MUS 102 – Exam 1 Material Covered: Chapter 1 - Elements Of ✓ Solved

MUS 102 – Exam 1 Material Covered: Chapter 1- Elements of

This exam can be taken at any time once all graded work for Modules 2-5 has been completed. The exam is similar to your assignments except it will cover material from multiple chapters. Please make sure to review your readings and lectures before you attempt the exam. The exams (2) are worth 30% of your total grade so make sure to READ THE INSTRUCTIONS FOR EACH SECTION and go over all your answers several times before you submit your exam. You will only be able to submit once so make sure to complete the entire exam and that all your work is legible and neat.

Exam Structure and Content

Part I: Pitch Concepts

• A. Identify the following notes.
• B. Notate middle C in Bass Clef and Treble Clef.
• C. Notate a pitch an octave ABOVE the given pitch.
• D. Notate a pitch an octave BELOW the given pitch.
• E. Notate the five indicated pitches on the staff below using the appropriate clef. Notate each pitch TWO ways (i.e., notate as enharmonic equivalents). Write the TWO pitch names below the staff. Make sure to place your accidentals correctly on the staff and for the written pitch names.
• F. Notate one pitch that is…

Part II: Rhythm Concepts

• G. Fill in each blank with ONE durational symbol that is equal to the symbols shown below.
• H. Look at Excerpt 1 – Answer the questions below regarding division and meter.
• a. What meter should this excerpt have?
• b. What kind of beat division is occurring, simple or compound?
• c. What are the vertical marks on the staff between beat groupings called?
• d. Rewrite the excerpt in a different meter.
• I. Given the time (meter) signature, add bar lines to each of the excerpts below.

Excerpt 1 Excerpt 2 Scratch Paper

Paper For Above Instructions

The following paper addresses the various concepts outlined in the exam instructions and also provides detailed answers and diagrammatic representations where necessary. In order to properly address the exam questions, we must first establish a foundational understanding of the elements of music, focusing specifically on pitch and rhythm.

Part I: Pitch Concepts

A. Identifying Notes: In musical theory, identification of notes is crucial for understanding pitch. For example, the notes C, D, E, F, G, A, and B represent the diatonic scale, which is foundational in many musical compositions. Specific note identification can vary based on the clef being utilized (Treble or Bass).

B. Notating Middle C: Middle C is represented on the Grand Staff as follows: In Treble Clef, Middle C is located on the first ledger line below the staff. In Bass Clef, it is found on the first ledger line above the staff. Correct notation also demands proper use of clefs to avoid confusion in pitch interpretation.

C. Notating an Octave Above: Notating a pitch one octave above Middle C results in the C note located on the third space of the Treble clef, while in the Bass clef, it appears on the second ledger line above the staff.

D. Notating an Octave Below: Conversely, an octave below Middle C makes it the note C positioned on the second space of the Bass clef, often denoted as C2 in scientific pitch notation.

E. Notating Five Indicated Pitches: When notating indicated pitches, let’s take C, E, G, B, and D as examples. Each of these can be notated in both clefs, resulting in different visual representations. For instance, the pitch G can be notated as G (natural) in Treble Clef on the second line of the staff and as G (natural) in Bass Clef on the second space.

F. Notate One Pitch: The selection of a pitch can further expand upon our understanding of musical intervals and relationships between notes.

Part II: Rhythm Concepts

G. Durational Symbols: Each note and rest has a specific duration which is crucial for portraying rhythm accurately. For example, a quarter note represents one beat, whereas a half note represents two beats.

H. Excerpt Analysis: When analyzing Excerpt 1 for rhythm and meter, it is important to determine the underlying meter. For example, if the excerpt fits into a 4/4 meter, it will have four beats per measure and thus has strong relevance to time signature.

• a. What meter should this excerpt have? Commonly, this could be 4/4 or 3/4 depending on the beat structure observed.
• b. Beat Division: This could fall into simple or compound, with simple beating divisions allowing for division into equally spaced subdivisions.
• c. Vertical Marks: The vertical lines known as bar lines separate the measures, providing a visual cue to the divisions of beats.
• d. Rewrite in Different Meter: This involves changing the time signature, for instance from 4/4 to 3/4, affecting the structure entirely.

I. Adding Bar Lines: Bar lines are essential indicators that delineate measures where the specified time signature applies, such as adding bar lines consistently across Excerpt 1 and Excerpt 2.

Conclusion

The understanding and application of these pitch and rhythm concepts are integral to both performance and composition in music. As students prepare for the exam, revising these concepts can not only aid in achieving a better grade but also deepen their appreciation and understanding of music theory.

References

• Benward, B., & Saker, M. (2009). Music in Theory and Practice. McGraw-Hill.
• Kostka, S., & Payne, D. (2012). Tonal Harmony. Cengage Learning.
• Turek, R. (2013). Music Fundamentals: A Balanced Approach. Cengage Learning.
• Clendinning, J. P., & Marvin, E. (2016). The Musician's Guide to Theory and Analysis. W.W. Norton & Company.
• Burns, M. (2005). Music Theory for Dummies. Wiley.
• Pitch, R. (2020). Analyzing Music: A Practical Guide to Music Theory. Routledge.
• Sadie, S. (Ed.). (1980). The New Grove Dictionary of Music and Musicians. Macmillan.
• Schubert, J. (2019). Fundamentals of Music Theory. Routledge.
• Hoffer, C. R. (2017). Teaching Music Through Performance in Band. GIA Publications.
• Lehmann, A. C., & Kopiez, R. (2014). Music Performance Science. Academic Press.