MUS 565, Graduate Music History: Early 20th Century

Midterm Exam (take-home)

Due Wednesday of Week VI

There are five questions in the test

Type your written answers and written portions of score questions

in word doc

Type SINGLE SPACED

For score analysis portions of score questions, either label with text
boxes and other tools in word doc OR just handwrite in score once you
print it

Print the completed exam and bring it to class in week VI

Total 50 points
Q1 = 10 points
Q2 = 10 points
Q3 = 15 points (a=10; b=5)
Q4 = 10 points
Q5 = 5 points

Lateness:
From Wednesday of Week VI to Tuesday of Week VII—10 points deducted
From Wednesday Week VII to Tuesday Week VIII—15 points deducted
From Wednesday Week VIII to Tuesday Week IX—15 points deducted
(points deducted cumulatively)

1
 Q1
Debussy—Describe your understanding of Debussy’s last years as gathered from his letters
and in relation to: (a) World War I, (b) his patriotism, (c) French music at the time, and (d) his
attitude toward Germans and German music.
You don’t have to divide per (a) (b) (c) (d) as long as you weave all these elements in your
answer. Include relevant years, personas, events, works etc.

2
 Q2
Schoenberg—(a) In the score of Schoenberg’s op. 25: mark clearly the first 3 statements of
the row (from the 1st to the 12th pitch); AND below the score spell out pitches in order
(tetrachords) for each of the 3 statements (you don’t have to identify the form);
(b) Explain the differences between free atonality and dodecaphony;

Statement 1:
Statement 2:
Statement 3:
Differences between free atonality and dodecaphony:

3
 Q3
Webern—(a) In the score of op. 10, mark and briefly describe the following important
events: (i) beginning and ending; (ii) axis; (iii) Hauptstimme; (iv) opening klangfarben cell
(014); (v) placement of rests;
(b) Explain your interpretation of Webern’s death as per Moldenhauer’s reconstruction;

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 Q4
Bartok—Watch The Bluebeard Castle movie; (a) describe in detail the set-up and drama
unfolding from the beginning to the 1st door; (b) describe in detail one “door scene” per your
choice; (c) give your interpretation of Bartok’s thoughts in this opera—what do you think he
wanted to communicate?

7
 Q5

Dmitri—(a) In the score of Shostakovich’s SQ no. 8, Mov. I, find and clearly mark at least 5
acronym instances in its original or transposed version; (b) briefly explain the acronym;
(b) Acronym explanation:

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