The Enjoyment of Music

March 27, 2018 | Author: MichaelJamesChristopherConklin | Category: Harmony, Scale (Music), Musical Forms, Rhythm, Tempo
Share
Report this link


Comments



Description

TEST BANKThe Enjoyment of Music TWELFTH EDITION, SHORTER Roger Hickman CALIFORNIA STATE UNIVERSITY, LONG BEACH BnW • W • NORTON & COMPANY, INC. • NEW YORK • LONDON W. W. Norton & Company has been independent since its founding in 1923, when William Warder Norton and Mary D. Herter Norton first published lectures delivered at the People’s Institute, the adult education division of New York City’s Cooper Union. The firm soon expanded its program beyond the Institute, publishing books by celebrated academics from America and abroad. By mid-century, the two major pillars of Norton’s publishing program—trade books and college texts—were firmly established. In the 1950s, the Norton family transferred control of the company to its employees, and today—with a staff of 400 and a comparable number of trade, college, and professional titles published each year—W. W. Norton & Company stands as the largest and oldest publishing house owned wholly by its employees. Copyright © 2015, 2011, 2007, 2003, 1999, 1995, 1990 by W. W. Norton & Company, Inc. All rights reserved Twelfth Edition, Shorter Production Manager: Jane Searle W. W. Norton & Company, Inc., 500 Fifth Avenue, New York, NY 10110 wwnorton.com W. W. Norton & Company Ltd., Castle House, 75/76 Wells Street, London W1T 3QT CONTENTS Part 1 Materials of Music Prelude 1 | Listening to Music Today 1 Chapter 1 | Melody: Musical Line 4 Chapter 2 | Rhythm and Meter: Musical Time 8 Chapter 3 | Harmony: Musical Depth 13 Chapter 4 | The Organization of Musical Sounds 17 Chapter 5 | Musical Texture 23 Chapter 6 | Musical Form 27 Chapter 7 | Musical Expression: Tempo and Dynamics 31 Chapter 8 | Music and Words 34 Chapter 9 | Voices and Instrument Families 37 Chapter 10 | Western Musical Instruments 40 Chapter 11 | Musical Ensembles 46 Chapter 12 | Style and Function of Music in Society 50 Part 2 The Middle Ages and Renaissance Chapter 15 | Symbols and Puzzles: Machaut and the Medieval Mind 64 Chapter 16 | Singing in Friendship: The Renaissance Madrigal 67 Chapter 17 | Remember Me: Personalizing the Motet in the Renaissance 70 Chapter 18 | Glory Be: Music for the Renaissance Mass 73 Chapter 19 | Instrumental Movements: Medieval and Renaissance Dance Music 77 Part 3 The Baroque Era Prelude 3 | Music as Exploration and Drama 80 Chapter 20 | Voicing the Virgin: Cozzolani and Italian Baroque Sacred Music 85 Chapter 21 | Performing Grief: Purcell and Early Opera 88 Chapter 22 | Musical Sermons: Bach and the Lutheran Cantata 92 Chapter 23 | Textures of Worship: Handel and the English Oratorio 96 Prelude 2 | Music as Commodity and Social Activity 53 Chapter 24 | Independent Study: Billings and the North American Sacred Tradition 100 Chapter 13 | Voice and Worship: Tradition and Individuality in Medieval Chant 57 Chapter 25 | Grace and Grandeur: The Baroque Dance Suite 104 Chapter 14 | Layering Lines: Polyphony at Notre Dame 61 Chapter 26 | Sounding Spring: Vivaldi and the Baroque Concerto 108 iii iv | Contents Chapter 27 | Process as Meaning: Bach and the Fugue Part 4 112 Eighteenth-Century Classicism Prelude 4 | Music as Order and Logic Chapter 28 | Musical Conversations: Haydn and Classical Chamber Music Chapter 29 | The Ultimate Instrument: Haydn and the Symphony 116 121 126 Chapter 45 | Total Art: Wagner and German Romantic Opera 198 Chapter 46 | Poetry in Motion: Tchaikovsky and the Ballet 203 Chapter 47 | Exotic Allure: Puccini and the Italian Verismo Tradition 207 Chapter 48 | Accepting Death: Fauré and the Requiem 211 Chapter 49 | Mythical Impressions: Program Music at the End of the Nineteenth Century 214 Chapter 30 | Expanding the Conversation: Mozart, Chamber Music, and Larger Forms 130 Chapter 50 | Jubilees and Jubilation: The African American Spiritual Tradition 220 Chapter 31 | Conversation with a Leader: The Classical Concerto 135 Chapter 51 | A Good Beat: American Vernacular Music at the Close of an Era 224 Chapter 32 | Personalizing the Conversation: Beethoven and the Classical Sonata 138 Chapter 33 | Disrupting the Conversation: Beethoven and the Symphony in Transition 142 Part 6 Twentieth-Century Modernism Prelude 6 | Making Music Modern 228 Chapter 52 | Anything Goes: Schoenberg and Musical Expressionism 234 Chapter 53 | Calculated Shock: Stravinsky and Modernist Multimedia 239 Chapter 54 | Still Sacred: Religious Music in the Twentieth Century 243 151 Chapter 55 | War Is Hell: Berg and Expressionist Opera 246 Chapter 36 | Musical Reading: Schubert, Schumann, and the Early Romantic Lied 157 Chapter 56 | American Intersections: Jazz and Blues Traditions 250 Chapter 37 | Marketing Music: Foster and Early “Popular” Song 164 Chapter 57 | Modern America: Still and Musical Modernism in the United States 256 Chapter 38 | Dancing at the Keyboard: Chopin and Romantic Piano Music 167 Chapter 58 | Folk Opera? Gershwin and Jazz as “Art” 259 Chapter 39 | Musical Diaries: Hensel and Programmatic Piano Music 172 Chapter 59 | Sounds American: Ives, Copland, and Musical Nationalism 263 Chapter 40 | Piano Triumphant: Gottschalk and Romantic Virtuosity 175 Chapter 60 | Also American: Revueltas and Mexican Musical Modernism 268 Chapter 41 | Personal Soundtracks: Berlioz and the Program Symphony 178 Chapter 61 | Classic Rethinking: Bartók and the “Neo-Classical” Turn Chapter 42 | Sounding a Nation: Grieg and Orchestral Nationalism 183 Chapter 43 | Absolutely Classic: Brahms and the Nineteenth-Century Symphony 188 Chapter 44 | Multimedia Hits: Verdi and Italian Romantic Opera 193 Chapter 34 | Making It Real: Mozart and Classical Opera 145 Chapter 35 | Mourning a Hero: Mozart and the Requiem 148 Part 5 The Nineteenth Century Prelude 5 | Music as Passion and Individualism 272 Part 7 Postmodernism: The Twentieth Century and Beyond Prelude 7 | Beyond Modernism? Chapter 62 | New Sound Palettes: Mid-TwentiethCentury American Experimentalists 277 282 Contents | v Chapter 63 | Staged Sentiment: Bernstein and American Musical Theater 287 Chapter 67 | Underscoring Meaning: Music for Film 301 Chapter 64 | Less Is More: Reich and Minimalist Music 291 Chapter 68 | Icons in Sound: Tavener and Postmodern Orthodoxy 306 Chapter 69 | Reality Shows: Adams and Contemporary Opera 310 Chapter 65 | Returning with Interest: Dylan, Corigliano, and Postmodern Reworkings 295 Chapter 66 | Neo-Romantic Evocations: Higdon and Program Music into the TwentyFirst Century 298 the first individual to walk on stage is: a. d. ANS: C MSC: Applied DIF: Medium REF: 6 TOP: Concerts 5. enter and stand in the aisle until there is a break. give up and go home. d. online materials with textbook. websites of nearby venues d. then enter and quickly find your seat. Internet. c. c. ANS: D MSC: Factual DIF: Medium REF: 7 TOP: Concerts 1 . city and college newspapers c. During a concert. whenever you are bored. read biographies of the singers ANS: B MSC: Applied DIF: Easy REF: 5 TOP: Concerts 3. In a symphony concert. What is the best way to prepare in advance to attend an opera? a. the conductor. the music director. the soloist. d. wait until there is a break in the music. buy a new outfit to wear d. only during intermission and at the end. practice speaking the language in which it will be performed b. after the orchestra is seated. b. all of the above ANS: D MSC: Factual DIF: Medium REF: 5 TOP: Concerts 4. read an overview of the plot c. c. d. b. enter and crawl over people to find your seat. ANS: D MSC: Applied DIF: Medium REF: 6 TOP: Concerts 6. recently issued CDs ANS: D MSC: Applied DIF: Easy REF: 4 TOP: Concerts 2. during breaks in the works. you should: a. b. only at the end of the program. Which of the following are NOT good sources of concert information? a. the concertmaster. college music or fine arts departments b.Prelude 1: Listening to Music Today MULTIPLE CHOICE 1. it is appropriate to leave your seat: a. A good source to find out more about works to be performed at a concert is: a. your music textbook. c. If you arrive at a concert after the performance has begun. b. only at the close of the concert. you should applaud: a. In general. after well-performed solos. b. ANS: T MSC: Factual DIF: Easy REF: 4 TOP: Concerts 2. Front-row orchestra seats are the best location from which to hear a balanced performance by an orchestra. Listening to music at home is just about the same experience as hearing it live. ANS: F MSC: Applied DIF: Easy REF: 4 TOP: Concerts 3. REF: 7 TOP: Concerts 8. In daily life. only at the ends of complete works. Concert artists wear black attire to be dramatic and to attract notice. pianists and singers performing from memory d. at breaks in the works. you should plan to arrive at a concert at least twenty minutes before it is scheduled to begin.2 | Prelude 1 7. ANS: F MSC: Conceptual DIF: Medium REF: 7 TOP: Concerts . ANS: T MSC: Factual DIF: Medium REF: 6 TOP: Concerts 5. ANS: C MSC: Applied DIF: Medium c. we often listen to music as a background to another activity. ANS: F MSC: Applied DIF: Medium REF: 5 TOP: Concerts 4. performers wearing dark clothing b. The concert program handed to you by an usher often has helpful notes about the pieces you will hear. At a symphony concert. d. Which of the following is NOT an established concert tradition? a. question-and-answer sessions with the audience during the concert c. ANS: T MSC: Factual DIF: Easy REF: 6 TOP: Concerts 6. orchestras standing when the conductor enters ANS: B MSC: Factual DIF: Hard REF: 7 TOP: Concerts TRUE/FALSE 1. ANS: Answers will vary. DIF: Easy REF: 4 TOP: Concerts MSC: Conceptual .Listening to Music Today | 3 ESSAY 1. DIF: Easy REF: 4 TOP: Concerts MSC: Conceptual 2. Discuss the role of music in modern life. What is the best way to prepare for going to a concert? ANS: Answers will vary. interval. tonic. d. c. the number of vibrations per second ANS: D MSC: Factual DIF: Easy REF: 8 TOP: Melody 2. how fast the pitches are played c. By definition. ANS: A MSC: Factual 4 DIF: Easy TOP: Melody cadence. b. tempo. a melody. what is meant by frequency? a. cues. amplitudes. c. b. d. a certain volume. a harmony. c. notes. d. a chord. b. b. a perceivable pitch and a measurable frequency. c. phrase. REF: 9 TOP: Melody . pitches. d. A succession of single tones or pitches perceived as a unit is called: a. ANS: B MSC: Factual DIF: Easy REF: 8 TOP: Melody 5. The distance between two pitches is called a(n): a. an interval. In determining pitch. countermelody.Chapter 1: Melody: Musical Line MULTIPLE CHOICE 1. the span between the highest and lowest notes d. The distance between the highest and lowest tones of a melody is called the: a. b. a distinct timbre. ANS: C MSC: Factual DIF: Easy REF: 8 TOP: Melody 3. d. range. all of the above ANS: D MSC: Factual DIF: Easy REF: 8 TOP: Melody 4. how often the pitch is heard b. a musical sound has: a. c. Musical sounds are represented by symbols called: a. ANS: B MSC: Factual DIF: Easy REF: 9 6. phrase. Musical punctuation. is called a: a. consonant c. ANS: D MSC: Conceptual DIF: Medium c. d. ANS: C MSC: Factual DIF: Easy REF: 9 TOP: Melody 12. which is similar to a comma or period in a sentence. d. b. conjunct d. A unit of meaning within the larger structure of a melody is called a: a. c. its range. c. b. chord. stanza. ANS: C MSC: Factual DIF: Medium REF: 10 TOP: Melody . scale. disjunct ANS: B MSC: Factual DIF: Medium REF: 9 8.Melody: Musical Line | 5 7. Which term describes a melody that moves by small intervals? a. d. TOP: Melody TOP: Melody It has phrases of unequal lengths. The striking emotional effect created by the high point in a melodic line is called the: a. REF: 9 TOP: Melody 10. cadence. period. d. cadence. ANS: A MSC: Factual DIF: Medium REF: 9 TOP: Melody 11. dissonant b. range. d. cadence. cadence. c. Why is Beethoven’s Ode to Joy easy to sing? a. It has no cadences. ANS: A MSC: Factual DIF: Medium REF: 9 TOP: Melody 13. phrase. all of the above REF: 9 9. The resting place at the end of a phrase is called a: a. syncopation. pause. d. climax. It has a wide range. It is conjunct. climax. comma. b. countermelody. its shape. c. c. b. ANS: B MSC: Conceptual DIF: Hard the way it moves. b. b. A melody can be characterized by: a. Tone color is a property of pitch. ANS: F MSC: Factual DIF: Medium REF: 9 TOP: Melody 5. another melody is called a: a. c. ANS: T MSC: Factual DIF: Medium REF: 8 TOP: Melody REF: 8 TOP: Melody 3. countermelody. Melodies that move principally by small. The overall shape of a melody is called its range. A musical note is the symbolic representation of a sound with pitch and duration.6 | Chapter 1 14. b. ANS: T MSC: Factual DIF: Medium REF: 9 TOP: Melody 6. ANS: F MSC: Applied DIF: Hard REF: 9 TOP: Melody . The length or size of a vibrating object has no effect on pitch. cadence. phrase. ANS: C MSC: Factual DIF: Medium REF: 10 TOP: Melody TRUE/FALSE 1. connected intervals are conjunct. tune. ANS: T MSC: Factual DIF: Medium REF: 9 TOP: Melody REF: 9 TOP: Melody 7. or played against. A melody added to. ANS: T MSC: Factual DIF: Easy 8. d. ANS: F MSC: Factual DIF: Easy REF: 8 TOP: Melody 2. Melodies that skip in disjointed intervals are disjunct. The phrases in the tune Amazing Grace are of unequal length. A phrase is a component unit of a melody. ANS: T MSC: Factual DIF: Medium 4. DIF: Medium REF: 8 TOP: Melody MSC: Applied 2. ANS: Answers will vary. ANS: Answers will vary. The melody of The Star-Spangled Banner is best described as conjunct. ANS: F MSC: Applied DIF: Medium REF: 9 TOP: Melody 10. Describe the elements that contribute to the sound of a pitch.Melody: Musical Line | 7 9. Compare the structure of a melody with the form of a sentence. The rhyme scheme of a poem is determined by the first word of each poetic line. ANS: F MSC: Applied DIF: Medium REF: 9 TOP: Melody ESSAY 1. DIF: Medium REF: 9 TOP: Melody MSC: Conceptual 3. DIF: Hard REF: 9 TOP: Melody MSC: Conceptual . What are the features that give each melody a distinctive character? ANS: Answers will vary. form. d. d. accent. polyrhythms. The element of music that organizes movement in time is: a. chords. d. c. b. c. rhythm. Meter is marked off in groupings known as: a. phrases. ANS: A MSC: Factual DIF: Easy REF: 11 TOP: Rhythm 3. ANS: B MSC: Factual DIF: Easy c. The basic unit of rhythm that divides time into equal segments is called the: a. ANS: B MSC: Factual DIF: Easy REF: c. upbeat. ANS: D MSC: Factual 8 DIF: Easy REF: 12 TOP: Rhythm . beat. texture. timbre. accented. rhythm. Music is propelled forward in time by: a. c. minor. c. major. ANS: C MSC: Factual DIF: Easy REF: 11 TOP: Rhythm 5. b. ANS: C MSC: Factual DIF: Easy REF: 11 TOP: Rhythm 4. b. d. b. harmony. c. REF: 11 TOP: Rhythm cadences. metrical. syncopations. REF: 11 TOP: Rhythm 2. simple beat. syncopation. b. meters. offbeats. ANS: B MSC: Factual DIF: Easy 6. Beats that are more strongly emphasized than others are said to be: a. downbeat. syncopated beat.Chapter 2: Rhythm and Meter: Musical Time MULTIPLE CHOICE 1. melody. d. meter. 11 TOP: Rhythm 7. d. b. d. b. Organizing patterns of rhythmic pulses are called: a. harmony. measures. The first accented beat of a measure is called a(n): a. d. quadruple b. quadruple meter. compound meter. compound meter. all beats equally. duple meter. REF: 12 TOP: Rhythm the third beat. triple meter. ANS: B MSC: Applied DIF: Hard REF: 13 TOP: Rhythm . d. b. the first beat. Meters in which each beat is subdivided into three rather than two are known as: a. compound meter. the strongest pulse occurs on: a. duple meter. b. beats 1 and 3. d. ANS: B MSC: Factual DIF: Medium REF: 12 TOP: Rhythm 9. compound ANS: A MSC: Applied DIF: Medium REF: 10. The repeated rhythmic pattern in which an accented beat is followed by two unaccented beats is called: a. quadruple meter. the second beat. d. beats 3 and 6. ’tis of thee”) is an example of: a. b. ANS: A MSC: Applied DIF: Easy c. complex meters. The metric pattern in which a strong beat alternates with a weak one is called: a. unequal meters. compound meters. the principal accents usually fall on: a. In triple meter. simple meters. In sextuple meter. quadruple meter. ANS: C MSC: Factual DIF: Hard REF: 12 TOP: Rhythm 13. triple d. d. duple c. triple meter. c. ANS: B MSC: Factual DIF: Medium REF: 12 TOP: Rhythm 12. 12 TOP: Rhythm 11. beats 2 and 4. b.Rhythm and Meter: Musical Time | 9 8. ANS: B MSC: Applied DIF: Hard REF: 12 TOP: Rhythm 14. triple meter. Which meter would most likely be associated with a march? a. c. b. b. beats 1 and 4. duple meter. c. c. d. c. The patriotic song America (“My country. The element that organizes movement in time is called harmony. Twinkle. ANS: C MSC: Factual DIF: Medium REF: 12 TOP: Rhythm 19. The simultaneous use of two or more rhythmic patterns is called: a. c. irregular. b. b. ’tis of thee”) ANS: B MSC: Applied DIF: Hard 16. the Beautiful b. upbeat. REF: 13 TOP: Rhythm accent. When a song begins on the last beat of a measure. polyrhythm. Little Star c. ANS: A MSC: Factual DIF: Medium REF: 12 TOP: Rhythm 20. meter. ANS: F MSC: Factual DIF: Easy REF: 11 TOP: Rhythm . b. it is said to begin with a(n): a. d. c. America (“My country. additive. syncopation. The deliberate shifting of the accent to a weak beat or an offbeat is called: a. nonmetric. offbeat. 12 TOP: Rhythm 17.10 | Chapter 2 15. syncopation. d. syncopation. offbeat. ANS: C MSC: Factual DIF: Medium REF: 13 TOP: Rhythm TRUE/FALSE 1. b. rhythm. c. Twinkle. ANS: D MSC: Factual DIF: Hard REF: 12 TOP: Rhythm 18. d. syncopation. A weak beat in a measure is called a(n): a. compound. compound meter. ANS: A MSC: Factual DIF: Medium REF: c. Music that moves without a strong sense of beat or meter is called: a. b. America. Which of the following songs is in sextuple meter? a. Greensleeves d. polyrhythm. compound meter. c. upbeat. d. d. additive meter. ANS: F MSC: Applied DIF: Hard REF: 13 TOP: Rhythm 10. ANS: F MSC: Applied DIF: Hard REF: 13 TOP: Rhythm 6. Music that moves without a strong sense of beat or meter is referred to as nonmetric. ANS: T MSC: Applied DIF: Hard REF: 11 TOP: Rhythm 5. All world musics feature a strong regular pulse or beat. ANS: T MSC: Factual DIF: Easy REF: 13 TOP: Rhythm . Syncopation is typical of African American dance music and spirituals. Meter is an organizing principle shared by music and poetry. Syncopation is a rhythmic characteristic of American jazz. ANS: T MSC: Factual DIF: Medium 4. Little Star” is an example of triple meter. ANS: T MSC: Applied DIF: Hard REF: 12 TOP: Rhythm 7. Twinkle. ANS: T MSC: Factual DIF: Hard REF: 12 TOP: Rhythm 8. Meter is the measurement of musical time. ANS: T MSC: Factual DIF: Medium REF: 113 TOP: Rhythm REF: 11 TOP: Rhythm 3. each with a fixed number that coincides with the meter. ANS: T MSC: Factual DIF: Medium REF: 12 TOP: Rhythm 9.Rhythm and Meter: Musical Time | 11 2. Measures mark off groupings of beats. “Twinkle. Polyrhythms are characteristic of musics of many African cultures. DIF: Medium REF: 12f TOP: Rhythm MSC: Conceptual . beat. ANS: Answers will vary. and describe the way they work together in music. ANS: Answers will vary.12 | Chapter 2 ESSAY 1. and meter. Define rhythm. Describe the differences between the use of rhythm and meter in traditional Western music and that of African American dance and other non-Western music traditions. DIF: Medium REF: 11f TOP: Rhythm MSC: Conceptual 2. interval. The depth resulting from simultaneous events in music is described by the term: a. chord. ANS: D MSC: Factual DIF: Hard REF: 14 TOP: Harmony triad. melody. A collection of pitches arranged in ascending or descending order is called a(n): a. 14 TOP: Harmony 13 . ANS: A MSC: Factual DIF: Medium REF: 14 TOP: Harmony 4. c. scale. interval. d. harmony. ANS: A MSC: Factual DIF: Medium REF: 6. b. A combination of three or more tones that constitutes a single block of harmony is called a(n): a. interval. fifth. c. chord. d. octave. color d. texture. b. dissonance. scale. c. octave. d. ANS: D MSC: Factual DIF: Medium REF: 14 TOP: Harmony 5. c. ANS: C MSC: Conceptual DIF: Hard REF: 14 TOP: Harmony perspective the brush 14 TOP: Harmony 3. chord. d. the frame c. chord. ANS: B MSC: Factual DIF: Easy REF: 2. The distance and relationship between two tones is referred to as a(n): a. d. a. octave.Chapter 3: Harmony: Musical Depth MULTIPLE CHOICE 1. b. b. scale. Harmony is to music as ________ is to painting. b. c. b. octave. An interval spanning eight notes is called a(n): a. built on alternate scale steps. octave. cadence. c. consonant d. dominant. ANS: C MSC: Factual DIF: Medium REF: c. tonality. b. conjunct motion. A combination of tones that sounds discordant. ANS: B MSC: Factual DIF: Easy REF: 15 TOP: Harmony 10. c. dissonant ANS: B MSC: Factual DIF: Easy REF: 16 TOP: Harmony . dissonance. ANS: D MSC: Applied DIF: Hard REF: 15 TOP: Harmony 12. ANS: C MSC: Factual DIF: Medium REF: 15f TOP: Harmony 11. syncopation. REF: 14 TOP: Harmony tonic. which does NOT describe a dissonance? a. c. b. d. Should a composer write a film score for a horror movie. dissonance.14 | Chapter 3 7. d. ANS: C MSC: Factual DIF: Easy REF: 15 TOP: Harmony 13. disjunct b. d. unstable. The principle of organization around a central tone is called: a. conjunct c. we might reasonably expect that the harmony would include a great deal of: a. It creates a need for resolution. Which of the following terms describes a concordant. a three-note chord. the most common chord type found in Western music. tonality. all of the above ANS: D MSC: Factual DIF: Hard 8. It is a discordant sound. consonance. b. b. A triad is: a. c. combination of tones? a. It creates tension. d. triad. 15 TOP: Harmony 9. consonance. The first note of the scale is called the: a. Of the following. or in need of resolution is called a: a. d. or agreeable. It sustains a sense of stability. centralization. consonance. b. b. chromaticism. c. d. The two scale types commonly found in Western music from about 1650 to 1900 are major and minor. Melody and harmony function independently of each other. The principle of organization around a central tone is called tonality. Three alternate notes of a scale. ANS: T MSC: Factual DIF: Hard REF: 14 TOP: Harmony 4. tonality.Harmony: Musical Depth | 15 14. ANS: T MSC: Applied DIF: Medium REF: 15 TOP: Harmony 8. Harmony is important to most non-Western musical cultures. ANS: F MSC: Applied DIF: Medium REF: 15 TOP: Harmony 5. c. A single. dissonance. b. ANS: T MSC: Factual DIF: Easy 3. sustained pitch against which melodic and rhythmic complexities unfold is called a: a. ANS: F MSC: Applied DIF: Medium REF: 14 TOP: Harmony REF: 14 TOP: Harmony 2. Harmonic movement in music receives its maximum tension from consonance. drone. ANS: A MSC: Factual DIF: Medium REF: 16 TOP: Harmony TRUE/FALSE 1. ANS: T MSC: Factual DIF: Easy REF: 15 TOP: Harmony 6. form a triad. Harmonic movement is generated by motion toward a goal or resolution. tonic. A triad is a chord made up of three tones. d. ANS: F MSC: Applied DIF: Medium REF: 15 TOP: Harmony . ANS: T MSC: Factual DIF: Medium REF: 15 TOP: Harmony 7. sounded simultaneously. ANS: Answers will vary. ANS: Answers will vary. Describe the relationship between melody and harmony in music. ANS: F MSC: Factual DIF: Easy REF: 15 TOP: Harmony 10. music has grown more consonant through the ages. ANS: F MSC: Conceptual DIF: Hard REF: 16 TOP: Harmony ESSAY 1. A combination of tones that is discordant and unstable produces a consonance. Generally speaking. DIF: Medium REF: 15 TOP: Harmony MSC: Conceptual TOP: Harmony MSC: Conceptual 2. DIF: Medium REF: 15 . Describe the role of dissonance in harmony.16 | Chapter 3 9. REF: 17 TOP: Musical sounds flat. ANS: C MSC: Factual DIF: Easy REF: eight ten 17 TOP: Musical sounds 2. minor. whole step. major. b. C-flat or B. c. d. scale. subdominant. b. called the: a. the black key between the white keys C and D is called: a. b. c. d. d. twelve b.Chapter 4: The Organization of Musical Sounds MULTIPLE CHOICE 1. five c. ANS: A MSC: Factual DIF: Easy REF: 17 TOP: Musical sounds 4. tonic. ANS: B MSC: Factual DIF: Hard REF: c. note. The musical symbol # represents a: a. b. Tonality means that we hear a piece of music in relation to a central tone. b. The smallest interval in the Western musical system is the: a. half step. third. b. sharp. six c. On the piano. In Western music. a. D-sharp or E. d. How many notes in a scale does an octave span? a. c. none of the above ANS: A MSC: Applied DIF: Hard REF: 18 TOP: Musical sounds 7. pitch. 18 TOP: Musical sounds 6. C-sharp or D-flat. including all the semitones of the octave. chromatic. the octave is divided into ________ equal intervals. fifteen ANS: C MSC: Factual DIF: Hard REF: 17 TOP: Musical sounds 3. eight d. ANS: A MSC: Factual DIF: Easy 5. octave. d. is called: a. six d. diatonic. c. ANS: D MSC: Factual DIF: Easy REF: 18 TOP: Musical sounds 17 . A twelve-tone scale. dominant. It always begins on the note F. d. interval. ANS: B MSC: Factual DIF: Easy REF: 19 TOP: Musical sounds 14. between what pairs of tones do the half steps occur? a. tonality. 2 and 3. Middle Ages ANS: A MSC: Factual DIF: Easy REF: 20 TOP: Musical sounds . 7 and 8 ANS: D MSC: Factual DIF: Hard REF: 18 TOP: Musical sounds 11. d. 7 and 8 c. 5 and 6 ANS: B MSC: Factual DIF: Hard REF: 18 TOP: Musical sounds 12. is called a(n): a. diatonic. In a major scale. Which of the following characterizes the minor scale? a. 2 and 3. modal. melody. b. b. chromatic. ANS: B MSC: Factual DIF: Easy REF: 18 TOP: Musical sounds 10. It has a lowered third degree. b. modulation. transposed. A group of related tones with a common center. a tonic. 3 and 4 c. Renaissance d. ANS: A MSC: Factual DIF: Easy REF: 18 TOP: Musical sounds 9. It sounds the same as the major mode. Romantic c. chromaticism.18 | Chapter 4 8. 4 and 5 d. In a major scale. 2 and 3. 7 and 8 d. 6 and 7 b. Music based on the seven tones of a major or minor scale is called: a. c. c. the greatest tension lies between what two tones? a. 3 and 4. b. It is made entirely of half steps. transposition. 6 and 7 b. c. c. d. key. Classical b. The principle of organization whereby we hear a piece of music in relation to a central tone is called: a. d. octave. ANS: A MSC: Factual DIF: Hard REF: 19 TOP: Musical sounds 13. With which era is chromatic music most frequently associated? a. tonic. leading tone ANS: A MSC: Factual DIF: Medium REF: 20 TOP: Major-minor system 21. d. subdominant b. V b. I c. IV d. How many notes make up a pentatonic scale? a. VII ANS: A MSC: Factual DIF: Medium REF: 20 TOP: Major-minor system 20. subtonic. subdominant. glissando. V b. b. b. VII ANS: C MSC: Factual DIF: Medium REF: 20 TOP: Major-minor system . ANS: B MSC: Factual DIF: Medium REF: twelve four 20 TOP: Musical sounds 16. dominant d. d. ANS: A MSC: Factual DIF: Easy REF: 20 TOP: Major-minor system 19. microtone. a. or half step. c. Which of the following does NOT make frequent use of pentatonic scales? a. five d. tonic c. Western art music c. ANS: C MSC: Factual DIF: Medium REF: 20 TOP: Musical sounds 18. IV d. The tonic chord is represented by the symbol ________. The dominant chord is represented by the symbol ________. Native American music d. The triad built on the first note of the scale is called the: a. Chinese music ANS: A MSC: Applied DIF: Hard REF: 20 TOP: Musical sounds 17. I c.The Organization of Musical Sounds | 19 15. dominant. Japanese music b. the ________ is considered a place of rest and return. a. In harmony. is called a(n): a. eight c. a. b. octave. c. whole tone. An interval smaller than the semitone. In Western music. subdominant. b. submediant. ANS: A MSC: Factual DIF: Easy REF: 21 TOP: Major-minor system 25. toward which the other tones gravitate. and VII. c. the tonic. ANS: T MSC: Factual DIF: Easy REF: 18 TOP: Musical sounds . the octave is divided into seven equal parts. b. and V. transposition. I. d. and V. c. The process of passing from one key to another is known as: a. ANS: F MSC: Factual DIF: Hard REF: 17 TOP: Musical sounds 2. what remains the same? a. the dominant. the key note. and the: a. c. d. of the melody d. development. supertonic. mediant. modulation. III. I. When a melody is transposed to another key. ANS: F MSC: Factual DIF: Hard REF: 17 TOP: Musical sounds 18 TOP: Musical sounds 3. I. ANS: D MSC: Factual DIF: Medium REF: 20 TOP: Major-minor system 23. transformation. ANS: C MSC: Factual DIF: Medium REF: 20 TOP: Major-minor system 24. or tonic. V. A key is a group of related tones with a common center. VI.20 | Chapter 4 22. which make up the chromatic scale. d. ANS: F MSC: Factual DIF: Easy REF: 4. The three most important triads in diatonic harmony are: a. and VII. the pitch level of the melody c. IV. All musical cultures of the world divide the octave into twelve equal half steps. A sharp lowers a musical tone by a half step. the shape of the melodic line b. the number of sharps or flats ANS: C MSC: Applied DIF: Hard REF: 21 TOP: Major-minor system TRUE/FALSE 1. b. The three basic triads in the Western musical system are the tonic. I. A major scale can begin on any of the twelve semitones of the octave. ANS: T MSC: Factual DIF: Hard REF: 18 TOP: Musical sounds 7. ANS: T MSC: Factual DIF: Easy REF: 21 TOP: Major-minor system . ANS: T MSC: Factual DIF: Medium REF: 20 TOP: Major-minor system 12. ANS: T MSC: Applied DIF: Medium REF: 20 TOP: Major-minor system 14. Although common in jazz. ANS: F MSC: Factual DIF: Easy 11. which can cause tension in music until it is resolved. imparting a sense of direction or goal. ANS: T MSC: Factual DIF: Medium REF: 20 TOP: Musical sounds 9. ANS: F MSC: Factual DIF: Hard REF: 0 TOP: Musical sounds REF: 20 TOP: Musical sounds 10. ANS: T MSC: Factual DIF: Easy REF: 20 TOP: Major-minor system 13. the central tone is called the semitone. Active chords seek to resolve to resting chords. Chromatic music is most closely associated with the Classical era. ANS: F MSC: Factual DIF: Easy REF: 18 TOP: Musical sounds 6. The process of passing from one key to another is known as modulation. Within a key. ANS: F MSC: Factual DIF: Medium REF: 20 TOP: Musical sounds 8. A variety of world musics make use of pentatonic scales. The dominant is an example of an active chord. inflecting a pitch is unusual in most Western music. A tritonic scale is made up of eight notes. All pentatonic scales use the same notes and thus sound the same.The Organization of Musical Sounds | 21 5. ANS: T MSC: Factual DIF: Easy REF: 21 TOP: Major-minor system ESSAY 1.22 | Chapter 4 15. ANS: Answers will vary. What does this mean? ANS: Answers will vary. What makes major and minor scales sound different? Describe the character of each. Describe various scale types used around the world. Compare these with major and minor scales. DIF: Hard MSC: Applied REF: 18 TOP: Musical sounds 2. DIF: Hard MSC: Applied REF: 19 TOP: Musical sounds . DIF: Medium MSC: Conceptual REF: 18f TOP: Musical sounds 3. We describe our perception of Western harmony in terms of tonality. The act of shifting all the tones of a musical composition a uniform distance to a different pitch level is called transposition. ANS: Answers will vary. meter. texture. harmony. b. c. is called: a. contrapuntal. b.Chapter 5: Musical Texture MULTIPLE CHOICE 1. d. Traditional music of the Far East is largely: a. homophonic. homophony. unaccompanied line is called: a. c. homophonic. polyphonic. REF: 22 TOP: Texture polyphonic. d. When two or more independent melodic lines are combined. b. c. monophony. ANS: A MSC: Factual DIF: Medium REF: 22 TOP: Texture 23 . often heard in jazz. contrapuntal. heterophony. or the relationship of musical lines within a work. homophonic. d. monophony. the resulting texture is known as: a. A texture featuring a single. b. monophonic. When a melody is combined with an ornamented version of itself. polyphony. d. the resulting texture is called: a. The predominant texture in music up to about one thousand years ago was: a. ANS: A MSC: Factual DIF: Easy REF: 22 TOP: Texture 3. ANS: C MSC: Factual DIF: Easy REF: 22 TOP: Texture 2. polyphonic. d. The element that describes the musical fabric. all of the above ANS: C MSC: Factual DIF: Medium 4. ANS: C MSC: Factual DIF: Medium REF: 22 TOP: Texture 6. d. c. 22 TOP: Texture 5. monophonic. c. monody. homophony. monophonic. b. ANS: D MSC: Factual DIF: Medium REF: c. b. timbre. heterophony. canon. monophonic c. 25 TOP: Texture 13. b. c. c. theme. homophony. c. retrograde. polymeter. inversion. polyrhythm. imitation. d. The texture in which all the voices move in the same rhythm is called: a. retrograde. b. ANS: A MSC: Factual DIF: Hard REF: 12. d. diminution. counterpoint. round ANS: D MSC: Applied DIF: Easy REF: 25 TOP: Texture . c. homophonic b. c. The procedure in which a melodic idea is presented in one voice and then restated in another is called: a. A composition with strict imitation throughout is called a(n): a. b. ANS: D MSC: Factual DIF: Medium REF: 25 TOP: Texture 11. Row. d. ANS: D MSC: Factual DIF: Medium REF: 22 TOP: Texture 8. A simple and familiar type of canon is called a: a. ANS: A MSC: Factual DIF: Easy REF: 23 TOP: Texture 9. b. monophony. d. d. heterophony. What term best describes Row. The texture that combines two or more simultaneous melodic lines is called: a. homophony. ANS: C MSC: Factual DIF: Easy REF: 25 TOP: Texture round. A texture in which a single voice takes over the melodic interest while the accompanying voices are subordinate is called: a. polyphony.24 | Chapter 5 7. heterophonic d. sequence. monophony. scale. polyphony. augmentation. d. b. Row Your Boat? a. homometer. motive. b. ANS: A MSC: Factual DIF: Easy REF: 24 TOP: Texture 10. homorhythm. c. In imitation. ANS: T MSC: Applied DIF: Medium REF: 25 TOP: Texture . ANS: F MSC: Applied DIF: Medium REF: 24 TOP: Texture 9. Traditional music of the Middle and Far East is typically polyphonic. such as jazz.Musical Texture | 25 TRUE/FALSE 1. ANS: T MSC: Factual DIF: Easy REF: 24 TOP: Texture 8. A single-voiced texture is called monophony. ANS: F MSC: Factual DIF: Medium REF: 22 TOP: Texture 3. the melody and harmony move with the same rhythm. ANS: T MSC: Factual DIF: Easy REF: 22 TOP: Texture 2. A heterophonic texture frequently occurs in music involving improvisation. “Homophonic” describes a single-voiced texture without accompaniment. Most compositions have one type of texture exclusively. In a homorhythmic texture. ANS: F MSC: Factual DIF: Easy REF: 22 TOP: Texture 7. The art of combining two or more simultaneous melodic lines is called counterpoint. The art of counterpoint is most closely associated with monophonic texture. ANS: F MSC: Applied DIF: Medium REF: 22 TOP: Texture 5. ANS: T MSC: Factual DIF: Medium REF: 22 TOP: Texture 4. a melodic idea in one voice is restated in another. ANS: T MSC: Factual DIF: Hard REF: 23 TOP: Texture 6. DIF: Medium REF: 25 TOP: Texture MSC: Applied .26 | Chapter 5 10. Describe what is meant by the terms imitation and canon in music. DIF: Hard REF: 22f TOP: Texture MSC: Applied 2. A canon is a type of homophony. ANS: Answers will vary. giving examples of each. ANS: F MSC: Applied DIF: Medium REF: 25 TOP: Texture ESSAY 1. Compare the principal types of texture discussed in this chapter. ANS: Answers will vary. repetition ANS: A MSC: Factual DIF: Medium REF: 26 TOP: Form 5. b. yet the whole remains recognizable. c. repetition and contrast. strophic form. c. ostinato. c. theme c. melody d. c. ANS: A MSC: Factual DIF: Medium REF: 26 TOP: Form 3. harmony ANS: C MSC: Factual DIF: Easy REF: 26 TOP: Form 2. chorus form. ANS: B MSC: Factual DIF: Medium REF: 26 TOP: Form 4. What quality of a work of art refers to its structure or shape? a. ternary. b. polyphonic and homophonic. contrast d. variation form. A vocal work in which each poetic stanza is sung to the same melody is in: a.Chapter 6: Musical Form MULTIPLE CHOICE 1. form b. b. ANS: A MSC: Factual DIF: Medium REF: 27 TOP: Form 27 . d. The form based on a statement and a departure without a return to the complete opening statement is called: a. inversion. variation c. binary. d. The term ________ describes the technique whereby some aspects of the music are changed. duple and triple. d. form b. repetition. major and minor. refrain form. canon. d. The technique through which performers create music on the spot is known as: a. The basic structural concepts in the element of form are: a. a. b. improvisation. variation. ANS: B MSC: Factual DIF: Hard REF: 27 TOP: Form 6. A-B d. A-B-C. c. d. c. ANS: B MSC: Factual DIF: Medium REF: 28 TOP: Form 12. Ternary form is represented by the pattern: a. b. thematic development. thematic development. b. c. A basic technique in thematic development is the fragmentation of themes into: a. 27 TOP: Form 9. cadence. call and response. A-B. ternary form. ostinato. canon. ANS: A MSC: Factual DIF: Easy REF: 29 TOP: Form . Which of the following best defines binary form? a. The compositional technique whereby a composer searches out a theme’s capacity for growth and expansion is known as: a. augmentation. ANS: A MSC: Factual DIF: Medium REF: 28 TOP: Form 13. A-B-A c. b. The smallest fragment of a theme that forms a melodic-rhythmic unit is called a: a. d. motives. b. motive. b. sequence. melodies. rhythms. REF: A-A B-B 27 TOP: Form A-B-A. d. d. crossover. ANS: C MSC: Factual DIF: Easy REF: c. A singing style that features a leader who is imitated by a group is called: a. c. d. ANS: C MSC: Factual DIF: Medium REF: 27 TOP: Form 10. A-A-A.28 | Chapter 6 7. The restatement of a musical idea at a higher or lower pitch is called a(n): a. sequence. notes. ANS: B MSC: Factual DIF: Easy 8. c. ostinato. b. motive. d. ANS: B MSC: Factual DIF: Medium REF: 28 TOP: Form 11. b. diminution. theme. and a restatement of the first idea is called binary form. The separate sections of a large musical work are called: a. Musical structure generally features a balance between unity and variety. d. but not in non-Western music. jazz. ANS: F MSC: Factual DIF: Medium REF: 27 TOP: Form 4. all of the above ANS: D MSC: Factual DIF: Medium REF: 29 TOP: Form 15. Forms are fixed molds into which composers force their material. ANS: F MSC: Factual DIF: Easy REF: 27 TOP: Form REF: 27 TOP: Form 5. movements. Improvisation is common in Western music. the blues. or the repetitive use of a short melodic. rock. songs. ANS: C MSC: Factual DIF: Easy REF: 29 TOP: Form TRUE/FALSE 1. chapters. or harmonic pattern. symphonies. b. ANS: T MSC: Factual DIF: Medium REF: 29 TOP: Form . is common in: a. a departure. The restatement of a theme or motive at a higher or lower pitch level is known as a sequence. c. ANS: T MSC: Factual DIF: Easy REF: 26 TOP: Form 2. c. b. rhythmic. Call and response style is common in African and Native American cultures. ANS: T MSC: Factual DIF: Easy REF: 28 TOP: Form 7. Ostinato. A musical form based on a statement. Ternary form is best outlined as A-B-A. ANS: F MSC: Conceptual DIF: Medium REF: 26 TOP: Form 3. ANS: T MSC: Factual DIF: Easy 6.Musical Form | 29 14. d. ANS: F MSC: Factual DIF: Medium REF: 29 TOP: Form 9. DIF: Hard REF: 27f .30 | Chapter 6 8. DIF: Medium REF: 26f TOP: Form MSC: Conceptual TOP: Form MSC: Conceptual 2. ANS: T MSC: Factual DIF: Easy REF: 29 TOP: Form ESSAY 1. Describe the role of a theme in music. Include descriptions of several fundamental musical forms. ANS: Answers will vary. or harmonic pattern repeated throughout a musical work is called an ostinato. rhythmic. An ostinato is the smallest fragment of a theme that forms a melodic-rhythmic unit. Discuss how repetition and contrast create structure in music. comparatively independent division of a large-scale work. A movement is a complete. A short melodic. ANS: T MSC: Factual DIF: Medium REF: 29 TOP: Form 10. ANS: Answers will vary. grave c. vivace d. largo d. Which marking is appropriate for a slow tempo? a. Which of the following tempo markings does NOT indicate a slow tempo? a. Which of the following tempo markings is the fastest? a. b. vigorous ANS: C MSC: Applied DIF: Medium REF: 30 TOP: Tempo/dynamics 4. French d. What emotional response would most likely be associated with an accelerating tempo? a. Dutch ANS: A MSC: Factual DIF: Easy REF: 5. ANS: B MSC: Applied DIF: Medium REF: 30 TOP: Tempo/dynamics piano allegro 30 TOP: Tempo/dynamics 6. andante c. In what language are tempo markings generally given? a. sadness b. adagio ANS: C MSC: Applied DIF: Medium REF: 30 TOP: Tempo/dynamics 7. moderato b. exhaustion ANS: B MSC: Applied DIF: Easy REF: 30 TOP: Tempo/dynamics 3. ANS: B MSC: Factual DIF: Easy REF: 30 TOP: Tempo/dynamics 2. tempo. movement. adagio d. meter. c. presto b. slow b. Music that sounds despairing and sad usually has a ________ tempo. Italian c. d. b. German b. agitation d. peacefulness c. mood. presto c. allegro ANS: A MSC: Applied DIF: Hard REF: 30 TOP: Tempo/dynamics 31 . fast c.Chapter 7: Musical Expression: Tempo and Dynamics MULTIPLE CHOICE 1. a. The rate of speed at which a piece of music is played is its: a. moderate d. molto d. ANS: D MSC: Factual DIF: Easy REF: 31 TOP: Tempo/dynamics 11. tempo. The degree of loudness or softness. 