HUM 122 Introduction to Humanities
Review for Exams III and IV

Theatre (Exam III)

Virtual Experience (external/expressive)
Theatron
Tragedy
Comedy
Melodrama
Poetics (Aristotle)
Catharsis
Tragic Hero
Tragic Flaw
Comic Timing
Exposition
Complication
Denouement
Dionysus
Mise-en-Scene
Organic Theory
Arena Theatre
Thrust Theatre
Proscenium Theatre
“Fourth Wall”

Film (Exam III)

Plasticity
Frame
Editing
Persistence of Vision
Narrative Style
Documentary Style
Absolute Style
Cut
Jump Cut
Form Cut
Cutting Within the Frame
Crosscutting
Cinema Veritee
Montage
**Be familiar with examples shown in class**

Dance (Exam IV)

Sympathetic Movement/Magic
Virtual Power
Folk
Ballet
Modern
Mime
Pantomime
The Five Basic Positions
Pointe
Ballet as “Horizontal” (Basse) and “Vertical" (Haute)
Extension
Idea Content:

• Narrative
• Abstraction
• Diversion

Maria Taglioni
Vaslav Nijinsky
Isadora Duncan
Martha Graham
Francois Delsarte

Music (Exam IV)

“Virtual Time”
Chant (monophonic, a capella, spatial)
Renaissance (dance forms)
Baroque (heavy, ornate, layered): e.g., Bach, Pachelbel (Northern), Vivaldi (Southern)
Classical (formal precision): e.g., Haydn, Mozart
Romantic (“felt more than formed”): e.g., Beethoven
Impressionist ("musical haiku"): e.g., Debussy
20th Century Composers: e.g., Stravinsky, Bartok, Schoenberg (dissonant), Cage (aleatory, atonal)
Tone:

• Pitch
• Duration (note and rest values-- whole, half, quarter, eighth, etc.)
• Intensity (pp, p, mp, mf, f, ff)
• Timbre

Octave
Interval
Half Step
Chromatic Scale
Major/Minor (Diatonic) Scale
Open Forms (Canon/Fugue)
Closed Forms (Rondo, Sonata Form)
American Jazz:

• New Orleans 1900-1910 (social/cultural setting)
• Afrcan American Influences (call-response tradition, Mississippi Delta Blues, Ragtime)
• Basic Characteristics: Syncopation, Distinctive "Voices," Improvisation, Variations on
  Ragtime, Mississippi Delta Blues
• Chicago/New York Diaspora 1915-1920s (Jelly Roll Morton, Louis Armstrong)
• Swing 1930s-1940s (Benny Goodman, Duke Ellington)
• Bebop 1940s-1950s (Charlie Parker, Dizzy Gillespie)
• Cool/West Coast Jazz 1950s-1960s (Miles Davis, Wes Montgomery, Dave Brubeck)
• Hard Bop 1950s (Miles Davis, Thelonious Monk, John Coltrane)

Opera (tragic)
Opera Comique (spoken dialogue)
Opera Buffa (comic)
Operetta (light, popular themes)
Libretto
Aria

Essay Question Pool

Exam III questions:

1. “Tragedy is emotional, comedy is intellectual.” Explain the meaning of this statement in terms of how these two forms address us psychologically.

2. According to Aristotle's Poetics, the theatrical form of tragedy is beneficial to us as viewers. How is this so?

3. How does the in-class exercise and/or performance of the mask demonstrate the theatrical relationship between actor and role?

4. Compare and contrast the arts of theatre and film.  What are the advantages and disadvantages of one over the other, for both audience and performer?  What can one do that the other cannot?

Exam IV questions:

1. Based on our discussions concerning (a) the ritual foundations of dance and (b) the videotape “The Power of Dance,” how is dance an impulse that exists naturally within all of us as human beings? In what ways is dance an expression of "power?"

2. In both historical and stylistic terms, describe the development of a) ballet and b) modern dance.

3. Explain the nature of open and closed musical forms and give an example of each. How did each of these forms reflect its respective historical context? How does our contemporary music reflect one or both of these traditions?

4. Explain the diverse social and cultural conditions that served to set up New Orleans as the "birthplace" of American jazz. Within this context, describe the basic musical elements of African-American origin that make American jazz what it is.

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