Literature and Styles in Music I
Study Questions
1. Compare the attitudes toward music demonstrated by the Greeks of Antiquity, the Fathers of the early Christian Church, and the Medieval theorist Boethius.
2. Discuss the following types of Gregorian chant: hymn, antiphon, alleluia, gradual, tract. How do they compare in terms of form and style?
3. Compare the basic style characteristics and formal types associated with the Ars Antiqua and the Ars Nova. Refer to specific composers and compositions representative of those styles whenever possible.
4. How does the music of Dunstable (and English music in general) differ from the continental polyphonic styles in the late 14th and early 15th centuries?
1. Discuss the rise of national styles in the 16th century. Compare genres and styles from four different countries including France and Italy.
2. Discuss the rise of instrumental music in the Renaissance. Which instruments and groups of instruments came to be the most important? What new forms and genres of instrumental music emerged in the Renaissance?
3. Compare the musical styles of the early Northern (Netherlands) composers Ockeghem and Obrecht with that of Josquin Des Prez. Discuss melodic and harmonic characteristics as well as different approaches taken by the three composers to counterpoint, formal organization and the relation of music to text.
4. Compare the musical style of Palestrina with two of the following: Lasso, Byrd, Victoria.
1. Discuss the general characteristics of the Baroque style in music as it emerges around 1600. Give specific examples whenever possible.
2. Discuss the Doctrine of Affections, including any possible antecedents.
3. Discuss the development of opera in the early and middle (mature) Baroque. Refer to specific examples whenever possible.
4. Discuss the instrumental ensemble and orchestral music of the middle (mature) Baroque. Refer to specific styles, composers, and examples whenever possible.
Theory Requirements for Final Exam:
Theory section covers Chapters 1, 2 & 3 in Harder and includes the following:
A.) Demonstrate spelling and typical usage of all nondominant seventh chords in all major and minor keys (melodic, harmonic and natural minor).
B.) Demonstrate spelling and typical usage of secondary dominant type
chords in all major and minor keys.
1. e.g., give an example of V/V in the key
of G; V7/ii in the key of C; vii0 7/V in the key of F; V/IV in the key of B flat etc.
C.) Show all of the chords that have a secondary dominant function
tonicizing V in the key of D (or any other key).
1. e.g., V/V, V7/V, vii0 7/V, vii0 7 /V,
vii0 /V
D.) Show a typical deceptive cadence of a secondary dominant type chord.
E.) Demonstrate the typical usage of standard nonharmonic tones.
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