31 TOP: Tempo/dynamics 10. mp b. b. crescendo. pianissimo (pp) c. returning to the original tempo. < d. d. The term accelerando indicates that the tempo is: a. Which of the following symbols indicates growing louder? a. piano. mf ANS: B MSC: Factual DIF: Medium REF: 31 TOP: Tempo/dynamics 13. form of a piece of music. dynamics. ANS: D MSC: Factual DIF: Medium REF: 31 TOP: Tempo/dynamics 14. The gradual swelling of the volume of music is called: a. piano (p) d. a tempo ANS: B MSC: Factual DIF: Hard REF: 9. d. d. c.32 | Chapter 7 8. tonality of a piece of music. adagio. ANS: A MSC: Applied DIF: Medium REF: 31 TOP: Tempo/dynamics . texture. thematic development of a piece of music. > c. The markings for tempo and dynamics contribute most directly to the: a. b. mezzo forte (mf ) ANS: A MSC: Applied DIF: Medium REF: 31 TOP: Tempo/dynamics 12. b. non troppo b. getting slower. Which of the following dynamic markings is the softest? a. d. expressive content of a piece of music. or volume. b. staying the same. meno c. ANS: C MSC: Factual DIF: Easy REF: 30 TOP: Tempo/dynamics getting faster. c. Which of the following modifiers should be added to an allegro marking to indicate a very fast tempo? a. timbre. at which music is played is called: a. mezzo piano (mp) b. accelerando. c. c. Musical Expression: Tempo and Dynamics | 33 TRUE/FALSE 1. The degree of loudness and softness in music is called dynamics. Tempos and dynamics are dictated by composers. ANS: T MSC: Factual DIF: Easy REF: 30 TOP: Tempo/dynamics 30 TOP: Tempo/dynamics 3. Cite examples to support your response. A tempo marking indicates the loudness of a piece of music. Allegro is an Italian term for a fast. ANS: F MSC: Conceptual DIF: Medium REF: 32 TOP: Tempo/dynamics ESSAY 1. ANS: Answers will vary. DIF: Easy MSC: Conceptual REF: 30f TOP: Tempo/dynamics . ANS: T MSC: Factual DIF: Easy REF: 31 TOP: Tempo/dynamics 5. Describe how tempo and dynamics affect our response to music. The tempo of a piece affects its mood and character. ANS: T MSC: Factual DIF: Medium REF: 4. cheerful tempo. ANS: F MSC: Factual DIF: Easy REF: 30 TOP: Tempo/dynamics 2. and performer have no role in interpreting these elements. d.Chapter 8: Music and Words MULTIPLE CHOICE 1. ANS: D MSC: Factual 34 DIF: Easy REF: c. Italian. c. b. 33 TOP: Words and Music a wordless melody. Easy 3. b. an elaborate melody with a Latin text. REF: 33 TOP: Words and Music choruses. 33 TOP: Words and Music 4. consists of nonsense syllables. words and music that repeat in a poem. Easy REF: has no repetitions. Rhymed units in poetry are called: a. d. ANS: B MSC: Factual DIF: Medium 2. ANS: D MSC: Factual Easy REF: 5. the avoidance of repetition. a central idea in the text. cadences. b. is in a vernacular language. Asian music. The language of the Roman Empire and of the Roman Catholic Church through most of its history was: a. 34 TOP: Words and Music the beginning and ending of a poem. b. features a play on words. b. 34 TOP: Words and Music . The term refrain refers to: a. jazz. lyrics. Christmas carols. strophes. REF: c. 33 TOP: Words and Music Renaissance madrigals. ANS: A MSC: Factual DIF: DIF: Hard 6. German. ANS: A MSC: Applied DIF: DIF: REF: c. c. Scat-singing is common in: a. The term vocalise refers to: a. d. d. all vocal music. d. The term nonlexical refers to a text that: a. ANS: C MSC: Factual c. music in jazz. d. Greek. b. Latin. ANS: F MSC: Applied DIF: Medium 4. The setting of one note per syllable is called: a. 35 TOP: Words and Music 10. b. with or without words. refrain. b. melisma. REF: neumatic word-painting 35 TOP: Words and Music 8. melismas. word-painting. ANS: C MSC: Factual DIF: Hard REF: TOP: Words and Music neumatic. c. The term song technically refers to all music. example of neumatic music.Music and Words | 35 7. ANS: T MSC: Factual DIF: Medium REF: 34 TOP: Words and Music . The extended melodic line on the word “rejoice” in Handel’s Messiah is a(n): a. textualization. ANS: B MSC: Factual DIF: Medium REF: 35 9. melismatic. The depiction of the meaning of a text in music is called: a. symbolic. syllabic. syllabic ANS: B MSC: Applied DIF: Easy c. improvisation. d. c. Vocal music must use recognizable words. ANS: F MSC: Factual DIF: Easy REF: 33 TOP: Words and Music 2. ANS: B MSC: Factual DIF: Easy REF: 35 TOP: Words and Music TRUE/FALSE 1. The use of a few notes for each syllable is called: a. Plato felt that music without words was lacking in artistic taste. d. d. melismatic b. ANS: T MSC: Factual DIF: Medium REF: 33 TOP: Words and Music REF: 33 TOP: Words and Music 3. c. word-painting. b. d. The vernacular is the common language of a people. DIF: Hard MSC: Conceptual REF: 35 TOP: Words and Music . ANS: F MSC: Applied DIF: Easy REF: 34 TOP: Words and Music ESSAY 1. ANS: Answers will vary. ANS: Answers will vary. a composer can choose how many notes to use on a syllable. DIF: Medium MSC: Applied REF: 33 TOP: Words and Music 2.36 | Chapter 8 5. Describe the variety of treatments of a written text in music. In the composition of songs. What are the terms for the various settings? Cite an example of each. the music always comes first. In setting a text. podium. d. 36 TOP: Timbre 4. b. ANS: C MSC: Factual DIF: Hard REF: 36 TOP: Timbre 6. soprano. are: a.Chapter 9: Voices and Instrument Families MULTIPLE CHOICE 1. pitch c. middle. instrument. alto. A mechanism that generates musical vibrations and launches them into the air is called a(n): a. tenor. c. tenor. The standard ranges of the human voice. b. d. timbre ANS: B MSC: Factual DIF: Medium REF: 36 TOP: Timbre 2. c. timbre. b. bass. tenor. bass d. The term timbre refers to the: a. volume. b. texture d. or low. form. soprano. bass. ANS: A MSC: Factual DIF: Easy REF: 36 TOP: Timbre 7. ANS: D MSC: Factual DIF: Easy REF: 36 TOP: Timbre 5. tempo. baritone c. Which of the following voices has the lowest range? a. from highest to lowest. c. length of a tone. volume. alto. tenor. A specific area within the range of a voice or instrument. duration b. mute. d. alto. bass. tenor b. alto ANS: B MSC: Applied DIF: Medium REF: 36 TOP: Timbre 37 . c. d. soprano. loudness of a tone. such as high. is called its: a. register. baton. Which of the following is NOT a property of musical sound? a. pitch of a tone. pitch. d. The quality of sound that distinguishes one instrument or voice from another is: a. b. timbre. bass. ANS: A MSC: Factual DIF: Easy 3. REF: 36 TOP: Timbre color of a tone. ANS: C MSC: Factual DIF: Easy REF: c. soprano. alto. aerophones. b. yangquin ANS: C MSC: Applied DIF: Medium REF: 38 TOP: Timbre 13. b. is an unnatural musical instrument. ANS: B MSC: Factual DIF: Easy REF: 38 TOP: Timbre 12. possesses lyric beauty and expressiveness that has been a model for instrument builders and players. b. ANS: A MSC: Factual DIF: Easy REF: 38 TOP: Timbre 11. ANS: B MSC: Factual DIF: Medium REF: 36 TOP: Timbre 9. violin c. bagpipes b. The generally accepted term for the high male vocal range is: a. tenor. can be made to sound like any instrument. idiophones. scraping. membranophones. guitar d.38 | Chapter 9 8. soprano. b. 38 TOP: Timbre . Drum-type instruments fall into the category of: a. ANS: C MSC: Factual DIF: Hard REF: 36 TOP: Timbre 10. The human voice: a. d. Which of the following musical instruments is NOT a chordophone? a. c. d. bass. idiophones. by making a string vibrate b. How do performers cause idiophones to produce sound? a. c. is limited in character and range. by shaking. membranophones. aerophones. c. or striking the instrument itself d. membranophones. c. Instruments that produce sound by using air as the vibrating means are called: a. chordophones. c. chordophones d. d. d. chordophones. alto. aerophones. ANS: D MSC: Factual DIF: Medium REF: 38 TOP: Timbre idiophones. by striking a tightly stretched membrane ANS: C MSC: Factual DIF: Hard REF: 14. b. Instruments that produce sound from a vibrating string are called: a. by setting a column of air to vibrating c. Describe the variety of musical sounds the human voice is capable of producing. ANS: Answers will vary. social function. ANS: F MSC: Applied DIF: Medium 5. A guitar is an example of a chordophone. Throughout history. historical period. ANS: T MSC: Factual DIF: Easy REF: 37 TOP: Timbre 3. Cite an example of each. Consider issues such as range. and regional styles. ANS: F MSC: Factual DIF: Medium REF: 36 TOP: Timbre 2.Voices and Instrument Families | 39 TRUE/FALSE 1. In some cultures. DIF: Hard REF: 36f TOP: Timbre MSC: Applied 2. the voice has been a model for instrumentalists and instrument builders. ANS: Answers will vary. Flutes and whistles are classified as idiophones. Throughout history. ANS: T MSC: Applied DIF: Easy ESSAY 1. Describe the four categories of musical instruments around the world and how they each produce sound. women’s voices are preferred for certain styles of music. DIF: Hard REF: 48 TOP: Timbre MSC: Applied . ANS: T MSC: Factual DIF: Hard REF: 37 TOP: Timbre REF: 38 TOP: Timbre REF: 38 TOP: Timbre 4. women’s voices have played a central role in the performance of church music. glissando. vibrato. violin ANS: A MSC: Factual DIF: Medium REF: 39–40 TOP: Western instruments 3. The device placed on the bridge of string instruments to muffle the sound is called a: a. playing on two strings at once d. reed. viola. and: a. cello. ANS: C MSC: Factual DIF: Easy REF: 39 TOP: Western instruments 2. double bass b. b. chordophones. pizzicato. c. c. viola. The instruments of the Western orchestra are categorized in four groups: strings. double bass. a special staccato bow stroke b. bow. mute. percussion. a technique for changing pitches on the French horn c. double bass d. cello. double reed. pizzicato. ANS: C MSC: Factual DIF: Medium REF: 40 TOP: Western instruments 4. c. b. vibrato. c. viola. cello. woodwinds. The special effect produced on a string instrument by plucking a string with the finger is called: a. violin. violin. brass. Which is the correct order of bowed string instruments from highest to lowest in range? a. glissando. flutes. b. a lengthy pause in music ANS: C MSC: Factual DIF: Medium REF: 40 TOP: Western instruments 6. tremolo. What is double-stopping? a. d. d. double bass c.Chapter 10: Western Musical Instruments MULTIPLE CHOICE 1. d. d. viola. idiophones. trill. cello. the rapid movement of the wrist creates a throbbing effect called: a. b. violin. In string playing. ANS: D MSC: Factual 40 DIF: Medium REF: 41 TOP: Western instruments . ANS: A MSC: Factual DIF: Medium REF: 40 TOP: Western instruments 5. Woodwind instruments: a. d. b. flute. Which of the following instruments is most likely played by a rock musician? a. ANS: B MSC: Factual DIF: Hard REF: 41 TOP: Western instruments 8. ANS: D MSC: Factual DIF: Medium REF: 42 TOP: Western instruments 13. violoncello d. bass clarinet ANS: C MSC: Factual DIF: Medium REF: 42f TOP: Western instruments . piccolo. Harmonics are produced on a string instrument by: a. clarinet. hollow-bodied electric guitar d. are all made of wood. REF: 41 TOP: Western instruments all have a woody tone quality. 41 TOP: Western instruments 12. acoustic guitar c. Which of the following instruments is NOT a member of the bowed string family? a. playing two strings simultaneously.Western Musical Instruments | 41 7. rapidly alternating two tones. Which of the following is the lowest-sounding member of the double-reed family? a. b. d. lightly touching the string at certain points while the bow is being drawn. violin ANS: A MSC: Factual DIF: Easy REF: 41 TOP: Western instruments 10. guitar c. c. scale. bassoon b. all consist of a pipe with holes. d. A chord whose notes are played in succession. arpeggio. double-stop. ANS: D MSC: Factual DIF: Hard REF: c. as on the harp. viola b. mandolin ANS: C MSC: Applied DIF: Medium 11. oboe c. The highest-sounding member of the woodwind family is the: a. sliding the hand from one note to the next. b. c. solid-bodied electric guitar b. ANS: C MSC: Factual DIF: Hard REF: 41 TOP: Western instruments 9. d. are all played with a wooden reed. English horn d. c. b. glissando. oboe. is called a(n): a. trumpet c. clarinet c. ANS: A MSC: Factual DIF: Medium REF: 44 TOP: Western instruments 18. tuba ANS: C MSC: Factual DIF: Easy REF: 20. d. French horn d. oboe ANS: A MSC: Factual DIF: Medium REF: 42 TOP: Western instruments 15. saxophone ANS: B MSC: Factual DIF: Medium REF: 42 TOP: Western instruments 16. c. The bass instrument in the brass family is the: a. flute c. c. b. violin. English horn d. Which of the following is NOT a double-reed instrument? a. tuba ANS: B MSC: Factual DIF: Medium REF: 44 TOP: Western instruments 19. They are made of metal. The soprano brass instrument sometimes described as possessing a brilliant timbre is the: a. Which of the following is NOT a member of the brass family? a. trumpet c. double bass. Which of the following brass instruments is sometimes played with the performer’s hand plugging the bell? a. b. d. clarinet. c. French horn. bassoon b. Which of the following is true of all brass instruments? a. oboe d. English horn b. trombone. 44 TOP: Western instruments . Their sound is created by the vibration of the lips. tuba. Which of the following is a double-reed instrument? a. They are blown into through a metal mouthpiece. trombone b. d. ANS: D MSC: Factual DIF: Easy REF: 43f TOP: Western instruments bassoon. trumpet.42 | Chapter 10 14. French horn d. b. clarinet b. all of the above ANS: D MSC: Factual DIF: Medium REF: 43 TOP: Western instruments 17. The sound of an organ can be imitated by electric keyboards and synthesizers. gong ANS: A MSC: Factual DIF: Easy REF: 45 TOP: Western instruments 25. Timpani are members of the ________ family of instruments. d. a.Western Musical Instruments | 43 21. plucking. woodwind ANS: C MSC: Factual DIF: Easy REF: 45 TOP: Western instruments 23. the fact that it could not sustain tones. The piano got its name. snare drum d. blowing air. originally fortepiano. strumming. percussion b. its large size. its wide dynamic range. from: a. ANS: C MSC: Factual DIF: Medium REF: 46 TOP: Western instruments 27. including one played by the feet. string c. timpani c. Some organs have more than one keyboard. Which of the following is NOT a percussion instrument? a. bass drum c. The percussion family comprises a variety of instruments that are made to sound by: a. all of the above ANS: D MSC: Factual DIF: Medium REF: 46 TOP: Western instruments . d. bass drum b. c. the name of its inventor. glockenspiel b. Which of the following statements describes the organ? a. striking or shaking. c. b. xylophone ANS: A MSC: Factual DIF: Hard REF: 45 TOP: Western instruments 26. Which of the following is a pitched percussion instrument? a. snare drum ANS: B MSC: Factual DIF: Easy REF: 45f TOP: Western instruments 24. xylophone b. xylophone c. b. timpani d. Sound is created when air flows through pipes controlled by the organist. ANS: D MSC: Factual DIF: Easy REF: 45 TOP: Western instruments 22. harp d. Which of the following is an unpitched percussion instrument? a. brass d. d. b. c. ANS: T MSC: Factual DIF: Easy REF: 43 TOP: Western instruments 9. All woodwind instruments are made of wood. ANS: F MSC: Factual DIF: Medium 6. The viola is somewhat smaller and higher pitched than the violin. ANS: F MSC: Factual DIF: Easy REF: 40 TOP: Western instruments REF: 41 TOP: Western instruments 41 TOP: Western instruments 5. String instruments are generally played by either bowing or plucking. ANS: F MSC: Factual DIF: Medium REF: 44 TOP: Western instruments . ANS: F MSC: Factual DIF: Medium REF: 7. ANS: T MSC: Factual DIF: Hard REF: 43 TOP: Western instruments 8. ANS: T MSC: Factual DIF: Easy REF: 39 TOP: Western instruments 2. ANS: F MSC: Factual DIF: Easy REF: 43f TOP: Western instruments 10. and facial muscles. The trumpet is the lowest-pitched instrument of the brass family.44 | Chapter 10 TRUE/FALSE 1. The most recently invented member of the woodwind family is the saxophone. ANS: F MSC: Factual DIF: Medium REF: 39 TOP: Western instruments 4. The term pizzicato means to play in a throbbing manner. ANS: T MSC: Factual DIF: Hard REF: 39 TOP: Western instruments 3. The violin was highly developed by Italian instrument makers between about 1600 and 1750. jaw. The term embouchure refers to the position of the player’s lips. The bugle has a wide range of pitches due to its valves. The guitar is most likely of African origin. The two categories of orchestral percussion instruments are pitched and unpitched. ANS: F MSC: Factual DIF: Hard REF: 45 TOP: Western instruments 13.Western Musical Instruments | 45 11. Describe the principal types of keyboard instruments and how they produce sound. The pipe organ is a wind instrument. sounded by air. DIF: Easy MSC: Applied REF: 39f TOP: Western instruments 2. each representing one of the four families of instruments. ANS: Answers will vary. ANS: T MSC: Factual DIF: Easy REF: 45 TOP: Western instruments 12. ANS: T MSC: Factual DIF: Medium REF: 46 TOP: Western instruments ESSAY 1. DIF: Medium MSC: Applied REF: 46 TOP: Western instruments . Choose four musical instruments. and describe their physical appearances and how they produce sound. The piano is limited by a narrow range of pitches and dynamics. ANS: T MSC: Factual DIF: Hard REF: 45 TOP: Western instruments 14. ANS: F MSC: Factual DIF: Medium REF: 46 TOP: Western instruments 15. Most percussion instruments fall into the categories of idiophones and aerophones. ANS: Answers will vary. Xylophone-like instruments are used in diverse world musics. b. b. d. The term a cappella refers to choral music performed: a. Which instruments are traditionally placed in the front of the orchestra? a. sitar b. b. A fairly large group of singers who perform together is called a(n): a. What distinguishes chamber music from orchestral music? a. the room in which the music is being performed d. d. d. drums. percussion ANS: A MSC: Factual 46 DIF: Medium REF: 49 TOP: Musical ensembles . c. brass b.Chapter 11: Musical Ensembles MULTIPLE CHOICE 1. chamber ensemble. koto d. the number of players on each part c. orchestra. without any accompaniment. with piano accompaniment. the number of movements in the music being performed ANS: B MSC: Factual DIF: Hard REF: 48 TOP: Musical ensembles 4. gagaku c. ANS: B MSC: Factual DIF: Easy REF: 49 TOP: Musical ensembles 6. gamelan ANS: D MSC: Factual DIF: Hard REF: 48 TOP: Musical ensembles 5. ANS: C MSC: Factual DIF: Easy REF: 47 TOP: Musical ensembles 2. woodwinds d. with organ accompaniment. percussion. with orchestral accompaniment. woodwinds. band. the forms of the movements b. strings c. brass. c. What is the name for a Balinese or Javanese orchestra made up largely of gongs. Approximately two-thirds of a symphony orchestra consists of: a. strings. c. ANS: D MSC: Factual DIF: Medium REF: 47 TOP: Musical ensembles 3. and xylophone-like instruments? a. chorus. Musical Ensembles | 47 7. a rock group. prelude and fugue. all of the above 49 TOP: Musical ensembles piano trios. all of the above 49 TOP: Musical ensembles 10. John Philip Sousa was famous as a composer of: a. d. ANS: D MSC: Factual DIF: c. triple d. brass instruments. ANS: F MSC: Factual DIF: Medium REF: 47 TOP: Musical ensembles 2. and cello. Easy REF: 8. quadruple b. Chamber music is intended for a small group of performers. a jazz group. ANS: T MSC: Factual DIF: Hard REF: 48 TOP: Musical ensembles . string quartets. The standard instrumentation of a string quartet is two violins. Which meter would be conducted in a down-right-up pattern? a. 49 TOP: Musical ensembles percussion instruments. Britten’s Young Person’s Guide to the Orchestra exemplifies the forms of: a. c. d. ANS: T MSC: Factual DIF: Easy REF: 48 TOP: Musical ensembles 3. b. ANS: C MSC: Factual DIF: Hard REF: 51 TOP: Musical ensembles TRUE/FALSE 1. b. marches. symphonies. duple c. sextuple ANS: B MSC: Factual DIF: Hard REF: 51 TOP: Musical ensembles 11. b. c. REF: a marching ensemble. with one player to a part. ANS: D MSC: Factual DIF: Easy REF: c. A jazz band is normally made up of: a. b. The term band refers to: a. d. variations and fugue. concerto and sonata. viola. variations and madrigal. d. ANS: D MSC: Factual DIF: Easy 9. Specialized choirs that perform with organ are called a cappella ensembles. woodwind instruments. A piano trio is an ensemble of three pianos.48 | Chapter 11 4. Most large musical ensembles need a conductor in order to perform together. ANS: F MSC: Factual DIF: Hard REF: 49 TOP: Musical ensembles 7. The Young Person’s Guide to the Orchestra by Britten is based on a dance tune by Beethoven. ANS: T MSC: Factual DIF: Medium REF: 49 TOP: Musical ensembles 8. ANS: F MSC: Factual DIF: Medium REF: 48 TOP: Musical ensembles 5. The upbeat is the strongest in any meter. Describe the principal types of musical ensembles (vocal and instrumental) and state how they differ from one another. ANS: T MSC: Factual DIF: Easy REF: 48 TOP: Musical ensembles 6. ANS: F MSC: Factual DIF: Medium 10. The earliest wind and percussion groups were created for military purposes. ANS: T MSC: Factual DIF: Easy REF: 50 TOP: Musical ensembles REF: 50 TOP: Musical ensembles 9. The term orchestra may be applied to various musical ensembles around the world. DIF: Medium MSC: Applied REF: 47f TOP: Musical ensembles . ANS: F MSC: Factual DIF: Easy REF: 50 TOP: Musical ensembles ESSAY 1. ANS: Answers will vary. The modern symphony orchestra is typically made up of twenty to thirty players. DIF: Hard MSC: Applied REF: 48f TOP: Musical ensembles . mentioning the elements of music for which they are responsible. Describe the role of conductors. ANS: Answers will vary.Musical Ensembles | 49 2. d. Which of the following is a universal function of music in diverse world cultures? a. c. opus ANS: B MSC: Factual DIF: Medium REF: 54 TOP: Musical style 3. Titles of musical compositions may be indicated by: a. The concept of style can be identified with: a. c. b. a creator’s personal manner of expression. c. form c. b. d. succession of dynamics from beginning to end of a work. individual artworks. c. ANS: A MSC: Factual DIF: Medium REF: 56 TOP: Musical style 56 TOP: Musical style 6. helping workers get their jobs done more efficiently c. characteristic manner of presentation of a work. all of the above ANS: D MSC: Factual DIF: Easy REF: 54 TOP: Musical style 2. What general term suggests something of the overall character of a work as well as its function? a. oral transmission. medium b. crossover. The preservation of music without the help of written notation is called: a. providing entertainment d. harmonies of a work.Chapter 12: Style and Function of Music in Society MULTIPLE CHOICE 1. d. retrograde inversion. descriptive words. b. ANS: C MSC: Factual DIF: Medium REF: 55 TOP: Musical style 5. b. opus number. genre d. all of the above ANS: D MSC: Factual DIF: Medium REF: 55 TOP: Musical style 4. shape of the melody line in a work. genre and key. modulation. d. Musical style is best defined as the: a. the music of an entire culture. all of the above ANS: D MSC: Factual 50 DIF: Hard REF: . accompanying religious and civic ceremonies b. followed the Renaissance and preceded the Baroque.Style and Function of Music in Society | 51 7. b. twentieth century b. The Classical period: a. Secular music is generally intended for religious occasions. ANS: C MSC: Factual DIF: Medium REF: 57 TOP: Musical style TRUE/FALSE 1. Baroque. The style of a historical period is defined by: a. ANS: F MSC: Factual DIF: Easy REF: 54 TOP: Musical style 54 TOP: Musical style 2. Romantic. Classical. Classical. Baroque. d. c. The approximate dates for the Renaissance era are: a. Baroque. ANS: B MSC: Factual DIF: Easy c. Renaissance. d. Which of the following is the proper chronological order of musical style periods? a. Romantic. A genre is a category or type of music repertory. followed the Romantic era and preceded the twentieth century. REF: a single defining work. the total language of all its artists. The notated music of an urban and cultivated society is preserved through oral transmission. 1450–1600. Romantic. 1150–1450. ANS: T MSC: Factual DIF: Medium REF: 3. Middle Ages. Romantic. Classical. twentieth century c. 56 TOP: Musical style 8. its dominant musical critic. 1600–1750. Baroque. b. Renaissance. Classical. Renaissance. its leading artist. followed the Baroque and preceded the Romantic era. twentieth century d. Middle Ages. Middle Ages. Renaissance. Middle Ages. b. twentieth century ANS: C MSC: Factual DIF: Hard REF: 57 TOP: Musical style 9. followed antiquity and preceded the Middle Ages. ANS: F MSC: Factual DIF: Medium REF: 55 TOP: Musical style . c. ANS: B MSC: Factual DIF: Hard REF: 57 TOP: Musical style 10. 1725–1775. d. ANS: F MSC: Applied DIF: Medium REF: 55 TOP: Musical style 5. The dates given for the beginning and end of eras are precise ones. Discuss the similarities of the functions of music around the world. ANS: Answers will vary.52 | Chapter 12 4. What defines the style of a work of art? How do different musical styles develop. The Renaissance is the earliest musical period in the Western tradition. DIF: Medium MSC: Applied REF: 54 TOP: Musical style 2. and how do we categorize them? ANS: Answers will vary DIF: Hard MSC: Conceptual REF: 56 TOP: Musical style . ANS: F MSC: Factual DIF: Medium REF: 57 TOP: Musical style ESSAY 1. The line between classical and popular music is clearly defined. ANS: F MSC: Factual DIF: Easy REF: 56 TOP: Musical style 6. Chaucer. d. Cervantes’s Don Quixote ANS: D MSC: Factual DIF: Hard REF: 61 TOP: Medieval culture 53 . The Frankish emperor who encouraged education and the concept of a centralized government was: a.Prelude 2: Music as Commodity and Social Activity MULTIPLE CHOICE 1. when Europeans developed musical notation. c. the building of great cathedrals. newly formed centralized governments led by kings. Chanson de Roland c. The two centers of power during the early Middle Ages were the church and: a. Which of the following is NOT a major literary landmark of the Middle Ages? a. ANS: A MSC: Applied DIF: Medium REF: 61 TOP: Medieval culture 4. barbarian tribes. Chaucer’s Canterbury Tales b. Secular states had little power. ANS: C MSC: Applied DIF: Hard REF: 60 TOP: Medieval culture 2. diffuse courts headed by dukes. d. b. b. ANS: A MSC: Factual DIF: Medium 5. c. Pope Gregory. The history of Western music begins: a. The church patronized music extensively. The late Middle Ages witnessed: a. ANS: C MSC: Conceptual DIF: Medium REF: 60 TOP: Medieval culture 3. Composers were devoutly religious. Why was the art music of the Middle Ages predominantly religious? a. b. all of the above 61 TOP: Medieval culture 6. Dante’s Divine Comedy d. d. Hildegard of Bingen. b. after the fall of Roman Empire. c. c. when Europeans encountered the culture of China. d. when Europeans first began to sing. There was little need for secular music at the time. b. Charlemagne. the founding of universities. d. ANS: D MSC: Applied DIF: Hard REF: c. REF: 61 TOP: Medieval culture the rise of the bourgeoisie. Arab tribes. Leonardo da Vinci. d. b. all of the above ANS: D MSC: Factual DIF: Medium REF: 63 TOP: Renaissance spirit 13. instrument builders or players. remained unchanged for nearly one thousand years. All of the following were Renaissance artists EXCEPT: a. the writing of the Magna Carta b. b. professional orchestral conductors. just before the Renaissance. singers. Which of the following institution(s) supported music in Renaissance society? a. Michelangelo. Goya. Why is Renaissance painting considered to be more realistic than medieval painting? a. music printers and publishers. c. c. Renaissance painters explored perspective. the discovery of the New World c. d. Botticelli. d. was much the same as it is today. which made it possible to depict visual depth. Renaissance subjects were more consistently religious. the church c. b. b. steadily declined until late in the era. ANS: B MSC: Factual DIF: Medium REF: 63 TOP: Renaissance spirit 11. the city and state d. Renaissance painters used more vivid colors. c. a focus on humanity and life ANS: A MSC: Applied DIF: Hard REF: 62 TOP: Renaissance spirit 9. a questioning of blind faith b. ANS: C MSC: Applied DIF: Easy REF: 61 TOP: Medieval culture 8. the introduction of printing in the West d. d. an interest in scientific inquiry d. Renaissance musicians could make their living in all of the following ways EXCEPT as: a. and organists. During the Middle Ages. Which historical event did NOT take place in the Renaissance? a. the Protestant Reformation ANS: C MSC: Factual DIF: Medium REF: 62 TOP: Renaissance spirit 10. c. ANS: D MSC: Factual DIF: Easy REF: 63 TOP: Renaissance spirit . choirmasters. The subjects of Renaissance paintings were often ordinary people doing ordinary tasks. Which of the following does NOT represent the thinking of the Renaissance? a. which arose among knights and was idealized in music.54 | Prelude 2 7. was raised through the concept of chivalry. ANS: C MSC: Conceptual DIF: Hard REF: 63 TOP: Renaissance spirit 12. the aristocratic courts b. the status of women: a. an exclusively religious orientation c. ANS: F MSC: Factual DIF: Easy REF: 62 TOP: Medieval culture 6. The two centers of power in the Middle Ages were the feudal lord and the state. Despite the dominance of sacred music during the Middle Ages. ANS: T MSC: Applied DIF: Easy REF: 61 TOP: Medieval culture 8. ANS: F MSC: Factual DIF: Easy REF: 60 TOP: Medieval culture 4. The early exploration of the New World took place during the Renaissance. The Renaissance was characterized by an increased awareness of the cultures of learned civilizations. The Notre Dame Cathedral in Paris was a center for polyphony. ANS: T MSC: Applied DIF: Medium REF: 62 TOP: Renaissance spirit 9. Most of the surviving music from the early Middle Ages is secular. The troubadours were essential to the spread of sacred music. ANS: T MSC: Factual DIF: Easy REF: 62 TOP: Renaissance spirit . Although feudal society was male dominated.Music as Commodity and Social Activity | 55 TRUE/FALSE 1. ANS: F MSC: Factual DIF: Easy REF: 60 TOP: Medieval culture 3. ANS: T MSC: Factual DIF: Easy REF: 60 TOP: Medieval culture 2. secular music became important for entertainment and personal expression. Chivalry helped bring about the first flowering of secular music written in the vernacular. ANS: T MSC: Factual DIF: Easy REF: 61 TOP: Medieval culture 5. the status of women was raised by prevailing attitudes of chivalry and devotion to the cult of the Virgin Mary. ANS: T MSC: Factual DIF: Easy REF: 61 TOP: Medieval culture 7. ANS: F MSC: Factual DIF: Easy REF: 12. DIF: Easy MSC: Applied REF: 63 TOP: Renaissance spirit . DIF: Medium MSC: Conceptual REF: 62f TOP: Renaissance spirit 3. DIF: Hard MSC: Conceptual REF: 60f TOP: Medieval culture 2. Renaissance painters preferred symbolism to realism. ANS: F MSC: Factual DIF: Medium REF: 63 TOP: Renaissance spirit 63 TOP: Renaissance spirit 11. The Renaissance first came to flower in France. Describe the ways in which Renaissance thought differed from that of the Middle Ages.56 | Prelude 2 10. ANS: T MSC: Factual DIF: Easy REF: 63 TOP: Renaissance spirit ESSAY 1. The Renaissance saw the rise of amateur musicians and home music-making. ANS: Answers will vary. What were the various ways in which early musicians could make a living? ANS: Answers will vary. Compare the roles of the church and secular powers in medieval art and society. ANS: Answers will vary. Why does Gregorian chant sound so different from other types of Western music? a. neumatic. Machaut ANS: C MSC: Factual DIF: Easy REF: 65 TOP: Gregorian chant 3.Chapter 13: Voice and Worship: Tradition and Individuality in Medieval Chant MULTIPLE CHOICE 1. c. There is no harmony. d. monophonic texture c. a. participating in teaching and hospital work ANS: B MSC: Applied DIF: Easy REF: 65 TOP: Gregorian chant 2. A setting of Gregorian chant with one note per syllable is called: a. A setting of Gregorian chant with two to four notes per syllable might be considered: a. b. triadic harmonies d. scholarship. Léonin d. melismatic. modal. Which of the following does NOT characterize plainchant? a. devotion to prayer. Charlemagne c. c. and charity d. melismatic. unaccented rhythm b. living in quiet seclusion b. generally conjunct motion ANS: B MSC: Applied DIF: Medium REF: 65 TOP: Gregorian chant 4. c. Which of the following does NOT describe life in the medieval cloister? a. b. d. b. d. ANS: B MSC: Conceptual DIF: Hard REF: 65 TOP: Gregorian chant 5. It is for voices only. being at the center of trade and commerce c. ________ is traditionally associated with collecting and organizing the chants of the church. It is religious. syllabic. free. syllabic. The melodies are sometimes improvised. modal. Pope Gregory the Great b. neumatic. ANS: B MSC: Factual DIF: Easy REF: 66 TOP: Gregorian chant 57 . ANS: A MSC: Factual DIF: Easy REF: 65f TOP: Gregorian chant 6. Quran. Which religious figure is praised in the text of Hildegard’s Alleluia. a feast day for the Virgin Mary b. The sacred text of Islam is called the: a. nine ANS: B MSC: Factual DIF: Hard REF: 66 TOP: Islamic chant TRUE/FALSE 1. 68 TOP: Islamic chant 12. b. Adhan. In addition to composing music. The knowledge of early civilizations and the culture of the Middle Ages were preserved largely in monasteries. b. Christmas Day ANS: C MSC: Factual DIF: Hard REF: 66 TOP: Gregorian chant 10. any Sunday d. Hildegard of Bingen is known for: a. the Virgin Mary ANS: D MSC: Factual Medium REF: 11. ANS: T MSC: Factual DIF: Easy REF: 64 TOP: Gregorian chant . Hildegard of Bingen c. five d.58 | Chapter 13 7. Lucrezia Borgia ANS: A MSC: Factual DIF: Medium REF: 66 TOP: Gregorian chant 9. three c. seven b. Easter Sunday c. founding her own convent. Eleanor of Aquitaine d. d. Isabella d’Este b. c. Siyer-I Nebi. writing religious poetry. Jesus Christ d. In Islamic practice. O virga mediatrix? a. d. all of the above ANS: D MSC: Factual DIF: Easy REF: 66 TOP: Gregorian chant 8. the Holy Spirit b. O virga mediatrix sung? a. On which liturgical occasion was Hildegard’s Alleluia. Which of the following women was a religious leader and a prominent figure in literature and music? a. visions that foretold the future. ANS: A MSC: Factual DIF: DIF: Medium REF: 66 TOP: Gregorian chant maqam. Saint Peter c. how many times is the call to prayer sounded in a day? a. c. ANS: F MSC: Factual DIF: Easy REF: 64 TOP: Gregorian chant 3. ANS: T MSC: Factual DIF: Easy REF: 66 TOP: Gregorian chant 7. ANS: F MSC: Factual DIF: Easy REF: 65f TOP: Gregorian chant 5. The modes were developed from the major and minor scales. The form of Alleluia. The Adhan is the Islamic call to prayer. ANS: F MSC: Factual DIF: Medium REF: 68 TOP: Islamic chant . ANS: F MSC: Factual DIF: Medium 9. ANS: F MSC: Applied DIF: Easy REF: 66 TOP: Gregorian chant 6.Voice and Worship: Tradition and Individuality in Medieval Chant | 59 2. ANS: T MSC: Applied DIF: Medium REF: 67 TOP: Gregorian chant REF: 66 TOP: Gregorian chant REF: 68 TOP: Islamic chant 8. Hildegard’s Alleluia. The monastic life was reserved for men only. A setting of plainchant with many notes per syllable is called syllabic. ANS: T MSC: Factual DIF: Medium 10. The order of church services and the structure of each service are known as the liturgy. O virga mediatrix. ANS: T MSC: Factual DIF: Easy REF: 65 TOP: Gregorian chant 4. Hildegard of Bingen wrote both the poetry and the music for Alleluia. O virga mediatrix is A-A-B. O virga mediatrix has a neumatic text setting with some melismas. The Islamic call to prayer is recited in strict rhythmic meters. ANS: Answers will vary. Describe the influence of the Roman Catholic Church on music in the Middle Ages. DIF: Hard MSC: Conceptual REF: 66f TOP: Gregorian chant 3.60 | Chapter 13 ESSAY 1. What contributions did Hildegard of Bingen make to knowledge and the arts? Discuss her music in your answer. ANS: Answers will vary. How does Hildegard of Bingen treat individual words of the text in her music for Alleluia. DIF: Medium MSC: Applied REF: 66f TOP: Gregorian chant 4. DIF: Medium MSC: Applied REF: 64f TOP: Gregorian chant 2. Describe the similarities and differences between Christian and Islamic worship traditions and their use of music. DIF: Medium MSC: Applied REF: 68f TOP: Gregorian chant . O virga mediatrix? ANS: Answers will vary. ANS: Answers will vary. liturgical drama. b. Westminster Abbey ANS: C MSC: Factual DIF: Medium REF: c. was called: a. secular. new performance venues. REF: 71f TOP: Polyphony the motet. the Romanesque era ANS: D MSC: Factual DIF: Medium REF: 71 TOP: Polyphony 3. the Ars nova d. Peter’s in Rome. d. b. the Renaissance c. ANS: B MSC: Factual DIF: Easy 5.Chapter 14: Layering Lines: Polyphony at Notre Dame MULTIPLE CHOICE 1. ANS: A MSC: Factual DIF: Medium REF: 72 TOP: Polyphony 61 . new melodic modes. Mark’s Cathedral in Venice. 72 TOP: Polyphony Notre Dame Cathedral in Paris. d. plainsong. new musical instruments. organum. ANS: C MSC: Applied DIF: Hard c. Polyphony required the development of: a. the Renaissance c. The earliest type of polyphony was: a. In what era did the development of polyphony begin to emerge? a. the Ars nova ANS: B MSC: Factual DIF: Medium 4. REF: music notation. The Notre Dame style of polyphony. REF: c. the Gothic era d. chanson. In what era did composers begin to be recognized? a. organum. St. the Middle Ages b. 71 TOP: Polyphony 2. d. c. St. plainsong. 