Question 1: Describe the typical structure of a Baroque fugue, including the roles of the subject and countersubject.

Answer: A Baroque fugue typically begins with an opening subject introduced by one voice, followed by subsequent entries of the same subject in different voices, often overlapping. The countersubject is a recurring contrasting theme that accompanies the subject. The structure involves exposition, episodes, and development sections, maintaining contrapuntal complexity throughout.

Question 2: Listen to a piece where a solo violin introduces a lyrical melody supported by a simple basso continuo. Identify the historical period this style most likely belongs to and justify your answer.

Answer: This style most likely belongs to the Baroque period because of the use of basso continuo and the focus on a solo melodic line supported by simple accompaniment, characteristic of Baroque concerto and solo works.

Question 3: Explain the significance of the development section in a Classical sonata form movement.

Answer: The development section explores and varies the main themes introduced in the exposition, often through modulation, fragmentation, and contrapuntal techniques. It creates tension and prepares for the return of the recapitulation.

Question 4: Identify the key features of a Romantic symphony that differentiate it from earlier periods.

Answer: Romantic symphonies often feature expressive melodies, expanded orchestras with new instruments, more dynamic contrast, and emotional depth. They also tend to have longer movements and explore programmatic or nationalist themes.

Question 5: Compare the use of harmony in Baroque music with that in Romantic music.

Answer: Baroque harmony is characterized by functional tonality, basso continuo, and frequent use of stepwise motion and simple chords. Romantic harmony is more expressive, with increased use of chromaticism, extended chords, and modulation to distant keys.

Question 6: Sketch a simple diagram of a typical sonata form layout, labeling the sections: exposition, development, and recapitulation. Include brief descriptions of what each section contains.

Answer: A clear diagram showing a linear timeline with three main sections: the exposition (introduction of themes), the development (exploration and modulation of themes), and the recapitulation (return of the main themes in the home key). Each section should be labeled, with arrows indicating the flow.

Question 7: Describe how the use of dynamics in Romantic music differs from that in Classical music.

Answer: Romantic music uses wider dynamic ranges, more sudden shifts, and expressive crescendo and decrescendo to convey emotion. Classical music employs more balanced and moderate dynamics with clearer phrasing.

Question 8: Identify two characteristics of the orchestra in the Romantic period that were less common in earlier periods.

Answer: The Romantic orchestra featured a larger size with added instruments such as the harp, tuba, and more percussion. It also emphasized more varied and expressive use of instruments, including extended techniques and dynamic range.

Question 9: Explain the concept of 'program music' and provide an example of a Romantic composer known for this style.

Answer: Program music is instrumental music that tells a story or depicts a scene, idea, or narrative. An example is Hector Berlioz, known for his 'Symphonie Fantastique,' which illustrates a storyline through music.

Question 10: List three elements a music analyst should focus on when listening to a Romantic symphony.

Answer: Melodic expression, harmonic richness, and orchestral color (timbre and use of different instruments).