO STY CO- Vocal Technique

6. Prescribed Works- see handouts and worksheets on these works

7. Know some names of World music instruments from Indonesia, Japan, Asia, American Indian, South
American, Africa, Early Jazz, Modern Jazz, Jazz/Latin Fusion

8. Be able to identify musical phrases.

9. Know a brief political history of each time band.

10. Be very specific in your listening paper essays. Notate rhythms, specific melodic lines, or form
sketches to help provide specific information about your listening excerpt.

11. Use your CD/ LAPTOP minute and second counter to identify EXACT LOCATIONS of your
descriptions and perception concepts.

12. If you have a score provided, use EXACT MEASURE NUMBERS TO identify your musical perception
issues and NOTATE a Melodic Phrase, Rhythmic Issue, etc.

13. Organize your IB Music notebook – so that you can actually FIND information that we have
discussed in class.

14. Review all your notebook contents!!!!

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