71 TOP: Polyphony 6. b. The first major center of polyphony was: a. b. in which the tenor line was based on a preexisting chant melody and the upper voice moved freely (and more rapidly). the Middle Ages b. d. ANS: C MSC: Factual DIF: Medium REF: 73 TOP: Polyphony 8. In the early Middle Ages. The perfection of monophony is the single most important feature in the development of Western music. ANS: F MSC: Applied DIF: Medium REF: 71 TOP: Polyphony 2. Léonin. b. ANS: T MSC: Factual DIF: Medium REF: 73 TOP: Polyphony 5. Organum was freely composed. Machaut. Gaude Maria virgo contains no monophonic passages. ANS: F MSC: Factual DIF: Medium REF: 72 TOP: Polyphony 6. three-part polyphony d. Pérotin. Which of the following does NOT describe Gaude Maria virgo? a. accompaniment with musical instruments ANS: C MSC: Factual DIF: Medium REF: 72f TOP: Polyphony TRUE/FALSE 1. melismatic b. d. ANS: F MSC: Applied DIF: Medium REF: 72 TOP: Polyphony 3. c. a prayer in praise of the Virgin Mary c. Each musical line in Gaude Maria virgo has the same rhythmic activity. music was often composed in fixed patterns of long and short notes known as rhythmic modes. An early center for the development of polyphony was the Cathedral of Notre Dame in Paris. with no preexisting basis.62 | Chapter 14 7. Hildegard of Bingen. Who is credited with compiling the Great Book of Organum (Magnus liber organi)? a. ANS: F MSC: Factual DIF: Medium REF: 73 TOP: Polyphony . ANS: T MSC: Factual DIF: Medium REF: 73 TOP: Polyphony 4. Layering Lines: Polyphony at Notre Dame | 63 7. ANS: T MSC: Factual DIF: Medium REF: 73 TOP: Polyphony 8. ANS: Answers will vary. Polyphony was initially reserved for worship on the highest feast days. Polyphony was uniformly welcomed in all religious communities. DIF: Hard REF: 71 TOP: Polyphony MSC: Conceptual 2. ANS: F MSC: Factual DIF: Medium REF: 73 TOP: Polyphony ESSAY 1. Describe the development of polyphony and the contributions of the Notre Dame school composers. DIF: Hard REF: 71f TOP: Polyphony MSC: Applied . What is the most distinctive quality of Western music? How was this development received in non-Western cultures? ANS: Answers will vary. The outstanding composer-poet of the Ars nova was: a. estampie. the Renaissance. love and unrequited passion b. Contact with the East affected Western concepts of music. c. c. Which of the following was NOT a subject reflected in the poems of the troubadours and trouvères? a. Machaut. ANS: B MSC: Factual DIF: Easy REF: 76 TOP: Ars nova 5. c. c. the Ars nova. d. Advanced scientific knowledge was brought to the West. goliard song. b. ANS: D MSC: Applied 64 DIF: Easy REF: 76 TOP: Ars nova . They extended over two hundred years. politics and current events c. d. b. France. The French courtly love song of the Middle Ages was called the: a. moralizing and devotional themes d.Chapter 15: Symbols and Puzzles: Machaut and the Medieval Mind MULTIPLE CHOICE 1. They fostered religious tolerance in the West. During the fourteenth century. Italy. The tradition of troubadours and trouvères developed in: a. d. a style of music developed that became known as: a. Petrarch. Notre Dame polyphony. ANS: A MSC: Factual DIF: Medium REF: 76 TOP: Ars nova 6. the Middle East. c. ANS: D MSC: Applied DIF: Easy REF: 75 TOP: Medieval secular music 4. d. England. Boccaccio. the rebirth of Classical learning ANS: D MSC: Factual DIF: Hard REF: 74f TOP: Medieval secular music 3. motet. chanson. Which of the following does NOT describe the Crusades? a. Chaucer. b. the Ars antiqua. ANS: A MSC: Factual DIF: Medium REF: 74 TOP: Medieval secular music 2. d. b. b. ANS: F MSC: Factual DIF: Easy REF: 74 TOP: Medieval secular music 3. c. The Crusades had little impact on the development of Western civilization. virelai b. Léonin b. ANS: F MSC: Applied DIF: Hard REF: 76 TOP: Medieval secular music . REF: 77 TOP: Ars nova AAB ABaAabAB 77 TOP: Ars nova TRUE/FALSE 1. ANS: F MSC: Conceptual DIF: Easy REF: 75 TOP: Medieval secular music 4. Machaut c.Symbols and Puzzles: Machaut and the Medieval Mind | 65 7. What is the form of a rondeau? a. d. Music and mathematics have been linked since the time of the ancient Greeks. AbbaA ANS: D MSC: Factual DIF: Hard REF: c. It has a monophonic texture. d. Hildegard of Bingen ANS: A MSC: Factual DIF: Easy REF: 77 TOP: Ars nova 9. Troubadours and trouvères were medieval musicians often living on the fringes of society. Which of the following does NOT characterize Ma fin est mon commencement? a. ANS: T MSC: Factual DIF: Easy REF: 74 TOP: Medieval secular music 2. rondeau c. It is in duple meter with syncopations. ANS: B MSC: Applied DIF: Easy 10. Which of the following is NOT a fixed poetic form? a. The fourteenth century witnessed a decreased focus on secular music. b. Pérotin d. It has a rondeau structure. ABB b. ballade d. Which of the following composed Ma fin est mon commencement? a. The structure involves palindromes. motet ANS: D MSC: Applied DIF: Hard REF: 76 TOP: Ars nova 8. he wrote only sacred music. ANS: F MSC: Factual DIF: Medium REF: 76 TOP: Ars nova 8. DIF: Medium MSC: Conceptual REF: 74 TOP: Medieval secular music 2. ANS: Answers will vary. What impact did the Crusades have on Western medieval life? Provide examples to support your answer. ANS: Answers will vary. ANS: Answers will vary. DIF: Medium MSC: Conceptual REF: 75 TOP: Medieval secular music 3. ANS: T MSC: Factual DIF: Medium REF: 78 TOP: Ars nova ESSAY 1. Machaut’s chanson Ma fin est mon commencement is a ballade for three voices.66 | Chapter 15 5. DIF: Hard REF: 76 TOP: Ars nova MSC: Conceptual . Machaut’s chanson Ma fin est mon commencement reflects his era’s fascination with complexity. ANS: T MSC: Factual DIF: Medium REF: 76 TOP: Ars nova 6. Why was the Ars nova important in the development of Western music? Provide examples to support your answer. Because Machaut was a cleric in the church. What roles did secular music play in medieval life? Provide examples to support your answer. ANS: F MSC: Applied DIF: Medium REF: 76 TOP: Ars nova 7. The chanson is an example of secular music. Which of the following was the most important secular genre of the sixteenth century? a. Music-making at home became increasingly popular. They brought a new level of expression to the madrigal. d. d. b. Women were discouraged from performing music in the home. Italy ANS: B MSC: Factual DIF: Easy REF: c. motet. They were written for full choir. b. d. They were intended for the papal chapel. ANS: A MSC: Applied DIF: Easy REF: 80 TOP: Renaissance madrigal 6. ANS: C MSC: Applied DIF: Medium REF: 79 TOP: Renaissance secular music 2. madrigal. the madrigal b. the galliard c. The vivid depiction of a text through music. all of the above ANS: C MSC: Conceptual DIF: Easy REF: 80 TOP: Renaissance madrigal 67 . Music was often sung in parts. a cappella. chromaticism. word-painting. ANS: A MSC: Factual DIF: Easy REF: 79 TOP: Renaissance secular music 3. the chanson d. c. REF: 80 TOP: Renaissance madrigal France Germany 80 TOP: Renaissance madrigal 5. d. Most prosperous homes had a lute or a keyboard instrument. is a hallmark of the: a. Which of the following does NOT characterize secular music-making in the Renaissance? a. anthem. imagery. The expressive device that Renaissance composers used to pictorialize words musically is called: a. c.Chapter 16: Singing in Friendship: The Renaissance Madrigal MULTIPLE CHOICE 1. d. b. the ronde ANS: C MSC: Factual DIF: Hard 4. known as word-painting. Why are the madrigals of Arcadelt so important? a. c. b. England b. Where was the madrigal first developed? a. c. chanson. Which of the following best describes the character of Farmer’s Fair Phyllis? a. d. pastoral and light b. b. bombastic and heavy ANS: C MSC: Conceptual DIF: Hard 9. the study of a musical instrument was considered improper for ladies. all of the above ANS: A MSC: Factual DIF: Medium REF: 82 TOP: Renaissance secular music TRUE/FALSE 1. c. devotional and moralizing c. ANS: T MSC: Applied DIF: Easy REF: 80 TOP: Renaissance madrigal . Only professional musicians performed secular music during the Renaissance. Germany. courtly and idealized d. and dying with great expression. d. Madrigals with simpler and more accessible texts were especially favored in: a. During the Renaissance. d. Who invented the printing press? a. b. REF: 83 TOP: Renaissance madrigal the Chinese Isaac Newton 82 TOP: Renaissance secular music 10. Johannes Gutenberg b. people in the middle class to learn how to read music. France. ANS: F MSC: Applied DIF: Easy REF: 79 TOP: Renaissance secular music 2. England. books to become available to the middle class. c. ANS: D MSC: Applied DIF: Medium REF: 83 TOP: Renaissance madrigal 8. ANS: F MSC: Applied DIF: Easy REF: 79 TOP: Renaissance secular music 3. The two most important genres of Renaissance secular music were the chanson and the madrigal. the spread of education and literacy. trembling. Italy. ANS: T MSC: Applied DIF: Easy REF: 79 TOP: Renaissance secular music 4. The invention of the printing press allowed: a. Italian madrigalists set words such as weeping. Ottaviano Petrucci ANS: A MSC: Factual DIF: Medium REF: c.68 | Chapter 16 7. DIF: Medium MSC: Applied REF: 79f TOP: Renaissance madrigal 3. What are the principal genres? How did these musical genres differ from their counterparts of the fifteenth century? ANS: Answers will vary. ANS: T MSC: Applied DIF: Medium REF: 81f TOP: Renaissance madrigal 6. Fair Phyllis has no word-painting. The printing press had little impact on secular music. ANS: F MSC: Applied DIF: Easy REF: 83 TOP: Renaissance madrigal 8. some of which are erotic. Unlike Italian madrigals. The text of Arcadelt’s madrigal Il bianco e dolce cigno has levels of meanings. DIF: Hard MSC: Conceptual REF: 79f TOP: Renaissance secular music 2. ANS: T MSC: Applied DIF: Easy REF: 83 TOP: Renaissance madrigal 7. England adopted the Italian madrigal and developed it into a native form. ANS: F MSC: Applied DIF: Easy REF: 82 TOP: Renaissance secular music ESSAY 1. Describe the changes in secular music during the sixteenth century. ANS: Answers will vary. DIF: Hard MSC: Conceptual REF: 79f TOP: Renaissance madrigal . Give an example of each.Singing in Friendship: The Renaissance Madrigal | 69 5. Describe the differences between Italian and English madrigals. ANS: Answers will vary. How did Renaissance composers achieve a union of words and music? Give an example. imitative c. The fixed melody used as a basis for elaborate polyphonic writing in the Renaissance was called: a. independence from tradition and religion d. all of the above ANS: D MSC: Conceptual DIF: Medium REF: 86f TOP: Renaissance style 5. homorhythmic d. word-painting. use of landscape b. ANS: C MSC: Factual 70 DIF: Easy REF: 87 TOP: Renaissance sacred music . inspiration from the ancient cultures of Greece and Rome c. It has smoothly gliding lines. It has fuller harmonies. d. a cappella. monophonic b. Why does Renaissance music sound different from medieval music? a. profile portraiture c. b. a saltarello. c. Which genre of vocal music was NOT used in Renaissance church services? a. d. space organized in a succession of planes d. all of the above ANS: D MSC: Applied DIF: Easy REF: 86 TOP: Renaissance spirit 3. thinking centered on human issues and individuality b. It is performed a cappella. Which of the following was a characteristic of medieval art abandoned in the Renaissance? a. Gregorian chant c.Chapter 17: Remember Me: Personalizing the Motet in the Renaissance MULTIPLE CHOICE 1. the illusion of distance ANS: B MSC: Applied DIF: Easy REF: 86 TOP: Renaissance spirit 2. the hymn b. What best describes the texture of ideal Renaissance sacred music? a. a cantus firmus. b. heterophonic ANS: A MSC: Applied DIF: Medium REF: 86f TOP: Renaissance style 6. the chanson ANS: D MSC: Applied DIF: Medium REF: 86 TOP: Renaissance sacred music 4. the motet d. c. Which of the following characterizes humanism? a. Remember Me: Personalizing the Motet in the Renaissance | 71 7. ANS: A MSC: Factual DIF: Easy REF: 11. Josquin’s Ave Maria . . a five-note ostinato figure ANS: B MSC: Applied DIF: Hard REF: 89 TOP: Renaissance sacred music TRUE/FALSE 1. motet. d. . in praise of the Archangel Michael. in praise of the English victory at Agincourt. John Farmer b. Moniot d’Arras ANS: B MSC: Factual DIF: Medium REF: 87 TOP: Renaissance sacred music 9. ANS: B MSC: Applied DIF: Medium REF: 88 TOP: Renaissance motet 88 TOP: Renaissance sacred music 10. Medieval artists preferred to depict their subjects in profile rather than facing front. . . virgo serena is: a. What is the musical basis of Josquin’s Ave Maria . an isorhythm in the two bottom voices d. madrigal. a popular cantus firmus heard throughout the entire work b. Which early Renaissance composer exerted a powerful influence on generations of composers who followed? a. . c. ANS: F MSC: Applied DIF: Easy REF: 85 TOP: Renaissance spirit . Mass. Guillaume de Machaut c. virgo serena? a. a chanson with religious overtones c. Josquin des Prez d. What is a cantus firmus? a. c. then a freely composed melody c. d. b. virgo serena is an example of the: a. the top line of a motet d. a Gregorian chant in the top voice. chanson. a fragment of Gregorian chant or a secular tune used as the foundation of a polyphonic Mass ANS: D MSC: Factual DIF: Medium REF: 87 TOP: Renaissance sacred music 8. a chant sung daily b. . b. in praise of the Virgin Mary. in praise of chivalric love. The text of Ave Maria . The Renaissance motet is a sacred genre with a single Latin text. . How does Renaissance painting differ from its counterpart in the Middle Ages? How are these trends reflected in music? ANS: Answers will vary. DIF: Medium MSC: Conceptual REF: 86f TOP: Renaissance sacred music . What are the distinctive qualities of Renaissance sacred music? Support your answer with examples drawn from Josquin’s motet Ave Maria . Josquin did not use preexisting melodies in his sacred works.72 | Chapter 17 2. Josquin’s career centered exclusively in his native France. virgo serena. Humanism was inspired by the ancient cultures of Greece and Rome. ANS: T MSC: Applied DIF: Easy REF: 87 TOP: Renaissance sacred music 5. . ANS: T MSC: Applied DIF: Easy REF: 86 TOP: Renaissance spirit 3. ANS: F MSC: Factual DIF: Easy REF: 87 TOP: Renaissance sacred music 6. The preeminent composers of motets in the early Renaissance were from Italy. ANS: F MSC: Applied DIF: Hard REF: 87 TOP: Renaissance sacred music ESSAY 1. ANS: Answers will vary. ANS: T MSC: Applied DIF: Easy REF: 87 TOP: Renaissance sacred music 4. DIF: Medium MSC: Conceptual REF: 85f TOP: Renaissance sacred music 2. The portion of the Mass that changes from day to day. a plea for mercy. Kyrie. the liturgy. ANS: C MSC: Factual DIF: Easy REF: 90 TOP: Renaissance Mass 2. the Ordinary. Agnus Dei c. Offertory. is called the: a. d. b. Matins. Kyrie. the Sanctus ANS: A MSC: Factual DIF: Hard REF: 91 TOP: Renaissance Mass 73 . Gradual d. REF: 90 TOP: Renaissance Mass Italian Latin 90f TOP: Renaissance Mass 5. Agnus Dei. Dies irae. none of the above ANS: B MSC: Factual DIF: Medium REF: 90 TOP: Renaissance Mass 3. b. Credo. c. the Credo c. the Gloria d. b. none of the above ANS: A MSC: Factual DIF: Medium REF: 4. Gradual. b. Sanctus. Kyrie ANS: C MSC: Factual DIF: Hard REF: 91 TOP: Renaissance Mass 6. depending on the feast celebrated. d. the Gradual. the Ordinary. Kyrie. Gloria. Greek ANS: D MSC: Factual DIF: Easy c. d. ANS: D MSC: Factual DIF: Hard REF: 91 TOP: Renaissance Mass 7. Vespers. Communion. What was the primary language of the Mass? a. c. Credo. the Kyrie b. the Proper. d. the Proper. The portion of the Mass that remains the same in every celebration of the service is called: a. Hebrew b. Collect. the Office. Which of the following are the movements of the Ordinary of the Mass? a. c. the Mass. Gloria. Sanctus. Introit. The Roman Catholic Church service that symbolically reenacts the sacrifice of Christ is: a. is called: a. Offertory. The first section of the Ordinary of the Mass. d. c. Agnus Dei b.Chapter 18: Glory Be: Music for the Renaissance Mass MULTIPLE CHOICE 1. Which section of the Ordinary of the Mass is a confession of faith? a. d. It would have been sung by an all-male choir with boy sopranos or male falsettos. ANS: B MSC: Factual DIF: Medium REF: 92 TOP: Reformation 10. disciplining the irreverent attitudes of church musicians d. Martin Luther d. making the words more understandable c. In the churches of Luther and Calvin. d. a return to Gregorian chant. the Counter-Reformation. Saint Ignatius Loyola b. the Crusades. d. b. After the Protestant Reformation of the early sixteenth century. the inclusion of instruments in the service. It would have been accompanied by an organ. removing all secularism from church music b. the Roman Catholic Church responded with a movement to recapture the loyalty of its people. Which of the following was a leader in the Protestant Reformation? a. It would have been sung by a full choir. c. the Reformation. the musical emphasis was on: a. This was known as: a. It would have been sung by a choir with instrumental accompaniment. Johannes Ockeghem ANS: A MSC: Factual DIF: Easy REF: 92 TOP: Counter-Reformation 13. Ascanio Sforza ANS: B MSC: Factual DIF: Medium REF: 91 TOP: Reformation 9. Which of the following best describes the intended performance practice for the Pope Marcellus Mass? a. congregational singing. Guillaume Du Fay b. using more musical instruments to enhance church music ANS: D MSC: Applied DIF: Hard REF: 92 TOP: Counter-Reformation 12. spectacular polyphonic works. Giovanni Pierluigi da Palestrina c. ANS: B MSC: Applied DIF: Hard REF: 94 TOP: Counter-Reformation . the Thirty Years’ War. Giovanni Pierluigi da Palestrina c. b. Josquin des Pez d. c. ANS: C MSC: Factual DIF: Medium REF: 92 TOP: Counter-Reformation 11. Which of the following was NOT a recommendation of the Council of Trent? a. b.74 | Chapter 18 8. c. Which composer responded to the reforms of the Council of Trent in an exemplary fashion? a. Glory Be: Music for the Renaissance Mass | 75 14. Which of the following best describes the texture of the Pope Marcellus Mass? a. monophony c. four-voice polyphony b. three-voice polyphony d. six-voice polyphony ANS: D MSC: Applied DIF: Medium REF: 94 TOP: Counter-Reformation TRUE/FALSE 1. The texts of the Mass that change for each service make up the Ordinary. ANS: F MSC: Factual DIF: Medium REF: 90 TOP: Renaissance Mass 2. The Introit is the first movement of the Ordinary of the Mass. ANS: F MSC: Factual DIF: Medium REF: 91 TOP: Renaissance Mass 3. The text for the final portion of the Ordinary, the Agnus Dei, is divided into three parts. ANS: T MSC: Factual DIF: Easy REF: 91 TOP: Renaissance Mass 4. Martin Luther launched the Reformation movement. ANS: T MSC: Factual DIF: Medium REF: 91 TOP: Reformation 5. The reform movement in the Catholic church brought about by the Protestant Reformation was called the Counter-Reformation. ANS: T MSC: Factual DIF: Easy REF: 92 TOP: Counter-Reformation 6. The Council of Trent took place in the mid-sixteenth century. ANS: T MSC: Factual DIF: Easy REF: 92 TOP: Counter-Reformation 7. The dense counterpoint in the Pope Marcellus Mass obscures the words. ANS: F MSC: Applied DIF: Medium REF: 94 TOP: Counter-Reformation 8. The upper voice parts of the Pope Marcellus Mass were sung by boy sopranos or adult males with high voices. ANS: T MSC: Factual DIF: Medium REF: 94 TOP: Counter-Reformation 76 | Chapter 18 ESSAY 1. Describe the structure of the Catholic Mass. ANS: Answers will vary. DIF: Hard MSC: Factual REF: 90f TOP: Renaissance Mass 2. Discuss how the Reformation and the Counter-Reformation affected music. Provide an example for each. ANS: Answers will vary. DIF: Medium MSC: Conceptual REF: 91f TOP: Counter-Reformation Chapter 19: Instrumental Movements: Medieval and Renaissance Dance Music MULTIPLE CHOICE 1. Medieval instruments can be classified as bas or haut, meaning: a. high or low. c. soft or loud. b. string or wind. d. folk or aristocratic. ANS: C MSC: Factual DIF: Medium REF: 95 TOP: Instrumental music 2. The ________ is an end-blown flute with a breathy tone. a. crumhorn c. shawm b. recorder d. psaltery ANS: B MSC: Applied DIF: Easy REF: 95 TOP: Instrumental music 3. Early instruments used for outdoor performances, such as the shawm and the sackbut, were categorized as: a. soft. c. small. b. loud. d. large. ANS: B MSC: Factual DIF: Easy REF: 96 TOP: Instrumental music 4. Which of the following would be considered an appropriate outdoor instrument? a. the flute c. the rebec b. the recorder d. the shawm ANS: D MSC: Applied DIF: Medium REF: 96 TOP: Instrumental music 5. The medieval ancestor of the modern trombone is the: a. sackbut. c. shawm. b. cornetto. d. nakers. ANS: A MSC: Applied DIF: Easy REF: 96 TOP: Instrumental music 6. Which of the following was a lively circle or line dance, often performed outdoors? a. pavane c. allemande b. ronde d. galliard ANS: B MSC: Factual DIF: Medium REF: 96 TOP: Instrumental music 77 78 | Chapter 19 7. Tielman Susato published music in which major European center? a. Paris c. Rome b. London d. Antwerp ANS: D MSC: Factual DIF: Easy REF: 96 TOP: Instrumental music 8. Which of the following does NOT characterize the dances that Susato published? a. binary forms c. lively rhythms b. irregular phrase lengths d. occasional embellishments ANS: B MSC: Applied DIF: Medium REF: 97 TOP: Instrumental music TRUE/FALSE 1. Early instrumental music largely depended on improvisation. ANS: T MSC: Applied DIF: Easy REF: 95 TOP: Instrumental music 2. Bas instruments were used frequently for outdoor occasions during the Middle Ages. ANS: F MSC: Applied DIF: Medium REF: 95 TOP: Instrumental music REF: 96 TOP: Instrumental music 3. The rebec was a type of wind instrument. ANS: F MSC: Factual DIF: Easy 4. The sixteenth century saw a blossoming of instrumental dance music. ANS: T MSC: Factual DIF: Easy REF: 96 TOP: Instrumental music 5. Instrumental music of the sixteenth century often did not specify its instrumentation. ANS: T MSC: Factual DIF: Medium REF: 96 TOP: Instrumental music 6. Stately indoor occasions most often called for soft instruments, such as recorders and strings. ANS: T MSC: Applied DIF: Easy REF: 96 TOP: Instrumental music 7. The dance music that Susato published is monophonic. ANS: F MSC: Applied DIF: Easy REF: 97 TOP: Instrumental music Instrumental Movements: Medieval and Renaissance Dance Music | 79 8. The dance music of Susato appeared in print and hence was not suitable for improvisation. ANS: F MSC: Applied DIF: Easy REF: 97 TOP: Instrumental music ESSAY 1. How are musical instruments from the Middle Ages categorized? Give some examples. ANS: Answers will vary. DIF: Medium MSC: Applied REF: 95f TOP: Instrumental music 2. Describe the growth of instrumental music in the sixteenth century. Include some examples in your answer. ANS: Answers will vary. DIF: Medium MSC: Applied REF: 96f TOP: Instrumental music Prelude 3: Music as Exploration and Drama MULTIPLE CHOICE 1. Which of the following does NOT characterize music after 1600? a. Music performers developed virtuosic skills. b. Instrumental music was neglected. c. Musicians explored intense emotions. d. Opera was developed. ANS: B MSC: Factual DIF: Easy REF: 2. The approximate dates of the Baroque period are: a. 1600–1750. c. b. 1700–1800. d. ANS: A MSC: Factual DIF: Easy REF: 102 TOP: Baroque era 1550–1600. 1800–1900. 103 TOP: Baroque era 3. Which of the following does NOT characterize the Baroque era? a. an age of reason c. an era of absolute monarchy b. an age of peace and tranquility d. an era of intense religion ANS: B MSC: Applied DIF: Medium REF: 103 TOP: Baroque era 4. Which of the following was NOT an important scientist of the Baroque era? a. Newton c. Curie b. Galileo d. Copernicus ANS: C MSC: Factual DIF: Hard REF: 103 TOP: Baroque era 5. Which of the following best describes Bernini’s sculpture of David? a. calm and reflective c. dramatic and active b. static and poised d. all of the above ANS: C MSC: Factual DIF: Hard REF: 103 TOP: Baroque era 6. Which of the following was/were NOT created to satisfy the tastes of the middle class during the Baroque? a. serious opera c. the novel b. comic opera d. paintings of the Dutch School ANS: A MSC: Applied 80 DIF: Hard REF: 104 TOP: Baroque era The artificially created male soprano or alto voice that dominated Baroque opera was known as the: a. ANS: A MSC: Applied DIF: Medium REF: 106 TOP: Baroque music 12. opera. c. driving. Camerata. artists. c. continuo. a bass line with a repeating pattern b. the Mass. d. ANS: C MSC: Factual DIF: Medium REF: 104 TOP: Baroque music 8. d. a new kind of notation d. harmonies built on the early church modes ANS: D MSC: Applied DIF: Medium REF: 105 TOP: Baroque music 11. The ideas and music of the Florentine Camerata led directly to the development of: a. The group of early Baroque writers. b. b. The Baroque period witnessed a shift in musical texture to: a. the Florentine Camerata. the Freemasons. a bass line that is part of a canon ANS: C MSC: Factual DIF: Hard REF: 10. castrato. d. c. homophony. dramatic shifts in levels of dynamics d. What is figured bass? a. the Italian madrigalists. the Notre Dame school. b. polyphony. a string bass with decorations on the scroll c. Which of the following is NOT a characteristic of Baroque musical style? a. monophony. energetic rhythms b. d. contralto. ANS: B MSC: Factual DIF: Easy REF: 105 TOP: Baroque music 105 TOP: Baroque music 9. the symphony. and musicians whose aim was to resurrect the musical drama of ancient Greece was known as: a.Music as Exploration and Drama | 81 7. the concerto. heterophony. b. ANS: A MSC: Factual DIF: Easy REF: 106 TOP: Baroque music . continuously expanding melodies c. c. Which of the following national styles influenced the Baroque style? a. expanded into professional performance careers. English choral song b. French dance rhythms d. improvisation. including as opera singers. remained largely the same as during the Renaissance. c. driving rhythm. continuous melody. Religion remained a driving force behind power struggles in the Baroque era. The Baroque performance practice whereby musicians embellished melodies is called: a. ANS: T MSC: Applied DIF: Medium REF: 104 TOP: Baroque era 5. ANS: T MSC: Factual DIF: Medium REF: 104 TOP: Baroque era 4. Women’s roles in Baroque music: a. all of the above ANS: D MSC: Applied DIF: Medium REF: 107 TOP: Baroque music TRUE/FALSE 1. ANS: F MSC: Factual DIF: Easy REF: 103f TOP: Baroque era 3.82 | Prelude 3 13. ritornello. d. The Baroque era was an age of political freedom and democracy. ANS: F MSC: Factual DIF: Easy REF: 103 TOP: Baroque era 2. totally dominated the music scene. d. German polyphony c. diminished in importance in comparison to the Renaissance. b. The transition from Renaissance to Baroque was characterized by a change from polyphonic to homophonic texture in music. Amateur music-making at home was popular during the Baroque era. b. The term baroque originally meant serenity and balance. ANS: T MSC: Applied DIF: Medium REF: 104 TOP: Baroque music . c. ANS: B MSC: Conceptual DIF: Medium REF: 107 TOP: Baroque music 14. ANS: A MSC: Factual DIF: Easy REF: 107 TOP: Baroque music 15. Baroque composers used dissonance for emotional intensity and color. ANS: T MSC: Conceptual DIF: Medium REF: 105 TOP: Baroque music 7. One of the most significant changes in music history occurred during the Baroque era: the transition from medieval church modes to major-minor tonality. Exoticism can be detected in a number of Baroque operas. ANS: F MSC: Factual DIF: Easy REF: 107 TOP: Baroque music 14. Improvisation played little or no part in Baroque musical practice. During the Baroque era. ANS: T MSC: Factual DIF: Medium REF: 107 TOP: Baroque music 13. During the Baroque era. ANS: T MSC: Conceptual DIF: Easy REF: 107 TOP: Baroque music . ANS: T MSC: Factual DIF: Medium REF: 106 TOP: Baroque music 11.Music as Exploration and Drama | 83 6. Dramatic contrasts of forte and piano are typical of the Baroque era. ANS: T MSC: Applied DIF: Medium REF: 106 TOP: Baroque music 8. vigorous beat throughout. Baroque music often features a steady. allowing them to sing high-pitched operatic roles. women began entering the ranks of professional musicians as both composers and performers. Barbara Strozzi was an international sensation as an opera singer. some boy singers were castrated to preserve the high register of their voices. ANS: F MSC: Conceptual DIF: Easy REF: 107 TOP: Baroque music 12. ANS: T MSC: Applied DIF: Hard REF: 106 TOP: Baroque music 9. ANS: T MSC: Applied DIF: Easy REF: 106 TOP: Baroque music 10. Give some examples. ANS: Answers will vary.84 | Prelude 3 ESSAY 1. Describe the major achievements in art. and science during the Baroque period. DIF: Medium MSC: Conceptual REF: 104f TOP: Baroque music . ANS: Answers will vary. literature. Discuss the main currents of early Baroque musical style. DIF: Medium REF: 103f TOP: Baroque era MSC: Conceptual 2. Which of the following was a reason that a woman would join a convent during the seventeenth century? a. convent. women who desired a public voice through music often joined a: a. the secular cantata ANS: D MSC: Factual DIF: Easy REF: 111 TOP: Women’s voices 85 . b. During which service does the Magnificat occur? a. composer b. all of the above ANS: C MSC: Factual DIF: Medium REF: 111 TOP: Women’s voices 6. d. ANS: C MSC: Factual DIF: Hard REF: 110 TOP: Women’s voices Gradual. to avoid an unwanted marriage c. the motet c. to seek asylum after being widowed d. the Magnificat b. Which of the following is a type of music NOT composed by Chiara Margarita Cozzolani? a.Chapter 20: Voicing the Virgin: Cozzolani and Italian Baroque Sacred Music MULTIPLE CHOICE 1. c. Mass. b. antiphon. Magnificat. composers’ guild. d. to have an outlet for musical talent b. 109 TOP: Women’s voices Vespers. c. c. doxology. Radegonda? a. abbess and prioress d. all of the above ANS: D MSC: Factual DIF: Hard REF: 3. The canticle of Mary is generally known as the: a. What service(s) did Chiara Margarita Cozzolani provide for the convent of St. director of choirs c. all of the above 109 TOP: Women’s voices 5. local church choir. d. the four-voice mass d. Requiem. b. During the seventeenth century. ANS: C MSC: Factual DIF: Medium REF: 109 TOP: Women’s voices 2. ANS: B MSC: Factual DIF: Medium REF: 4. camerata. Agnus Dei. imitative polyphony throughout c. ANS: F MSC: Applied DIF: Easy REF: 108 TOP: Women’s voices 2. The prayer of praise at the end of the Magnificat is called the: a. ANS: A MSC: Factual DIF: Medium REF: 110 TOP: Women’s voices TRUE/FALSE 1. Bernini’s Ecstasy of St. The dramatic and mystical qualities of Cozzolani’s setting of the Magnificat are similar to those of what other significant artwork? a. a cappella choir b. vocal choir and instrumental ensemble ANS: C MSC: Factual DIF: Medium REF: 111 TOP: Women’s voices 10. What are the performing forces for Cozzolani’s Magnificat? a. two choirs and violins c. Raphael’s Alba Madonna ANS: A MSC: Applied DIF: Easy REF: 109 TOP: Women’s voices 8. c. Teresa c. Michelangelo’s David b. Gloria. doxology. Of the following. Radegonda in Milan was famous for its music-making. Women who made a name for themselves as professional musicians were often viewed as having low morals. two soprano soloists. ANS: T MSC: Applied DIF: Medium REF: 109 TOP: Women’s voices . an A-B-A structure d. d. Leonardo’s Last Supper d. b. ANS: T MSC: Applied DIF: Medium REF: 108 TOP: Women’s voices 3. which characterizes Cozzolani’s music for the Magnificat? a. two choirs. Alleluia. Creative voices from groups excluded from equal opportunity seldom have any emotional impact. and organ and strings d. expressive and rich in word-painting b. all of the above ANS: C MSC: Applied DIF: Medium REF: 109 TOP: Women’s voices 9. The convent of St.86 | Chapter 20 7. the choirs often sing in homophony. ANS: F MSC: Factual DIF: Medium ESSAY 1. Describe the life of women in a seventeenth-century convent. DIF: Medium MSC: Applied REF: 109f TOP: Women’s voices 3.Voicing the Virgin: Cozzolani and Italian Baroque Sacred Music | 87 4. In Cozzolani’s Magnificat. ANS: Answers will vary. DIF: Medium REF: 108 TOP: Women’s voices 2. In convents. How can music become a voice for groups excluded from equal opportunity? Give some examples. men frequently joined the nuns’ choir in order to perform the bass parts. DIF: Hard MSC: Conceptual REF: 109f TOP: Women’s voices . Give some examples. ANS: T MSC: Factual DIF: Medium REF: 111 TOP: Women’s voices 7. ANS: Answers will vary. Cozzolani wrote the text of her Magnificat. The Catholic Church supported the performances of nuns in public and their use of polyphony. ANS: T MSC: Applied DIF: Medium REF: 109 TOP: Women’s voices REF: 111 TOP: Women’s voices 8. Chiara Margarita Cozzolani entered a convent and professed her final vows at age eighteen. ANS: F MSC: Factual DIF: Easy REF: 110 TOP: Women’s voices 5. Although coming from the family of a wealthy Milanese merchant. Describe the expressive qualities of Cozzolani’s Magnificat. ANS: Answers will vary. ANS: F MSC: Factual DIF: Medium REF: 109 TOP: Women’s voices 6. Purcell d. d. The vocal style in opera that imitates the natural inflections of speech is called: a. b. overture. ANS: B MSC: Factual DIF: Easy c. ensemble. ANS: C MSC: Factual DIF: DIF: Medium REF: 114 TOP: Baroque opera libretto. c. ritornello. REF: cantata. REF: 114 TOP: Baroque opera Austria France 114 TOP: Baroque opera . c. a chorus.Chapter 21: Performing Grief: Purcell and Early Opera MULTIPLE CHOICE 1. aria. d. aria. chorus. ANS: A MSC: Factual Easy REF: 5. A highly emotional song in an opera is called a(n): a. A drama that is sung is called a(n): a. d. d. b. madrigal. The text of an opera is called the: a. recitative. b. c. d. b. book. lyrics. ANS: D MSC: Factual DIF: Medium REF: 113 TOP: Baroque opera 3. Monteverdi c. Puccini ANS: A MSC: Factual DIF: Easy REF: 7. recitative. b. 114 TOP: Baroque opera 6. d. Which cultural center rejected Italian opera? a. script. England ANS: D MSC: Applied 88 DIF: Medium c. Handel b. motet. 113 TOP: Baroque opera 2. Which of the following composers is regarded as the first master of opera? a. c. ensemble. madrigal. ANS: A MSC: Factual DIF: Easy REF: 113 TOP: Baroque opera 4. opera. Germany b. The orchestral introduction at the beginning of an opera is called the: a. recitative. The greatest native-born English composer of the Baroque was: a. the Royal Opera in London. in the ritornello form of the period. tragédie lyrique. Homer’s Odyssey d. b. John Milton b. d. b. c. Homer’s Iliad b. ANS: C MSC: Applied DIF: Easy REF: 115 TOP: Baroque opera 10. c. killing Aeneas. c. John Donne ANS: B MSC: Factual DIF: Hard REF: 115 TOP: Baroque opera 12. c. a production at a girls’ school. marrying Aeneas. Thomas Morley. d. Oliver Cromwell. in the ternary form common to the genre. Milton’s Paradise Lost c. and dance was called the: a. d. King James II. killing herself. Dido sings her famous lament in Purcell’s opera Dido and Aeneas just prior to: a. A type of English entertainment combining music. ANS: C MSC: Factual DIF: Easy REF: 115 TOP: Baroque opera 11. in the style of imitative counterpoint. poetry. c. Which epic poem was the basis for Purcell’s opera Dido and Aeneas? a. b. monody. over a ground bass. ANS: B MSC: Factual DIF: Medium REF: 114 TOP: Baroque opera 9. George Frideric Handel. d. Josias Priest c. Henry Purcell. masque. Purcell’s opera Dido and Aeneas was composed for: a. leaving with Aeneas. ANS: A MSC: Applied DIF: Medium REF: 115 TOP: Baroque opera . oratorio. Nahum Tate d. ANS: C MSC: Applied DIF: Hard REF: 115 TOP: Baroque opera 14. Dido’s Lament from Purcell’s opera Dido and Aeneas is composed: a. d. Who was the librettist of Purcell’s Dido and Aeneas? a. b.Performing Grief: Purcell and Early Opera | 89 8. Virgil’s Aeneid ANS: D MSC: Factual DIF: Hard REF: 115 TOP: Baroque opera 13. La Scala in Milan. b. 90 | Chapter 21 TRUE/FALSE 1. ANS: T MSC: Factual DIF: Medium REF: 4. The aria “When I am laid in earth” is accompanied by continuo only. ANS: F MSC: Applied DIF: Medium REF: 116 TOP: Baroque opera ESSAY 1. ANS: F MSC: Applied DIF: Easy REF: 114 TOP: Baroque opera 114 TOP: Baroque opera 3. The aria “When I am laid in earth” is unified by a ground bass on a descending chromatic scale. the masque was a popular type of aristocratic entertainment that combined vocal and instrumental music with poetry and dance. were simple productions for intimate gatherings. ANS: T MSC: Applied DIF: Easy REF: 115 TOP: Baroque opera 7. DIF: Medium MSC: Conceptual REF: 113f TOP: Baroque opera . ANS: Answers will vary. In opera. In seventeenth-century England. ANS: T MSC: Factual DIF: Easy REF: 114 TOP: Baroque opera 5. the lyric melodies that release emotional tension are called recitatives. commenting on the function of each in the drama.. ANS: F MSC: Factual DIF: Easy REF: 113 TOP: Baroque opera 2. Purcell’s Dido and Aeneas was first performed in a public opera house. The first public opera houses opened in Venice. ANS: F MSC: Factual DIF: Medium REF: 115 TOP: Baroque opera 6. Describe the various components of opera. such as Monteverdi’s Orfeo. Early operas. Be sure to include the names of composers and works. DIF: Medium MSC: Applied REF: 114f TOP: Baroque opera . Compare the operatic traditions of Italy and England.Performing Grief: Purcell and Early Opera | 91 2. ANS: Answers will vary. Chorales generally have simple and memorable melodies. d. ANS: D MSC: Applied DIF: Medium c. motets. d. chorales. Pilgrims’ church service in America. anthems. c. Anglican church service. c. cantatas. c. ANS: A MSC: Factual DIF: Hard REF: 118 TOP: Baroque cantata 3. b. the weekly hymns sung by the congregation were called: a. bar form. ANS: C MSC: Applied DIF: Easy REF: 118 TOP: Baroque cantata Lutheran church service.Chapter 22: Musical Sermons: Bach and the Lutheran Cantata MULTIPLE CHOICE 1. cantata. ANS: B MSC: Applied DIF: Hard REF: 4. motet. Thomas Church in Leipzig. b. Johann Sebastian Bach held the position of: a. b. The expansion of the chorale with new poetry resulted in the: a. b. ANS: C MSC: Factual DIF: Medium REF: 119 TOP: Baroque cantata 6. d. all of the above ANS: D MSC: Factual 92 DIF: Medium REF: 119 TOP: Baroque cantata . b. Which of the following does NOT describe the chorale? a. In the Lutheran Church. REF: cantor. d. Catholic church service. The congregation sang chorales in four-part harmony. c. court organist and chamber musician to the duke of Weimar. 118 TOP: Baroque cantata 2. choir. The sacred cantata was an integral part of the: a. court musician to the prince of Anhalt-Cöthen. cantor of St. c. d. 118 TOP: Baroque cantata 5. Luther believed that music belonged to the: a. congregation. clergy. Chorale texts are in German. d. Chorales were intended to be sung by the congregation. anthem. b. During his musical career. clavichord. d. What would listeners hear in a typical Bach chorale? a. four-part chorale. b. harpsichord. Luther believed that professional musicians had no place in a church service. organ. soprano. and continuo. c. has ________ movements. Johann Sebastian Bach was most famous in his day as a performer on the: a. The opening movement of Bach’s cantata Wachet auf is best described as a: a. simple. unison strings. A-B-B-A d. c. What is the form of the chorale tune Wachet auf? a. duet for soprano and bass. A-B-B c. solo violin. b. ANS: B MSC: Applied DIF: Hard REF: 122 TOP: Baroque cantata TRUE/FALSE 1. ANS: F MSC: Factual DIF: Medium REF: 118 TOP: Baroque cantata .Musical Sermons: Bach and the Lutheran Cantata | 93 7. boy sopranos. Wachet auf. and continuo. ANS: A MSC: Applied DIF: Easy REF: 120 TOP: Baroque cantata 12. soprano aria. b. ANS: D MSC: Applied DIF: Hard REF: 119f TOP: Baroque cantata da capo (A-B-A) bar form (A-A-B) 120 TOP: Baroque cantata 10. The fourth movement of Bach’s cantata Wachet auf has three musical lines: a. 140. eight c. unison choir. soprano. b. d. seven d. intricate choral movements c. grand chorale fantasia. hymnlike settings d. six b. solo oboe. all of the above ANS: D MSC: Factual DIF: Hard REF: 9. unison strings. a. Bach’s Cantata No. and continuo. c. five ANS: B MSC: Factual DIF: Medium REF: 120f TOP: Baroque cantata 11. piano. d. ANS: B MSC: Factual DIF: Easy REF: 119 TOP: Baroque cantata 8. and bass. solo arias b. Johann Sebastian Bach was known primarily as a great organist. During his lifetime. Bach avoids mirroring the form of the chorale in his chorale movements. ANS: F MSC: Factual DIF: Medium REF: 119 TOP: Baroque cantata REF: 119 TOP: Baroque cantata 5. ANS: T MSC: Factual DIF: Medium 6. Johann Sebastian Bach lived a short. The texts for chorales were always taken directly from the Bible. In Wachet auf. A chorale is a hymn tune associated with German Protestantism. All the movements of Bach’s Cantata No.94 | Chapter 22 2. ANS: F MSC: Applied DIF: Medium REF: 120 TOP: Baroque cantata 9. ANS: T MSC: Factual DIF: Medium REF: 119 TOP: Baroque cantata 8. ANS: T MSC: Facutal DIF: Medium . Bach completed over two hundred cantatas. ANS: F MSC: Factual DIF: Easy REF: 118 TOP: Baroque cantata 4. unhappy life and had no children. 140 make use of the chorale tune Wachet auf. ANS: T MSC: Factual DIF: Easy REF: 118 TOP: Baroque cantata 3. ANS: F MSC: Factual DIF: Easy REF: 119 TOP: Baroque cantata 7. Chorales were intended to be sung by a trained choir. ANS: F MSC: Applied DIF: Medium REF: 121 TOP: Baroque cantata REF: 120 TOP: Baroque cantata 10. A bar form has the structure of A-A-B. Describe Bach’s typical cantatas. ANS: Answers will vary. What is the role of the chorale in the Lutheran service and specifically in the Lutheran cantata? ANS: Answers will vary. using examples from Wachet auf. DIF: Medium MSC: Conceptual REF: 118f TOP: Baroque cantata 2. DIF: Hard MSC: Applied REF: 119f TOP: Baroque cantata .Musical Sermons: Bach and the Lutheran Cantata | 95 ESSAY 1. Handel’s Messiah is a(n): a. the Bible. b. b. The stories for oratorios are generally drawn from: a. b. d. and orchestra. c. d. contemporary life. Why is Messiah so popular in Britain and America today? a. The first part is appropriate for the Christmas season. chorus. cantata. frequently performed today? a. 123 TOP: Baroque oratorio 2. symphony. opera. Samson b. It combines vocal soloists. all of the above ANS: D MSC: Conceptual DIF: Easy REF: 123 TOP: Baroque oratorio 4. Julius Caesar c. d. choruses ANS: A MSC: Factual DIF: Easy REF: 123f TOP: Baroque oratorio 5. d. ANS: C MSC: Factual DIF: c. elaborate scenery c. ANS: A MSC: Applied 96 DIF: Easy REF: 124 TOP: Baroque oratorio . arias b. Greek mythology. Which of the following is Handel’s most famous oratorio. Which of the following does NOT characterize the oratorio? a. oratorio. Messiah ANS: D MSC: Applied DIF: Easy REF: 123 TOP: Baroque oratorio 3. medieval history.Chapter 23: Textures of Worship: Handel and the English Oratorio MULTIPLE CHOICE 1. recitatives d. Israel in Egypt d. Easy REF: oratorio. ANS: B MSC: Factual DIF: Easy REF: 123f TOP: Baroque oratorio 6. masque. It is sung in English. George Frideric Handel is considered a master of the: a. c. chorale. cantata. b. c. the repetition of the A section in a da capo aria c. drums. symphony. c. d. b. c. The orchestra for Messiah relies primarily on the: a. What is a ritornello? a. secular cantatas. Vivaldi b. ________ was born in Germany and studied in Italy. c. strings. four-part choral writing. b. oratorio. ANS: A MSC: Applied DIF: Medium REF: 125 TOP: Baroque oratorio 125 TOP: Baroque oratorio 13. “Rejoice greatly. Later in life. ANS: D MSC: Factual DIF: Medium REF: 124 TOP: Baroque oratorio 9. 