History Short Answers for Final

1. What is developing variation? (2) Give three examples of the technique in Brahms's
Quintet for Piano and Strings in F minor. (3)
a. A developing variation
i. Themes are derived from what precedes them
ii. Almost everything can be traced back to the first measure of the piece
b. Three examples
i. Rhythmic Diminution (running 16th notes) that have a similar contour to
the opening 8th notes. (See measure 5-8 of NAWM 156)
ii. The opening motive returns in the strings in measure 12, but it is
developed in a new way. The rising half step in the original motive now
turns downward a minor second. Through repetition and emphasis of this
descending half step, it becomes its own motive and is eventually picked
up by the piano as well.
iii. In the closing theme, a three-note descending figure (first appearance in
m. 77) is repeated several times in dialogue between the piano and
strings. When this figure is reversed at m. 91, it is just a retrograde of the
rising stepwise motion in the opening theme.

2. Name the Russian 5 (5).

a. Balakirev
b. Borodin
c. Cui
d. Rimsky-Korsakov
e. Mussorgsky
What do they have in common (besides that they are Russian) (1).
- they all have no musical training in their backgrounds
Who is the first internationally recognized Russian composer? (1)
- Glinka

3. Describe Mussorgskys musical style based on the Coronation Scene from Boris
Gudunov. (4)
a. He has blocks of musical material with accumulation of ostinato - seen in
coronation scene, in the woodwinds and the strings at the beginning of the scene
b. Vocal lines include recitation on 1 or 2 notes - this can be seen in the Prince
Shuiskys line, first vocal line in the scene; he sings all of his recitative on the
same single note (an E)
c. Arioso is in a narrow vocal range - can be seen in Boris arioso in coronation
scene, which has very narrow range only stretching an octave
d. Incorporates his Russian roots into his music - in m. 50 of the coronation scene,
a Russian folk song can be heard
4. Describe Faures approach to song writing in Avant que tu ne ten ailles. (3)
a. Each verse of the poem that is the text for this piece has contrast in it. The first
half of the verse is lament over the night coming to an end, while the second half
of each verse is joy in the start of a new day. Faure shows this contrast in the
text in the music as well.
b. Contrast in tempo - for first part of each verse, the tempo is slow; for the second
half of each verse, the tempo is quicker
c. Contrast in harmony - for first half of each verse, there are darker harmonies
making it sound minor; for the second half, there are clearer harmonies giving it a
major sound
d. Contrast in accompaniment - for first of half, there is subdued accompaniment;
for the second half of each verse, there is animated independent accompaniment

5. Name and define the genre of Smetanas The Moldau. (2)

a. Symphonic poem
b. Symphonic poem is a one movement programmatic work that evokes the
contents of some kind of work such as a poem or a painting
How does this piece exemplify the genre? (3)
a there are musical characteristics that evoke the images of a river in Smetanas
homeland of Czech republic
b depicts the river as it flows through the land and brings to life everything that it
passes by
c as this small river joins a greater force of water, the full orchestra comes in
d as passes a wooded area and hunters, there are horn calls
e as passes wedding, there is dance music (part polka/part march)

6. Describe how Tchaikovskys Fourth Symphony is programmatic. (8)

- The inexorable fate is presented at the beginning of the symphony with the horns
- He says that it symbolizes the things that prevent our hopes and dreams from coming
true.
- This inexorable fate is the center of this entire symphony.
- Just when we think happiness is here, fate comes and takes it from us.
- This can be seen in the section that is gloomy and despairing and marked as a waltz in
the first movement. However, the waltz does not sound anything like a waltz melody and
accompaniment.
- According to Tchaikovsky, the third movement is about thinking about nothing.
- This is conveyed through the third movement sounding like it does not even belong as a
part of this particular symphony.
- The fourth movement is about finding happiness in other people.
- This can be heard through the triumphant and flourishing finale (the fourth movement)
that included Russian folk song
- However, even when we find happiness in someone elses pleasure, this fate somehow
makes its way back into our lives.
- This can be heard when the inexorable fate returns once again during the triumphant
fourth movement.