MUSI 339 Music Literature Review Questions for Exam No.

III

About each work studied, know: composer and full name of the work; the particular
movement; the approximate date of composition; the overall form of each movement; the
dates of the composer's life.

Be able to define: chamber music; trio sonata; duo sonata; siciliano; obbligato;
empfindsamer stil; galant style; fugato; canon; stretto; binary form; recitative; fantasy;
rococo; augmentation; diminution.

Be able to discuss how the galant style and the Empfindsamer Stil coalesced into the
mature Viennese Classical style as represented by Haydn and Mozart.

Be able to give compositional characteristics of Corelli and Franck.

How did the following string quartets get their nicknames: "Emperor" Quartet;
"Razumovsky" Quartets?

Where did the greatest innovations in the construction of the violin family take place?
List some of the great instrument builders (luthiers) located there.

To what did the term sonata initially refer? After 1660, what two types of trio sonatas
arose? Compare and contrast these two types of trio sonatas.

Name the four standard dance movements of a mature J.S. Bach suite. Briefly describe
each movement in terms of meter, tempo, and possibly textural or rhythmic
characteristics.

List similarities and differences between rounded binary form (Baroque era) and sonata-
allegro form (Classical era).

Be able to discuss Haydn's use of theme and variations in the second movement of his
Op. 76, No. 3 (“Emperor”) String Quartet.

Be able to compare Beethoven's handling of sonata-allegro form in the first movement of

his Op. 59, No. 1 with the first movement of his op. 18, No. 1. How was his style
evolving?

What is the organizational factor among the movements of Franck's Violin Sonata in A
Major?

Be able to discuss thematic manipulations and relationships in the first movement of the
Brahms Sonata in E-Flat Major, op. 120, No. 2. What are features in this movement that
are similar to Beethoven's op. 59, No. 1, first movement?
Be able to compare and contrast stylistic traits of the late Baroque instrumental style
(e.g., J.S. Bach), the mature Classical instrumental style (e.g., Mozart or Haydn), and the
nineteenth-century Romantic style (e.g., Brahms). Mention typical characteristics of the
following aspects: melodic features; phrasing; harmonic features; texture; form;
rhythmic features; performance indications; overall philosophy. (Study the charts on pp.
165 and 229 located on the “text” tab.)

Study the p. 51 chart (located on the “text” tab) that describes standard instrumentation
for chamber ensembles.