125 TOP: Baroque oratorio 12. the birth of Christ. oratorios. b. Mass. ANS: D MSC: Factual DIF: Easy REF: 10. he established his fame by composing: a. an instrumental refrain in an aria ANS: D MSC: Applied DIF: Medium REF: . ANS: A MSC: Applied DIF: Easy REF: 124 TOP: Baroque oratorio the redemption of the world. a. secco recitative. oboes. d. ANS: B MSC: Factual DIF: Hard c. REF: 11. a da capo aria. Scarlatti ANS: B MSC: Factual DIF: Easy REF: 124 TOP: Baroque oratorio 8. a recurring motive in an aria d. Handel d. d. but spent much of his creative life in England. the death of Christ. a repeated figure in the bass line b. Handel turned his efforts from the opera to the: a.Textures of Worship: Handel and the English Oratorio | 97 7. all of the above 125 TOP: Baroque oratorio trumpets. When Handel arrived in London. b. accompagnato recitative. cantata. operas. The subject of the second part of Messiah is: a. d. O daughter of Zion” from Messiah is an example of: a. concertos. b. c. Bach c. d. the “Hallelujah Chorus.” ANS: B MSC: Factual DIF: Easy REF: 125 TOP: Baroque oratorio 15. “Rejoice greatly. Which the following does NOT characterize the “Hallelujah Chorus”? a. my people. fugal passages d.” c. The famous choral climax of Handel’s Messiah is: a. Handel wrote his oratorio Messiah over a period of four years. a cappella setting ANS: D MSC: Applied DIF: Hard REF: 127 TOP: Baroque oratorio TRUE/FALSE 1. ANS: F MSC: Factual DIF: Medium REF: 125 TOP: Baroque oratorio 4. homophonic passages b. ANS: T MSC: Factual DIF: Easy REF: 6.” d. The “Hallelujah Chorus” is the climax of the Christmas section of Messiah.98 | Chapter 23 14.” b. “For unto us a Child is born. “And the glory of the Lord. The role of the chorus is especially important in the oratorio. ANS: T MSC: Applied DIF: Medium REF: 124 TOP: Baroque oratorio 3. ANS: F MSC: Factual DIF: Medium REF: 125 TOP: Baroque oratorio 7. ANS: F MSC: Factual DIF: Easy REF: 123f TOP: Baroque oratorio 2. ANS: T MSC: Factual DIF: Easy REF: 125 TOP: Baroque oratorio 125 TOP: Baroque oratorio 5. The libretto for Handel’s oratorio Messiah is a compilation of verses from the Old and New Testaments. Handel’s Messiah is divided into three parts. “Comfort ye. O daughter of Zion” is in bar form. staged work with elaborate scenery and costumes. varied dynamics c. ANS: F MSC: Applied DIF: Medium REF: 125 TOP: Baroque oratorio . An oratorio is a dramatic. Which was the more international composer? Why? For what audiences did each compose? ANS: Answers will vary. Compare opera and oratorio.Textures of Worship: Handel and the English Oratorio | 99 8. ANS: T MSC: Factual DIF: Medium REF: 127 TOP: Baroque oratorio ESSAY 1. Handel’s “Hallelujah Chorus” includes a variety of textures. ANS: Answers will vary. DIF: Medium MSC: Conceptual REF: 124f TOP: Baroque oratorio . DIF: Easy MSC: Conceptual REF: 123f TOP: Baroque oratorio 2. using examples of each genre to support your answer. Compare the lives and output of Bach and Handel. secularization. a texture undergoing constant change d. c. ANS: C MSC: Conceptual 100 DIF: Hard REF: 129 TOP: American music . all of the above ANS: A MSC: Applied DIF: Easy REF: 128 TOP: American music 3. b. d. What is heterophonic texture? a. b. American composers were discouraged from writing new music. In seventeenth-century New England. The church wanted everyone to participate equally in services. Polyphonic settings of sacred music began to appear. homophonic d. b. Why was lining-out developed? a. What is the basic texture of the practice of lining-out? a.Chapter 24: Independent Study: Billings and the North American Sacred Tradition MULTIPLE CHOICE 1. monophonic c. c. a texture based on non-imitative polyphony ANS: B MSC: Factual DIF: Medium REF: 128 TOP: American music 5. ANS: C MSC: Factual DIF: Medium REF: 128 TOP: American music 2. all of the above ANS: D MSC: Conceptual DIF: Hard REF: 128 TOP: American music 4. shape-note singing. Most people could not read music. d. lining-out. the Puritan practice of singing that is based on call and response was called: a. the simultaneous performance of slight variants of the same melody c. spiritualizing. Singing schools began teaching music. polyphonic b. c. Which of the following was NOT a musical development in seventeenth-century America? a. a unison choral statement b. Shape-note singing was developed. Most people could not afford to buy a psalm book. d. syllables used to memorize music. ANS: A MSC: Factual DIF: Hard 8. duple meter and regular rhythmic patterns d. ANS: D MSC: Factual DIF: Hard REF: 130 TOP: American music The Psalm-Singer’s Amusement. b. What is the texture of Billings’s David’s Lamentation? a. c. It was based on solfège. d. mostly stepwise melodies b. The shape of a note denoted its solfège syllable.Independent Study: Billings and the North American Sacred Tradition | 101 6. c. d. ANS: D MSC: Applied DIF: Medium REF: 129 TOP: American music 7. His music publications were not very successful. Of the following. A-B-B. bar form (A-A-B). 130 TOP: American music A-B-A. The New England Psalm-Singer. ANS: B MSC: Factual DIF: Hard REF: c. all of these ANS: D MSC: Conceptual DIF: Hard REF: 131 TOP: American music . He studied music in Germany. b. consonant harmonies c. Which of the following does NOT characterize shape-note notation? a. what contributes to the simplicity of Billings’s David’s Lamentation? a. It was first applied to tutorials for piano playing. Billings’s best-known publication is: a. d. homophonic with solos and duets d. The form of Billings’s David’s Lamentation is: a. Which of the following describes the career of William Billings? a. 130 TOP: American music 10. heterophonic ANS: B MSC: Applied DIF: Hard REF: 130 TOP: American music 11. Music in Miniature. b. It was created in order to standardize sacred melodies. He knew several leaders of the American Revolution. strophic. b. monophonic c. d. c. REF: 9. The Singing Master’s Assistant. polyphonic b. He died a wealthy man. d. collecting music performed in Mexico at the time ANS: B MSC: Factual DIF: Hard REF: 132f TOP: American music 14.102 | Chapter 24 12. an ensemble refrain c. William Billings was the first highly trained composer active in America. a frequent short-long rhythm ANS: C MSC: Factual DIF: Hard REF: 133 TOP: American music TRUE/FALSE 1. Which of the following musical activities is NOT associated with Gaspar Fernandes? a. c. ANS: T MSC: Applied DIF: Easy REF: 129 TOP: American music 4. ANS: F MSC: Applied DIF: Easy REF: 128 TOP: American music REF: 128 TOP: American music 2. all of the above ANS: A MSC: Conceptual DIF: Hard REF: 132 TOP: American music 13. b. They attempted to preserve indigenous music through notation. Lining-out was a system designed to promote polyphony in America. They avoided contact with the indigenous civilizations. Lining-out often involved heterophony. teaching music to choirboys d. playing organ b. notation that includes parts for organ and other instruments d. Shape-note notation was designed to help the general public read music. ANS: T MSC: Applied DIF: Medium 3. Which of the following describes Spanish attitudes toward indigenous American peoples? a. They tried to reconcile local beliefs and Christianity. ANS: F MSC: Factual DIF: Easy REF: 130 TOP: American music . images of Christianity mixed with those of the Aztec religion b. composing operas c. What of the following does NOT characterize the villancico by Fernandes? a. ANS: T MSC: Applied DIF: Medium REF: 133 TOP: American music ESSAY 1. Missionaries taught American natives plainchant exclusively in Latin. Include some examples in your answer. ANS: T MSC: Factual DIF: Easy REF: 130 TOP: American music 7. DIF: Hard MSC: Conceptual REF: 132f TOP: American music . DIF: Medium MSC: Applied REF: 130f TOP: American music 3. The incorporation of percussion instruments in Fernandes’s villancico is not indicated in the score but suggested by various historical documents. Billings’s four-part compositions generally placed the main melody in the soprano.Independent Study: Billings and the North American Sacred Tradition | 103 5. ANS: F MSC: Applied DIF: Hard REF: 130 TOP: American music 6. ANS: F MSC: Factual DIF: Medium REF: 132 TOP: American music 8. Describe the interaction of European and indigenous American cultures in Latin America. Why was William Billings important in colonial American music? ANS: Answers will vary. ANS: Answers will vary. ANS: Answers will vary. Describe the development of music-making in colonial American during the seventeenth century. DIF: Medium MSC: Applied REF: 128f TOP: American music 2. The text for Billings’s David’s Lamentation is derived from the Bible. Include some examples in your answer. Each movement is a dance type from a different country. ANS: D MSC: Applied DIF: Hard REF: 134 TOP: Baroque instruments 3. recorder c. New technologies made more sophisticated instruments possible. The first era of Western music history in which instrumental music was a major focus for composers was the: a. Which of the following does NOT characterize the Baroque suite? a. c. The movements have contrasts of tempo and character. recorder c. d. Renaissance. Baroque. It consists of a series of dance movements. Middle Ages. trumpet b. Which of the following does NOT describe instrumental music in the Baroque era? a. flute d. ANS: B MSC: Applied 104 DIF: Medium REF: 135 TOP: Baroque suite . bassoon ANS: D MSC: Applied DIF: Hard REF: 135 TOP: Baroque instruments 5.Chapter 25: Grace and Grandeur: The Baroque Dance Suite MULTIPLE CHOICE 1. The movements are in contrasting keys. b. the cost of the instrument ANS: A MSC: Applied DIF: Medium REF: 135 TOP: Baroque instruments 4. oboe b. d. Which of the following wind instruments was NOT made of wood during the Baroque? a. flute ANS: C MSC: Factual DIF: Medium REF: 135 TOP: Baroque instruments 6. c. the type of strings d. the general shape of the instrument c. Which of the following is NOT a major difference between Baroque and modern violins? a. Classical. Elaborate instrumental music often accompanied grand celebrations. Instrumental music became the central focus of Western concert music at this time. b. the playing techniques b. c. d. oboe d. The flowering of instrumental music was largely encouraged by wealthy patrons. which of the woodwind instruments became associated with a somber mood? a. ANS: C MSC: Factual DIF: Easy REF: 134 TOP: Baroque instruments 2. During the Baroque. b. The Alla hornpipe movement from Water Music is characterized by: a. solo instrumental music. c. variations d. courante b. sonata b. c. Which of the following dance types was NOT standard in a Baroque suite? a. binary c. ANS: A MSC: Conceptual DIF: Medium REF: 136 TOP: Baroque suite 12. tarantella ANS: D MSC: Applied DIF: Hard REF: 135 TOP: Baroque suite 8. instrumental groups exchanging motivic ideas. passacaglia. lively duple meter. d. Baroque composers applied the concept of the suite to: a. b. What is the most common form of the individual movement in a suite? a. REF: 135f TOP: Baroque suite suite. allemande c. b. It was written to be performed outdoors on barges. all of the above ANS: D MSC: Applied DIF: Medium REF: 10. rondo ANS: A MSC: Factual DIF: Medium REF: 135 TOP: Baroque suite 9. d. 136 TOP: Baroque suite 11. It was written during a time of war. c. Why is the music for Handel’s Water Music marked by lively rhythms and catchy melodies? a. b. concerto grosso. It mimicked the sound of the ocean. ANS: C MSC: Factual DIF: Easy c. binary form. sonata da camera. orchestral music. sarabande d. Handel’s Water Music is best described as a: a. d. b. It celebrated a royal marriage.Grace and Grandeur: The Baroque Dance Suite | 105 7. d. all of the above ANS: C MSC: Applied DIF: Medium REF: 136 TOP: Baroque suite . keyboard music. ANS: F MSC: Applied DIF: Easy REF: 135 TOP: Baroque instruments 4. ANS: F MSC: Factual DIF: Medium REF: 7. ANS: F MSC: Applied DIF: Medium REF: 134 TOP: Baroque instruments 2. Baroque suites were composed for orchestra only. ANS: F MSC: Factual DIF: Easy REF: 136 TOP: Baroque suite 8. The invention of valves enabled Baroque trumpet players to become virtuosos. The Renaissance period was the first in which instrumental music was comparable in importance to vocal music. ANS: F MSC: Applied DIF: Medium REF: 135 TOP: Baroque instruments 5. Stradivarius. and Amati were famous makers of violins during the Baroque era. Guarneri. Handel’s Water Music received its name because of the depiction of waves in the Alla hornpipe. ANS: T MSC: Factual DIF: Medium REF: 135 TOP: Baroque suite 135 TOP: Baroque suite 6. ANS: T MSC: Factual DIF: Medium REF: 135 TOP: Baroque suite . The standard Baroque suite consists of a variety of international dance types. Today. Baroque music is played exclusively on modern instruments. ANS: F MSC: Factual DIF: Easy REF: 134 TOP: Baroque instruments 3.106 | Chapter 25 TRUE/FALSE 1. The Alla hornpipe from Handel’s Water Music is in ternary form. Describe the variety of dance movements that might be found in a Baroque suite. ANS: Answers will vary. Why do modern instruments sound different from their Baroque counterparts? Include some examples in your answer. DIF: Hard MSC: Conceptual REF: 134f TOP: Baroque instruments 2.Grace and Grandeur: The Baroque Dance Suite | 107 ESSAY 1. ANS: Answers will vary. DIF: Hard MSC: Applied REF: 135f TOP: Baroque suite . symphony. d. all of the movements. A ritornello form in a concerto is typically found in: a. the first movement only. his violent temper. The instrumental form based on the contrast of two dissimilar bodies of sound is called a: a. concerto. six ANS: B MSC: Factual DIF: Medium REF: 138 TOP: Baroque concerto 3. sinfonia ANS: A MSC: Factual DIF: Easy REF: 138f TOP: Baroque concerto 4. two c. Purcell d. a. b. The ________ form in a concerto is loosely based on the alternation between orchestral statements and virtuosic passages for the soloist. ANS: D MSC: Factual DIF: Easy REF: 138 TOP: Baroque concerto 2. suite. ritornello c. four b. c. his red house. the first and third movements. ANS: C MSC: Applied DIF: Easy REF: 138 TOP: Baroque concerto 5. Which of the following was the greatest and most prolific Italian composer of concertos? a. b. ANS: C MSC: Factual 108 DIF: Easy REF: 139 TOP: Baroque concerto . Antonio Vivaldi was known as the “red priest” for: a. the color of his hair. the second movement. b. c. three d. c. sonata. cadenza d. his political affiliations. a. Bach ANS: A MSC: Factual DIF: Easy REF: 139 TOP: Baroque concerto 6. d. d. Handel b. refrain b. Vivaldi c. The typical solo concerto has ________ movements.Chapter 26: Sounding Spring: Vivaldi and the Baroque Concerto MULTIPLE CHOICE 1. c. c. Which of the following is Vivaldi’s best-known set of concertos? a. cello.Sounding Spring: Vivaldi and the Baroque Concerto | 109 7. b. The concertos avoid ritornello form. ANS: D MSC: Applied DIF: Hard REF: 140 TOP: Baroque concerto TRUE/FALSE 1. The opening movement of Spring. binary ANS: B MSC: Applied DIF: Medium REF: 140 TOP: Baroque concerto 12. Vivaldi evokes a dog’s barking through: a. a folk dance. violin. b. Medium REF: Rome. Which of the following does NOT characterize Vivaldi’s Four Seasons? a. 139 TOP: Baroque concerto 8. The concertos convey pictorial images. The concertos are based on poems. trills and running scales. b. Bologna. The Four Seasons c. Water Music b. fast staccato notes d. minuet and trio b. harpsichord. the Brandenburg Concertos d. In the slow movement of Spring. Vivaldi lived and worked in: a. Florence. The typical Baroque concerto is written for a solo instrument with a continuo accompaniment. Music for the Royal Fireworks ANS: A MSC: Factual DIF: Easy REF: 139 TOP: Baroque concerto 9. d. The solo instrument in Spring. d. ANS: B MSC: Applied DIF: Medium REF: 140 TOP: Baroque concerto 11. from The Four Seasons. is in ________ form. Venice. is the: a. d. ritornello d. a. from The Four Seasons. ANS: F MSC: Factual DIF: Easy REF: 138 TOP: Baroque concerto . The concertos are structured in three-movement forms. ANS: A MSC: Factual DIF: Easy REF: 140 TOP: Baroque concerto 10. an ostinato rhythm. sonata-allegro c. c. from The Four Seasons. viola. b. ANS: B MSC: Factual DIF: c. ANS: T MSC: Factual DIF: Hard REF: 139 TOP: Baroque concerto 7. ANS: F MSC: Factual DIF: Hard REF: 141 TOP: Baroque concerto ESSAY 1.110 | Chapter 26 2. ANS: F MSC: Factual DIF: Easy REF: 139 TOP: Baroque concerto 6. ANS: T MSC: Applied DIF: Easy REF: 138 TOP: Baroque concerto 3. all of the images are created in the orchestra passages. Bach composed the famous set of works known as the Brandenburg Concertos. where he taught music at a girls’ school. The concerto lends itself to virtuoso playing. The Four Seasons is considered to be program music. Vivaldi lived in Rome. Antonio Vivaldi composed over two hundred concertos for solo violin. ANS: F MSC: Applied DIF: Easy REF: 138 TOP: Baroque concerto 4. How did Baroque composers provide unity and contrast in concerto movements? Include examples in your answer. The tempos in a three-movement concerto are Adagio-Allegro-Andante. In Spring from The Four Seasons. ANS: Answers will vary. ANS: T MSC: Applied DIF: Medium REF: 140 TOP: Baroque concerto 8. DIF: Hard MSC: Conceptual REF: 138f TOP: Baroque concerto . ANS: T MSC: Factual DIF: Medium REF: 139 TOP: Baroque concerto 5. Describe the specific images that Vivaldi created in Spring from The Four Seasons.Sounding Spring: Vivaldi and the Baroque Concerto | 111 2. ANS: Answers will vary. DIF: Medium MSC: Conceptual REF: 139f TOP: Baroque concerto . piano d.Chapter 27: Process as Meaning: Bach and the Fugue MULTIPLE CHOICE 1. harpsichord b. b. The keyboard instrument that uses various sets of pipes to create contrasting colors is: a. the organ. fugue c. a. the harpsichord. a movement based on strict counterpoint d. ANS: B DIF: Easy TOP: Baroque keyboard instruments REF: 143 MSC: Applied 5. rather than one. its strings are plucked. a. the clavichord ANS: B DIF: Easy TOP: Baroque keyboard instruments REF: 142 MSC: Applied 2. a four-movement keyboard work containing a fugue ANS: B MSC: Factual DIF: Hard REF: 143 TOP: Baroque keyboard forms 6. prelude d. The harpsichord is different from the piano because: a. all of the above ANS: D DIF: Easy TOP: Baroque keyboard instruments REF: 142 MSC: Applied 4. The ________ is a keyboard form based on the principle of voices imitating each other. the harpsichord c. suite b. c. clavichord ANS: C DIF: Easy TOP: Baroque keyboard instruments REF: 142 MSC: Factual 3. the piano d. The ________ is a keyboard instrument whose strings are plucked by quills. c. it sometimes has two keyboards. the organ b. organ c. an improvisatory. the clavichord. b. d. What is a toccata? a. rather than struck. Which of the following was NOT an important keyboard instrument during the Baroque? a. virtuosic keyboard work c. a set of variations on a repeated harmonic pattern b. it is not capable of a wide dynamic range. d. toccata ANS: A MSC: Factual 112 DIF: Easy REF: 143 TOP: Baroque fugue . the piano. Process as Meaning: Bach and the Fugue | 113 7. What is the principal element of a fugue? a. a beautiful melody b. counterpoint ANS: B MSC: Applied DIF: Medium c. d. REF: a chorale tune arpeggios 143 TOP: Baroque fugue 8. After the first statement of the fugue subject, the second entrance of the subject is called the: a. episode. c. fugato. b. answer. d. stretto. ANS: B MSC: Factual DIF: Medium REF: 143 TOP: Baroque fugue 9. The opening section of a fugue, in which all voices successively introduce the subject, is called the: a. episode. c. exposition. b. answer. d. closing section. ANS: C MSC: Factual DIF: Medium REF: 143 TOP: Baroque fugue 10. In a fugue, the areas of relaxation where the subject is not heard are called: a. answers. c. episodes. b. countersubjects. d. strettos. ANS: C MSC: Factual DIF: Medium REF: 143 TOP: Baroque fugue 11. Which of the following is NOT a contrapuntal device that alters the original theme of a fugue? a. augmentation c. prelude b. retrograde d. diminution ANS: C MSC: Applied DIF: Hard REF: 144 TOP: Baroque fugue 12. In a fugue, the technique of stating the theme in shorter time values that go faster is called: a. augmentation. c. stretto. b. retrograde. d. diminution. ANS: D MSC: Factual DIF: Medium REF: 144 TOP: Baroque fugue 13. In the field of keyboard music, Johann Sebastian Bach’s most important collection was: a. the Brandenburg Concertos. c. The Well-Tempered Clavier. b. The Art of Fugue. d. A Musical Offering. ANS: C MSC: Conceptual DIF: Medium REF: 144 TOP: Baroque fugue 114 | Chapter 27 14. Which of the following is the title of a set of forty-eight preludes and fugues by Bach? a. the Brandenburg Concertos c. The Well-Tempered Clavier b. A Musical Offering d. The Art of Fugue ANS: C MSC: Factual DIF: Easy REF: 144 TOP: Baroque fugue 15. How many preludes and fugues are contained in the two Well-Tempered Clavier volumes? a. twelve c. forty-eight b. twenty-four d. sixty-four ANS: C MSC: Factual DIF: Hard REF: 144 TOP: Baroque fugue 16. Bach’s last demonstration of contrapuntal mastery was: a. The Art of Fugue. c. The Well-Tempered Clavier. b. A Musical Offering. d. the Brandenburg Concertos. ANS: A MSC: Factual DIF: Medium REF: 145 TOP: Baroque fugue 17. How many voices, or individual lines, are there in Bach’s Contrapunctus I, from The Art of Fugue? a. two c. four b. three d. five ANS: C MSC: Factual DIF: Medium REF: 145 TOP: Baroque fugue 18. By which voice is the subject first stated in Contrapunctus I, from The Art of Fugue? a. the top voice, or soprano b. the second voice from the top, or alto c. the second voice from the bottom, or tenor d. the bottom voice, or bass ANS: B MSC: Factual DIF: Hard REF: 145 TOP: Baroque fugue TRUE/FALSE 1. The most important keyboard instruments of the Baroque were the harpsichord, organ, and piano. ANS: F DIF: Easy TOP: Baroque keyboard instruments REF: 142 MSC: Factual 2. The strings of a harpsichord are plucked by quills. ANS: T DIF: Easy TOP: Baroque keyboard instruments REF: 142 MSC: Factual Process as Meaning: Bach and the Fugue | 115 3. The advantage of the harpsichord was its ability to produce crescendos and diminuendos. ANS: F DIF: Medium TOP: Baroque keyboard instruments REF: 142 MSC: Applied 4. The organ has multiple keyboards. ANS: T DIF: Medium TOP: Baroque keyboard instruments REF: 143 MSC: Factual 5. A fugue is a contrapuntal composition in which a single subject is the focal point that unifies the work. ANS: T MSC: Applied DIF: Easy REF: 143 TOP: Baroque fugue 6. A fugue is a form intended exclusively for solo keyboard performance. ANS: F MSC: Applied DIF: Medium REF: 143 TOP: Baroque fugue 7. At the beginning of a fugue, the countersubject is stated alone. ANS: F MSC: Factual DIF: Medium REF: 143 TOP: Baroque fugue 8. Johann Sebastian Bach’s Art of Fugue is now generally considered to be a keyboard work. ANS: T MSC: Factual DIF: Easy REF: 145 TOP: Baroque fugue ESSAY 1. Discuss the two most important keyboard instruments of the Baroque. How do they differ from the piano? ANS: Answers will vary. DIF: Medium MSC: Applied REF: 142f TOP: Baroque keyboard instruments 2. Discuss the fugue, its structure, and its polyphonic devices. ANS: Answers will vary. DIF: Medium MSC: Applied REF: 143f TOP: Baroque fugue Prelude 4: Music as Order and Logic MULTIPLE CHOICE 1. How did Classical artists differ from their Romantic counterparts? a. Classical artists were more subjective. b. Classical artists emphasized clarity and beauty of form. c. Classical artists used art for self-expression. d. all of the above ANS: B MSC: Conceptual DIF: Medium REF: 150 TOP: Classicism in arts 2. Interest in Greek and Roman antiquity during the eighteenth century greatly influenced: a. painting. c. literature. b. architecture. d. all of the above ANS: D MSC: Applied DIF: Hard REF: 150 TOP: Classicism in arts 3. Which of the following was NOT an eighteenth-century ruler? a. Frederick the Great of Prussia c. Louis XV of France b. Maria Theresa of Austria d. Elizabeth I of England ANS: D MSC: Factual DIF: Hard REF: 150 TOP: Classicism in arts 4. Which of the following historical events did NOT have an impact on the Classical era? a. the American Revolution c. the French Revolution b. the Industrial Revolution d. the Russian Revolution ANS: D MSC: Applied DIF: Easy REF: 151 TOP: Classicism in arts 5. Which American president was a leading figure during the Classical period? a. Abraham Lincoln c. Andrew Jackson b. Thomas Jefferson d. James Polk ANS: B MSC: Factual DIF: Hard REF: 151 TOP: Classicism in arts 6. Who was the French philosopher called the “father of Romanticism”? a. Schiller c. Rousseau b. Goethe d. David ANS: C MSC: Factual 116 DIF: Medium REF: 151 TOP: Classicism in arts Music as Order and Logic | 117 7. The Sturm und Drang movement came about largely because of two works, written by Schiller and: a. Burns. c. Kant. b. Blake. d. Goethe. ANS: D MSC: Factual DIF: Hard REF: 152 TOP: Classicism in arts 8. The Classical period in music ranged from approximately: a. 1600 to 1650. c. 1700 to 1750. b. 1650 to 1700. d. 1750 to 1825. ANS: D MSC: Factual DIF: Easy REF: 150 TOP: Classicism in music 9. Which of the following composers was NOT a master of the Viennese school? a. Beethoven c. Chopin b. Haydn d. Mozart ANS: C MSC: Factual DIF: Easy REF: 153 TOP: Classicism in music 10. Which of the following does NOT characterize the Classical style? a. singable, elegant melodies c. strong, regular rhythms b. highly chromatic harmony d. use of folk and popular elements ANS: B MSC: Applied DIF: Medium REF: 153 TOP: Classical style 11. Which of the following best describes the lyrical melodies of the Classical period? a. disjunct and leaping in shape b. based on the chromatic scale c. constructed with an irregular phrase structure d. conjunct, diatonic, and singable ANS: D MSC: Applied DIF: Medium REF: 153 TOP: Classical style 12. A melody composed with a symmetrical four-bar phrase structure delineated by cadences is characteristic of the ________ period. a. medieval c. Baroque b. Renaissance d. Classical ANS: D MSC: Factual DIF: Easy REF: 153 TOP: Classical style 13. The concept of rhythmic regularity suggests: a. strong rhythms moving at a steady tempo. b. meters that frequently change within a piece or movement. c. irregular rhythms. d. the regular use of syncopated rhythms. ANS: A MSC: Conceptual DIF: Medium REF: 153 TOP: Classical style 118 | Prelude 4 14. The system in which the aristocracy sponsored musicians is called: a. patronage. c. sponsorship. b. scholarship. d. apprenticeship. ANS: A MSC: Factual DIF: Easy REF: 154 TOP: Classical style 15. Which role in musical life was socially acceptable for eighteenth-century women? a. performer c. church musician b. composer d. all of the above ANS: A MSC: Applied DIF: Easy REF: 154 TOP: Patronage 16. Which of the following best describe(s) musical life in the Classical era? a. Music was performed only by professionals and aristocrats. b. The rise of public performances gave composers new venues where their works could be heard. c. Audiences preferred performances of old music rather than new. d. all of the above ANS: B MSC: Applied DIF: Medium REF: 154 TOP: Patronage TRUE/FALSE 1. The Classical attitude toward art was considerably more objective than the Romantic. ANS: T MSC: Applied DIF: Easy REF: 150 TOP: Classicism in arts 2. The Classical era saw the publication of important new encyclopedias. ANS: T MSC: Factual DIF: Easy REF: 151 TOP: Classicism in arts 3. Despite intellectual attitudes in the Classical era, few significant advances were made in the sciences. ANS: F MSC: Applied DIF: Easy REF: 151 TOP: Classicism in arts 4. The American Declaration of Independence reflects the intellectual climate of the Classical era. ANS: T MSC: Applied DIF: Easy REF: 151 TOP: Classicism in arts 5. The Classical period also has been called the Enlightenment. ANS: T MSC: Factual DIF: Easy REF: 151 TOP: Classicism in arts Public performances were rare in the Classical era. ANS: F MSC: Applied DIF: Easy REF: 154 TOP: Patronage 154 TOP: Patronage 14. ANS: T MSC: Factual DIF: Medium REF: 154 TOP: Patronage 12. and Beethoven. Some women achieved fame during the eighteenth century as opera singers and as solo instrumentalists. The audience of the eighteenth century. ANS: F MSC: Applied DIF: Medium REF: 154 TOP: Patronage 11. ANS: T MSC: Applied DIF: Hard REF: 152 TOP: Classical style 8. singable melodies. like that of today. Eighteenth-century thinkers and artists turned away from the idealized civilization of the Greeks and Romans and embraced the realism of the Middle Ages. Music of the Classical era is characterized by lyrical. ANS: F MSC: Factual DIF: Medium REF: . was mainly interested in music from the past. ANS: F MSC: Applied DIF: Medium REF: 151 TOP: Classicism in arts 7. The harmony employed by the Classical-era composers was largely chromatic. Classical-era composers rarely performed their own works in concerts. composers were viewed as equal to nobles at the highest level of society. Romantic elements can be found in the late works of Mozart. ANS: F MSC: Applied DIF: Easy REF: 153 TOP: Classical style 10. In the eighteenth century. Haydn. ANS: F MSC: Applied DIF: Medium REF: 154 TOP: Patronage 13.Music as Order and Logic | 119 6. ANS: T MSC: Applied DIF: Easy REF: 153 TOP: Classical style 9. ANS: Answers will vary. Include examples in your answer. and how it affected the careers of Haydn. How do Classical and Romantic arts differ? Include examples in your answer. DIF: Medium REF: 154 TOP: Patronage MSC: Applied 5. DIF: Medium REF: 154 TOP: Patronage MSC: Applied . ANS: Answers will vary. DIF: Medium MSC: Applied REF: 150 TOP: Classicism in arts 2. Describe how various major historical events shaped the Classical era. DIF: Hard MSC: Applied REF: 151f TOP: Classicism in arts 3. Include examples in your answer. ANS: Answers will vary. and Beethoven.120 | Prelude 4 ESSAY 1. Discuss the intellectual climate of the Classical era and how it influenced the arts. Describe the patronage system. ANS: Answers will vary. Describe the role of women in music during the Classical era. Include examples in your answer. its advantages and disadvantages to composers. ANS: Answers will vary. Mozart. DIF: Medium MSC: Applied REF: 152 TOP: Classical style 4. c. d. c. coda. expanding a motive into a long melody c. Which of the following is NOT a type of thematic development? a. motives. treating a motive in sequence ANS: C MSC: Applied DIF: Hard REF: 157 TOP: Expanding musical ideas 4. The repetition of a motive at a higher or lower pitch level is called a: a. music without form d. ANS: D MSC: Factual DIF: Medium REF: 157 TOP: Expanding musical ideas 5. a theme is: a. ANS: A MSC: Factual DIF: Easy REF: 157 TOP: Expanding musical ideas 3. In musical compositions. ANS: C MSC: Applied DIF: Easy REF: 156 TOP: Expanding musical ideas 2. emphasis on strict contrapuntal devices c. Which of the following best describes absolute music? a. Which of the following descriptions is most characteristic of a jazz performance? a. b. theme. d. b. modulations. a literary story that is associated with the work. scale. the composition’s underlying meaning. a musical idea that is used as a building block. sequences. breaking up a theme into motives b. A composer can fragment a theme by dividing it into smaller units called: a. b. codas. avoidance of extension. the composition’s overall mood. all instrumental music b. improvisations on preestablished harmonic patterns b. c. meandering improvisations without formal concerns d.Chapter 28: Musical Conversations: Haydn and Classical Chamber Music MULTIPLE CHOICE 1. contraction. music without a story or text c. and repetition ANS: A MSC: Applied DIF: Medium REF: 157 TOP: Expanding musical ideas 6. the finest music from the past ANS: A MSC: Factual DIF: Easy REF: 157 TOP: Classical forms 121 . literally repeating a melody at the same pitch level d. sequence. d. the lack of a prescribed story or text to hold the music together makes the element of ________ especially important. a. fourth ANS: A MSC: Applied DIF: Medium REF: 158 TOP: Classical forms 10. A rondo is most typically found in the ________ movement of a Classical multimovement cycle. the third movement is usually in ________ form. a. dance rhythms b. Which movement is the most highly organized and most characteristic of the multimovement cycle? a. a slow introduction c. form ANS: D MSC: Conceptual DIF: Hard REF: 157 TOP: Classical forms 8. second d. lyrical. third b. last ANS: D MSC: Applied DIF: Medium REF: 158 TOP: Classical forms 13. melodic variation c. Which of the following compositional techniques does theme and variation form often utilize? a. sonata d. second d. In the Classical multimovement cycle. all of the above ANS: B MSC: Applied DIF: Hard REF: 158 TOP: Classical forms 11. rhythmic variation b. Which of the following genres does NOT usually follow the general structure of a multimovement cycle? a. melody c. rondo b. all of the above ANS: D MSC: Applied DIF: Medium REF: 158 TOP: Classical forms . texture d. minuet and trio ANS: D MSC: Applied DIF: Easy REF: 158 TOP: Classical forms 12. first c. concerto ANS: C MSC: Applied DIF: Hard REF: 158 TOP: Classical forms 9. songful melodies d. In absolute music. a. theme and variations c. sonata c. third b. symphony d. harmony b. overture b.122 | Chapter 28 7. Which of the following is a common characteristic of the second movement of a multimovement cycle? a. first c. harmonic variation d. Italy. 3 was nicknamed the Emperor because: a. France. Beethoven b. Bonn. REF: 161 TOP: Haydn chamber music Salzburg. d. c. 159 TOP: Haydn Prince Esterházy Count Razumovsky 159 TOP: Haydn . rondo. No. Emperor Joseph II ANS: C MSC: Factual DIF: Medium REF: c. 76. 3 became the national anthem of: a. cello. ANS: D MSC: Factual DIF: Medium 20. Op. 159 TOP: Classical chamber music 15. A string quartet consists of: a. and bass. The slow movement is based on a hymn written for Emperor Franz II. two violas. Haydn’s String Quartet. minuet and trio. The form of the slow movement of Haydn’s String Quartet. Who was Haydn’s principal patron? a. Emperor Frederick the Great b. REF: c. No. b. c. Bach c. 76. The work has a majestic character.Musical Conversations: Haydn and Classical Chamber Music | 123 14. sonata-allegro. d. Op. Emperor Franz II entered the hall during the first performance. d. Mozart d. d. b. c. ANS: D MSC: Factual DIF: Medium c. ANS: C MSC: Factual DIF: Medium REF: 159 TOP: Haydn chamber music 18. b. theme and variations. violin. viola. Haydn ANS: A MSC: Applied DIF: Easy REF: 159 TOP: Classical chamber music 16. Emperor Franz II commissioned the work. 3 is: a. Spain. Vienna. The melody of the slow movement of Haydn’s String Quartet. three violins and cello. Which of the following was NOT a major composer of string quartets? a. viola. No. d. ANS: A MSC: Applied DIF: Easy 19. Haydn served as a choirboy in: a. ANS: D MSC: Applied DIF: Hard REF: 159 TOP: Haydn chamber music 17. 76. Op. Venice. d. and cello. b. REF: violin. b. two violins. and cello. Austria. In the Classical multimovement cycle. ANS: T MSC: Factual DIF: Easy REF: 156f TOP: Expanding musical ideas 4. Rome b. Thematic development is necessary in smaller musical forms. The expansion and reworking of a theme within a composition is called thematic development. ANS: T MSC: Factual DIF: Easy REF: 158 TOP: Classical forms . London d. ANS: T MSC: Applied DIF: Medium REF: 157 TOP: Classical forms 7. Haydn enjoyed phenomenal musical success with two trips to ________. musical “conversations” depended on predictable musical forms. The slow movement of a multimovement cycle is most frequently the third movement. Paris c. In the Classical style. ANS: F MSC: Applied DIF: Medium REF: 157 TOP: Expanding musical ideas 6. ANS: T MSC: Conceptual DIF: Hard REF: 157 TOP: Expanding musical ideas 5. and logic to larger musical forms. Thematic development provides clarity. ANS: T MSC: Factual DIF: Easy REF: 156 TOP: Expanding musical ideas 3. New York ANS: B MSC: Factual DIF: Medium REF: 159 TOP: Haydn TRUE/FALSE 1.124 | Chapter 28 21. ANS: F MSC: Applied DIF: Easy REF: 156 TOP: Expanding musical ideas 2. the third movement is typically a minuet and trio. The term multimovement cycle is applied not only to sonatas and chamber music but also to concertos and symphonies. ANS: F MSC: Factual DIF: Medium REF: 158 TOP: Classical forms 8. coherence. The concept of music as a conversation is best seen in the Classical concerto. a. Op. No. and he was forced to live by teaching and performing. The career of Joseph Haydn spanned the years from the development of the Classical style to the beginning of Romanticism. The patronage system failed to support Haydn. ANS: T MSC: Factual DIF: Medium REF: 159 TOP: Haydn 13. Be sure to mention the tempo and chronological character of each movement. The melody of the slow movement of Haydn’s String Quartet. Compare the concept of musical development in the Classical symphony with that in jazz. 3 is taken from an obscure folk tune. DIF: Hard MSC: Applied REF: 158f TOP: Classical forms . DIF: Hard MSC: Conceptual REF: 156f TOP: Expanding musical ideas 2. ANS: F MSC: Factual DIF: Medium REF: 159 TOP: Haydn ESSAY 1. 76. each instrument gets a turn at playing the theme. The only basic rule of theme and variations form is that the theme must always be easy to hear. Which genres generally involve multimovement cycles? ANS: Answers will vary. Describe the overall outline of a multimovement cycle. ANS: F MSC: Factual DIF: Easy REF: 159 TOP: Haydn chamber music 11. ANS: Answers will vary.Musical Conversations: Haydn and Classical Chamber Music | 125 9. ANS: T MSC: Factual DIF: Easy REF: 161 TOP: Haydn chamber music 12. In the slow movement of Haydn’s Emperor string quartet. ANS: F MSC: Conceptual DIF: Medium REF: 158 TOP: Classical forms 10. brass b. eight ANS: B MSC: Factual DIF: Hard REF: 162 TOP: Classical symphony 3. How many movements are typical of pre-Classical symphonies? a. ballet. seventy to ninety ANS: B MSC: Factual 126 DIF: Medium REF: 163 TOP: Classical symphony . ANS: D MSC: Factual DIF: Hard REF: 162f TOP: Classical symphony 4. d. a. England. steamroller c. France. strings d. ANS: C MSC: Factual DIF: Hard c. forty to sixty b. a. two c. torpedo d. c. The early Classical symphony is characterized by quickly ascending themes with a strong rhythmic drive. The typical Classical orchestra consisted of ________ players. four b. thirty to forty d. rocket b. The Classical symphony had its roots in the: a. concerto. b. Italy. operatic ANS: C MSC: Factual DIF: Hard REF: 163 TOP: Classical symphony 5. three d. Quick crescendos and the four-movement cycle for symphonies were developed in: a. REF: opera overture. These are known as ________ themes. woodwinds c. d. Which group of instruments was the nucleus of the Classical orchestra? a. b. Germany. percussion ANS: B MSC: Applied DIF: Easy REF: 163 TOP: Classical symphony 6.Chapter 29: The Ultimate Instrument: Haydn and the Symphony MULTIPLE CHOICE 1. 162 TOP: Classical symphony 2. ten to fifteen c. sonata. Vienna c. London ANS: D MSC: Factual DIF: Easy REF: 165 TOP: Haydn symphony 12. fifteen ANS: D MSC: Factual DIF: Medium c. a. Haydn composed ________ symphonies for his visits to London. nine b. Turkey. b. Haydn. Paris d. over six ANS: B MSC: Factual DIF: Easy REF: 163 TOP: Haydn symphony 9. d. four d. ANS: C MSC: Applied DIF: Easy 13. Beethoven. c. three c. ANS: B MSC: Factual DIF: Easy REF: 163 TOP: Haydn symphony 10. How many symphonies did Haydn compose? a. Mozart. Haydn composed the Military Symphony for his second visit to ________. five b. b. How did Haydn’s Military Symphony earn its nickname? a. It includes percussion instruments associated with Turkish military music. one c. twelve ANS: D MSC: Factual DIF: Easy REF: 163 TOP: Haydn symphony 11. It was written during a time of war. Egypt. It was written for a military band. How many movements make up a typical Haydn symphony? a. c. REF: 165 TOP: Haydn symphony China. Janissary bands were associated with: a.The Ultimate Instrument: Haydn and the Symphony | 127 7. d. ANS: B MSC: Applied DIF: Hard REF: c. d. a. India. b. nine b. It opens with trumpet fanfares. REF: forty-one over 100 163 TOP: Haydn symphony 8. Prague b. 165 TOP: Haydn symphony . d. The nickname “father of the symphony” was earned by: a. Bach. six d. The orchestra came to be viewed as the “ultimate instrument” during the Classical era. A-B-A' b. ANS: T MSC: Applied DIF: Hard REF: 163 TOP: Classical symphony 5. bass drum and bell tree are associated with Turkish military music. ANS: F MSC: Factual DIF: Hard REF: 162 TOP: Classical symphony 3. ANS: F MSC: Applied DIF: Hard REF: 163 TOP: Classical symphony 4. Haydn died shortly after writing his ninth symphony. ANS: T MSC: Applied DIF: Easy REF: 165 TOP: Haydn symphony . The second movement of Haydn’s Military Symphony contains few dynamic contrasts. The Classical symphony had its origins in the Baroque concerto. ANS: T MSC: Applied DIF: Medium REF: 165 TOP: Haydn symphony 7. The triangle. rondo ANS: C MSC: Applied DIF: Medium REF: 165 TOP: Haydn symphony TRUE/FALSE 1. ANS: F MSC: Applied DIF: Easy REF: 164 TOP: Haydn symphony 8. theme and variations d. The late symphonies of Haydn abound in expressive effects. sonata-allegro c. The terms “rocket theme” and “steamroller” were applied to early symphonies from Germany. ANS: F MSC: Applied DIF: Hard REF: 163 TOP: Classical symphony 6.128 | Chapter 29 14. cymbals. The establishment of a four-movement cycle for the symphony is generally credited to the London school of composers. What is the form of the second movement of Haydn’s Military Symphony? a. ANS: T MSC: Factual DIF: Hard REF: 162 TOP: Classical symphony 2. DIF: Medium MSC: Applied REF: 162f TOP: Classical symphony 2. DIF: Hard MSC: Conceptual REF: 163f TOP: Haydn symphony .The Ultimate Instrument: Haydn and the Symphony | 129 ESSAY 1. Describe the development and structure of the Classical symphony. Why is Haydn considered to be the “father of the symphony”? ANS: Answers will vary. ANS: Answers will vary. sonata. bridge. d. and Larger Forms MULTIPLE CHOICE 1. c. We can best regard sonata-allegro form as a drama between: a. c. trio. development. In sonata-allegro form. second theme. b. introduction. coda. two groups of instruments. symphony. c. development. bridge. to modulate to a new key d. What is the function of the bridge in sonata-allegro form? a. d. the contrasting key is established by the statement of the: a. serenade. two forms. ANS: B MSC: Factual DIF: Medium REF: 167 TOP: Classical forms 5. d. b. In sonata-allegro form. d. bridge. b. c. to establish the tonic c. c. ANS: A MSC: Factual DIF: DIF: Easy REF: 167 TOP: Mozart chamber music a symphony for full orchestra. ANS: B MSC: Factual Medium REF: 2. b. Chamber Music. Eine kleine Nachtmusik is: a. d. ANS: C MSC: Factual DIF: Easy REF: 167 TOP: Classical forms 6. concerto. to develop the themes b. the development. to restate the themes ANS: B MSC: Conceptual DIF: Medium REF: 167 TOP: Classical forms 7. and the: a. two key areas. b. a modulatory section that leads from one theme to the next is called the: a. b. The three main sections of sonata-allegro form are the exposition. ANS: C MSC: Applied 130 DIF: Hard REF: 167 TOP: Classical forms . all of the above 167 TOP: Mozart chamber music 3. two dynamic levels. Mozart’s Eine kleine Nachtmusik is an example of a: a. an example of program music. ANS: B MSC: Applied DIF: Hard REF: 167 TOP: Classical forms 4. c. recapitulation. codetta.Chapter 30: Expanding the Conversation: Mozart. German for A Little Night Music. d. codetta. c. recapitulation. Salieri b. b. Bach ANS: B MSC: Factual DIF: Easy 13. coda. d. b. b. The psychological climax of sonata-allegro form appears when the tonic returns at the: a. Mozart died while writing his: a. ANS: B MSC: Applied DIF: Medium REF: 167 TOP: Classical forms 9. d. In sonata-allegro form. the most gifted child prodigy in the history of music. c. last symphony. d. recapitulation. ANS: C MSC: Applied DIF: Easy REF: 169 TOP: Mozart 12.Expanding the Conversation: Mozart. the inventor of the Classical symphony. development. REF: 169 TOP: Mozart opera The Magic Flute. and Larger Forms | 131 8. the section that features the most tension and drama through modulation and motivic interplay is the: a. The final section of a sonata-allegro movement. Mozart is remembered today as: a. d. Mozart d. exposition. exposition. ANS: D MSC: Factual DIF: Easy REF: 167 TOP: Classical forms 11. which rounds it off with a vigorous closing cadence. 169 TOP: Mozart . exposition. ANS: C MSC: Applied DIF: Medium REF: 167 TOP: Classical forms 10. Which composer rebelled against the patronage system and struggled to achieve financial independence? a. is the: a. ANS: A MSC: Factual DIF: Medium REF: c. d. development. coda. Haydn c. b. development. c. opera The Marriage of Figaro. recapitulation. Requiem. c. the leading patron of Classical church music. a slow starter who later achieved fame as a composer. Chamber Music. coda. b. 132 | Chapter 30 14. REF: 168 TOP: Mozart chamber music quadruple irregular 168 TOP: Classical forms 18. duple ANS: A MSC: Applied DIF: Medium REF: c. What is the standard meter of the minuet? a. triple b. Which of the following best describes the form of the first movement of Mozart’s Eine kleine Nachtmusik? a. Which of the following best describes the opening of the first movement of Mozart’s Eine kleine Nachtmusik? a. b. c. theme and variations d. The overall form of a minuet and trio is best outlined as: a. c. string quartet plus double bass d. A-B-A. ANS: B MSC: Conceptual DIF: Medium 17. A-B-C-D-E-F-A. d. ANS: B MSC: Factual DIF: Easy REF: 169 TOP: Classical forms 19. rondo b. d. minuet II. d. A-B-A-C-A-B-A. wind quintet b. is called the: a. sonata-allegro c. trio. solo violin and string orchestra ANS: C MSC: Applied DIF: Medium REF: 167 TOP: Mozart chamber music 15. Mozart’s Eine kleine Nachtmusik was originally written for what orchestration? a. conjunct melody. b. minuet ANS: A MSC: Applied DIF: Medium REF: 168 TOP: Mozart chamber music 16. It is a lilting. scherzo. or the middle section. It has a lyrical. of a minuet. triple-meter dance. c. It has a marchlike character. ANS: B MSC: Factual DIF: Medium REF: 169 TOP: Classical forms . A-B. b. The second dance. da capo. full symphony orchestra c. d. It begins with a slowly ascending chromatic scale. ANS: F MSC: Applied DIF: Easy REF: 167 TOP: Classical forms 5. tabla. sonata ANS: B MSC: Conceptual DIF: Easy REF: 169 TOP: Classical forms 172 TOP: Music of India 21. the bridge is the transition between the development and the recapitulation. b. Chamber Music. ANS: F MSC: Applied DIF: Easy REF: 167 TOP: Classical forms 4. In sonata-allegro form. plucked string instrument common in North Indian classical music is called the: a. a series of pitches project a mood d. and Larger Forms | 133 20. sitar. a passage centering on a central pitch b. all of the above ANS: C MSC: Conceptual DIF: Easy REF: 22. ANS: T MSC: Applied DIF: Easy REF: 167 TOP: Classical forms 2. theme and variations b. the development section manipulates thematic material from the exposition while remaining in the tonic key. The finale of a multimovement cycle is generally the longest and most developed. ternary d. the recapitulation is essentially identical to the exposition. The long-necked. ANS: F MSC: Applied DIF: Medium REF: 167 TOP: Classical forms . tala. c. ANS: A MSC: Conceptual DIF: Easy REF: 172 TOP: Music of India TRUE/FALSE 1. In sonata-allegro form. a passaged with ragged rhythms c. a. binary c. In sonata-allegro form. ANS: F MSC: Applied DIF: Easy REF: 167 TOP: Classical forms 3. The Italian words da capo are commonly found in ________ form. What is a raga in North Indian classical music? a. theorbo.Expanding the Conversation: Mozart. The Classical divertimento and serenade were light genres intended for social functions. d. ANS: F MSC: Applied DIF: Easy REF: 169 TOP: Mozart 8. variation. Harmony. is not important in North Indian classical music. ANS: T MSC: Applied DIF: Easy REF: 172 TOP: Music of India 9. ANS: F MSC: Applied DIF: Easy REF: 172 TOP: Music of India 10. Use the first movement of Mozart’s Eine kleine Nachtmusik as a model. DIF: Easy MSC: Applied REF: 168f TOP: Classical forms . How does the minuet and trio differ from sonata-allegro form? How are they similar? ANS: Answers will vary. ANS: T MSC: Applied DIF: Easy REF: 172 TOP: Music of India ESSAY 1. Describe the basic parts of sonata-allegro form. The complexity of North Indian classical music is passed down through musical treatises. DIF: Medium MSC: Applied REF: 167f TOP: Classical chamber music 2. and the introduction new material also occur in North Indian classical music. often using just a drone.134 | Chapter 30 6. Mozart was able to complete many masterworks during his long career. ANS: Answers will vary. The musical processes of repetition. The minuet was originally a Baroque court dance. ANS: T MSC: Applied DIF: Easy REF: 168 TOP: Classical forms 7. at the beginning of the work. The first movement of a Classical concerto is in sonata-allegro form with a: a. b. four b. c. d. b. ANS: B MSC: Factual DIF: Medium REF: 5. ANS: B MSC: Factual DIF: Easy REF: 173 TOP: Classical concerto in the last movement. any of the above 174 TOP: Mozart concerto 6. d. ANS: A MSC: Applied DIF: Easy REF: 173 TOP: Classical concerto 4. a dialogue between soloist and orchestra. the soloist. b. the orchestra. double exposition. a cadenza. c. ANS: C MSC: Factual DIF: Easy REF: 173 TOP: Classical concerto 3. They abound in brilliant flourishes of technique. slow introduction. d. three d. introduction. six ANS: B MSC: Factual DIF: Easy REF: 173 TOP: Classical concerto 2.Chapter 31: Conversation with a Leader: The Classical Concerto MULTIPLE CHOICE 1. c. Which of the following does NOT describe Mozart’s piano concertos? a. ANS: D MSC: Factual DIF: Easy REF: 174 TOP: Mozart concerto 135 . preferring to spotlight his students. A typical feature of a concerto is a free solo passage without orchestral accompaniment called the: a. fugal recapitulation. cadenza. How many movements are in a Classical concerto? a. The concertos often contain graceful writing for the woodwinds. b. He wrote twenty-seven piano concertos. development. near the end of the first movement. d. The cadenza in the Classical concerto appears: a. two c. d. The typical first movement of a Classical concerto begins with: a. double coda. He rarely performed his own works. codetta. c. c. b. It has an extended introduction. 453 differ from the exposition in a symphony sonata-allegro? a. K. How does the orchestral exposition of the first movement of Mozart’s Piano Concerto in G Major. A-B-A ANS: B MSC: Applied DIF: Medium REF: 174 TOP: Mozart concerto 9. c. for a performance by: a. The Piano Concerto in G Major. ANS: T MSC: Applied DIF: Easy REF: 173 TOP: Classical concerto 4. K. theme and variations c. K. d. Maria Theresia von Paradis b. the marking andante or adagio would most likely apply to the third movement. It remains in one key area. What is the form of the second movement of Mozart’s Piano Concerto in G Major. Babette von Ployer ANS: D MSC: Applied DIF: Hard REF: 174 TOP: Mozart concerto 8. 453. The Classical concerto emphasized the combination of a solo group and orchestra. It has no closing theme. Mozart wrote the Piano Concerto in G Major. himself d. ANS: F MSC: Applied DIF: Easy REF: 173 TOP: Classical concerto 3. In the Classical concerto. first-movement concerto form d. It has no second theme. A-B-A ANS: A MSC: Applied DIF: Hard REF: 174 TOP: Mozart concerto TRUE/FALSE 1. What is the form of the first movement of Mozart’s Piano Concerto in G Major. The first movement of a Classical concerto usually has a double exposition. fugue b. 453? a. 453 is Mozart’s only concerto. 453? a. b. fugue b. K. theme and variations c. his sister Nannerl c. ANS: F MSC: Factual DIF: Easy REF: 173 TOP: Classical concerto 2. ANS: A MSC: Conceptual DIF: Medium REF: 175 TOP: Mozart concerto 10.136 | Chapter 31 7. first-movement concerto form d. ANS: F MSC: Factual DIF: Easy REF: 174 TOP: Mozart concerto . K. ANS: Answers will vary. Describe the form of a typical Classical concerto. number of movements. DIF: Medium MSC: Conceptual REF: 173f TOP: Classical concerto . 453. was composed in 1784. The solo exposition of Mozart’s Piano Concerto in G. ANS: T MSC: Factual DIF: Hard REF: 174 TOP: Mozart concerto 6.Conversation with a Leader: The Classical Concerto | 137 5. 453 introduces a theme not heard in the orchestral exposition. ANS: T MSC: Factual DIF: Hard REF: 174 TOP: Mozart concerto ESSAY 1. K. Mozart’s Piano Concerto in G Major. K. along with four other impressive piano concertos. DIF: Medium MSC: Applied REF: 173f TOP: Classical concerto 2. What are the differences between a Classical symphony and a concerto in performing forces. and forms? ANS: Answers will vary. b. REF: 177 TOP: Beethoven sonata giving public concerts. piano and violin d. d. ANS: D MSC: Factual DIF: Medium REF: c. nine c. two c. thirty-two ANS: D MSC: Factual DIF: Hard 3. publishing his music. Beethoven suffered from perhaps the most traumatic of all maladies for a musician. d. returned to the simple Classicism of his first period. eighteen d. four b. blindness c. In his third compositional period. five ANS: B MSC: Factual DIF: Medium REF: 177 TOP: Beethoven 6. piano alone c. teaching music lessons. Beethoven: a.Chapter 32: Personalizing the Conversation: Beethoven and the Classical Sonata MULTIPLE CHOICE 1. three d. c. piano and cello b. How many piano sonatas did Beethoven compose? a. diabetes b. deafness d. Which of the following was NOT a favored sonata instrumentation during the late eighteenth century? a. all of the above ANS: B MSC: Applied 138 DIF: Hard REF: 177 TOP: Beethoven . piano and trumpet ANS: D MSC: Factual DIF: Easy REF: 177 TOP: Classical sonata 2. a. composed few works because of his deafness. twenty-four b. Beethoven supported himself through: a. used more chromatic harmonies. What was it? a. Beethoven’s career is often divided into ________ compositional periods. all of the above 177 TOP: Beethoven 4. paralysis ANS: B MSC: Factual DIF: Easy REF: 177 TOP: Beethoven 5. b. d. d. ANS: A MSC: Applied DIF: Medium REF: 178 TOP: Beethoven sonata 13. Beethoven gave his Piano Sonata in C-sharp minor. an accompaniment with arpeggios. Beethoven’s Piano Sonata in C-sharp minor. 27. is in strict sonata form. ANS: B MSC: Factual DIF: Hard REF: 177 TOP: Beethoven sonata 10. a singing melody. a modified strophic form. c. ANS: B MSC: Factual DIF: Easy REF: 32 104 177 TOP: Beethoven 8. c. ANS: C MSC: Factual DIF: Hard REF: 177 TOP: Beethoven sonata 9. 27. five ANS: B MSC: Factual DIF: Easy REF: 177f TOP: Beethoven sonata 11. Moonlight. b. No. b. b. cannot be analyzed with any reference to sonata form. b. c. slow and expressive. a gentle scherzo and trio. No. How many symphonies did Beethoven write? a. 2 is: a. d. d. modern publishers. the publisher. is in variation form. 27. ANS: B MSC: Applied DIF: Hard REF: 178 TOP: Beethoven sonata . quasi una fantasia. 9 d. Op. c. the poet Rellstab. a rondo. a high-spirited scherzo and trio. d. The dreamy first movement of the Moonlight Sonata features: a. 27. con amabilità. four b. the composer. a. c. b. 5 c. three d. is in a modified song form. Op. 2: a. 2 the designation: a. adagio cantabile. 2 was subtitled Moonlight by: a. The first movement of Beethoven’s Piano Sonata in C-sharp minor. all of the above ANS: D MSC: Applied DIF: Medium REF: 164 TOP: Beethoven sonata 12. Op.Personalizing the Conversation: Beethoven and the Classical Sonata | 139 7. Beethoven’s famous Moonlight Sonata has ________ movements. No. The second movement of Beethoven’s Piano Sonata in C-sharp minor. two c. shortly after the composer’s death. b. No. Op. The sonata is an instrumental work in one movement for one or two solo instruments. The third movement of Beethoven’s Piano Sonata in C-sharp minor. the sonata was intended for professional musicians only. Beethoven composed his Piano Sonata in C-sharp minor. 27. Beethoven was unable to compose music after he became deaf. ANS: F MSC: Factual DIF: Easy REF: 176 TOP: Classical sonata 2. No. No. c. Although Beethoven received financial support from music-loving aristocrats. Someone other than Beethoven first suggested calling his Piano Sonata in C-sharp minor. ANS: T MSC: Applied DIF: Easy REF: 177 TOP: Beethoven 7. No. 2 the Moonlight Sonata. During the Classical era. 27. Beethoven won great acclaim during his lifetime and died a famous and revered composer. ANS: F MSC: Applied DIF: Easy REF: 177 TOP: Classical sonata 3. 2 during his late style period.140 | Chapter 32 14. Op. Beethoven is considered by some to be the supreme architect in music. marked quasi una fantasia. filled with restless emotion. in simple rondo form. ANS: T MSC: Factual DIF: Easy REF: 177 TOP: Beethoven 6. ANS: T MSC: Factual DIF: Hard REF: 177 TOP: Beethoven 4. ANS: F MSC: Factual DIF: Easy REF: 177 TOP: Beethoven 5. or independent. Op. ANS: T MSC: Factual DIF: Medium REF: 177 TOP: Beethoven sonata 8. b. 27. composer. 2 is: a. he functioned primarily as a freelance. Op. d. ANS: F MSC: Applied DIF: Easy REF: 177 TOP: Beethoven sonata . all of the above ANS: A MSC: Applied DIF: Medium REF: 178 TOP: Beethoven sonata TRUE/FALSE 1. Describe the musical characteristics of each of Beethoven’s three creative periods. DIF: Medium REF: 177 TOP: Beethoven MSC: Applied . Op. DIF: Hard MSC: Conceptual REF: 176f TOP: Classical sonata 2. How does Beethoven’s Moonlight Sonata conform to and deviate from the standard multimovement form of the Classical era? ANS: Answers will vary. 27. ANS: F MSC: Applied DIF: Medium REF: 178 TOP: Beethoven sonata 10. ANS: Answers will vary. ANS: F MSC: Conceptual DIF: Medium REF: 178 TOP: Beethoven sonata ESSAY 1. The outer movements of Beethoven’s Piano Sonata in C-sharp minor. 2 share a common mood and expressive quality.Personalizing the Conversation: Beethoven and the Classical Sonata | 141 9. The first movement of Beethoven’s Moonlight Sonata is full of stormy virtuosity. No. REF: 181 TOP: Beethoven symphony Symphony No. a three-note motive c. Beethoven c. Symphony No. five ANS: C MSC: Applied DIF: Easy REF: 181 TOP: Beethoven symphony 7. The “Ode to Joy” is the finale of Beethoven’s: a. the Fifth Symphony d. 1. 1 c. Mozart d. 9 ANS: B MSC: Applied DIF: Medium REF: 181 TOP: Beethoven symphony 3. ANS: B MSC: Factual DIF: Hard c. Missa solemnis. The text of the “Ode to Joy” was written by: a. No. Schiller. Haydn b. 3 d. the Ninth Symphony ANS: D MSC: Factual DIF: Easy REF: 4. Goethe. a four-note motive d. How many movements does Beethoven’s Symphony No. three d.Chapter 33: Disrupting the Conversation: Beethoven and the Symphony in Transition MULTIPLE CHOICE 1. a dancelike theme ANS: B MSC: Applied 142 DIF: Easy REF: 181 TOP: Beethoven symphony . the Seventh Symphony b. 5. ANS: C MSC: Factual DIF: Medium REF: 5. b. one c. d. No. 5? a. 181 TOP: Beethoven symphony da Ponte. c. No. Which work by Beethoven is called the Choral Symphony? a. b. Which of the following best describes the opening idea of Beethoven’s Symphony No. four b. 181 TOP: Beethoven symphony 6. 5 have? a. No. a rocket theme b. the First Symphony c. With which symphony did Beethoven begin to expand the possibilities of the genre? a. Rameau. Bach ANS: A MSC: Applied DIF: Easy REF: 180 TOP: Beethoven 2. Symphony No. 5 b. Which composer both maintained and disrupted the balance of the Classical style? a. 9. d. In spite of numerous innovations. There is no break preceding the beginning of the movement. The movement ends in despair. Beethoven abandoned Classical principles in composing his symphonies. 3 c. Which of the following does NOT describe the final movement of Beethoven’s Symphony No. c. 5? a. ANS: F MSC: Factual DIF: Medium 4. A-B-A b. 5 has the standard four movements of the Classical symphony. rondo ANS: A MSC: Applied DIF: Easy REF: 181 TOP: Beethoven symphony 9. 5 d. 9 ANS: D MSC: Factual DIF: Hard REF: 181 TOP: Beethoven symphony TRUE/FALSE 1. 5? a. The four-note rhythmic motive returns. d. Beethoven composed twelve symphonies. What is the form of the second movement of Beethoven’s Symphony No. sonata d. Beethoven set Schiller’s “Ode to Joy” in the finale of his Symphony No.Disrupting the Conversation: Beethoven and the Symphony in Transition | 143 8. It quotes a portion of the third movement. b. ANS: F MSC: Applied DIF: Medium REF: 180 TOP: Beethoven symphony 2. Symphony No. Which Beethoven symphony was selected to celebrate the fall of the Berlin Wall? a. ANS: F MSC: Factual DIF: Medium REF: 181 TOP: Beethoven symphony 5. 5. Symphony No. 6 b. ANS: T MSC: Factual DIF: Medium REF: 181 TOP: Beethoven symphony . just like the first movement. ANS: T MSC: Factual DIF: Medium REF: 181 TOP: Beethoven symphony REF: 181 TOP: Beethoven symphony 3. Beethoven wrote his first two symphonies in a style similar to that of Haydn and Mozart. Symphony No. Symphony No. Beethoven’s Symphony No. theme and variations c. ANS: C MSC: Factual DIF: Hard REF: 181 TOP: Beethoven symphony 10. 5 is a scherzo. there is a break after each of the middle movements of Beethoven’s Symphony No. Following the standard symphonic structure. ANS: F MSC: Factual DIF: Medium REF: 182 TOP: Beethoven symphony ESSAY 1. Beethoven opposed democracy in favor of the rule of a strong leader. ANS: F MSC: Factual DIF: Medium REF: 181 TOP: Beethoven symphony 8. The third movement of Beethoven’s Symphony No. ANS: T MSC: Factual DIF: Medium REF: 181 TOP: Beethoven symphony 9. 5 can be heard in other movements as well. ANS: Answers will vary. ANS: Answers will vary. 5. ANS: T MSC: Factual DIF: Medium REF: 181 TOP: Beethoven symphony 10. ANS: T MSC: Applied DIF: Medium REF: 181 TOP: Beethoven symphony 7. The four-note rhythmic motive of the first movement of Beethoven’s Symphony No. DIF: 3 MSC: Applied REF: 181f TOP: Beethoven symphony . Describe both the traditional and innovative elements in Beethoven’s Symphony No. 5. 5 is considered cyclical because the last movement quotes an earlier movement.144 | Chapter 33 6. Beethoven’s Symphony No. DIF: 3 MSC: Applied REF: 180f TOP: Beethoven symphony 2. Give an overview of Beethoven’s symphonies. c. ANS: B MSC: Factual DIF: Medium REF: c. the prevalent form of opera. How did comic opera differ from opera seria? a. virtuoso display by soloists ANS: B MSC: Factual DIF: Medium REF: 187 TOP: Classical opera 3. Singspiel ANS: A MSC: Conceptual DIF: Hard 6. da Ponte. opéra comique. d. rigid conventions and highly formalized presentation d. b. Pietro Metastasio. was called: a. It featured ensemble as well as solo singing. It was sung in the vernacular. all of the above ANS: D MSC: Applied DIF: Medium REF: 5. d. ANS: B MSC: Factual DIF: Hard REF: 187 TOP: Classical opera 188 TOP: Classical opera 4. Mozart’s librettist for Don Giovanni was: a. opera buffa d. d. Singspiel. c. Gluck. c. b. opera seria c. b. REF: 188 TOP: Classical opera Pierre-Augustin Caron de Beaumarchais. Gay. Metastasio. It presented down-to-earth plots. opera seria.Chapter 34: Making It Real: Mozart and Classical Opera MULTIPLE CHOICE 1. During the Classical era. ANS: A MSC: Factual DIF: Easy REF: 187 TOP: Classical opera 2. The rigid conventions of opera seria were shaped largely by: a. Count Almaviva. plots drawn from Greek antiquity b. opera buffa. which contained many recitatives and arias designed to display virtuosity. opéra comique b. Lorenzo da Ponte. b. designed to appeal to the middle class c. d. 188 TOP: Mozart opera 145 . Which of the following was NOT a new type of opera intended to reflect simplicity and real human emotions? a. Which of the following is NOT a characteristic of opera seria? a. sentimental. debts. It is a tragedy. b. It mixes elements of opera seria and opera buffa. c. b. ANS: D MSC: Applied DIF: Medium REF: 189 TOP: Mozart opera 10. Mozart’s Don Giovanni is a comic opera about a legendary lover. or the vernacular. Don Giovanni attempts to console Donna Elvira. ANS: T MSC: Factual DIF: Easy REF: 188 TOP: Mozart opera . d. Don Ottavio. Don Giovanni himself. new opera types were developed that featured naturalness and simplicity. b. The Catalogue Aria from Mozart’s Don Giovanni lists Don Giovanni’s: a. tragic. It presents a Greek myth. Leporello. d. who has been betrayed by: a. future goals. The tone of the Catalogue Aria from Mozart’s Don Giovanni is: a.146 | Chapter 34 7. c. d. ANS: C MSC: Applied DIF: Easy REF: 188f TOP: Mozart opera 9. In the latter part of the eighteenth century. the Commendatore. Comic opera generally was sung in the language of the audience. ANS: A MSC: Factual DIF: Easy REF: 189 TOP: Mozart opera TRUE/FALSE 1. romantic. d. c. c. ANS: T MSC: Factual DIF: Hard REF: 188 TOP: Classical opera 2. with plots dealing with historical or legendary figures. Opera buffa was typically serious in tone. Which of the following descriptions characterizes the story of Don Giovanni? a. enemies. comic. ANS: F MSC: Applied DIF: Easy REF: 188 TOP: Classical opera 4. b. ANS: C MSC: Applied DIF: Medium REF: 188 TOP: Mozart opera 8. conquests. It is a sacred drama with religious overtones. ANS: T MSC: Applied DIF: Easy REF: 188 TOP: Classical opera 3. ANS: Answers will vary.Making It Real: Mozart and Classical Opera | 147 5. DIF: Medium MSC: Applied REF: 187f TOP: Classical opera 2. Discuss the mixture of serious and comic opera in Mozart’s Don Giovanni. ANS: Answers will vary. Don Giovanni is Mozart’s only major opera. ANS: F MSC: Applied DIF: Easy REF: 188 TOP: Mozart opera 188 TOP: Mozart opera 6. ANS: F MSC: Applied DIF: Medium REF: ESSAY 1. Describe the various types of opera of the Classical era. DIF: Easy MSC: Conceptual REF: 188f TOP: Mozart opera . Mozart’s Don Giovanni is an example of pure opera seria. 194 TOP: Mozart choral music Beethoven Süssmayr 194 TOP: Mozart choral music 6. an opera. b. REF: c.Chapter 35: Mourning a Hero: Mozart and the Requiem MULTIPLE CHOICE 1. d. Which of the following choral genres was NOT developed during the Baroque? a. b. the Bible. c. ANS: C MSC: Factual DIF: Easy 3. A musical setting of the Mass for the Dead is called: a. Mozart himself b. b. dedicated to Haydn. the Resurrection of Christ. REF: 193 TOP: Classical choral music Milton’s Paradise Lost. Who completed Mozart’s Requiem? a. b. an oratorio. Oratorios primarily drew their stories from: a. incomplete at his death. ANS: D MSC: Factual 148 DIF: Hard REF: 194 TOP: Classical choral music . Greek myths. performed on the death of his father. Judgment Day. part song ANS: D MSC: Factual DIF: Easy REF: 193 TOP: Classical choral music 2. d. 193 TOP: Classical choral music his last work. ANS: C MSC: Factual DIF: Medium 5. Mozart’s Requiem was: a. the birth of Christ. The Dies irae text from the Requiem Mass describes: a. d. Salieri ANS: D MSC: Factual DIF: Medium REF: c. Requiem b. a Requiem. his first work. devotion to the Virgin Mary. c. d. REF: c. newly created stories. oratorio c. a cantata. Mass d. d. ANS: A MSC: Factual DIF: Easy 4. winds. strings. tuba d. the Mass was sung only in church. Which of the following best describes the mood of the Dies irae from Mozart’s Requiem? a. and choir b. and one of his students completed the work for him. and four soloists c. ANS: T MSC: Factual DIF: Medium REF: 194 TOP: Mozart choral music . brass. ANS: F MSC: Applied DIF: Easy REF: 193f TOP: Classical choral music 2. and four soloists d. choir. The text of Mozart’s Requiem is sung in: a. During the nineteenth century. REF: 194 TOP: Mozart choral music German. trumpet b. The Requiem was Mozart’s first major composition in Vienna. and four soloists ANS: D MSC: Factual DIF: Easy REF: 194 TOP: Mozart choral music 8. 194 TOP: Mozart choral music TRUE/FALSE 1. ANS: F MSC: Factual DIF: Medium REF: 194 TOP: Mozart choral music 4.Mourning a Hero: Mozart and the Requiem | 149 7. English. Mozart died before finishing the Requiem. Mozart composed his Requiem out of gratitude for a long life of artistic creativity. b. strings. winds. a. timpani. Latin. trombone c. ANS: F MSC: Factual DIF: Easy REF: 194 TOP: Mozart choral music 3. lively and excited d. d. The ________ accompanies the baritone voice in the Tuba mirum section of Mozart’s Requiem. oboe ANS: A MSC: Factual DIF: Medium REF: 194 TOP: Mozart choral music 9. choir. ANS: B MSC: Factual DIF: Medium REF: c. humorous and light ANS: C MSC: Applied DIF: Medium 10. Which of the following correctly describes the musical forces for Mozart’s Requiem? a. gentle and comforting c. strings. fearful and then wondering b. choir. strings. Italian. The Dies irae is a poem in three-line rhymed verses. Discuss the mixture of Baroque and Classical characteristics in Mozart’s Requiem. ANS: T MSC: Factual DIF: Medium REF: 194 TOP: Mozart choral music 7. ANS: T MSC: Factual DIF: Medium REF: 194 TOP: Mozart choral music 8.150 | Chapter 35 5. The predominant texture of the Dies irae from Mozart’s Requiem is contrapuntal. Include a modern-day example in your answer. ANS: Answers will vary. The Dies irae from Mozart’s Requiem includes solo voices. DIF: Medium MSC: Applied REF: 194 TOP: Mozart choral music 2. Discuss how artists and works of art. can become enveloped in myth. ANS: Answers will vary. ANS: T MSC: Factual DIF: Hard REF: 194 TOP: Classical choral music 6. Mozart’s Requiem was sung in a worldwide memorial for the victims of the September 11 terrorist attacks on the United States. ANS: F MSC: Factual DIF: Medium REF: 194 TOP: Mozart choral music ESSAY 1. including musical compositions. DIF: Medium REF: 194 TOP: Mozart MSC: Conceptual . Wagner ANS: B MSC: Applied DIF: Easy REF: 200 TOP: Romantic era 3. the end of Romanticism. the first few decades of the nineteenth century d. b. Which of the following does NOT describe Romanticism? a. c.Prelude 5: Music as Passion and Individualism MULTIPLE CHOICE 1. the transfer of power from the aristocracy to the middle class. the monarchies of the major political powers. the beginning of the Enlightenment. Artworks display their creators’ originality. Goya c. the aristocracies. When did Romanticism in music come into its own? a. the middle of the eighteenth century b. b. ANS: A MSC: Applied DIF: Medium REF: 200 TOP: Romantic era 4. the middle of the nineteenth century ANS: C MSC: Factual DIF: Medium REF: 200 TOP: Romantic era 2. Schiller b. Struggling artists are working against society and conventions. c. ANS: C MSC: Applied DIF: Medium REF: 200 TOP: Romantic era 151 . d. Beethoven d. ANS: B MSC: Applied DIF: Medium REF: 200 TOP: Romantic era 5. Which of the following is identified as the first great creative Romantic? a. the Catholic Church. c. the end of Classicism. the last few decades of the eighteenth century c. d. The French Revolution signaled: a. d. The artist is a servant of the aristocracy. The nineteenth century saw the rise of a new social order shaped by: a. Art should unsettle rather than soothe. the technological advances of the Industrial Revolution. b. ANS: C MSC: Applied DIF: Easy REF: 202 TOP: Romantic music . The democratic character of the Romantic movement is illustrated by: a. c.152 | Prelude 5 6. They rebelled against conventional forms and subjects. Which of the following is true of Romantic poets? a. b. d. all of the above ANS: D MSC: Applied DIF: Medium REF: 200 TOP: Romantic era 7. Which of the following was NOT an English lyric poet? a. church. Which of the following does NOT describe orchestras of the nineteenth century? a. c. public concert hall. Which of the following was NOT a major theme of Romantic writers? a. idealized heroes of Greece and Rome b. c. all of the above ANS: C MSC: Applied DIF: Medium REF: 201 TOP: Romantic era 9. The size of orchestras decreased. The conductor emerged as a central figure. Percy Bysshe Shelley ANS: A MSC: Factual DIF: Hard REF: 201 TOP: Romantic era 10. sympathy for the oppressed. John Keats b. Lord Byron d. interest in folk culture. During the nineteenth century. They leaned toward the fanciful and picturesque. far-off lands d. ANS: D MSC: Applied DIF: Medium REF: 201 TOP: Romantic music 11. d. making for more compact ensembles. palace. b. d. all of the above ANS: D MSC: Applied DIF: Medium REF: 200f TOP: Romantic era 8. They expressed their new spirit of individualism with passion. concert life began to center on the: a. b. d. Victor Hugo c. faith in humankind and its destiny. a glamorized past c. The range of dynamics increased. c. university. New instruments were added to the ensemble. b. ANS: A MSC: Conceptual DIF: Medium REF: 203 TOP: Romantic music 17. chromaticism b. Many musicians became savvy businessmen. exoticism c. Which figure was a prominent performer and composer for piano? a. Music established connections to paintings and poetry. reserved emotions ANS: D MSC: Applied DIF: Hard REF: 202f TOP: Romantic music 15. Classical forms were expanded. Virtuoso soloists became stars. Nadezhda von Meck b. texture. Clara Wieck Schumann c. b. virtuosity ANS: A MSC: Applied DIF: Easy REF: 202 TOP: Romantic music 13. George Sand d. nationalism d. Some composers were exploited by their publishers.Music as Passion and Individualism | 153 12. Romantic composers sought to make instruments sing. What trend inspired composers to write music evoking scenes or sounds of far-off lands? a. c. This statement best describes the element of: a. Paganini b. ANS: B MSC: Conceptual DIF: Medium REF: 202 TOP: Romantic music 14. Mendelssohn d. b. d. c. Which of the following does NOT characterize musicians of the Romantic era? a. d. harmony. New genres emerged. d. Liszt c. c. some of which incorporated voices. expressive harmonies d. Which of the following gained prominence as a virtuoso violinist? a. Schumann ANS: C MSC: Factual DIF: Medium REF: 204 TOP: Romantic music 18. singable melodies c. Which of the following does NOT describe Romantic orchestral music? a. Which of the following does NOT characterize Romantic music? a. Carolyne Sayn-Wittgenstein ANS: A MSC: Factual DIF: Medium REF: 204 TOP: Romantic music . b. ANS: D MSC: Applied DIF: Medium REF: 203 TOP: Romantic music 16. melody. rhythm. expanded forms b. They continued to be viewed as servants. Composers produced more symphonies than their Classical-era counterparts. ANS: F MSC: Factual DIF: Easy REF: 200 TOP: Romantic music 6. The split between light music and art music occurred during the: a. Which of the following was the mysterious woman who supported Tchaikovsky? a. One of the prime traits of Romantic artists was their emphasis on intense emotional expression. ANS: C MSC: Factual DIF: Hard REF: 205 TOP: Romantic music TRUE/FALSE 1. d. The French Revolution had little impact on the Romantic movement. The Romantics embraced conventional forms. ANS: T MSC: Applied DIF: Easy REF: 200 TOP: Romantic era 5. Carolyne Sayn-Wittgenstein ANS: C MSC: Factual DIF: Hard REF: 204 TOP: Romantic music 20. early twentieth century. ANS: F MSC: Factual DIF: Easy REF: 201 TOP: Romantic music . late nineteenth century. late eighteenth century. b. George Sand d. The Romantic orchestra was the same size as the Classical orchestra. ANS: F MSC: Factual DIF: Easy REF: 200 TOP: Romantic era 2. c. ANS: F MSC: Applied DIF: Easy REF: 200 TOP: Romantic era 200 TOP: Romantic era 3. ANS: T MSC: Applied DIF: Medium REF: 201 TOP: Romantic era 7. early nineteenth century.154 | Prelude 5 19. Nedezhda von Meck b. Clara Wieck Schumann c. The Industrial Revolution led to the production of less expensive musical instruments but with no technical improvements. The nineteenth-century novel found its great theme in the conflict between the individual and society. ANS: F MSC: Conceptual DIF: Easy REF: 4. Music did not embrace the Romantic movement until the mid-1800s. An interest in folklore and folk music resulted from the rise of nationalism. ANS: F MSC: Applied DIF: Easy REF: 202 TOP: Romantic music 13. ANS: T MSC: Factual DIF: Medium REF: 202 TOP: Romantic music 11. solo performers became stars idolized by the public. The dynamic range of nineteenth-century orchestras was far greater than that of orchestras of the previous century. ANS: F MSC: Applied DIF: Easy REF: 202 TOP: Romantic music 10. ANS: T MSC: Applied DIF: Easy REF: 202 TOP: Romantic music 12. Romantic music is characterized by relatively less expression than music of earlier periods. ANS: F MSC: Factual DIF: Medium REF: 204 TOP: Romantic music 15. ANS: T MSC: Factual DIF: Easy REF: 203 TOP: Romantic music 14. ANS: T MSC: Factual DIF: Medium REF: 204 TOP: Romantic music . ANS: T MSC: Factual DIF: Medium REF: 202 TOP: Romantic music 9. A typical Romantic symphony is generally longer than a typical Classical symphony. Composers depicted exoticism by incorporating folk music of their own countries in their compositions. Nineteenth-century society continued to view musicians as glorified servants.Music as Passion and Individualism | 155 8. During the Romantic era. Nineteenth-century composers communicated their desire for increased expressiveness to the performer through new descriptive terms. 156 | Prelude 5 ESSAY 1. How did this phenomenon affect music? ANS: Answers will vary. DIF: Hard MSC: Conceptual REF: 204 TOP: Romantic music . What are the principal ideals underlying Romanticism? How are they reflected in the art and literature of the period? ANS: Answers will vary. ANS: Answers will vary. DIF: Easy MSC: Applied REF: 200f TOP: Romantic era 2. Compare the Classical and Romantic approaches to the arts. DIF: Medium MSC: Conceptual REF: 200f TOP: Romantic era 3. Discuss the rise of the virtuoso performer in the nineteenth century. Franz Schubert ANS: A MSC: Factual DIF: Medium REF: 207 TOP: Romantic song 4. The German term for the art song is: a. d. ANS: A MSC: Applied DIF: Medium REF: 207 TOP: Romantic song 5. Heinrich Heine c. the fleeting nature of human happiness ANS: C MSC: Applied DIF: Medium REF: 6. praise of the Virgin Mary b. longing. c. and the Early Romantic Lied MULTIPLE CHOICE 1. song cycle. d. Lied. ANS: C MSC: Factual DIF: Easy REF: 206f TOP: Romantic song 3. Lied. 206 TOP: Romantic song 2. ballad cycle. ANS: B MSC: Factual DIF: Easy c. the beauty of nature c. Robert Schumann d. chorale. Schumann. Wordsworth and Shakespeare. a. The favorite Romantic poets of the composers of Lieder were: a. b. b. c. b. love. b. c. The favorite subjects of the Romantic poets were: a. Shelley and Twain. comedy and farce. ballad. opera. Gesang. Fanny Mendelssohn Hensel b. Hugo and Marlowe. A song whose text is a short lyric poem in German with piano accompaniment is called a: a. d. REF: durchkomponiert. d. cantata. b. chant. love and longing d. ANS: A MSC: Factual DIF: Easy REF: 207 TOP: Romantic song 157 . sonata.Chapter 36: Musical Reading: Schubert. Goethe and Heine. A group of Lieder unified by a narrative thread or by a descriptive or expressive theme is called a(n): a. Which of the following was NOT a typical theme of Romantic poetry? a. ANS: B MSC: Applied DIF: Medium REF: 207 TOP: Romantic song historical events. c. all of the above 207 TOP: Romantic song 7. and nature. d. ________ was NOT an important composer of nineteenth-century Lieder. and musicians. modified strophic. b. all of the above ANS: C MSC: Factual DIF: Medium REF: 208 TOP: Schubert 13. c.158 | Chapter 36 8. b. strophic. through composed. A song form in which the same melody is repeated for every stanza of text is called: a. soirées. c. strophic. theme and variations. 208 TOP: Schubert 12. called: a. Schubert lived a tragically short life but was a remarkably prolific composer of: a. through composed. modified strophic. writers. chamber music. Lied c. c. d. DIF: Medium REF: 207 TOP: Romantic song Vienna. Schubert and his friends organized evening gatherings of artists. Bonn. strophic. Schubertiads. ANS: C MSC: Factual DIF: Easy REF: 207 TOP: Romantic song 10. c. b. all of the above ANS: D MSC: Factual DIF: Hard REF: 208 TOP: Schubert 14. piano music. through composed. b. b. d. d. chamber music d. rubato. Salzburg. Leipzig. ternary. piano sonata b. ANS: B MSC: Factual DIF: Easy REF: 207 TOP: Romantic song 9. d. A song that is composed from beginning to end without repetition of whole sections is called: a. ANS: C MSC: Factual DIF: Medium 11. ANS: C MSC: Factual REF: c. Schubert was born in: a. d. Abendmusiken. Lieder. d. A song form in which the main melody is repeated for two or three stanzas but introduces new or significantly varied material when the text requires it is called: a. c. durchkomponiert. In which genre was Schubert NOT indebted to Classical traditions? a. b. symphony ANS: A MSC: Applied DIF: Easy REF: 208 TOP: Schubert song . Goethe. A Poet’s Love. the terror in the boy’s mind. c. the obsessive triplet rhythm of the piano accompaniment represents: a. Heine. Schubert wrote several song cycles. the galloping of the horse. c. medium range in minor mode ANS: B MSC: Conceptual DIF: Medium REF: 208 TOP: Schubert song . c. d. Müller. It presents four characters who are differentiated in the music. ANS: D MSC: Applied DIF: Easy REF: 208 TOP: Schubert song strophic through-composed 208 TOP: Schubert song 19. lilting melody in major mode c. It is the masterpiece of his youth. ANS: A MSC: Factual DIF: Hard REF: 208 TOP: Schubert song Butterflies. d. b. a. low range and consonant harmony b. In Schubert’s Elfking. b. ANS: D MSC: Factual DIF: Hard REF: 18. all of the above ANS: C MSC: Applied DIF: Hard REF: 208 TOP: Schubert song 21. Schubert’s Lied Elfking is in ________ form. Schiller. 400–500 d. and the Early Romantic Lied | 159 15. b. b.Musical Reading: Schubert. Winter’s Journey. b. all of the above ANS: D MSC: Applied DIF: Hard REF: 208 TOP: Schubert song 20. Which musical devices does Schubert use to portray the child’s terror in Elfking? a. c. d. including: a. high range and dissonance d. It is based on a legend that whoever is touched by the king of the elves must die. Which of the following is true of Schubert’s Elfking? a. Schumann. more than 600 ANS: D MSC: Factual DIF: Medium REF: 16. 208 TOP: Schubert song 17. ternary d. d. 500–600 b. Approximately how many songs did Schubert compose? a. Schubert’s song Elfking is a setting of a ballad written by: a. the wind. binary c. Futile Serenade. 300–400 c. The composer who founded the New Journal of Music was: a. c. b. d. It conveys a mood of despair. Schumann’s In the lovely month of May is from which song cycle? a. in an asylum. b. Winter’s Journey d. REF: 211 TOP: Schumann the inspiration for A Poet’s Love. b. Johann Wolfgang von Goethe. one of the foremost pianists of her day. Clara. a beloved and honored pianist. ANS: D MSC: Factual DIF: Medium REF: c. the daughter of his piano teacher. d. It fuses lyric and dramatic elements.160 | Chapter 36 22. song cycle. It tells a detailed story of a lost love. ANS: A MSC: Factual DIF: Medium REF: 210 TOP: Schumann song 27. was: a. Hugo Wolf. Robert Schumann’s wife. d. Hector Berlioz. A Poet’s Love b. Robert Schumann’s A Poet’s Love is a: a. d. happy in his old age. A Woman’s Love and Life c. literary publication dedicated to Clara. d. set of piano works. The Lovely Maid of the Mill ANS: C MSC: Factual DIF: Easy REF: 210 TOP: Schumann song . ANS: B MSC: Factual DIF: Medium REF: 25. Friedrich von Schlegel. ANS: C MSC: Factual DIF: Hard 23. Heinrich Heine. Johannes Brahms. d. It creates a union of piano and voice. c. Robert Schumann’s A Poet’s Love is set to texts by: a. c. c. Robert Schumann ended his career and life: a. the result of mental illness. c. b. ANS: A MSC: Factual DIF: Easy REF: 26. Robert Schumann. symphonic poem based on a work by Goethe. Franz Schubert. ANS: A MSC: Applied DIF: Medium REF: 210f TOP: Schumann song 28. b. Which of the following does NOT describe Schumann’s A Poet’s Love? a. all of the above 211 TOP: Schumann 211 TOP: Schumann 210 TOP: Schumann song 24. by drowning himself in a river near his house. b. ANS: A MSC: Applied DIF: Medium REF: through-composed rondeau 210 TOP: Schumann song 30. The song form that combines features of strophic and through-composed forms is called modified strophic.Musical Reading: Schubert. What is the form of In the lovely month of May? a. ANS: T MSC: Factual DIF: Easy REF: 207 TOP: Romantic song . d. It has an expressive piano accompaniment. The art song can be described as a union of poetry and music. ANS: T MSC: Applied DIF: Medium REF: 207 TOP: Romantic song 4. modified strophic d. A song in which the same melody is repeated with every stanza of the text is in strophic form. Which of the following does NOT describe Schumann’s In the lovely month of May? a. ANS: T MSC: Applied DIF: Hard REF: 207 TOP: Romantic song 3. ANS: T MSC: Applied DIF: Easy REF: 206f TOP: Romantic song 2. ANS: F MSC: Factual DIF: Easy REF: 207 TOP: Romantic song 5. b. c. It ends with harmonic resolution. ANS: T MSC: Factual DIF: Easy REF: 207 TOP: Romantic song 6. and the Early Romantic Lied | 161 29. It is harmonically meandering. The rise of the piano as a household instrument influenced the popularity of the Lied. It conveys a sense of longing and desire. Goethe and Heine were two of the leading nineteenth-century writers whose poetry was set by Lieder composers. Schumann. ANS: A MSC: Applied DIF: Hard REF: 210 TOP: Schumann song TRUE/FALSE 1. b. A song that is composed from beginning to end without repetitions of whole sections is in modified strophic form. strophic c. productive life as a composer. ANS: F MSC: Factual DIF: Medium REF: 11. ANS: F MSC: Applied DIF: Medium REF: 208 TOP: Schubert 8. ANS: T MSC: Factual DIF: Medium 10. Robert Schumann was married to the gifted pianist and composer Clara Wieck. ANS: F MSC: Factual DIF: Medium REF: 211 TOP: Schumann 15. ANS: T MSC: Applied DIF: Easy REF: 12. ANS: T MSC: Factual DIF: Easy REF: 208 TOP: Schubert REF: 208 TOP: Schubert song 208 TOP: Schubert song 208 TOP: Schubert song 208 TOP: Schubert song 9. Schubert’s Lied Elfking is through composed. ANS: T MSC: Factual DIF: Medium REF: 212 TOP: Schumann song . Schubert composed Elfking just before he died. Schubert composed over 600 Lieder. Schumann concentrated on intimate piano and vocal works and wrote no symphonies. ANS: T MSC: Factual DIF: Easy REF: 211 TOP: Schumann 14. Franz Schubert was a thoroughly Romantic composer who abandoned the forms and stylistic principles of Classicism. Schumann’s In the lovely month of May is in strophic form. The poem Elfking was written by Heinrich Heine. Schubert’s prolific output includes works in every major genre. ANS: F MSC: Applied DIF: Easy REF: 13. ANS: F MSC: Factual DIF: Medium REF: 211 TOP: Schumann 16.162 | Chapter 36 7. Schumann was a carefree spirit with a happy disposition who lived a long. and the Early Romantic Lied | 163 17. forms. and overall character of the Romantic Lied with popular songs of today.Musical Reading: Schubert. ANS: F MSC: Applied DIF: Medium REF: 211f TOP: Schumann song ESSAY 1. Compare the texts. DIF: Medium MSC: Conceptual REF: 206f TOP: Romantic song 2. Include examples in your answer. ANS: Answers will vary. ANS: Answers will vary. Describe how Schubert uses the piano and voice to depict the characters and action of Elfking. DIF: Hard MSC: Conceptual REF: 210f TOP: Schumann song . Schumann. The mood of Schumann’s In the lovely month of May is joyful and exuberant. How does the harmony in Schumann’s In the lovely month of May evoke a mood appropriate to Heine’s poem? ANS: Answers will vary. DIF: Medium MSC: Applied REF: 208 TOP: Schubert song 3. no dance music was composed. Charles Griffes b. The difficulty of life in the New World essentially eliminated music making. Which of the following does NOT describe American popular music of the nineteenth century? a. American b. What is vernacular music? a. c. b. d. d. Because of the influence of the Puritans. b. What nationality was Stephen Foster? a. Stephen Foster d. The music often brought financial profit to the composers. lighter music. music in traditional European genres and forms d. d. c. William Billings c. Which of the following describes music in America during the early nineteenth century? a. The composers were always well known. such as for dancing and singing ANS: B MSC: Factual Medium REF: 4. ANS: A MSC: Factual DIF: DIF: Medium REF: 213f TOP: American music German African American 214 TOP: Stephen Foster 5. Music was largely created by American composers.Chapter 37: Marketing Music: Foster and Early “Popular” Song MULTIPLE CHOICE 1. English c. ANS: C MSC: Applied DIF: Medium REF: 213 TOP: American music 3. Charles Ives ANS: B MSC: Factual 164 DIF: Medium REF: 214 TOP: Stephen Foster . popular songs sung in a country’s native language c. Music was largely imported from Europe. The music seems to belong to “the people. opera sung in English b. The music had enormous influence on the next century. Which nineteenth-century American composer is best remembered for his parlor songs and minstrel show tunes? a.” ANS: B MSC: Applied DIF: Medium REF: 213 TOP: American music 2. through composed. There was a clear split between “classical” and “popular” music in nineteenth-century America. Edgar Allan Poe. a former slave. The form of Foster’s Jeanie with the Light Brown Hair is: a. ANS: C MSC: Factual DIF: Medium 8. c. Foster himself. 214 TOP: Stephen Foster 9. a parlor song. b. part of a song cycle. b. For the most part.Marketing Music: Foster and Early “Popular” Song | 165 6. Old Folks at Home. Oh! Susanna. When Johnny Comes Marching Home. d. rondeau. Camptown Races. ANS: F MSC: Applied DIF: Medium REF: 214 TOP: American music . shows that featured performers in blackface c. ANS: C MSC: Applied DIF: Hard REF: 214 TOP: Stephen Foster 10. b. William Wordsworth. c. all of the above ANS: B MSC: Factual DIF: Medium REF: 214 TOP: American music 7. A-B-A. Foster’s Jeanie with the Light Brown Hair is based on a poem by: a. Jeanie with the Light Brown Hair is: a. c. d. a minstrel song. d. ANS: A MSC: Applied DIF: Hard REF: c. REF: 215 TOP: Stephen Foster a song from a light opera. entertainments that copied European models d. Stephen Foster composed all of the following songs EXCEPT: a. wandering musicians who played at small social gatherings b. strophic. ANS: F MSC: Applied DIF: Easy REF: 213 TOP: American music 2. Which of the following best describes minstrelsy? a. ANS: B MSC: Factual DIF: Medium REF: 214 TOP: Stephen Foster TRUE/FALSE 1. b. nineteenth-century Americans rejected the music of European culture. d. ANS: F MSC: Factual DIF: Easy REF: 214 TOP: Stephen Foster 4. Why do the songs of Stephen Foster have such enduring popular appeal? ANS: Answers will vary. Stephen Foster made a fortune by writing popular songs. What is the role of commercial success in popular music? How does this differ from other types of music? ANS: Answers will vary. DIF: Hard MSC: Conceptual REF: 214f TOP: Stephen Foster 2. Foster’s Jeanie with the Light Brown Hair was not an immediate success. ANS: T MSC: Applied DIF: Medium REF: 214 TOP: American music 6. Foster intended his songs to be performed by professional singers. ANS: T MSC: Applied DIF: Hard REF: 214 TOP: Stephen Foster 7. ANS: F MSC: Factual DIF: Easy REF: 214f TOP: Stephen Foster 8. Minstrelsy created stereotypes of African American culture. ANS: T MSC: Factual DIF: Medium REF: 214 TOP: Stephen Foster 5.166 | Chapter 37 3. ANS: T MSC: Factual DIF: Easy REF: 215 TOP: Stephen Foster ESSAY 1. DIF: Hard MSC: Conceptual REF: 213f TOP: American music . Stephen Foster composed both parlor and minstrel songs. Foster’s Jeanie with the Light Brown Hair contains a cadenza in every strophe. Its range was expanded. b. oboe d. b. violin c. harpsichord. the opera. It is suitable for both polyphonic and homophonic textures. It was given improved mechanical action. Lieder. The most important keyboard instrument of the Romantic period was the: a. “Prelude. ANS: A MSC: Factual DIF: Easy REF: 217 TOP: Romantic piano music 3. b. It was made louder. the symphony. the song. Which of the following does NOT characterize the piano? a. It is capable of only one dynamic level. ANS: B MSC: Applied DIF: Medium REF: 218 TOP: Romantic piano music 6. d.” and “Intermezzo” were common titles for: a. piano ANS: D MSC: Factual DIF: Medium REF: 217 TOP: Romantic piano music 4. lyric piano piece is the instrumental equivalent of: a. c. character pieces. c. b. c. ANS: B MSC: Factual DIF: Easy REF: 217 TOP: Romantic piano music 2. trumpet b. organ. c.” “Impromptu. A second keyboard was added. The short. symphonies. b. It is an expressive instrument. large-scale piano pieces. clavichord. d. d. d. d. During the nineteenth century. It is a staple of refined education. c. Which of the following instruments is capable of playing both melody and harmony? a.Chapter 38: Dancing at the Keyboard: Chopin and Romantic Piano Music MULTIPLE CHOICE 1. Which of the following was NOT a technical improvement to the nineteenth-century piano? a. ANS: B MSC: Applied DIF: Easy REF: 218 TOP: Romantic piano music 167 . the concerto. ANS: C MSC: Factual DIF: Medium REF: 218 TOP: Romantic piano music 5. piano. Vienna. ballade. REF: c.168 | Chapter 38 7. 219 TOP: Chopin 12. Frédéric Chopin. Chopin is credited with developing the: a. Which nineteenth-century composer’s entire output centered around the piano? a. d. Poland. Robert Schumann. symphony. REF: 219 TOP: Chopin piano music Prussia. Chopin spent his early years in: a. Johannes Brahms. ANS: A MSC: Applied DIF: Easy REF: c. Emily Brontë ANS: A MSC: Factual DIF: Medium REF: 219 TOP: Chopin 13. Paris. 219 TOP: Chopin Berlin. polonaise. REF: 218f TOP: Romantic piano music overture. b. symphonic poem. Belgium. b. 219 TOP: Chopin piano music 9. Romantic symphony. c. Brahms c. ANS: D MSC: Factual DIF: Easy REF: c. George Sand c. Nineteenth-century composers of the short. Warsaw. b. d. Gertrude Stein b. modern piano style. Alexandre Dumas d. b. Chopin spent most of his productive life in: a. Chopin b. b. all of the above ANS: D MSC: Factual DIF: Medium 8. nocturne. lyric piano piece included: a. d. Chopin composed works in all of the following genres EXCEPT the: a. Berlioz ANS: C MSC: Factual DIF: Easy 10. d. Liszt d. ANS: D MSC: Factual DIF: Easy 11. d. c. With which famous novelist did Chopin become romantically involved? a. England. ANS: D MSC: Factual DIF: Medium REF: 219 TOP: Chopin piano music . In connection with Chopin’s music. play in strict time. 4? a. piano music was intended for professional performers only. The rise in popularity of the piano was an important factor in shaping the musical culture of the Romantic era. ANS: C MSC: Applied DIF: Medium REF: 219f TOP: Chopin piano music 18. simple A-B-A form d. Which of the following does NOT characterize the music of Chopin? a. play at a faster tempo. ANS: T MSC: Applied DIF: Easy REF: 217 TOP: Romantic piano music . Hungarian folk melodies d. the term rubato means that the performer should: a. rubato b. What is the origin of the mazurka? a. virtuosity d. rubato c.Dancing at the Keyboard: Chopin and Romantic Piano Music | 169 14. Hector Berlioz b. During the Romantic era. b. Johannes Brahms ANS: B MSC: Factual DIF: Easy REF: 220 TOP: Chopin piano music TRUE/FALSE 1. moderate triple meter c. c. Op. a Polish peasant dance b. Frédéric Chopin d. a stately processional dance for the nobility ANS: A MSC: Factual DIF: Hard REF: 16. brilliant salon music c. lyricism ANS: C MSC: Applied DIF: Hard REF: 219 TOP: Chopin piano music 219 TOP: Chopin piano music 15. take liberties with the tempo. chromaticism ANS: B MSC: Applied DIF: Medium REF: 219 TOP: Chopin piano music 17. ANS: F MSC: Applied DIF: Easy REF: 217 TOP: Romantic piano music 2. reserved emotions b. play at a slower tempo. No. 24. d. Which composer is known as the “poet of the piano”? a. Which of the following does NOT characterize Chopin’s Mazurka in B-flat Minor. Robert Schumann c. 4 is in duple meter. As in the eighteenth century. Chopin had a long relationship with the female writer George Sand. Chopin wrote in all genres of music. 24. ANS: T MSC: Applied DIF: Easy REF: 218 TOP: Romantic piano music 6. ANS: T MSC: Applied DIF: Easy REF: 219f TOP: Chopin piano music . ANS: F MSC: Factual DIF: Medium REF: 219 TOP: Chopin piano music 7. nineteenth-century virtuoso pianists were almost always prominent composers as well. No. ANS: F MSC: Factual DIF: Medium 9. free forms. Piano manufacturing remained unchanged until the technical advances of the early twentieth century. Op. No.170 | Chapter 38 3. ANS: F MSC: Factual DIF: Medium REF: 218 TOP: Romantic piano music 4. 24. 4 would have incorporated rubato. ANS: T MSC: Factual DIF: Easy REF: 219 TOP: Chopin piano music REF: 219 TOP: Chopin piano music 8. Although it is a dance piece. ANS: F MSC: Applied DIF: Easy REF: 219 TOP: Chopin piano music 10. Many Romantic piano works are in short. Op. Chopin’s Mazurka in B-flat minor. Chopin’s Mazurka in B-flat minor. including opera and symphony. The mazurka is a Hungarian folk dance. ANS: F MSC: Factual DIF: Easy REF: 218 TOP: Romantic piano music 5. What new types of works were developed to support this role? ANS: Answers will vary. Explain why Chopin has been called the “poet of the piano. Describe the role of the piano in nineteenth-century life.” ANS: Answers will vary. DIF: Medium MSC: Conceptual REF: 219f TOP: Chopin piano music . DIF: Medium MSC: Conceptual REF: 217f TOP: Romantic piano music 2.Dancing at the Keyboard: Chopin and Romantic Piano Music | 171 ESSAY 1. she had no talent. she was primarily a performer. she was a woman. Lieder and chamber music. Clara Schumann d. Franz Liszt ANS: B MSC: Factual 172 DIF: Medium REF: 224 TOP: Fanny Mendelssohn Hensel . George Sand b. Which of the following composed the piano cycle The Year? a. c. b. b. Which of the following women organized salons featuring music by her brother? a. ANS: D MSC: Factual DIF: Medium REF: 225 TOP: Fanny Mendelssohn Hensel 6. b. None pursued careers in music. Fanny Mendelssohn Hensel was discouraged from pursuing a career as a composer because: a. The piano provided women with a socially acceptable performance outlet. piano music and chamber music. Frédéric Chopin c. Nadezhda von Meck d. Fanny Mendelssohn Hensel ANS: D MSC: Factual DIF: Hard REF: 224 TOP: Romantic era 4. Carolyne Sayn-Wittgenstein c. c. all of the above ANS: C MSC: Applied DIF: Hard REF: 223 TOP: Romantic era 2. Which of the following was a noted woman composer of the Romantic era? a. Fanny Mendelssohn Hensel’s output is dominated by: a. Women were leaders in innovative changes of style. Clara Schumann b. d. Clara Schumann b. c. Lieder and orchestra music. Carolyne Sayn-Wittgenstein c.Chapter 39: Musical Diaries: Hensel and Programmatic Piano Music MULTIPLE CHOICE 1. Fanny Mendelssohn Hensel d. Which of the following best describes the role of women in nineteenth-century music? a. d. Lieder and piano music. Nadezhda von Meck ANS: B MSC: Factual DIF: Hard REF: 224 TOP: Romantic era 3. all of the above ANS: A MSC: Factual DIF: Easy REF: 225 TOP: Fanny Mendelssohn Hensel 5. d. The manuscript for Fanny Mendelssohn Hensel’s September: At the River. Nineteenth-century society saw a few women make careers as professional musicians. Despite her gender. ANS: C MSC: Factual DIF: Hard REF: 224 TOP: Fanny Mendelssohn Hensel 9. orchestra. How does Fanny Mendelssohn Hensel’s The Year reach a level of achievement beyond that of her brother Felix? a. sonata-allegro d. Fanny Mendelssohn Hensel wrote her cycle The Year for: a. c. d. Heinrich Heine. choir. d. from The Year. ANS: F MSC: Factual DIF: Easy REF: 223 TOP: Fanny Mendelssohn Hensel . voice. c. Wilhelm Hensel. It develops one theme throughout the twelve pieces. d. women became increasingly accepted as piano teachers. It demands greater virtuosity than Felix’s works. has poetic lines by: a. ANS: B MSC: Conceptual DIF: Hard REF: 224 TOP: Fanny Mendelssohn Hensel TRUE/FALSE 1. Fanny Mendelssohn Hensel was encouraged by her family to pursue a career in music. b. b. Johann Wolfgang von Goethe. theme and variations ANS: A MSC: Applied DIF: Hard REF: 226 TOP: Fanny Mendelssohn Hensel 10. b. piano.Musical Diaries: Hensel and Programmatic Piano Music | 173 7. ANS: C MSC: Factual DIF: Medium REF: 224 TOP: Fanny Mendelssohn Hensel 8. rondo b. It is a large-scale work unified by musical and extramusical links. c. A-B-A' c. ANS: T MSC: Factual DIF: Easy REF: 222 TOP: Romantic era 2. ANS: T MSC: Factual DIF: Easy REF: 222 TOP: Romantic era 3. from The Year. Friedrich Schiller. a. Fanny Mendelssohn Hensel’s September: At the River. During the nineteenth century. It achieved great popularity when it was published. is in ________ form. 174 | Chapter 39 4. DIF: Medium MSC: Conceptual REF: 225 TOP: Fanny Mendelssohn Hensel . ANS: Answers will vary. ANS: Answers will vary. ANS: F MSC: Factual DIF: Hard REF: 224 TOP: Fanny Mendelssohn Hensel 5. Fanny Mendelssohn Hensel’s cycle The Year has extramusical connections. Fanny Mendelssohn Hensel’s cycle The Year is her only symphonic poem. Which roles were socially acceptable? Cite examples of successful women musicians from this era. Describe the different roles that women played in music during the nineteenth century. Describe the impact that being a woman had on the musical career of Fanny Mendelssohn Hensel. DIF: Medium MSC: Conceptual REF: 222f TOP: Romantic era 2. ANS: T MSC: Applied DIF: Medium REF: 224 TOP: Fanny Mendelssohn Hensel ESSAY 1. ANS: F MSC: Applied DIF: Medium REF: 223 TOP: Fanny Mendelssohn Hensel 6. Fanny Mendelssohn Hensel is known for her large-scale orchestral compositions. 228 TOP: Louis Moreau Gottschalk 6. Berlioz c. concertos c. REF: Poland Hungary 227 TOP: Liszt piano music 2. Clementi. REF: 228 TOP: Louis Moreau Gottschalk Berlin. ANS: A MSC: Factual DIF: Hard REF: c. a. b. Louis Moreau Gottschalk c. Charles Ives ANS: A MSC: Factual DIF: Medium 5. d. Louis Moreau Gottschalk was born in: a. REF: 227 TOP: Liszt piano music Spohr. operas b. d. Louis Moreau Gottschalk is best known for his ________. Boston. France ANS: D MSC: Factual DIF: Easy c. Liszt was inspired by the virtuoso violinist: a. Brahms d. Amy Cheney Beach d. solo piano music d. b. Which composer is generally considered the greatest pianist and showman of the Romantic era? a. Smetana ANS: C MSC: Factual DIF: Easy 3. songs ANS: B MSC: Factual DIF: Easy REF: 228 TOP: Louis Moreau Gottschalk 175 . d. New Orleans. Liszt b. In which country was Franz Liszt born? a. 227 TOP: Liszt piano music 4. Stephen Foster b. Which of the following was the first internationally acclaimed American composer of classical music? a. Paganini.Chapter 40: Piano Triumphant: Gottschalk and Romantic Virtuosity MULTIPLE CHOICE 1. Czerny. San Francisco. ANS: D MSC: Factual DIF: Hard REF: c. Austria b. Yankee Doodle. For his piano recitals. b. Liszt would always have the music in front of him in order to play as accurately as possible. d. He spent most of his creative life in Europe. b. ANS: D MSC: Factual DIF: Hard REF: 228 TOP: Louis Moreau Gottschalk 8. Besides being a very popular showman. ANS: T MSC: Applied DIF: Easy REF: 227 TOP: Liszt piano music 2. He was attracted to Afro-Caribbean music and dances. Liszt became aware of the possibilities of virtuoso solo playing after hearing the sensational violinist Paganini. d. Louis Moreau Gottschalk based many of his works on: a. c. c. ANS: B MSC: Factual DIF: Medium REF: 228 TOP: Louis Moreau Gottschalk 9. symphonic transcriptions. Franz Liszt was a virtuoso pianist-composer and an innovator of modern piano technique. Camptown Races. limited range b. b. German folk songs. banjo imitations d. Columbia. ANS: F MSC: Factual DIF: Medium REF: 228 TOP: Liszt piano music . The Star-Spangled Banner. ANS: C MSC: Factual DIF: Hard REF: 298 TOP: Louis Moreau Gottschalk TRUE/FALSE 1. Native American songs. d. syncopations c. He set many nationalist tunes in his music. Which of the following does NOT characterize Gottschalk’s The Banjo? a. The familiar tune quoted near the end of Gottschalk’s work The Banjo is: a. embellished melodies ANS: C MSC: Applied DIF: Medium REF: 298 TOP: Louis Moreau Gottschalk 10. South American and Caribbean songs. He was a native of New Orleans. ANS: T MSC: Factual DIF: Medium REF: 227 TOP: Liszt piano music 3. c. Which of the following statements about Louis Moreau Gottschalk is NOT true? a. Hail.176 | Chapter 40 7. ANS: F MSC: Applied DIF: Hard REF: ESSAY 1. The music of Gottschalk is rooted in the melodies and rhythms of folk music. Gottschalk’s piece The Banjo incorporates strains of Stephen Foster’s Camptown Races. Discuss Liszt’s contributions to piano technique and literature. Gottschalk’s The Banjo is in a simple A-B-A form. Gottschalk was a piano virtuoso who concertized throughout Europe. and South America. DIF: Easy MSC: Applied REF: 227f TOP: Liszt piano music 2. the United States. ANS: T MSC: Factual DIF: Hard REF: 229 TOP: Louis Moreau Gottschalk 229 TOP: Louis Moreau Gottschalk 8. the Caribbean. ANS: Answers will vary.Piano Triumphant: Gottschalk and Romantic Virtuosity | 177 4. DIF: Medium MSC: Applied REF: 228f TOP: Louis Moreau Gottschalk . ANS: T MSC: Factual DIF: Hard REF: 229 TOP: Louis Moreau Gottschalk 7. ANS: Answers will vary. Describe the distinctive qualities of Gottschalk’s piano music. Louis Moreau Gottschalk is primarily remembered for composing parlor songs in the style of spirituals. ANS: F MSC: Factual DIF: Easy REF: 228 TOP: Louis Moreau Gottschalk 5. ANS: T MSC: Factual DIF: Hard REF: 228 TOP: Louis Moreau Gottschalk 6. sonata. program music. d. Berlioz d. background music. ANS: A MSC: Applied DIF: Hard REF: 231f TOP: Program music 4. incidental music. Which of the following composers is considered the first great exponent of musical Romanticism in France? a.Chapter 41: Personal Soundtracks: Berlioz and the Program Symphony MULTIPLE CHOICE 1. background music. pure music. Which of the following compositions is LEAST likely to be an example of program music? a. b. d. absolute music. Music composed without literary or pictorial meanings is called: a. Wagner ANS: B MSC: Factual DIF: Hard REF: 233 TOP: Berlioz 6. A multimovement. b. France. Germany. b. c. Hungary. programmatic work for orchestra is called a: a. c. d. symphonic poem. Schubert c. c. or pictorial associations is called: a. String Quartet in B-flat Major ANS: D MSC: Applied DIF: Hard REF: 231 TOP: Program music 3. Liszt b. philosophical. Italy. 1812 Overture c. ANS: B MSC: Factual DIF: Easy REF: 233 TOP: Program music 5. Hector Berlioz was born and spent most of his career in: a. ANS: B MSC: Factual DIF: Easy REF: 231 TOP: Program music 2. Harold in Italy b. d. b. ANS: B MSC: Factual 178 DIF: Easy REF: 234 TOP: Berlioz . c. Romeo and Juliet d. Instrumental music endowed with literary. absolute music. program music. concert overture. program symphony. Italian Symphony b. Goethe’s poems c. Which of the following is NOT true of Berlioz’s Symphonie fantastique? a. The program is thought to be autobiographical. Which of the following is NOT a work by Berlioz? a. symphonic poem. ANS: C MSC: Applied DIF: Easy REF: 233 TOP: Berlioz 10. b. The program was inspired by the composer’s infatuation with an actress. ANS: A MSC: Applied DIF: Hard REF: 234 TOP: Berlioz 8. b. It calls for huge orchestral and choral forces. ANS: A MSC: Applied DIF: Hard REF: 233 TOP: Berlioz . The program deals entirely with nature. one c. Les Troyens c. Which of the following inspired Berlioz’s Symphonie fantastique? a. As is typical of French music. three b. c. concert overture. Berlioz’s Symphonie fantastique is an example of a: a. five ANS: D MSC: Factual DIF: Easy REF: 233 TOP: Berlioz 11. Symphonie fantastique ANS: C MSC: Factual DIF: Hard REF: 234 TOP: Berlioz 9. How many movements are in Berlioz’s Symphonie fantastique? a. d. Bach’s music ANS: B MSC: Factual DIF: Easy REF: 233 TOP: Berlioz 12. Roméo et Juliette d. Beethoven’s Ninth Symphony b. c. It has programmatic implications. the actress Harriet Smithson d.Personal Soundtracks: Berlioz and the Program Symphony | 179 7. d. The program presents a morbid artist in lovesick despair. Which of the following is NOT characteristic of the music of Berlioz? a. b. four d. the emotions are restrained. program symphony. d. It features brilliant orchestration. tone poem. c. dominance of the string instruments d. symbolizes the beloved.180 | Chapter 41 13. In Berlioz’s Symphonie fantastique. d. augmentation. b. b. The piano manufacturer in New York that made major improvements to the instrument was: a. minor mode ANS: B MSC: Applied DIF: Medium REF: 235 TOP: Berlioz 17. d. The technique of altering a theme to give it a different character is often called: a. The Dies irae is: a. c. c. thematic transformation. Wurlitzer. diabolical mood b. a theme and variations. In Berlioz’s Symphonie fantastique. the basic theme of the symphony. a chant from the Mass for the Dead. b. heard in the march movement ANS: C MSC: Factual DIF: Hard REF: 233 TOP: Berlioz 15. motivic development. d. d. c. ANS: A MSC: Factual DIF: Medium REF: 232 TOP: Musical instruments . Stradivarius. unifies the five movements. c. all of the above ANS: D MSC: Applied DIF: Medium REF: 233 TOP: Berlioz 14. a shepherd song in the third movement c. ANS: C MSC: Factual DIF: Medium REF: 226 TOP: Berlioz 18. which are diverse in character and mood. Chickering. heard in every movement d. ANS: A MSC: Factual DIF: Medium REF: 233 TOP: Berlioz 16. b. recurs as required by the literary program. the idée fixe in Berlioz’s Symphonie fantastique. Which of the following does NOT characterize the March to the Scaffold from Berlioz’s Symphonie fantastique? a. a Lied by Schubert. duple meter c. sequencing. Steinway. a chant from the Mass for the Dead appearing in the finale b. an opera by Berlioz. the idée fixe: a. what is the idée fixe? a. symbolizing the beloved. In his Symphonie fantastique. Beethoven’s Symphony No. Berlioz used a recurrent theme that he called the idée fixe. Music endowed with literary or pictorial associations is called absolute music. bassoon c. who excelled in composing orchestral works. Berlioz was awarded the Prix de Rome in the year that he wrote his Symphonie fantastique. Berlioz was one of the boldest musical innovators of the nineteenth century. 5 is a good example of a program symphony. ANS: T MSC: Factual DIF: Hard REF: 234 TOP: Berlioz 5.Personal Soundtracks: Berlioz and the Program Symphony | 181 19. ANS: F MSC: Applied DIF: Hard REF: 233 TOP: Program music 3. English horn d. valves for brass instruments c. Through which innovation did Theobald Boehm improve musical instruments? a. ANS: F MSC: Factual DIF: Medium REF: 234 TOP: Berlioz 6. ANS: F MSC: Factual DIF: Easy REF: 231 TOP: Program music 2. Berlioz. What new instrument was developed in the nineteenth century? a. wrote no operas. key mechanism for woodwinds d. saxophone ANS: D MSC: Factual DIF: Easy REF: 232 TOP: Musical instruments TRUE/FALSE 1. a stronger violin bow b. ANS: T MSC: Factual DIF: Easy REF: 233 TOP: Berlioz 4. ANS: T MSC: Factual DIF: Easy REF: 233 TOP: Berlioz . bugle b. the cast-iron frame for pianos ANS: B MSC: Factual DIF: Hard REF: 232 TOP: Musical instruments 20. March to the Scaffold. Describe the difference between program and absolute music. ANS: Answers will vary. ANS: T MSC: Factual DIF: Medium REF: 235 TOP: Berlioz 9. DIF: Easy MSC: Applied REF: 231f TOP: Program music 2. ANS: F MSC: Applied DIF: Medium REF: 233 TOP: Berlioz 8. citing examples of each. In Berlioz’s Symphonie fantastique. The fourth movement to the Symphonie fantastique contains two principal themes. ANS: T MSC: Factual DIF: Medium REF: 232 TOP: Musical instruments ESSAY 1.182 | Chapter 41 7. What is “Romantic” about the program and music of Berlioz’s Symphonie fantastique? ANS: Answers will vary. the idée fixe melody appears only at the very end of the fourth movement. The finale to the Symphonie fantastique projects a satanic character. ANS: T MSC: Applied DIF: Easy REF: 236 TOP: Berlioz 10. Adolphe Sax was responsible for developing valves for brass instruments. DIF: Medium REF: 233f TOP: Berlioz MSC: Conceptual . Music written for plays. ANS: D MSC: Factual DIF: Medium REF: 237 TOP: Program music 2. It can suggest a scene. Liszt d. opera overture.Chapter 42: Sounding a Nation: Grieg and Orchestral Nationalism MULTIPLE CHOICE 1. concert overture b. a symphonic poem. to which genre of program music would film soundtracks be most similar? a. Which of the following composers created the symphonic poem? a. d. c. Mendelssohn b. is called: a. Berlioz c. incidental music. c. ANS: C MSC: Applied DIF: Hard REF: 238 TOP: Program music 183 . through several contrasting sections. Which of the following does NOT characterize a symphonic poem? a. incidental music d. It consistently retains traditional Classical forms. d. It can create a mood. ANS: C MSC: Factual DIF: Easy REF: 238 TOP: Program music 5. develops a poetic idea or suggests a scene or mood is called: a. b. an overture. Tchaikovsky ANS: B MSC: Factual DIF: Hard REF: 238 TOP: Program music 6. a program symphony. incidental music. It has one movement. Had movies been invented in the nineteenth century. background music. program symphony. A one-movement piece of program music for orchestra that. b. concert overture. The concept of a program overture had its origin in the: a. d. b. b. generally consisting of an overture and a series of pieces to be performed between acts. a program symphony. symphonic poem ANS: B MSC: Conceptual DIF: Medium REF: 237f TOP: Program music 4. a symphonic poem. ANS: A MSC: Factual DIF: Easy REF: 237f TOP: Program music 3. d. c. symphonies of Beethoven. c. program symphony c. program symphony ANS: A MSC: Applied DIF: Medium REF: 238 TOP: Program music 9. b. Sibelius ANS: B MSC: Factual DIF: Medium REF: c. writing absolute music. d. b. Nationalism is characteristic of all of the following EXCEPT: a. d. ANS: A MSC: Factual DIF: Medium REF: c. d. ANS: B MSC: Applied DIF: Medium 11. all of the above ANS: A MSC: Factual DIF: Hard REF: 238 TOP: Nationalism 10. d. REF: program symphony. Germany. d. DvoĜák’s Slavonic Dances. 239 TOP: Nationalism 12. The “Mighty Five” were composers from: a. Tchaikovsky ANS: A MSC: Factual DIF: Medium 13. Grieg b. 238 TOP: Program music 8. Russia. employing songs and dances from their home countries in their works. musical poem. Tchaikovsky’s 1812 Overture. Which composer is from Finland? a. b. Which of the following was NOT a Russian composer? a. Another name for the symphonic poem is: a. symphonic poem d. Nationalistic composers expressed their nationalism by: a. Chopin’s sonatas. c. Liszt’s Hungarian Rhapsodies. REF: 239 TOP: Nationalism Musorgsky Elgar 239 TOP: Nationalism . c. Borodin c. tone poem. Bohemia. concerto c. Rimsky-Korsakov d. Smetana b. ANS: B MSC: Factual DIF: Hard c. borrowing exotic styles from other countries. Which of the following is NOT a type of orchestral program music? a. REF: 238 TOP: Nationalism Scandinavia. incidental music b. concerto overture.184 | Chapter 42 7. b. DIF: Hard REF: 240 TOP: Grieg George Bernard Shaw. 240 TOP: Grieg incidental music. an atmosphere of splendor b. d. Grieg was influenced by folk music and dances. Grieg collaborated with the playwright: a. a troll. Which of the following describes the music of Grieg? a. Grieg’s Peer Gynt is: a. b. a symphonic poem. ANS: A MSC: Factual DIF: Easy c. a program symphony. the romantic love of Peer Gynt and Ingrid. Spain. Anton Chekhov. c. b. all of the above ANS: D MSC: Applied DIF: Medium REF: 16. c. Grieg excelled at composing piano miniatures. the sunrise. d. sonata form b. Edvard Grieg was a composer from: a. 239 TOP: Grieg 15. REF: rondo A-B-A' 241 TOP: Grieg 20. b.Sounding a Nation: Grieg and Orchestral Nationalism | 185 14. Henrik Ibsen. variations ANS: D MSC: Applied DIF: Medium c. It is lyrical. Which of the following characterizes Grieg’s In the Hall of the Mountain King? a. two prominent themes c. ANS: D MSC: Factual DIF: Easy c. Norway. REF: 17. pastoral instruments ANS: B MSC: Applied DIF: Medium REF: 241 TOP: Grieg . d. b. an opera. ANS: A MSC: Factual DIF: Medium REF: 19. a huge crescendo and accelerando d. REF: Sweden. Peer Gynt’s love for his mother. d. Oscar Wilde. ANS: C MSC: Factual c. b. d. What is the form of Grieg’s Morning Mood? a. England. d. Morning Mood from Grieg’s Peer Gynt depicts:: a. 240 TOP: Smetana 240 TOP: Grieg 18. ANS: T MSC: Applied DIF: Easy REF: 238 TOP: Nationalism 5. ANS: F MSC: Factual DIF: Easy REF: 240 TOP: Grieg 9. ANS: F MSC: Factual DIF: Hard REF: 240 TOP: Grieg . Grieg composed no large-scale works in the Classical tradition. Incidental music for a play is generally considered to be absolute music. Edvard Grieg was a prominent composer from Norway. The growth of nationalism became a decisive force within the Romantic movement. The symphonic poem was developed during the nineteenth century. Smetana was a leading figure of the “Mighty Five” in Russia. The character Peer Gynt was an innocent young man caught up in a magical world. ANS: T MSC: Factual DIF: Easy REF: 239 TOP: Grieg 8. Nikolai Rimsky-Korsakov was a Russian composer.186 | Chapter 42 TRUE/FALSE 1. among other arts. ANS: F MSC: Applied DIF: Medium REF: 237 TOP: Program music 2. ANS: T MSC: Applied DIF: Easy REF: 238 TOP: Nationalism 4. ANS: F MSC: Factual DIF: Medium REF: 239 TOP: Nationalism 239 TOP: Nationalism 6. ANS: T MSC: Factual DIF: Easy REF: 7. Nationalism found natural expression in music. ANS: T MSC: Factual DIF: Medium REF: 238 TOP: Program music 3. How did nineteenth-century composers express nationalism in their music? Cite several examples in your response. ANS: Answers will vary. 1 is drawn from incidental music for a play. DIF: Hard REF: 240f TOP: Grieg MSC: Conceptual . 1 reflect the action of Ibsen’s play? ANS: Answers will vary. How does the music of Grieg’s Peer Gynt Suite No. ANS: T MSC: Factual DIF: Medium REF: 240 TOP: Grieg ESSAY 1. DIF: Medium REF: 237f TOP: Nationalism MSC: Applied 2.Sounding a Nation: Grieg and Orchestral Nationalism | 187 10. The music for Grieg’s Peer Gynt Suite No. b. the opera house to the church. the symphony d. the first movement c. theme and variations d. the symphonic poem ANS: D MSC: Applied DIF: Easy REF: 243f TOP: Absolute music 2. the public concert hall to the aristocratic palace. the piano trio b. a. ANS: C MSC: Applied DIF: Medium REF: 244 TOP: Romantic symphony 4. the fourth movement ANS: B MSC: Applied DIF: Easy REF: 244f TOP: Romantic symphony 6. form. the aristocratic palace to the church. ANS: A MSC: Applied DIF: Easy REF: 244 TOP: Absolute music 3. programmatic images. The first movement of a symphony is usually in ________ form. Which movement of a symphony is traditionally the slowest? a. the second movement d. sonata-allegro d. Which of the following is NOT a type of absolute music? a. b. minuet or scherzo b. thematic transformation.Chapter 43: Absolutely Classic: Brahms and the Nineteenth-Century Symphony MULTIPLE CHOICE 1. sonata-allegro c. none of the above ANS: C MSC: Conceptual 188 DIF: Medium REF: 245 TOP: Romantic symphony . The most important organizing element in absolute music is: a. Which movement of a Romantic symphony is most likely to be strongly rhythmic and dancelike? a. the aristocratic palace to the public concert hall. concerts had moved from: a. improvisation. d. the concerto c. c. theme and variations c. d. rondo ANS: B MSC: Applied DIF: Medium REF: 244 TOP: Romantic symphony 5. By the Romantic era. scherzo b. the third movement b. c. Vienna. b. The standard four-movement structure of a Romantic symphony is: a. Joseph Joachim. b. Robert Schumann. Clara Schumann. Robert Schumann. c. fast-fast-slow-fast. d. b. 244 TOP: Brahms 10. Hector Berlioz. b. d. ANS: B MSC: Factual DIF: Easy REF: 244 TOP: Brahms . Brahms maintained a lifelong. c. Franz Liszt. c. Fanny Mendelssohn. REF: 244f TOP: Romantic symphony Berlin.Absolutely Classic: Brahms and the Nineteenth-Century Symphony | 189 7. two d. slow-dance-fast-fast. London. fast-slow-dance-fast. d. Brahms was recognized as a future leader in music by: a. Brahms spent his later years in: a. Wagner c. How many movements does a typical Romantic symphony contain? a. Liszt d. ANS: D MSC: Factual DIF: Hard REF: 244 TOP: Brahms 12. d. one c. b. Brahms composed his German Requiem after the death of: a. George Sand. c. Mendelssohn ANS: C MSC: Factual DIF: Easy REF: 244 TOP: Brahms 13. close relationship with: a. slow-fast-slow-dance. ANS: A MSC: Factual DIF: Medium REF: c. his mother. ANS: C MSC: Applied DIF: Medium 9. Amy Beach. d. Brahms b. Paris. four ANS: D MSC: Factual DIF: Easy REF: 245 TOP: Romantic symphony 8. ANS: B MSC: Factual DIF: Hard REF: 244 TOP: Brahms 11. Which young composer did Robert and Clara Schumann take into their home? a. three b. Clara Schumann. Joseph Joachim. Berlioz c. 3 is: a. d. oboes. rondo. Which of the following was a major composer of Lieder? a. programmatic images b. Brahms is often described as a(n) ________ because of his use of the forms established by the Classical masters. nationalist b. ternary. full orchestra. four b. The opening theme of the third movement of Brahms’s Symphony No. Impressionist d. ANS: A MSC: Factual DIF: Hard REF: 245 TOP: Brahms symphony . shifting moods d. a melancholic waltz b. Brahms wrote ________ symphonies. b. Chopin d. d. 3? a. a stately minuet c. a fast scherzo d. Brahms b. binary. c. Romanticist ANS: A MSC: Applied DIF: Easy REF: 245 TOP: Brahms symphony 17. five ANS: A MSC: Factual DIF: Easy c. cyclic unity ANS: C MSC: Applied DIF: Medium REF: 245 TOP: Brahms symphony 18. theme and variations. cellos. classical forms c. French horns. a. traditionalist c.190 | Chapter 43 14. ANS: B MSC: Applied DIF: Medium REF: 245 TOP: Brahms symphony 19. a funeral dirge ANS: C MSC: Applied DIF: Easy REF: 245 TOP: Brahms symphony 20. Which of the following best describes the style of the third movement of Brahms’s Symphony No. The structure of the third movement of Brahms’s Symphony No. 3 is first played by the: a. all of the above ANS: C MSC: Factual DIF: Medium REF: 244 TOP: Brahms 16. Which of the following does NOT characterize Brahms’s Symphony No. c. b. a. d. REF: nine 104 244 TOP: Brahms symphony 15. 3? a. The symphony was a new genre in the Romantic era. ANS: F MSC: Applied DIF: Medium REF: 244 TOP: Absolute music 3. The typical Romantic symphony has four movements. The great love of Brahms’s life was Clara Schumann. ANS: T MSC: Factual DIF: Easy REF: 244 TOP: Romantic symphony 5.Absolutely Classic: Brahms and the Nineteenth-Century Symphony | 191 TRUE/FALSE 1. Brahms’s Symphony No. ANS: T MSC: Applied DIF: Easy REF: 244 TOP: Brahms 8. ANS: T MSC: Applied DIF: Medium REF: 246 TOP: Brahms symphony 246 TOP: Brahms symphony 9. musical ideas are organized without the aid of external images provided by a program. ANS: T MSC: Factual DIF: Easy REF: 243 TOP: Absolute music 2. Brahms wrote his symphonies in a Romantic harmonic idiom but in Classical form. Classical forms were abandoned during the Romantic era. ANS: T MSC: Factual DIF: Easy REF: 245 TOP: Romantic symphony 6. The fourth movement of a Romantic symphony has dimension and character designed to balance the first movement. ANS: F MSC: Applied DIF: Easy REF: . In absolute music. ANS: F MSC: Factual DIF: Easy REF: 244 TOP: Romantic symphony 4. Robert Schumann recognized Brahms as a great innovator who would move music beyond the Classical forms. ANS: F MSC: Applied DIF: Easy REF: 244 TOP: Brahms 7. 3 is a program symphony. DIF: Easy MSC: Applied REF: 244f TOP: Romantic symphony 2. Discuss the Romantic symphony. citing specific examples in your response. ANS: Answers will vary. The third movement of Brahms’s Symphony No. ANS: Answers will vary. Include examples in your answer. Discuss the mixture of Classical and Romantic qualities in the music of Brahms. DIF: Medium MSC: Applied REF: 244f TOP: Brahms symphony . 3 in F major is a rollicking scherzo. ANS: F MSC: Applied DIF: Easy REF: 246 TOP: Brahms symphony ESSAY 1.192 | Chapter 43 10. Giuseppe Verdi. Singspiel. a style of singing that features agility and purity of tone. opéra comique. d. Which of the following composed The Barber of Seville and William Tell? a. b. Donizetti c. Bellini b. Bellini b. the new melodic recitative of the nineteenth century. ANS: C MSC: Factual DIF: REF: c. Vincenzo Bellini. The term bel canto refers to: a. Giuseppina Strepponi b. ANS: D MSC: Factual DIF: Hard 3. d. Clara Schumann ANS: B MSC: Factual DIF: Hard REF: 247 TOP: Women in opera 2. Richard Wagner. Gaetano Donizetti. c. the standard form of nineteenth-century Italian arias. Louise Bertin c. opera seria. Rossini ANS: D MSC: Factual DIF: Medium REF: 248 TOP: Italian opera 6.Chapter 44: Multimedia Hits: Verdi and Italian Romantic Opera MULTIPLE CHOICE 1. Rossini ANS: B MSC: Applied DIF: Medium REF: 247f TOP: Italian opera 5. 248 TOP: Italian opera 4. Bizet d. b. Bizet d. Which nineteenth-century opera singer made a great impression in America by performing both opera excerpts and parlor songs? a. Jenny Lind d. Donizetti c. a female singer who performs male roles. Medium REF: 247 TOP: Women in opera opera buffa. b. d. c. Italian comic opera is called: a. The singing star Giuseppina Strepponi helped launch the career of: a. Which of the following was NOT a leading composer of Italian opera? a. ANS: C MSC: Applied DIF: Medium REF: 248 TOP: Italian opera 193 . Liszt ANS: A MSC: Factual DIF: Easy REF: 248 TOP: Verdi opera 8. Which of the following wrote the play that was the source of Verdi’s inspiration for Rigoletto? a. Hoffmann c. had raunchy dance scenes. Macbeth c. Aida ANS: D MSC: Factual DIF: Medium REF: 249 TOP: Verdi opera 11. ANS: C MSC: Factual DIF: Easy REF: 249 TOP: Verdi opera Carmen Aida 249 TOP: Verdi opera 10. Arrigo Boito ANS: C MSC: Factual DIF: Hard 13. E. Which of the following operas is NOT by Verdi? a. Aida b. ANS: A MSC: Applied DIF: Medium REF: 9. Piave. REF: 249 TOP: Verdi opera Metastasio. ANS: B MSC: Factual DIF: Hard REF: c. Goethe. Il trovatore c. b. Victor Hugo b. Chopin d. Rigoletto d. was based on Roman history. b. The librettist for Verdi’s Rigoletto was: a. 250 TOP: Verdi opera . A. Johann Wolfgang von Goethe d.194 | Chapter 44 7. ________ was Verdi’s last opera. c. b. Rigoletto d. Which of the following was a widely beloved nationalist opera composer? a. which he completed at age eighty. Carmen b. Falstaff ANS: D MSC: Factual DIF: Hard REF: 249 TOP: Verdi opera 12. Brahms b. Rigoletto d. d. d. T. Verdi c. contained popular tunes. Il trovatore c. was interpreted as a symbol of Italian independence. Verdi’s opera Nabucco was hugely popular in Italy because it: a. a. Boito. Which Verdi opera was commissioned for a performance in Cairo to mark the opening of the Suez Canal? a. Shanghai d. REF: Sparafucile Gilda. c. d. b. duet. It is in strophic form. Beijing b. d. c. Kaohsiung ANS: C MSC: Factual DIF: Medium REF: 254 TOP: Chinese opera 18. a. erhu d. b. It has contrapuntal orchestral accompaniment. pipa c. It was considered to be a model play. Rigoletto’s daughter 249 TOP: Verdi opera 15. shakuhachi b. colorful costumes b. Which of the following describes The Story of the Red Lantern? a. d. It is an aria about seduction. Which of the following are characteristic of Beijing opera? a. c. Which of the following does NOT characterize “La donna è mobile. all of the above ANS: D MSC: Applied DIF: Medium REF: 254 TOP: Chinese opera 19. d. sextet. ANS: D MSC: Applied DIF: Medium REF: 250 TOP: Verdi opera 16. Rigoletto b. b. The leading form of musical theater in China is called ________ opera. Hong Kong c.” from Verdi’s Rigoletto? a. Who dies at the end of Rigoletto? a.Multimedia Hits: Verdi and Italian Romantic Opera | 195 14. the duke of Mantua ANS: D MSC: Factual DIF: Medium c. yang qin ANS: C MSC: Factual DIF: Medium REF: 255 TOP: Chinese opera . The ensemble that follows “La donna è mobile” in Act III of Rigoletto is a(n): a. It was based on the story of Rigoletto. all of the above ANS: A MSC: Applied DIF: Medium REF: 254 TOP: Chinese opera 20. ANS: B MSC: Factual DIF: Medium REF: 250 TOP: Verdi opera 17. It has a triple meter. quartet. It failed to foster the ideals of communism. octet. dance d. stylized gestures c. Which of the following is NOT a Chinese instrument? a. 196 | Chapter 44 TRUE/FALSE 1. ANS: T MSC: Applied DIF: Hard REF: 249 TOP: Verdi opera 5. Verdi turns away from tuneful melodies to heighten the dramatic action. strophic form with a refrain. ANS: T MSC: Factual DIF: Hard REF: 254 TOP: Chinese opera . The aria “La donna è mobile. Bellini. Verdi’s Aida could be viewed as an example of exoticism because of its Egyptian setting. The Story of the Red Lantern was considered to be a model play by the Chinese communist government. ANS: T MSC: Applied DIF: Medium REF: 254 TOP: Chinese opera 8. Verdi’s operas stirred a revolutionary spirit within the Italian people. Women achieved prominence during the Romantic era as opera singers. ANS: F MSC: Applied DIF: Medium REF: 249 TOP: Verdi opera 7.” from Verdi’s Rigoletto. the first major composer of Romantic Italian opera. ANS: T MSC: Applied DIF: Medium REF: 249 TOP: Verdi opera 6. is set in simple. In Rigoletto. The Cultural Revolution movement in China placed a high priority on Chinese opera. ANS: F MSC: Factual DIF: Hard REF: 248 TOP: Italian opera 3. is celebrated for his music for William Tell. Opera has been a leading form of entertainment in China for centuries. ANS: T MSC: Factual DIF: Easy REF: 247 TOP: Women in opera 2. ANS: F MSC: Applied DIF: Medium REF: 254 TOP: Chinese opera 9. ANS: T MSC: Factual DIF: Easy REF: 248 TOP: Verdi opera 4. ANS: Answers will vary.Multimedia Hits: Verdi and Italian Romantic Opera | 197 10. ANS: F MSC: Factual DIF: Hard REF: 255 TOP: Chinese opera ESSAY 1. The Chinese plucked lute is called the erhu. What are the principal characteristics of nineteenth-century Italian opera? Name the major composers and several representative works. DIF: Medium REF: 248 TOP: Italian opera MSC: Applied 3. Why do Verdi’s operas have such enduring popular appeal? Cite examples from the textbook. Include descriptions of the careers of specific singers. Discuss the success that women achieved as operatic singers during the nineteenth century. ANS: Answers will vary. DIF: Medium REF: 249f TOP: Verdi opera MSC: Conceptual . ANS: Answers will vary. DIF: Hard MSC: Conceptual REF: 247f TOP: Women in opera 2. b. Which of the following does NOT characterize Singspiel? a. The Flying Dutchman. Mozart’s opera The Magic Flute is an example of this genre.Chapter 45: Total Art: Wagner and German Romantic Opera MULTIPLE CHOICE 1. c. b. ANS: D MSC: Factual DIF: Hard REF: 257 TOP: Wagner opera Müller. d. Wagner chose to base his early operas on: a. Wagner himself. dramas of historical intrigue. 257 TOP: Wagner opera 5. medieval German epics. The librettist for Wagner’s music dramas was: a. Schumann ANS: C MSC: Applied DIF: Easy REF: 256 TOP: Wagner opera 3. REF: 257 TOP: Wagner opera ancient Greek tragedies. d. Which of the following is NOT an opera from the Ring cycle? a. Götterdämmerung ANS: B MSC: Applied DIF: Hard 6. 257 TOP: Wagner opera . The plots were generally light or comic. b. b. Which composer is considered the single most important figure in the artistic world of the latter half of the nineteenth century? a. Faust. It was the immediate predecessor of German Romantic opera. Das Rheingold b. It featured elaborate recitatives and arias. Berlioz c. Goethe. Wagner b. ANS: C MSC: Factual DIF: Hard REF: 4. Rienzi. c. Wagner’s first operatic success was a grand opera entitled: a. Tristan and Isolde. d. c. ANS: B MSC: Applied DIF: Medium REF: 256 TOP: Romantic opera 2. Die Meistersinger von Nürnberg d. Siegfried c. d. Schubert d. Heine. biblical stories. ANS: B MSC: Applied 198 DIF: Medium REF: c. libretti. tone poems. d. music dramas. Wagner called his operas: a. Brahms d. b. visual spectacle—are fused together. Tristan and Isolde. b. b. Die Meistersinger von Nürnberg. the overture b. Dresden c. leitmotifs. 257 TOP: Wagner opera 8. cyclic unity. Munich d. d. c. In his Ring of the Nibelung. separate arias c. which recur throughout and carry specific meanings. is called: a. the orchestra d.Total Art: Wagner and German Romantic Opera | 199 7. b. the Ewigemelodie. Wagner’s cycle of four music dramas is called: a. c. Wagner ANS: D MSC: Applied DIF: Hard REF: 257 TOP: Wagner opera . fixed ideas. Which composer’s musical language was based on chromatic harmony? a. which characteristic of traditional opera did Wagner eliminate? a. poetry. ANS: B MSC: Applied DIF: Easy REF: 257 TOP: Wagner opera 13. d. Easy REF: 257 TOP: Wagner opera oratorios. The principal themes in Wagner’s operas. in which all the arts—music. costumes ANS: A MSC: Applied DIF: Medium REF: 257 TOP: Wagner opera 10. a. Lohengrin. ANS: C MSC: Factual DIF: Easy REF: The Ring of the Nibelung. Mendelssohn c. d. A special theater was built at ________ for the presentation of Wagner’s music dramas. leitmotifs. motives. ANS: B MSC: Factual DIF: REF: c. 257 TOP: Wagner opera 12. drama. operettas. ANS: A MSC: Applied DIF: Medium 11. Berlin b. are called: a. Bayreuth ANS: D MSC: Factual DIF: Hard REF: 257 TOP: Wagner opera 9. c. Verdi b. Wagner’s total artwork. the Gesamtkunstwerk. overcome with compassion. Scene 1 of Die Walküre. In the orchestral prelude to Act III of Wagner’s Die Walküre. Which of the following does NOT characterize the music of Act III. The music flows continuously. d. the enemies of Wotan ANS: A MSC: Applied DIF: Easy REF: 258 TOP: Wagner opera 17. the nine daughters of Wotan c. she attempted to save Siegmund’s life in battle c. The emotional quality of Wagner’s music is heightened by his use of: a.200 | Chapter 45 14. because. percussion. b. The battle cries of the Valkyries can be heard. b. the Nibelung dwarfs d. brass. Scene 1 of Die Walküre? a. to die in battle ANS: B MSC: Applied DIF: Hard REF: 259 TOP: Wagner opera . ANS: C MSC: Applied DIF: Easy REF: 258 TOP: Wagner opera 19. ANS: C MSC: Applied DIF: Medium REF: 15. c. ANS: A MSC: Applied DIF: Medium REF: 259 TOP: Wagner opera 20. who are the Valkyries? a. In the Ring cycle. Siegfried c. the Ride theme primarily is played by: a. ANS: C MSC: Factual DIF: Medium REF: 258 TOP: Wagner opera Wotan Brünnhilde 258 TOP: Wagner opera 16. the Rhine maidens b. what are the Valkyries carrying on their horses? a. because she fell in love with a mastersinger of Nuremburg d. In Act III. fallen heroes d. d. c. Major and minor harmonies alternate. because she allowed her winged horse. The orchestra plays a subordinate role. c. because she drew the sword out of the stone b. In Wagner’s Ring of the Nibelung. woodwinds. rubato. d. chromatic dissonance. strings. who is the father of the gods? a. slain foes ANS: B MSC: Factual DIF: Hard REF: 258 TOP: Wagner opera 18. separate arias. b. armor b. Pegasus. Why does Wotan deprive Brünnhilde of her immortality and leave her sleeping inside a ring of fire? a. b. weapons of war c. Loge d. exotic instruments. ANS: T MSC: Applied DIF: Easy REF: 257 TOP: Wagner opera 6. In Wagner’s Ring operas. In Wagner’s operas. ANS: F MSC: Applied DIF: Hard REF: 257 TOP: Wagner opera 3. Wagner’s operas employ the supernatural as an element of drama and glorify the German land and people. are called leitmotifs. emotions. Wagner frequently changed librettists while composing his music dramas. Wagner strove for a continuous flow of melody. or ideas. the recurring themes. Wagner pushed major-minor tonality to extreme limits with his style of chromatic harmony.Total Art: Wagner and German Romantic Opera | 201 TRUE/FALSE 1. Because of his dominating personality. which represent specific characters. Brünnhilde is the wife of Wotan. ANS: F MSC: Factual DIF: Medium REF: 258 TOP: Romantic opera . ANS: T MSC: Applied DIF: Medium REF: 257 TOP: Wagner opera 8. ANS: F MSC: Applied DIF: Medium REF: 257 TOP: Wagner opera 7. ANS: F MSC: Applied DIF: Easy REF: 257 TOP: Wagner opera 5. Richard Wagner composed the first Singspiel. ANS: F MSC: Factual DIF: Easy REF: 256 TOP: Romantic opera 2. ANS: T MSC: Factual DIF: Easy REF: 257 TOP: Wagner opera 9. ANS: T MSC: Applied DIF: Medium REF: 257 TOP: Wagner opera 4. Wagner did not wish to change the prevailing form of opera in the nineteenth century. The focal point of Wagnerian music drama is the voice. unlike the divisions of aria and recitative in Italian opera. DIF: Hard MSC: Applied REF: 257f TOP: Wagner opera . Describe Wagner’s innovations in opera and his desire to unite music and drama. Give examples from works mentioned in the textbook. DIF: Hard MSC: Applied REF: 256f TOP: Wagner opera 2. ANS: Answers will vary. and musical qualities of The Ring of the Nibelung. ANS: Answers will vary.202 | Chapter 45 10. Describe the background. story. ANS: T MSC: Factual DIF: Easy REF: 259 TOP: Wagner opera ESSAY 1. One of the leitmotifs from Wagner’s Die Walküre is the “magic fire” music. d. b. France. England. d. Marius Petipa b. ANS: C MSC: Factual DIF: Hard REF: 262 TOP: Romantic ballet 5. b. d. The masque was a spectacle incorporating dance in: a. ANS: B MSC: Applied DIF: Hard REF: 263 TOP: Tchaikovsky ballet 203 . b. b. d. England. England. the break after Act I. c. Russia. Tchaikovsky. ANS: B MSC: Applied DIF: Hard c. Which country rose to prominence in ballet during the late nineteenth century? a. ANS: A MSC: Factual DIF: REF: c.Chapter 46: Poetry in Motion: Tchaikovsky and the Ballet MULTIPLE CHOICE 1. Peter Ilyich Tchaikovsky ANS: C MSC: Factual DIF: Hard 6. The concept of ballet dates back to the: a. d. France. d. b. Musorgsky. Renaissance. Vaslav Nijinsky d. The dominant center of ballet in the early nineteenth century was: a. a large climactic dance by the corps. b. Rimsky-Korsakov. the pas de deux is: a. Middle Ages. Borodin. The development of Russian ballet was stimulated by the great choreographer ________. a. Italy. ANS: D MSC: Factual DIF: Hard REF: 262 TOP: Ballet 3. 262 TOP: Romantic ballet 7. France. Mikhail Baryshnikov c. c. c. 262 TOP: Ballet 2. ANS: A MSC: Factual DIF: Hard REF: 262 TOP: Romantic ballet 4. In ballet. a dance for two. Russia. c. Russia. REF: Baroque. Italy. Italy. The first Russian composer whose music appealed to Western tastes was: a. Hard REF: 262 TOP: Romantic ballet the denouement of the narrative. Classical era. b. Rimsky-Korsakov b. Which great Russian choreographer created the dances for The Nutcracker? a. ANS: D MSC: Factual DIF: Easy REF: 263 TOP: Tchaikovsky ballet symphonies all of the above 263 TOP: Tchaikovsky ballet 10. Victor Hugo. Vaslav Nijinsky d. Which of the following Russian composers was famous for his ballets? a. Anton Rubinstein c. Pathétique. The Nutcracker ANS: A MSC: Factual DIF: Medium REF: 263 TOP: Tchaikovsky ballet 12. Which of the following was Tchaikovsky’s principal patron? a. T. Sleeping Beauty b. operas d. ballets c. REF: 264 TOP: Tchaikovsky ballet E. A. Nijinsky b. Hoffmann. Cui d. Eugene Onegin c. d. Nadezhda von Meck b.204 | Chapter 46 8. Tchaikovsky c. ANS: D MSC: Factual DIF: Easy REF: 263 TOP: Tchaikovsky ballet . ANS: D MSC: Factual DIF: Hard REF: c. d. The Nutcracker. b. b. Musorgsky ANS: A MSC: Applied DIF: Easy REF: 263 TOP: Tchaikovsky ballet 11. Petipa ANS: D MSC: Factual DIF: Hard 13. Serge Diaghilev ANS: C MSC: Factual DIF: Hard REF: 9. Diaghilev c. Marius Petipa. Swan Lake. 264 TOP: Tchaikovsky ballet 14. What type of works did Tchaikovsky compose? a. Baryshnikov d. Which of the following is NOT a ballet by Tchaikovsky? a. c. The Nutcracker is based on a story by: a. Sleeping Beauty. Swan Lake d. Prosper Merimée. Tchaikovsky’s fanciful ballet about a child’s Christmas gift and dreams of exotic people and places is: a. organ. The pas de deux is a Western-style two-step dance. A. The first major center of ballet was France. Bohemia. The Nutcracker is a real-life story set at Christmastime. ANS: T MSC: Applied DIF: Medium 2. China. harpsichord. 264 TOP: Tchaikovsky ballet Russia. The keyboard instrument featured in the Dance of the Sugar Plum Fairy. d. The Nutcracker is based on a story by E. ANS: C MSC: Factual DIF: Medium REF: c. celesta. ANS: T MSC: Applied DIF: Hard REF: 263 TOP: Tchaikovsky ballet 5. Hoffmann. c. from The Nutcracker.Poetry in Motion: Tchaikovsky and the Ballet | 205 15. The Arab Dance and the Chinese Dance. ANS: T MSC: Factual DIF: Easy REF: 263 TOP: Tchaikovsky ballet 6. b. REF: 264 TOP: Tchaikovsky ballet REF: 262 TOP: Romantic ballet 262 TOP: Romantic ballet TRUE/FALSE 1. T. ANS: F MSC: Factual DIF: Easy REF: 263 TOP: Tchaikovsky ballet 7. d. is the: a. are examples of exoticism. piano. Tchaikovsky suffered from depression and guilt over his homosexuality. ANS: T MSC: Applied DIF: Medium REF: 264 TOP: Tchaikovsky ballet . ANS: T MSC: Factual DIF: Easy REF: 263 TOP: Tchaikovsky ballet 4. ANS: F MSC: Factual DIF: Medium REF: 3. from The Nutcracker. b. ANS: B MSC: Factual DIF: Medium 16. Arabia. The trepak is a folk dance from: a. Tchaikovsky was known for his symphonies and operas as well as for his ballets. ANS: F MSC: Factual DIF: Medium ESSAY 1. What is exotic about Tchaikovsky’s ballet The Nutcracker? ANS: Answers will vary. DIF: Medium MSC: Conceptual REF: 263f TOP: Tchaikovsky ballet .. ANS: T MSC: Applied DIF: Medium REF: 264 TOP: Tchaikovsky ballet 9. The celesta has a bell-like tone.206 | Chapter 46 8. Trace the development of ballet from the Renaissance through the late nineteenth century. The Dance of the Sugar Plum Fairy and the Trepak are both in an A-B-A form. ANS: Answers will vary. The trepak is a folk dance from Arabia. DIF: Medium REF: 262f TOP: Ballet MSC: Conceptual 2. ANS: T MSC: Factual DIF: Medium REF: 265 TOP: Tchaikovsky ballet REF: 264 TOP: Tchaikovsky ballet 10. Mahler d. What name is given to the expansion and intensification of late Romantic trends? a. c. Mascagni b. Puccini c. surrealism c. La Traviata d. exoticism d. ANS: C MSC: Applied DIF: Medium REF: 267 TOP: Post-Romantic opera 5. Madame Butterfly c. Leoncavallo ANS: A MSC: Applied DIF: Medium REF: 267 TOP: Post-Romantic opera 207 . Puccini d. Which of the following operas is an example of exoticism? a. minimalist b. impressionism b. verismo.Chapter 47: Exotic Allure: Puccini and the Italian Verismo Tradition MULTIPLE CHOICE 1. Impressionist c. post-Romantic d. d. Tristan und Isolde b. Which of the following composers did NOT compose in the verismo style? a. all of the above ANS: A MSC: Applied DIF: Hard REF: 266 TOP: Post-Romantic music 4. Expressionist ANS: B MSC: Factual DIF: Easy REF: 266 TOP: Post-Romantic music 2. bel canto. The late-Romantic Italian opera tradition was characterized by a movement toward realism. Which of the following is NOT a major figure in post-Romanticism? a. b. Brahms ANS: D MSC: Applied DIF: Medium REF: 266 TOP: Post-Romantic music 3. verismo ANS: C MSC: Applied DIF: Easy REF: 267 TOP: Post-Romantic music 6. Richard Strauss b. opera seria. With which operatic movement is realism is associated? a. called: a. Verdi c. music drama. c. d. d. triumphantly.S.208 | Chapter 47 7. Puccini’s Madame Butterfly is: a. d. a tragic tale of a Japanese geisha and a U. a wife. Tosca ANS: C MSC: Factual DIF: Hard REF: 267 TOP: Puccini opera 10. naval officer. inconclusively. A Japanese geisha is best compared in Western culture with: a. b. ANS: A MSC: Applied DIF: Medium REF: 268 TOP: Puccini opera . a Chinese fairy tale about a beautiful but cruel princess. so that a sequel could follow. return to the classical ideals of form and symmetry. choose subjects from everyday life and treat them realistically. a comedy about the head of a Japanese brothel. b. c. The leading composer of Italian opera in the late-Romantic era was: a. none of the above ANS: C MSC: Applied DIF: Easy REF: 267 TOP: Post-Romantic opera 8. ANS: B MSC: Factual DIF: Easy REF: 12. Madame Butterfly c. c. b. d. a prostitute. a courtesan. Puccini’s Madame Butterfly ends: a. Rossini c. c. a Japanese folk tale about an orphan who grows up to be a princess. remove chromaticism from German styles. Verismo was a late-Romantic movement in opera that sought to: a. b. ANS: A MSC: Applied DIF: Easy REF: 267f TOP: Puccini opera 267 TOP: Puccini opera 11. tragically. Mascagni ANS: C MSC: Factual DIF: Hard REF: 267 TOP: Puccini 9. Leoncavallo d. Which of the following operas is NOT by Puccini? a. Pagliacci b. happily. a warrior. La bohème d. Puccini b. Which of the following exotic elements can be heard in the opera Madame Butterfly? a. ANS: F MSC: Factual DIF: Hard 3. c. her love for her son. ANS: F MSC: Applied DIF: Medium REF: 266 TOP: Post-Romantic opera REF: 267 TOP: Puccini opera 2. Madama Butterfly was Puccini’s last opera. ANS: T MSC: Applied DIF: Easy REF: 267 TOP: Puccini opera 4. Puccini’s operas are associated with the verismo movement. ANS: T MSC: Applied DIF: Easy REF: 268 TOP: Puccini opera . is an example of exoticism. goes to the United States with Pinkerton.Exotic Allure: Puccini and the Italian Verismo Tradition | 209 13. her wish for her husband to return. kills herself. 271 TOP: Puccini opera TRUE/FALSE 1. her plan to kill herself. pentatonic and whole-tone scales c. her life as a geisha. d. instrument combinations that evoke the Japanese gagaku d. Post-Romanticism was a movement that rebelled against the late Romantic ideals. Medium REF: 268 TOP: Puccini opera a poetic form. ANS: C MSC: Factual DIF: Medium 16. b. In her aria “Un bel dì. a kind of flute. c. d. Puccini’s opera Madame Butterfly. Japanese melodies b. At the close of the opera Madame Butterfly. marries Prince Yamadori. all of the above ANS: D MSC: Conceptual DIF: Hard REF: 268 TOP: Puccini opera 15. ANS: A MSC: Factual DIF: Easy REF: 268 TOP: Puccini opera 14. The Japanese shamisen is: a. ANS: D MSC: Factual DIF: REF: c. returns to her life as a geisha. b. a plucked string instrument. the title character: a. with its Japanese melodies and pentatonic and whole-tone scales. b. Cio-Cio-San sings of: a. a hand drum. d.” from Madame Butterfly. despite the setting in Japan. ANS: T MSC: Factual DIF: Medium REF: 268 TOP: Puccini opera 8. elaborate costumes and makeup. The music for Puccini’s Madame Butterfly is entirely European in conception. ANS: F MSC: Applied DIF: Medium REF: 271 TOP: Japanese music ESSAY 1. Cio-Cio-San. Japanese folk music often has complicated supporting harmonies. Describe the verismo movement. The joyful mood of “Un bel dì” from Puccini’s Madame Butterfly foretells the ending of the opera. ANS: F MSC: Factual DIF: Medium REF: 268 TOP: Puccini opera 9. worked as a geisha prior to her marriage. ANS: F MSC: Applied DIF: Easy REF: 268 TOP: Puccini opera 7.210 | Chapter 47 5. ANS: T MSC: Applied DIF: Easy REF: 268 TOP: Puccini opera 6. Who were the major composers? What are some of their operas? ANS: Answers will vary. The libretto for Madame Butterfly reflects Western fascination with Japanese culture in the late nineteenth century. Kabuki is a type of Japanese play with music. DIF: Medium MSC: Conceptual REF: 267f TOP: Puccini Opera . ANS: T MSC: Factual DIF: Medium REF: 271 TOP: Japanese music 10. in Puccini’s Madame Butterfly. DIF: Medium MSC: Conceptual REF: 267 TOP: Romantic opera 2. What are the exotic elements in Puccini’s Madame Butterfly? ANS: Answers will vary. parlor song. symphony d. organ accompaniment. Wagner’s music dramas c. a full orchestra. a chamber orchestra. grand operatic productions b. opera c. mélodie. Claude Debussy b. song ANS: D MSC: Applied DIF: Medium 7. a. Which of the following was NOT a French symbolist poet? a. Nadia Boulanger ANS: B MSC: Factual DIF: Medium REF: c. Which of the following was NOT a major musical stream in French romantic music? a. ANS: C MSC: Factual DIF: Medium REF: 272 TOP: French Romantic music 3. Of which genre is Fauré is considered to be a master? a. composing religious music d. Paul Verlaine d. ANS: A MSC: Factual DIF: Easy REF: c. teaching b. c. Victor Hugo ANS: D MSC: Factual DIF: Hard REF: 273 TOP: French Romantic music 4. 273 TOP: Fauré 211 . b. string quartet b. Lied. playing the organ ANS: A MSC: Factual DIF: Medium 5. b. Which of the following was NOT one of Fauré’s major musical activities? a. French composers developed a type of art song called the: a. ________ was one of Fauré’s students. salon piano music ANS: A MSC: Applied DIF: Easy REF: 272 TOP: French Romantic music 2. minstrel song. d. d. conducting c. Charles Baudelaire c. Fauré’s Requiem was originally scored for: a. Stéphane Mallarmé b. REF: 273 TOP: Fauré Nicole Niedermeyer Camille Saint-Saëns 273 TOP: Fauré 6. d. ballet d.Chapter 48: Accepting Death: Fauré and the Requiem MULTIPLE CHOICE 1. REF: 273 TOP: Fauré a cappella performance. A-B-A'. Fauré became director of the Paris Conservatory. strophic. ecstatic. serene. ANS: F MSC: Factual DIF: . As shown in his Requiem. c. Sacred music was of little importance in French romantic music. ANS: C MSC: Applied DIF: Easy REF: 275 TOP: Fauré TRUE/FALSE 1. dramatic. ANS: F MSC: Applied DIF: Medium REF: 273 TOP: French Romantic music 3. ANS: T MSC: Factual DIF: Easy REF: 273 TOP: Fauré Medium REF: 273 TOP: Fauré 5. ANS: C MSC: Applied DIF: Medium REF: 274 TOP: Fauré 10. Fauré preferred larger musical forms. c. contralto d. The mélodie accommodated the unique features of the French language. mournful. d. ANS: F MSC: Applied DIF: Easy REF: 273 TOP: Fauré 4. rondo. The form of the Libera me from Fauré’s Requiem is: a. ANS: T MSC: Applied DIF: Medium REF: 272 TOP: French Romantic music 2. d. b. through composed. yet drew inspiration from Schubert. Fauré composed no operas. b. The mood at the end of Libera me from Fauré’s Requiem is: a. tenor b. baritone ANS: D MSC: Factual DIF: Medium REF: 273 TOP: Fauré 9. The Libera me from Fauré’s Requiem features which vocal soloist? a.212 | Chapter 48 8. soprano c. Fauré altered the texts in his setting of the Requiem Mass.Accepting Death: Fauré and the Requiem | 213 6. ANS: Answers will vary. ANS: F MSC: Factual DIF: Easy REF: 9. ANS: T MSC: Factual DIF: Hard REF: 275 TOP: Fauré 10. ANS: F MSC: Applied DIF: Easy REF: 275 TOP: Fauré ESSAY 1. ANS: T MSC: Applied DIF: Medium REF: 273 TOP: Fauré 7. DIF: Hard MSC: Conceptual REF: 272f TOP: French Romantic music 2. Fauré’s Requiem is in the standard five movements. ANS: T MSC: Factual DIF: Medium REF: 273 TOP: Fauré 275 TOP: Fauré 8. The Pie Jesu from Fauré’s Requiem was originally sung by a boy soprano. The dynamics in the Libera me from Fauré’s Requiem remain subdued throughout the movement. Fauré’s musical style was in direct contrast to German Romanticism. ANS: Answers will vary. Describe how Fauré’s Requiem embodies the general music style of the composer. How does French Romanticism differ from German Romanticism? Include examples in your answer. DIF: Medium REF: 273f TOP: Fauré MSC: Conceptual . c. Rome. Degas d. Which of the following best describes the work of the Impressionist painters? a. London.Chapter 49: Mythical Impressions: Program Music at the End of the Nineteenth Century MULTIPLE CHOICE 1. Paul Verlaine. Which of the following best describes the effect achieved by Impressionist painting? a. all of the above ANS: C MSC: Applied DIF: Easy REF: 277 TOP: Impressionism 6. Impressionism was a style of painting that was cultivated principally in: a. Spain. Auguste Renoir. d. They preferred to do their painting indoors. Renoir b. c. c. Russia. They adhered firmly to academic traditions. Berlin. c. The earliest practitioners of modernism were artists and writers from: a. dark colors d. shimmering colors b. ANS: C MSC: Applied DIF: Easy REF: 276 TOP: Impressionism 2. luminous. was created by: a. Germany. b. b. Impressionism: Sun Rising. ANS: A MSC: Factual DIF: Easy REF: 277 TOP: Impressionism 4. Claude Monet. Paris. They attempted to capture the freshness of first impressions. consistent use of a single color ANS: C MSC: Applied 214 DIF: Easy REF: 277 TOP: Impressionism . d. Edgar Degas. d. France. d. b. brilliant colors c. Monet c. b. drab. bold. the painting that sparked the Impressionist art movement. Which of the following painters was NOT associated with the Impressionist school? a. ANS: C MSC: Applied DIF: Easy REF: 276f TOP: Impressionism 3. Goya ANS: D MSC: Factual DIF: Medium REF: 277 TOP: Impressionism 5. The Impressionist painters’ interest in color is paralleled by Impressionist composers’ interest in: a. Impressionism in music is best exemplified by the works of: a. REF: 277 TOP: Symbolism Impressionist composers. ANS: B MSC: Applied DIF: Medium 8. whole-tone scales b. d.Mythical Impressions: Program Music at the End of the Nineteenth Century | 215 7. Gustav Mahler. ANS: A MSC: Applied DIF: Easy REF: 277 TOP: Impressionism 12. timbre. rhythm. Mallarmé and Verlaine were: a. The whole-tone scale used by Impressionist composers derives from: a. The French movement in poetry that rebelled against traditional modes of expression is called: a. Imagism. Frédéric Chopin. melody. non-Western music. ANS: B MSC: Applied DIF: Medium REF: 277 TOP: Impressionism 11. Which of the following was NOT characteristic of Impressionist music? a. b. Symbolism. Edgar Allan Poe. ANS: D MSC: Applied DIF: Medium REF: 277 TOP: Symbolism 10. Expressionism. d. d. strong accents on the first beat of each measure ANS: D MSC: Applied DIF: Easy REF: 277 TOP: Impressionism 13. Emily Brontë. Symbolist poets. b. ANS: A MSC: Factual DIF: Medium REF: c. ninth chords d. Impressionist painters. d. c. The Symbolist poets were strongly influenced by the works of: a. c. texture. c. c. c. parallel chords c. b. the post-Romantic music of Mahler. medieval church music. none of the above 277 TOP: Symbolism 9. George Sand. the Classical-Romantic tradition. Robert Frost. d. b. ANS: C MSC: Applied DIF: Medium REF: 277 TOP: Impressionism . b. Impressionism. Claude Debussy. Hector Berlioz. d. b. b. d. c. c. b. ANS: D MSC: Applied DIF: Medium REF: 278 TOP: World music 15. d. a river flowing through France. Java. d. a landscape with a mythological creature. The Spanish dance style performed at the World Exhibition of 1889 was: a. b. Giraud. Debussy was highly influenced by the sounds of a gamelan from: a. A-B-A'. flamenco.216 | Chapter 49 14. b. sonata-allegro. What nationality was Claude Debussy? a. a child’s view of heaven. ANS: D MSC: Applied DIF: Easy REF: 279 TOP: Debussy 20. d. Maeterlinck. c. d. c. ANS: B MSC: Factual DIF: Medium 16. b. REF: 278 TOP: World music Italian Austrian 279 TOP: Debussy 17. ANS: C MSC: Factual DIF: Hard REF: 279 TOP: Debussy 18. German b. c. Debussy’s opera Pelléas and Mélisande is based on a Symbolist drama by: a. ANS: B MSC: Applied DIF: Medium REF: 279 TOP: Debussy . Boléro b. the tango. French ANS: B MSC: Factual DIF: Easy REF: c. Mallarmé. rondo. Algeria. The program of Debussy’s Prelude to “The Afternoon of a Faun” evokes: a. a nationalistic folk dance. Japan. binary. Ibsen. Turkey. Clair de lune c. The overall form of Debussy’s Prelude to “The Afternoon of a Faun” is best described as: a. La mer d. the rumba. Which of the following was NOT composed by Debussy? a. the habanera. Prelude to “The Afternoon of a Faun” ANS: C MSC: Factual DIF: Easy REF: 279 TOP: Debussy 19. d. Impressionist artists abandoned the grandiose subjects of Romanticism. ANS: F MSC: Applied DIF: Medium REF: 277 TOP: Impressionism 277 TOP: Symbolism 4. ANS: F MSC: Applied DIF: Medium REF: 277 TOP: Impressionism . It opens with unison strings. Which of the following does NOT characterize the choreography for the Ballets Russes production of Debussy’s Prelude to “The Afternoon of a Faun”? a. b. ANS: T MSC: Factual DIF: Easy REF: 276f TOP: Impressionism 3. It opens with a drum roll and fanfare. d. Impressionism takes its name from a painting by Claude Monet. the need to resolve all chords back to the tonic. Impressionist composers felt. Impressionist painters slowly recreated an idealized impression of an object under perfect lighting. even more strongly than their predecessors. ANS: C MSC: Applied DIF: Medium REF: 281 TOP: Debussy TRUE/FALSE 1. The Symbolist movement began in England.Mythical Impressions: Program Music at the End of the Nineteenth Century | 217 21. It opens with a flute solo in the velvety lower register. b. It continued the traditions of classical ballet. ANS: T MSC: Applied DIF: Easy REF: 276 TOP: Impressionism 2. d. It was a turning point in modern dance. It featured one of the great male dancers of the time. What is unusual about the opening of Debussy’s Prelude to “The Afternoon of a Faun”? a. ANS: C MSC: Applied DIF: Hard REF: 279 TOP: Debussy 22. c. It opens with solo bassoon in the high register. ANS: F MSC: Applied DIF: Medium REF: 5. It caused a scandal in Paris. c. 218 | Chapter 49 6. Impressionist composers avoided ninth chords because they were prohibited in the Classical system of harmony. ANS: F MSC: Applied DIF: Medium REF: 277 TOP: Impressionism 7. Debussy was much influenced by the non-Western music he heard at the Paris World Exhibition of 1889. ANS: T MSC: Factual DIF: Easy REF: 278 TOP: Debussy 8. Debussy attempted to imitate traits of flamenco music in several of his piano compositions. ANS: T MSC: Factual DIF: Hard REF: 278 TOP: Debussy 9. Like Berlioz, Debussy won the coveted Prix de Rome during his compositional studies at the Paris Conservatory. ANS: T MSC: Applied DIF: Hard REF: 278 TOP: Debussy 10. Debussy’s music reflects a strong adherence to the traditional forms and scales of Western music. ANS: F MSC: Applied DIF: Medium REF: 279 TOP: Debussy 11. Debussy was important in establishing the French art song. ANS: T MSC: Factual DIF: Medium REF: 279 TOP: Debussy 12. Debussy’s Prelude to “The Afternoon of a Faun” was inspired by a poem by Maurice Maeterlinck. ANS: F MSC: Factual DIF: Easy REF: 279 TOP: Debussy ESSAY 1. Describe the musical characteristics of Impressionism. Which of these do we hear in Debussy’s Prelude to “The Afternoon of a Faun”? ANS: Answers will vary. DIF: Medium REF: 276f TOP: Debussy MSC: Applied Mythical Impressions: Program Music at the End of the Nineteenth Century | 219 2. What effects did non-Western music have on Impressionist and early-twentieth-century composers? Cite examples. ANS: Answers will vary. DIF: Hard MSC: Conceptual REF: 278 TOP: World music Chapter 50: Jubilees and Jubilation: The African American Spiritual Tradition MULTIPLE CHOICE 1. What was the Second Great Awakening? a. a political movement seeking to free slaves b. a musical movement that turned to European influences c. a Christian movement at the turn of the 1800s d. the national recognition that America had become a world power ANS: C MSC: Factual DIF: Medium REF: 282 TOP: Spirituals 2. Which of the following does NOT describe camp meetings? a. They were Christian gatherings that could last for weeks. b. African Americans did not participate in any such gatherings. c. Songs of praise were common. d. Praise songs were often based on popular or folk tunes. ANS: B MSC: Factual DIF: Easy REF: 282 TOP: Spirituals 3. The tradition of the ring shout was brought to America from: a. Africa. c. Spain. b. Mexico. d. Hungary. ANS: A MSC: Factual DIF: Easy REF: 282 TOP: Spirituals 4. African slaves in the nineteenth century created a genre of religious song called: a. soul. c. the blues. b. the minstrel song. d. the spiritual. ANS: D MSC: Factual DIF: Medium REF: 282 TOP: Spirituals 5. Which of the following describes spirituals? a. They had contrapuntal accompaniment. b. They contained coded messages about earthly escape. c. They won immediate cultural acceptance by Europeans. d. all of the above ANS: B MSC: Applied DIF: Hard REF: 6. The Fisk Jubilee Singers took their name from: a. their founder. c. b. the arranger of their spirituals. d. ANS: D MSC: Factual 220 DIF: Hard REF: 282f TOP: Spirituals their signature spiritual. their college. 283 TOP: Spirituals Jubilees and Jubilation: The African American Spiritual Tradition | 221 7. Which European composer felt that an American school of music should be built around “Negro melodies”? a. DvoĜák c. Brahms b. Tchaikovsky d. Liszt ANS: A MSC: Factual DIF: Medium REF: 283 TOP: Spirituals 8. Which of the following describes the activities of Harry T. Burleigh? a. He studied with DvoĜák. b. He arranged spirituals for voice and piano. c. He became a music publisher. d. all of the above ANS: D MSC: Factual DIF: Medium REF: 283f TOP: Spirituals 9. The spiritual Swing Low, Sweet Chariot reflects qualities of which tradition(s)? a. Native American c. European American b. African American d. all of the above ANS: D MSC: Conceptual DIF: Hard REF: 284 TOP: Spirituals 10. The melody of Swing Low, Sweet Chariot is based on the ________ scale. a. pentatonic c. chromatic b. diatonic d. whole-tone ANS: A MSC: Applied DIF: Hard REF: 284 TOP: Spirituals 11. Which of the following is the source of the text of Swing Low, Sweet Chariot? a. folk poems c. Harry T. Burleigh b. the Bible d. the Harlem Renaissance ANS: B MSC: Factual DIF: Easy REF: 284 TOP: Spirituals 12. Which of the following distinguishes the Fisk Jubilee Singers’ arrangement of Swing Low, Sweet Chariot from that of Harry T. Burleigh? a. The Fisk Jubilee Singers perform a cappella. b. The Fisk Jubilee Singers arrangement has more complicated harmonies. c. The Fisk Jubilee Singers incorporate polyphony. d. all of these ANS: A MSC: Applied DIF: Hard REF: 284 TOP: Spirituals 222 | Chapter 50 TRUE/FALSE 1. Camp meetings were attended by African Americans and European Americans alike. ANS: T MSC: Factual DIF: Medium REF: 282 TOP: Spirituals 2. The tradition of the ring shout is related to the African tradition of call and response. ANS: T MSC: Applied DIF: Medium REF: 282 TOP: Spirituals 3. The texts of spirituals deal exclusively with religion. ANS: F MSC: Applied DIF: Medium REF: 282 TOP: Spirituals 4. The rhythmic and melodic traits of spirituals fitted easily into European norms. ANS: F MSC: Conceptual DIF: Hard REF: 283 TOP: Spirituals 5. Fisk University was originally founded as a college for freed slaves in Nashville, Tennessee. ANS: T MSC: Factual DIF: Easy REF: 283 TOP: Spirituals 6. The fame of the Fisk Jubilee Singers rested on their renditions of European choral masterworks. ANS: F MSC: Applied DIF: Medium REF: 283 TOP: Spirituals 7. Harry T. Burleigh created art-song arrangements of spirituals. ANS: T MSC: Factual DIF: Easy REF: 283f TOP: Spirituals 8. The Fisk Jubilee Singers’ recording of Sweet Low, Sweet Chariot is monophonic. ANS: F MSC: Applied DIF: Medium REF: 284 TOP: Spirituals 9. Harry T. Burleigh incorporated blues-related harmony in his arrangement of Sweet Low, Sweet Chariot. ANS: T MSC: Applied DIF: Hard REF: 284 TOP: Spirituals Jubilees and Jubilation: The African American Spiritual Tradition | 223 10. The Fisk Jubilee Singers’ arrangement of Sweet Low, Sweet Chariot is in strophic form. ANS: T MSC: Applied DIF: Medium REF: 285 TOP: Spirituals ESSAY 1. Describe the transition of the spiritual from its roots in camp meetings to its status as an art-song genre. ANS: Answers will vary. DIF: Medium REF: 282f TOP: Spirituals MSC: Conceptual 2. What contributions to the spiritual were made by the Fisk Jubilee Singers and by Harry T. Burleigh? ANS: Answers will vary. DIF: Hard REF: 283f TOP: Spirituals MSC: Conceptual Marine Band. d. America’s most famous bandmaster was: a. Scott Joplin. was a virtuoso cornet player d. U. Marine Band. ANS: B MSC: Applied DIF: Medium REF: 287 TOP: Bands 3. b.S. b. c.S. Stephen Foster. b. Washington Posts. composed When Johnny Comes Marching Hone c. c. brass band. ANS: C MSC: Factual DIF: Medium REF: 287 TOP: Bands 2. Washington Posts. symphony orchestra. b. REF: 288 TOP: Bands Charles Ives. An important American instrumental ensemble of the nineteenth century was the: a. REF: c.Chapter 51: A Good Beat: American Vernacular Music at the Close of an Era MULTIPLE CHOICE 1. d. Boston Pops Band. The most famous eighteenth-century American band was the: a. Adolphe Sax. ANS: B MSC: Applied DIF: Easy 6. John Philip Sousa. 288 TOP: Bands . c. New York Civic Band. d. d. d. all of these ANS: A MSC: Factual DIF: Hard REF: 288 TOP: Bands 4. Gilmore? a. Boston Pops Band. John Philip Sousa conducted the: a. jazz band. U. Heinrich Steinweg. George Gemünder. b. ANS: B MSC: Factual 224 DIF: Medium REF: c. minstrel show. led the Union Army band in concerts b. Players of brass and woodwind instruments were able to march in the late nineteenth century thanks to instrument designers such as: a. Which of the following does NOT describe the career of Patrick S. 288 TOP: Bands New York Civic Band. earned title as “March King” ANS: D MSC: Factual DIF: Easy 5. b. syncopation b. Scott Joplin was awarded the Pulitzer Prize for his opera a. Semper Fidelis. a section usually having sixteen measures d. use of American tunes ANS: C MSC: Applied DIF: Medium REF: 12. Prior to the nineteenth century. The Washington Post. the most difficult passage c. ANS: B MSC: Factual DIF: Hard REF: 288 TOP: Joplin the trio of a rag the complicated rhythm in a rag 288 TOP: Joplin TRUE/FALSE 1. ANS: A MSC: Factual DIF: Hard REF: 289 TOP: Joplin 11. What is the principal musical characteristic of ragtime? a. all of the above 288 TOP: Bands 8. John Philip Sousa composed: a. A Guest of Honor. improvisation d. Scott Joplin became famous when: a. b. d. he performed in Missouri. his Maple Leaf Rag sold a million copies. what is a strain? a. Strauss b. c.A Good Beat: American Vernacular Music at the Close of an Era | 225 7. Sousa c. Treemonisha was premiered. d. b. d. Treemonisha. Joplin d. Armstrong ANS: B MSC: Factual DIF: Easy REF: 288 TOP: Joplin 289 TOP: Joplin 9. ANS: F MSC: Factual DIF: Hard REF: 287 TOP: Bands . In Joplin’s rags. the United States had no band tradition. c. ANS: D MSC: Factual DIF: Medium c. b. ANS: C MSC: Factual DIF: Hard REF: 10. he moved to New York. REF: The Stars and Stripes Forever. The Maple Leaf Rag. imitation c. The Sting. Which American composer became known as the “King of Ragtime”? a. 226 | Chapter 51 2. John Philip Sousa created a sensation in both the United States and Europe. Gilmore. In piano rags. ANS: T MSC: Factual DIF: Medium REF: 288 TOP: Joplin . Ragtime was named for its ragged. After the Civil War. John Philip Sousa conducted arrangements of ragtime. the left hand plays the syncopated melody. ANS: F MSC: Applied DIF: Medium REF: 288 TOP: Joplin 10. ANS: T MSC: Applied DIF: Medium REF: 288 TOP: Bands 5. ANS: T MSC: Factual DIF: Hard REF: 288 TOP: Bands 6. Scott Joplin received a Pulitzer Prize immediately after the premiere of his opera Treemonisha. highly syncopated rhythms and melodies. Scott Joplin introduced the Maple Leaf Rag on a concert tour of Canada. ANS: T MSC: Factual DIF: Easy REF: 288 TOP: Joplin 9. ANS: F MSC: Factual DIF: Easy REF: 288 TOP: Bands 4. Patrick S. ANS: F MSC: Factual DIF: Hard REF: 289 TOP: Joplin 8. Gilmore composed the popular march The Stars and Stripes Forever. ANS: T MSC: Factual DIF: Medium REF: 288 TOP: Bands 3. Some actual performances of Scott Joplin are preserved on piano rolls. the Union Army band was directed by Patrick S. ANS: F MSC: Factual DIF: Hard REF: 289 TOP: Joplin 7. A Good Beat: American Vernacular Music at the Close of an Era | 227 ESSAY 1. What is impact of the band and band music on American culture? Include examples in your answer. ANS: Answers will vary. DIF: Hard REF: 287f TOP: Bands MSC: Conceptual 2. Describe the essence of the musical rag. What is the typical structure of Joplin’s piano rags? ANS: Answers will vary. DIF: Hard REF: 288f TOP: Joplin MSC: Applied Prelude 6: Making Music Modern MULTIPLE CHOICE 1. The artistic trends of the early twentieth century can best be characterized as: a. a reaction against Romanticism. c. influenced by Romanticism. b. influenced by an earlier era. d. an extension of Romantic ideals. ANS: A MSC: Applied DIF: Easy REF: 294 TOP: Modernism 2. How did non-Western arts influence twentieth-century Western arts? a. Western artists sought the spontaneity of primitive art. b. The abstraction of African sculpture influenced Western painters. c. Western composers adopted non-Western rhythms in their music. d. all of the above ANS: D MSC: Conceptual DIF: Medium 3. The concept of art was rejected by: a. Impressionism. b. Expressionism. ANS: C MSC: Applied DIF: Medium REF: c. d. REF: 295 TOP: Modernism Dadaism. surrealism. 295 TOP: Modernism 4. Which composer was most closely associated with Dadaism? a. Stravinsky c. Debussy b. Satie d. Schoenberg ANS: B MSC: Applied DIF: Medium REF: 5. Salvador Dali and Joan Miró are associated with: a. Impressionism. c. b. Expressionism. d. ANS: D MSC: Factual DIF: Hard REF: 295 TOP: Modernism Dadaism. surrealism. 295 TOP: Modernism 6. Which early twentieth-century movement focused on the dynamism of twentieth-century life? a. Dadaism c. surrealism b. Futurism d. Expressionism ANS: B MSC: Applied 228 DIF: Medium REF: 295 TOP: Modernism Making Music Modern | 229 7. In which cultural center did Cubism develop? a. London c. b. New York d. ANS: D MSC: Factual DIF: Easy REF: Rome Paris 295 TOP: Modernism 8. The movement whose artists explored creativity by breaking from social and artistic conventions was called: a. surrealism c. Impressionism. b. post-Romanticism. d. the avant-garde. ANS: D MSC: Factual DIF: Easy REF: 295 TOP: Modernism 9. What is vaudeville? a. a type of operetta set in small villages b. musicals based on romance and comedy c. a type of comedic musical sketch, many of them written by immigrant composers d. a ballad opera ANS: C MSC: Factual DIF: Easy REF: 296 TOP: American popular styles 10. The center of music publishing in New York was called: a. Broadway. c. Washington Square. b. Tin Pan Alley. d. Times Square. ANS: B MSC: Factual DIF: Easy 11. Irving Berlin’s first hit song was: a. Hinky Dinky Parlez Vous. b. Summertime. ANS: D MSC: Factual DIF: Hard REF: c. d. REF: 296 TOP: American popular styles When Johnny Comes Marching Home. Alexander’s Ragtime Band. 296 TOP: American popular styles 12. Which early twentieth-century songwriter composed the wartime hit Over There? a. Irving Berlin c. Victor Herbert b. George M. Cohan d. John Philip Sousa ANS: B MSC: Factual DIF: Hard REF: 296 TOP: American popular styles 13. Which American musician introduced ragtime and early jazz styles to France during World War I? a. James Reese Europe c. Irving Berlin b. Scott Joplin d. John Philip Sousa ANS: A MSC: Factual DIF: Hard REF: 296f TOP: American popular styles 230 | Prelude 6 14. Which of the following statements does NOT characterize America during the 1920s? a. Women gained the right to vote. b. Alcohol was banned. c. Jazz flourished. d. The country endured a decade-long economic depression. ANS: D MSC: Applied DIF: Medium REF: 15. What kind of jazz is Duke Ellington known for? a. big band c. b. New Orleans d. ANS: A MSC: Factual DIF: Easy REF: 297 TOP: American popular styles bebop third stream 297 TOP: American popular styles 16. The element of rhythm in twentieth-century music is best characterized as: a. adhering to the basic metrical patterns of the past. b. disregarding the basic metrical patterns of the past. c. adopting dance rhythms borrowed from the folk idiom. d. returning to the patterns of the Baroque era. ANS: B MSC: Applied DIF: Medium REF: 298 TOP: Modernism 17. The element of melody in twentieth-century music is best characterized by: a. a singing vocal style. b. balanced phrases. c. wide leaps and dissonant intervals. d. a consideration of melody as the primary element in music. ANS: C MSC: Applied DIF: Medium REF: 298 TOP: Modernism 18. The element that most decisively separated twentieth-century music from that of the past was: a. melody. c. rhythm. b. harmony. d. texture. ANS: B MSC: Applied DIF: Medium REF: 299 TOP: Modernism 19. What type of harmony is implied by stacked chords? a. atonal c. twelve-tone b. polyharmony d. diatonic ANS: B MSC: Applied DIF: Medium REF: 299 TOP: Modernism Making Music Modern | 231 20. The emphasis on rhythm brought the ________ section of the orchestra to greater prominence. a. brass c. string b. woodwind d. percussion ANS: D MSC: Applied DIF: Easy REF: 299 TOP: Modernism TRUE/FALSE 1. During the early twentieth century, the arts were marked by artists’ desire to throw off the oppressive style of the nineteenth century and to capture the spontaneity of primitive life. ANS: T MSC: Applied DIF: Easy REF: 295 TOP: Modernism REF: 295 TOP: Modernism REF: 295 TOP: Modernism 295 TOP: Modernism 2. Dadaism embraced the complexity of Western art. ANS: F MSC: Applied DIF: Medium 3. Pablo Picasso is associated with Cubism. ANS: T MSC: Applied DIF: Medium 4. Surrealism was based on geometric patterns. ANS: F MSC: Applied DIF: Easy REF: 5. Avant-garde artists sought to distinguish themselves from traditional “high culture” and from mass-market tastes. ANS: T MSC: Applied DIF: Easy REF: 295 TOP: Modernism 6. Irving Berlin was a successful Tin Pan Alley composer. ANS: T MSC: Applied DIF: Easy REF: 296 TOP: American popular styles 7. Radio underwent enormous growth during the 1920s. ANS: T MSC: Applied DIF: Medium REF: 297 TOP: American popular styles 8. The Depression had little impact on the performing arts. ANS: F MSC: Applied DIF: Easy REF: 297 TOP: American popular styles 232 | Prelude 6 9. Big-band swing was the dominant form of American popular music in the 1930s and 1940s. ANS: T MSC: Applied DIF: Medium REF: 297 TOP: American popular styles 10. The complexity of rhythm in modern Western music far exceeds that in Asian and African music. ANS: F MSC: Applied DIF: Easy REF: 298 TOP: Modernism 11. Composers of modern music enlivened their music with the rhythms of popular music. ANS: T MSC: Applied DIF: Easy REF: 298 TOP: Modernism 12. Melody in early twentieth-century music is characterized by wide leaps and dissonant intervals. ANS: T MSC: Applied DIF: Easy REF: 298 TOP: Modernism 13. Although polyharmony features chords with six to seven notes, it still sounds consonant. ANS: F MSC: Applied DIF: Easy REF: 299 TOP: Modernism 14. Percussion instruments came into prominence in modern music. ANS: T MSC: Applied DIF: Easy REF: 299 TOP: Modernism ESSAY 1. Describe the major artistic trends of the early twentieth century, and note how they were a reaction against earlier styles. Include examples in your answer. ANS: Answers will vary. DIF: Medium REF: 294f TOP: Modernism MSC: Conceptual 2. Describe the role that musical theater has played in the emergence of American popular music. ANS: Answers will vary. DIF: Hard MSC: Applied REF: 296f TOP: American popular styles ANS: Answers will vary. DIF: Medium REF: 299 TOP: Modernism MSC: Conceptual . Describe the changing role of harmony in twentieth-century music.Making Music Modern | 233 3. extraordinarily wide leaps in the melody b. c. d. anti-tonal. atonal. It is the element of rest in music. Which of the following does NOT characterize the musical language of Expressionism? a. Munch ANS: D MSC: Factual DIF: Medium REF: 301 TOP: Modernism 5. Music that rejects the framework of key is described as: a. b.Chapter 52: Anything Goes: Schoenberg and Musical Expressionism MULTIPLE CHOICE 1. b. instruments in their extreme registers ANS: B MSC: Applied DIF: Medium REF: 301 TOP: Modernism 6. melody from periodic phrase structure. extended passages of consonance d. Klee d. d. It was a normal sound for most audiences. hyper-expressive harmonies c. Neoclassicism c. Which early twentieth-century style dealt with the realm of the psyche? a. hypertonal. c. Which of the following describes dissonance? a. ANS: A MSC: Applied DIF: Hard REF: 300 TOP: Modernism 3. harmony from the necessity of moving from tension to rest. b. rhythm from moving from dissonance to consonance. The “emancipation of dissonance” refers to freeing: a. post-Romanticism ANS: B MSC: Applied DIF: Medium REF: 301 TOP: Modernism 4. It played a large role in twentieth-century music. Which painter associated with Expressionism influenced Schoenberg? a. d. polytonal. Picasso b. Kandinsky c. Expressionism d. the orchestra from dissonant sounds. c. ANS: A MSC: Factual 234 DIF: Medium REF: 301 TOP: Modernism . Impressionism b. all of the above ANS: C MSC: Conceptual DIF: Hard REF: 300 TOP: Modernism 2. Singspiel. c. d. Which of the following works was NOT composed by Schoenberg? a. Alban Berg and Anton Webern were students of: a. Schoenberg d. d. Klangfarbenmelodie. Mallarmé. Stravinsky c. Verlaine. the twelve-tone or serial phase b. Stravinsky ANS: A MSC: Factual DIF: Easy REF: 9. c. With which period in Schoenberg’s career is Pierrot lunaire associated? a. A Survivor from Warsaw b. Schoenberg created a new style in which vocal melodies were spoken rather than sung with exact pitches and rhythms. Which Viennese composer invented the twelve-tone method after writing in both post-Romantic and atonal styles? a. Bartók ANS: B MSC: Factual DIF: Medium REF: 301 TOP: Schoenberg 8. Claude Debussy. Wozzeck d. recitative. Los Angeles? a. Rimbaud. b. the post-Romantic phase c. Variations for Orchestra ANS: B MSC: Factual DIF: Hard REF: 301 TOP: Schoenberg 11.Anything Goes: Schoenberg and Musical Expressionism | 235 7. ANS: D MSC: Factual DIF: Hard REF: 301 TOP: Schoenberg Gustav Mahler. 301 TOP: Schoenberg 10. ANS: C MSC: Factual DIF: Medium REF: 303 TOP: Schoenberg 13. Arnold Schoenberg. Sprechstimme. Berg b. Giraud. Igor Stravinsky. Pierrot lunaire c. d. Webern d. ANS: A MSC: Factual DIF: Medium REF: 303 TOP: Schoenberg . Berg b. Pierrot lunaire is based on a cycle of poems written by: a. b. c. Schoenberg c. This was known as: a. the atonal-Expressionist phase d. Which of the following early-twentieth-century composers moved to the United States and taught composition at the University of California. b. the American phase ANS: B MSC: Factual DIF: Medium REF: 303 TOP: Schoenberg 12. a French poetic form of thirteen lines. c. a smooth. Klangfarbenmelodie. It expresses mood changes. Sprechstimme. such as from guilt and depression to playfulness. a style that gives each note of a melody to a different instrument. Each poem in Pierrot lunaire is in ________ form. or tone-color melody. Singspiel. REF: twenty-four thirty-two 303 TOP: Schoenberg 15. Which of the following does NOT characterize The Moonfleck from Schoenberg’s Pierrot lunaire? a. What accompanies the voice in Pierrot lunaire? a. or shifting each note of a melody to a different instrument. c. twenty-one ANS: B MSC: Factual DIF: Hard c. ANS: B MSC: Applied DIF: Medium REF: 303 TOP: Schoenberg 19. It employs Klangfarbenmelodie. a musical refrain ANS: A MSC: Applied DIF: Medium REF: 303 TOP: Schoenberg . ballad d. lyric melody c. sonnet c. It is concerned with pagan rituals. rondeau ANS: D MSC: Factual DIF: Hard REF: 16. d. Schoenberg experimented with tone-color melody. Which of the following is NOT true of Schoenberg’s Pierrot lunaire? a. a. It employs Sprechstimme. polymelody. a piano d. b. villanelle b. ANS: D MSC: Factual DIF: Easy REF: 303 TOP: Schoenberg 18. Klangfarbenmelodie refers to: a. b. d. ANS: C MSC: Applied DIF: Hard REF: 303 TOP: Schoenberg 20. d. dissonance b. He called this: a. b. a form of a tone row. How many songs are in Pierrot lunaire? a. c. ANS: C MSC: Factual DIF: Medium REF: 303 TOP: Schoenberg a chamber group a choir 303 TOP: Schoenberg 17.236 | Chapter 52 14. an orchestra c. b. a three-voice fugue d. a style in which a vocal part is spoken rather than sung on exact pitches. d. twelve b. Atonality gives all twelve tones equal importance.Anything Goes: Schoenberg and Musical Expressionism | 237 TRUE/FALSE 1. ANS: T MSC: Applied DIF: Medium REF: 5. Schoenberg’s Pierrot lunaire is a series of miniatures for voice and piano only. In Schoenberg’s Pierrot lunaire. ANS: F MSC: Applied DIF: Easy REF: 301 TOP: Schoenberg 301 TOP: Schoenberg 4. the principal character is obsessed with the sunrise. ANS: F MSC: Factual DIF: Easy REF: 303 TOP: Schoenberg 7. ANS: F MSC: Factual DIF: Easy REF: 303 TOP: Schoenberg 8. Schoenberg’s early works exemplify post-Wagnerian Romanticism. ANS: F MSC: Applied DIF: Medium REF: 3. Each of the poems in Schoenberg’s Pierrot lunaire has a different structure. The melodies in Expressionistic music usually were conjunct. ANS: T MSC: Applied DIF: Medium REF: 303 TOP: Schoenberg 9.” ANS: T MSC: Applied DIF: Medium REF: 300 TOP: Schoenberg 301 TOP: Schoenberg 2. Expressionism was inspired by French painters. Schoenberg developed the new vocal style of Sprechstimme in an attempt to bring together the spoken word and music. ANS: F MSC: Factual DIF: Medium REF: 303 TOP: Schoenberg . Schoenberg was a leading figure in the “emancipation of dissonance. ANS: T MSC: Applied DIF: Medium REF: 301 TOP: Schoenberg 6. 238 | Chapter 52 10. no two songs have the same combination of instruments. ANS: T MSC: Factual DIF: Medium REF: 303 TOP: Schoenberg ESSAY 1. Describe how Schoenberg’s Pierrot lunaire is typical of the Expressionist style. In Schoenberg’s Pierrot lunaire. ANS: Answers will vary. Discuss the history of dissonance and consonance in music. DIF: Medium REF: 301f TOP: Schoenberg MSC: Conceptual . DIF: Medium REF: 300f TOP: Schoenberg MSC: Applied 2. ANS: Answers will vary. Stravinsky ANS: A MSC: Factual DIF: Medium REF: 5. Diaghilev d. Stravinsky ANS: D MSC: Factual DIF: Easy REF: 306 TOP: Stravinsky 239 . Marius Petipa c.Chapter 53: Calculated Shock: Stravinsky and Modernist Multimedia MULTIPLE CHOICE 1. Roerich b. great critical acclaim. Nijinsky c. Bartók c. Which of the following was the Russian-born composer who wrote music in post-Impressionist. Monet c. Nijinsky b. the Paris Ballet ANS: C MSC: Factual DIF: Medium REF: 304 TOP: Stravinsky 3. c. an empty theater. Neoclassical. Modest Musorgsky ANS: B MSC: Factual DIF: Hard REF: 304 TOP: Stravinsky 2. the Ballets Russes b. Which of the following figures was NOT associated with the Ballets Russes? a. Prokofiev b. audience indifference. the Kirov c. 305 TOP: Stravinsky 6. Schoenberg d. and twelve-tone styles? a. Picasso d. primitivist. Mily Balakirev b. Which Russian figure played a crucial role in the development of twentieth-century ballet? a. Which of the following was the Paris-based Russian ballet company that commissioned Stravinsky to write several ballets? a. d. The Rite of Spring opened in Paris in 1913 to: a. Braque ANS: A MSC: Factual DIF: Hard REF: 304 TOP: Stravinsky 4. the Bolshoi d. Who was the choreographer for The Rite of Spring? a. b. ANS: C MSC: Factual DIF: Easy REF: 304 TOP: Stravinsky a near riot. Serge Diaghilev d. polyrhythms. all of the above 305f TOP: Stravinsky 11. REF: 306 TOP: Stravinsky polytonality. The Introduction to Stravinsky’s The Rite of Spring begins with a melody played on the: a. clarinet. the Soviet Union d. England ANS: A MSC: Factual DIF: Easy 10. ostinatos. folklike melodies b. Which of the following musical elements in The Rite of Spring could be considered the most innovative? a. b. the United States c. The somewhat static quality of Stravinsky’s melodies and harmonies can be attributed in part to the use of: a. c. Oedipus Rex ANS: C MSC: Factual DIF: Medium REF: 306 TOP: Stravinsky 9. lush harmonies c. Agon d. Daphnis and Chloé c. b. French horn. mixed meters. France b. Symphony of Psalms c. d. ANS: D MSC: Applied DIF: Medium REF: c. The Rite of Spring b. Which of the following is NOT a Stravinsky ballet? a. ANS: D MSC: Factual DIF: Hard REF: 306 TOP: Stravinsky . c. d. The Firebird d. harsh orchestration ANS: B MSC: Applied DIF: Medium REF: 306 TOP: Stravinsky 13. The Rite of Spring ANS: A MSC: Factual DIF: Medium REF: 306 TOP: Stravinsky 8. flute. Stravinsky immigrated to ________ at the onset of World War II. a. ANS: C MSC: Applied DIF: Hard REF: 305 TOP: Stravinsky 12. b. bassoon. d. unpredictable rhythms and meters d. The Rite of Spring is characterized by: a. Petrushka b. Which of the following Stravinsky works is from his primitivist period? a. loose forms.240 | Chapter 53 7. the percussive use of dissonance. atonality. ANS: T MSC: Applied DIF: Medium REF: 305 TOP: Stravinsky 7. The opening-night audience of The Rite of Spring was undoubtedly startled and repelled by the pagan rites being depicted. the Russian composer Igor Stravinsky eventually became a U. Stravinsky’s ballet The Rite of Spring had a revolutionary impact on music of the twentieth century. a floating quality with no accents ANS: A MSC: Applied DIF: Medium REF: 306 TOP: Stravinsky REF: 304 TOP: Stravinsky TRUE/FALSE 1. unpredictable accents set against a duple meter b. ANS: T MSC: Applied DIF: Medium REF: 305 TOP: Stravinsky 6. citizen. from The Rite of Spring? a. ANS: F MSC: Factual DIF: Medium 2.S.Calculated Shock: Stravinsky and Modernist Multimedia | 241 14. ANS: F MSC: Applied DIF: Easy REF: 304 TOP: Stravinsky 4. ANS: T MSC: Factual DIF: Easy REF: 306 TOP: Stravinsky . ANS: T MSC: Factual DIF: Medium REF: 304 TOP: Stravinsky 3. After living in France for many years. ANS: T MSC: Factual DIF: Easy REF: 305 TOP: Stravinsky 5. Nijinsky’s choreography for The Rite of Spring was considered groundbreaking. unpredictable accents with no sense of regular meter d. In The Rite of Spring. The home of the Ballets Russes was Russia. Stravinsky’s ballets all achieved immediate popularity with their audiences. Which of the following best describes the meter in Stravinsky’s Dance of the Youths and Maidens. Stravinsky quotes and imitates Russian folk melodies. a clear triple meter c. ANS: Answers will vary. ANS: T MSC: Factual DIF: Easy REF: 306 TOP: Stravinsky 9. it has been seldom played since the ballet’s premiere. In what ways does The Rite of Spring exemplify collaborative multimedia? ANS: Answers will vary. Stravinsky tried his hand at many compositional styles throughout his career. Because the music of The Rite of Spring was tied to unpopular choreography.242 | Chapter 53 8. citing specific examples. ANS: F MSC: Applied DIF: Medium REF: 306 TOP: Stravinsky 10. Stravinsky’s greatest contribution to the art music of the twentieth century is thought to be his development of the twelve-tone method. ANS: F MSC: Applied DIF: Medium REF: 306 TOP: Stravinsky ESSAY 1. DIF: Medium REF: 304f TOP: Stravinsky MSC: Conceptual 2. Discuss the creative life and music of Stravinsky. DIF: Medium REF: 304f TOP: Stravinsky MSC: Applied . Chapter 54: Still Sacred: Religious Music in the Twentieth Century MULTIPLE CHOICE 1. d. d. Which of the following composers did NOT win the Prix de Rome? a. harp b. Lili Boulanger focused on: a. Ravel. REF: 4. Satie. Berg. Schoenberg. organ c. brass d. ANS: C MSC: Applied DIF: Medium REF: 311 TOP: Boulanger New York London 311 TOP: Boulanger choral and chamber music. meditativeness d. What is the form of Boulanger’s Psalm 24? a. b. What mood opens and closes Boulanger’s Psalm 24? a. ANS: B MSC: Factual DIF: Hard REF: 310 TOP: Boulanger 2. REF: 311 TOP: Boulanger fugue rondeau 312 TOP: Boulanger 7. c. Which of the following is NOT included in Boulanger’s Psalm 24? a. Debussy c. symphonies and concertos. One composer in Paris who explored post-Impressionist trends was: a. strophic b. Lili Boulanger ANS: C MSC: Factual DIF: Medium 3. stage works. Stravinsky b. Lili Boulanger lived in which music center? a. all of these 311 TOP: Boulanger 5. resignation ANS: A MSC: Conceptual DIF: Medium REF: 311f TOP: Boulanger 243 . c. Rome ANS: A MSC: Factual DIF: Easy REF: c. d. In her compositions. Berlioz d. d. Paris b. b. strings ANS: D MSC: Factual DIF: Easy 6. turmoil b. A-B-A ANS: B MSC: Factual DIF: Easy REF: c. triumph c. 314 TOP: Boulanger Berg. Lili Boulanger focused on choral music and never attempted an opera. ANS: F MSC: Factual DIF: Medium REF: 311 TOP: Boulanger 2. b. ANS: D MSC: Factual DIF: Easy c. ANS: T MSC: Factual DIF: Medium REF: 311 TOP: Boulanger REF: 310 TOP: Boulanger 311 TOP: Boulanger 3. ANS: F MSC: Applied DIF: Medium REF: 311 TOP: Boulanger . Lili Boulanger followed in the footsteps of Clara Schumann and became the second woman to win the Prix de Rome. b. Stravinsky. Copland c. Nadia Boulanger was a close friend of: a. all of the above ANS: A MSC: Applied DIF: Medium REF: 314 TOP: Boulanger TRUE/FALSE 1. Lili Boulanger embraced Impressionism. d. REF: teacher. Gershwin d. Schoenberg. violinist. ANS: F MSC: Factual DIF: Medium REF: 5. pianist. Lili Boulanger was a talented composer but died at an early age. ANS: C MSC: Factual DIF: Medium REF: 9. Debussy. c. Which of the following was a prominent student of Nadia Boulanger? a.244 | Chapter 54 8. ANS: T MSC: Applied DIF: Easy 4. d. 314 TOP: Boulanger 10. composer. Lili Boulanger was the older sister of Nadia. Nadia Boulanger was an extraordinarily gifted: a. Satie b. ANS: Answers will vary. ANS: F MSC: Factual DIF: Easy REF: 8. Lili Boulanger’s Psalm 24 was intended for use in a Catholic service. ANS: F MSC: Applied DIF: Medium REF: 313 TOP: Boulanger 9. ANS: T MSC: Factual DIF: Medium REF: 314 TOP: Boulanger 10. ANS: T MSC: Factual DIF: Medium REF: 314 TOP: Boulanger ESSAY 1. Discuss the musical importance of Nadia Boulanger. Nadia Boulanger was knowledgeable about music before Bach.Still Sacred: Religious Music in the Twentieth Century | 245 6. DIF: Hard REF: 310f TOP: Boulanger MSC: Conceptual 2. ANS: Answers will vary. Lili Boulanger’s Psalm 24 is sung a cappella. Psalm 24 is one of three psalm settings by Lili Boulanger. using Psalm 24 as an example. ANS: T MSC: Factual DIF: Hard REF: 311 TOP: Boulanger 311 TOP: Boulanger 7. Nadia Boulanger eventually taught at the Paris Conservatory. Describe the musical style of Lili Boulanger. DIF: Medium REF: 314 TOP: Boulanger MSC: Conceptual . diatonic scale. d. d. inversion b. In the twelve-tone method. playing the row with the intervals in the opposite direction d. transposed c. was a Neoclassical movement that returned to traditional harmonies. the arrangement of the twelve tones is called a(n): a. Expressionism. polytonalism. d. Anton Webern d. playing the row at a different pitch b. ANS: C MSC: Factual DIF: Medium REF: c. Which of the following was NOT a member of the so-called Second Viennese School of composition? a. chromaticism. REF: 315 TOP: Berg serialism. Eric Satie ANS: D MSC: Factual 246 DIF: Easy REF: 316 TOP: Berg . octatonic scale. playing the row backward c. b. Alban Berg b. The twelve-tone method is also known as: a. retrograde d. was a dead-end style that influenced few other styles. c. Arnold Schoenberg c. all of these ANS: C MSC: Factual DIF: Hard REF: 316 TOP: Berg 6. reestablished tonality in twentieth-century music. In the twelve-tone method. c.Chapter 55: War Is Hell: Berg and Expressionist Opera MULTIPLE CHOICE 1. b. In the twelve-tone method. tone row. 315 TOP: Berg 3. what is an inversion? a. retrograde inversion ANS: B MSC: Factual DIF: Hard REF: 316 TOP: Berg 5. b. chromatic scale. which term refers to playing the pitches in reverse order? a. ANS: D MSC: Factual DIF: Medium REF: 315 TOP: Berg 4. ANS: A MSC: Applied DIF: Easy 2. The twelve-tone method: a. revolutionized composition in the twentieth century. b. his Three Orchestral Pieces. Berg’s opera Wozzeck is based on a play by: a. ANS: D MSC: Factual DIF: Hard REF: 10. Webern d. d. a battle in medieval Russia. leitmotifs d. a clown’s obsession with the moon. REF: 316 TOP: Berg a steadfast expression of religious faith. Lyric Suite ANS: A MSC: Factual DIF: Medium REF: 317 TOP: Berg 9. tonal passages b. A Survivor from Warsaw c. ANS: C MSC: Applied DIF: Medium REF: 12. 316 TOP: Berg 13. his Lyric Suite. Berg spent the last years of his life trying to complete: a. ANS: B MSC: Factual DIF: Medium c. Berg’s opera Wozzeck centers on: a. Strindberg. atonal-Expressionist idiom c. Ibsen. b. Bartók ANS: A MSC: Factual DIF: Easy REF: 317 TOP: Berg 8.War Is Hell: Berg and Expressionist Opera | 247 7. c. Which of the following best characterizes Berg’s Wozzeck? a. b. Expressionism. d. Berg’s opera Wozzeck is best described as an example of: a. New Classicism. c. d. Lulu b. Wozzeck. Lulu. Impressionism. Wedekind. Berg c. all of the above ANS: D MSC: Applied DIF: Medium REF: 317 TOP: Berg . a soldier’s obsession with unhappy love. REF: 317 TOP: Berg Büchner. post-Romanticism. 316 TOP: Berg 11. Stravinsky b. d. b. Violin Concerto d. Which of the following is NOT a work by Alban Berg? a. Which composer was a disciple of Schoenberg and is best known for his operas Wozzeck and Lulu? a. ANS: C MSC: Factual DIF: Hard c. The final. ANS: T MSC: Factual DIF: Medium REF: 316 TOP: Berg 5. the son of Marie and Wozzeck.248 | Chapter 55 14. b. ANS: T MSC: Factual DIF: Medium REF: 315 TOP: Berg 3. How many scenes are there in each act of Berg’s Wozzeck? a. three c. Berg incorporated into his music formal patterns from the past. d. The transposition of pitches in a twelve-tone composition is called the tone row. ANS: F MSC: Factual DIF: Medium REF: 315 TOP: Berg 4. ANS: T MSC: Applied DIF: Hard REF: 316 TOP: Berg . seven ANS: C MSC: Factual DIF: Hard REF: 317 TOP: Berg 15. ANS: F MSC: Factual DIF: Easy 2. such as the fugue. more experiments performed on Wozzeck. ANS: T MSC: Applied DIF: Easy REF: 316 TOP: Berg 6. c. alone. ANS: A MSC: Factual DIF: Medium REF: 318 TOP: Berg REF: 315 TOP: Berg TRUE/FALSE 1. Berg developed the twelve-tone method. four d. heartbreaking scene of Berg’s Wozzeck concludes with: a. the death of Wozzeck. Berg’s music owes much to the influence of Arnold Schoenberg. the death of Marie. five b. the row is turned upside down and backward. Serialism is another term for the twelve-tone method. In retrograde inversion. ANS: Answers will vary. ANS: Answers will vary. Discuss Berg’s opera Wozzeck as an example of Expressionism in music. ANS: F MSC: Applied DIF: Medium REF: 10.War Is Hell: Berg and Expressionist Opera | 249 7. Wozzeck is based on a single twelve-tone row. ANS: F MSC: Applied DIF: Medium REF: 317 TOP: Berg 8. Berg’s Wozzeck reflects the ideals of Expressionism. In Berg’s opera. Describe the twelve-tone method of composition. Wozzeck drowns because he was following moonbeams into the lake. DIF: Medium REF: 316f TOP: Berg MSC: Applied . ANS: F MSC: Factual DIF: Easy REF: 317 TOP: Berg ESSAY 1. DIF: Medium REF: 315f TOP: Berg MSC: Applied 2. Berg’s most widely known composition is the Violin Concerto. ANS: T MSC: Applied DIF: Easy REF: 316 TOP: Berg 317 TOP: Berg 9. four c. ragtime c. bebop ANS: A MSC: Factual DIF: Easy REF: 321 TOP: Jazz 3. New York b. call and response d. Which of the following is NOT a musical trait of African origin? a. major-minor tonality ANS: D MSC: Applied Medium REF: 4. How many lines are in a blues verse? a. rock and roll b. ANS: A MSC: Factual DIF: DIF: Easy REF: 322 TOP: Jazz five variable 322 TOP: Blues 5. country and western d. Which of the following music genres developed around the turn of the twentieth century and incorporates elements of African music and Western popular and art music? a. d. Mississippi Delta c. jazz b. A-A-B d.Chapter 56: American Intersections: Jazz and Blues Traditions MULTIPLE CHOICE 1. three b. none of the above ANS: B MSC: Applied DIF: Easy REF: 322 TOP: Blues 6. New Orleans ANS: A MSC: Factual 250 DIF: Medium REF: 322 TOP: Blues . Which region of the United States was the birthplace of a unique style of blues primarily sung by males? a. vocal glides and inflection c. jazz c. all of the above ANS: D MSC: Applied DIF: Easy REF: 321f TOP: Jazz 2. Chicago d. blues d. storytelling techniques b. A-B-A c. Which of the following best describes the form of a blues text? a. A-B-C b. Which of the following popular American musical styles has its roots in African American music? a. Which of the following is NOT true of New Orleans jazz? a. a note that is not heard b. c. ANS: C MSC: Factual DIF: Easy REF: 322 TOP: Jazz . Louis Armstrong was also known as: a. Singspiel. Louis Armstrong’s instrument-like approach to singing is called: a. Chicago d. 322 TOP: Jazz clarinet piano 322 TOP: Jazz 13. Which of the following does NOT characterize the blues? a. scat-singing. b. ANS: C MSC: Applied Medium REF: 11. The harmonic progression is usually twelve measures long. trumpet c. holler. b. Which American city is considered the birthplace of jazz? a. New York c. the first two lines of each stanza are identical. It had no set forms or harmonic progressions. ANS: A MSC: Factual DIF: Easy REF: 322 TOP: Jazz “King” Armstrong. Improvisation was a basic element. or “blue. d. d. Los Angeles ANS: C MSC: Factual DIF: Medium REF: 322 TOP: Jazz 10. d. Which instrument did Louis Armstrong play? a. a note that is sustained ANS: D MSC: Factual DIF: Medium c. slight drops on certain pitches. Jelly Roll. ANS: A MSC: Applied DIF: Hard REF: 322 TOP: Blues 9. Sprechstimme. b. REF: a note whose pitch rises slightly a note whose pitch drops slightly 322 TOP: Blues 8. d. trombone d. ANS: B MSC: Factual DIF: DIF: Easy REF: 12.” note? a. It is a form of African folk music. What is a bent. It combined elements of ragtime and blues. c.American Intersections: Jazz and Blues Traditions | 251 7. Its texture was largely polyphonic. c. c. b. It has three-line text stanzas. b. New Orleans b. It uses “blue” notes. d. Satchmo. each instrument having its own part. Hot Lips. c. sing and record the blues. New Orleans d. perform in Carnegie Hall. lead her own band. Duke Ellington ANS: D MSC: Factual DIF: Medium REF: 17. sixteen-bar blues d. b. ANS: A MSC: Factual DIF: Easy REF: 323f TOP: Jazz bebop third stream 323 TOP: Jazz 18. Take the A Train is a song that refers to: a. Charlie Parker. What kind of jazz is Duke Ellington known for? a. Count Basie. Earl “Fatha” Hines d. c. big band c. b. the underground railroad of the nineteenth century. Jelly Roll Morton b. Louis Armstrong c. the jazz saxophonist John Coltrane. Duke Ellington. c. d. Louis Armstrong. Billie Holiday was one of the first African American singers to: a. thirty-two-bar popular song b. Lil Hardin. d.252 | Chapter 56 14. b. ANS: C MSC: Factual DIF: Easy REF: c. none of the above ANS: A MSC: Factual DIF: Easy 20. ANS: C MSC: Factual DIF: Medium REF: 324 TOP: Jazz 19. d. break the color barrier by recording and performing with white musicians. REF: 325 TOP: Jazz Billy Strayhorn. ANS: B MSC: Factual DIF: Medium REF: 323 TOP: Jazz 15. d. Billie Holiday’s song Billie’s Blues is in ________ form. 325 TOP: Jazz . Which American jazz composer was also a pianist and a master of big-band orchestration? a. a. twelve-bar blues c. Duke Ellington’s great musical collaborator in the 1940s was: a. Count Basie. Take the A Train was composed by: a. b. a New York City subway line. ritornello ANS: A MSC: Applied DIF: Medium REF: 323 TOP: Jazz 16. b. Billy Strayhorn. use of minor keys ANS: D MSC: Applied DIF: Medium c. A typical blues text voiced the difficulties of life. bebop. Dizzy Gillespie. New Orleans jazz. Clarke. What was the trademark of bebop? a. The principal exponent of cool jazz was the trumpeter: a. d. a twelve-bar progression b. b. d. b. Duke Ellington. A stanza of blues is typically four phrases long. ANS: T MSC: Applied DIF: Easy REF: 322 TOP: Jazz 322 TOP: Blues 322 TOP: Blues 2. Thelonious Monk ANS: C MSC: Applied DIF: Hard REF: 326 TOP: Jazz 23. What element did Xavier Cugat bring to the mainstream? a. During the 1940s. and Thelonious Monk developed: a. ragtime. improvisation b. Which of the following was NOT a contributor to the 1940s style known as bebop? a.American Intersections: Jazz and Blues Traditions | 253 21. Herbert L. African syncopation d. Dizzy Gillespie c. Jazz is an art form created mainly by African Americans in the early twentieth century that blended elements from African music with traditions of the West. Louis Armstrong b. c. Charlie Parker. ANS: C MSC: Factual DIF: Hard REF: 326 TOP: Jazz 24. ANS: F MSC: Factual DIF: Easy REF: . Miles Davis. Latin dance music c. d. Raphael Méndez. ANS: T MSC: Factual DIF: Easy REF: 3. Charlie Parker d. third-stream jazz. avant garde approaches ANS: A MSC: Factual DIF: Medium REF: 326 TOP: Jazz TRUE/FALSE 1. c. REF: dissonant counterpoint a two-note phrase 326 TOP: Jazz 22. ANS: B MSC: Factual DIF: Medium REF: 326 TOP: Jazz 25. ANS: T MSC: Applied DIF: Hard REF: 323 TOP: Jazz 9. The Gerry Mulligan Quartet is associated with West Coast jazz. ANS: F MSC: Applied DIF: Hard REF: 323 TOP: Jazz 8. Billie Holliday’s Billie’s Blues retains the standard twelve-bar blues structure. Big-band swing was the dominant form of American popular music in the 1930s and 1940s. ANS: F MSC: Factual DIF: Easy REF: 322 TOP: Blues 5. ANS: T MSC: Applied DIF: Medium REF: 322 TOP: Jazz 6. Because she was an African American. The blues from the Mississippi Delta usually was sung by black women. Bebop was a complex new style that developed after World War II and was performed by small groups in which each player has an equal voice in the improvisation. ANS: T MSC: Applied DIF: Medium REF: 323 TOP: Jazz 10. Louis Armstrong was an important force in the development of early jazz styles. ANS: F MSC: Applied DIF: Easy REF: 323f TOP: Jazz 11. Duke Ellington is associated with New Orleans–style jazz.254 | Chapter 56 4. ANS: T MSC: Applied DIF: Easy REF: 322 TOP: Jazz 7. Billie Holiday never had a chance to record with white jazz musicians. New Orleans jazz depended on simultaneous improvisations by the players. which resulted in a polyphonic texture. ANS: T MSC: Applied DIF: Medium REF: 326 TOP: Jazz . ANS: T MSC: Applied DIF: Medium REF: 326 TOP: Jazz 12. DIF: Medium REF: 322 TOP: Jazz MSC: Conceptual TOP: Blues MSC: Applied 2. DIF: Medium REF: 323f TOP: Jazz MSC: Conceptual . DIF: Hard REF: 322 3. Describe the African antecedents to jazz. What is a blues text? How is it constructed? ANS: Answers will vary.American Intersections: Jazz and Blues Traditions | 255 ESSAY 1. Why is Duke Ellington considered to be a seminal figure in the history of jazz? ANS: Answers will vary. ANS: Answers will vary. b. The Harlem Renaissance. During which decade did the Harlem Renaissance begin? a. 1900s c. d. ANS: A MSC: Factual DIF: Hard REF: 329 TOP: Harlem Renaissance 5. d. Club DeLux.Chapter 57: Modern America: Still and Musical Modernism in the United States MULTIPLE CHOICE 1. c. Chicago b. avant-garde electronic music. c. Weary Blues. abstract expressionism d. b. 1930s ANS: C MSC: Factual DIF: Easy REF: 328f TOP: Harlem Renaissance 2. ANS: A MSC: Applied DIF: Easy REF: 329 TOP: Harlem Renaissance 6. Langston Hughes. ANS: D MSC: Applied 256 DIF: Medium REF: 330 TOP: Still . William Grant Still was associated with which artistic movement? a. 1920s b. d. Ralph Ellison. Duke Ellington and Billie Holiday performed in Harlem at the: a. the Harlem Renaissance c. The most important literary figure associated with the Harlem Renaissance was: a. William Grant Still composed music in all of the following genres EXCEPT: a. New Orleans c. b. b. Which of the following was referred to as “the greatest Negro city in the world” during the 1920s? a. Los Angeles ANS: B MSC: Applied DIF: Medium REF: 328f TOP: Harlem Renaissance 3. In his early years. The New Negro. jazz arrangements. c. film and television scores. Harlem d. Invisible Man. d. c. imagism ANS: A MSC: Factual DIF: Easy REF: 330 TOP: Still 7. Alain Locke. Cotton Club. opera. Ambassador Hotel. ANS: C MSC: Factual DIF: Easy REF: 330 TOP: Harlem Renaissance 4. Impressionism b. Cocoanut Grove. George Schuyler. The Harlem Renaissance was inspired by a book of essays entitled: a. 1910s d. a poem by Langston Hughes. a novel by Ralph Ellison. experimental. one c. William Grant Still composed the first symphony by an African American to be performed by a major American orchestra. d. The third movement of William Grant Still’s Suite for Violin and Piano was inspired by: a. a painting by Sargent Johnson. William Grant Still composed only instrumental works and avoided opera. b. ANS: B MSC: Applied DIF: Medium REF: 331 TOP: Still TRUE/FALSE 1. serial.Modern America: Still and Musical Modernism in the United States | 257 8. c. two d. d. ANS: F MSC: Factual DIF: Medium REF: 329 TOP: Harlem Renaissance 2. The authors of The New Negro encouraged black artists to look to New York for inspiration. William Grant Still had an extensive background in jazz but no training in the European tradition. ANS: F MSC: Factual DIF: Easy REF: 330 TOP: Still . bluesy. ANS: T MSC: Factual DIF: Easy REF: 329 TOP: Harlem Renaissance 3. c. three b. The Harlem Renaissance highlighted African American intellectual life in the 1920s and 1930s. ANS: C MSC: Factual DIF: Hard REF: 331 TOP: Still 10. ANS: T MSC: Factual DIF: Easy REF: 330 TOP: Still 5. ANS: F MSC: Factual DIF: Medium REF: 330 TOP: Still 4. b. How many movements make up Still’s Suite for Violin and Piano? a. The third movement of William Grant Still’s Suite for Violin and Piano can best be described as: a. a sculpture by Augusta Savage. post-Romantic. four ANS: C MSC: Applied DIF: Medium REF: 330 TOP: Still 9. ANS: T MSC: Applied DIF: Easy REF: 330 TOP: Still 8.258 | Chapter 57 6. The third movement of William Grant Still’s Suite for Violin and Piano is based on Sargent Johnson’s Mother and Child. How does the music of William Grant Still reflect the traditions of European and African American music? Include examples in your answer. William Grant Still’s Suite for Violin and Piano reflects his ties to the Harlem Renaissance. Discuss the breadth and variety of William Grant Still’s music and his relationship with the Harlem Renaissance. ANS: Answers will vary. ANS: T MSC: Factual DIF: Easy REF: 330 TOP: Still 7. ANS: F MSC: Factual DIF: Hard REF: 330 TOP: Still ESSAY 1. William Grant Still moved to Los Angeles and composed music for television. DIF: Medium REF: 330f TOP: Still MSC: Conceptual 2. DIF: Medium REF: 330f TOP: Still MSC: Conceptual . ANS: Answers will vary. songs d. George Gershwin first broke into the music business as a: a. ANS: C MSC: Factual DIF: Medium REF: 334 TOP: Gershwin 259 . REF: 334 TOP: Gershwin Alexander’s Ragtime Band Embraceable You 334 TOP: Gershwin 5. Which types of works did George Gershwin compose? a. incorporate African American blues and jazz styles into his compositions. An American in Paris ANS: B MSC: Factual DIF: Medium 4. song plugger.Chapter 58: Folk Opera? George Gershwin and Jazz as “Art” MULTIPLE CHOICE 1. b. Rhapsody in Blue c. b. all of the above ANS: D MSC: Factual DIF: Easy REF: 334 TOP: Gershwin 6. d. lead an integrated big band. composer of chamber music. write music for Duke Ellington’s band. He lived a long life and was a mentor to other young composers. film scores c. Afro-American Symphony d. b. c. band leader. Swanee b. d. film composer. d. He won acclaim for Rhapsody in Blue. c. Which song is NOT by George Gershwin? a. Which of the following did NOT characterize the career of George Gershwin? a. c. d. They Can’t Take That Away From Me ANS: C MSC: Factual DIF: Hard REF: c. musicals b. George Gershwin is recognized as one of the first American composers to: a. He unified popular and classical styles. Which of the following is NOT by George Gershwin? a. ANS: C MSC: Factual DIF: Medium REF: 333 TOP: Gershwin 2. ANS: A MSC: Applied DIF: Easy REF: 334 TOP: Gershwin 3. Concerto in F b. He was a successful composer for Tin Pan Alley. write for the musical theater. ANS: C MSC: Applied DIF: Medium 11. Which work did Gershwin compose in France? a. Arturo Toscanini. The plot deals with the life of African Americans. George Gershwin’s folk opera ________ was far ahead of its time. c. The music combines jazz with the modern techniques of Schoenberg. ANS: T MSC: Applied DIF: Hard REF: 333 TOP: Gershwin . It combines elements of opera and the musical. b. Concerto in F d. Paul Whiteman. Elmer Bernstein. d. Which of the following does NOT describe Gershwin’s Porgy and Bess? a. The premiere of Gershwin’s Rhapsody in Blue was conducted by: a. A-B-B d. Although American popular songs from the early twentieth century capitalized on ragtime and jazz. Rhapsody in Blue c. b. Porgy and Bess c. d. ANS: B MSC: Factual DIF: Hard REF: 8. d. ANS: D MSC: Factual DIF: Easy REF: 334 TOP: Gershwin Porgy and Bess An American in Paris 334 TOP: Gershwin 9. Duke Ellington. ANS: A MSC: Applied DIF: Medium REF: 335 TOP: Gershwin an operatic recitative. an African American spiritual. they followed the conventions of Foster’s parlor ballads. c. a ragtime song. The music merges jazz with classical traditions. b.260 | Chapter 58 7. REF: 12. Show Boat b. Guys and Dolls ANS: A MSC: Factual DIF: Easy REF: 335 TOP: Gershwin 10. Gershwin’s Summertime is in ________ form. strophic c. ANS: D MSC: Applied DIF: Medium REF: c. Gershwin’s Summertime suggests: a. an Italian aria. a. a. 335 TOP: Gershwin da capo verse-chorus 335 TOP: Gershwin TRUE/FALSE 1. b. b. My Fair Lady d. Folk Opera? Gershwin and Jazz as “Art” | 261 2. George Gershwin wrote all of the lyrics for his songs. Summertime is sung several times during Porgy and Bess. Gershwin’s orchestral work An American in Paris became the impetus for a Hollywood film. Rhapsody in Blue is scored for orchestra and solo violin. One reason for Gershwin’s success is the harmonic simplicity of his music. Rhapsody in Blue had its premiere in a concert entitled “An Experiment in Modern Music. ANS: F MSC: Applied DIF: Easy REF: 335 TOP: Gershwin 10. The folk opera Porgy and Bess takes place in Chicago. Summertime is a lively song that suggests the excitement of summer. ANS: T MSC: Factual DIF: Easy REF: 334 TOP: Gershwin 4. ANS: F MSC: Factual DIF: Medium REF: 334 TOP: Gershwin 5. ANS: F MSC: Factual DIF: Easy REF: 335 TOP: Gershwin 9. ANS: F MSC: Applied DIF: Medium REF: 334 TOP: Gershwin 3. Gershwin wrote songs for both Broadway and Hollywood. ANS: F MSC: Factual DIF: Easy REF: 334 TOP: Gershwin 7. ANS: T MSC: Factual DIF: Easy REF: 335 TOP: Gershwin .” ANS: T MSC: Factual DIF: Easy REF: 334 TOP: Gershwin 8. ANS: T MSC: Factual DIF: Medium REF: 334 TOP: Gershwin 6. ANS: Answers will vary. DIF: Hard REF: 335 TOP: Gershwin MSC: Conceptual . How does Gershwin blend classical and popular styles in Porgy and Bess? Include examples in your answer. Describe the variety of works that George Gershwin composed. DIF: Hard REF: 333f TOP: Gershwin MSC: Applied 2. ANS: Answers will vary.262 | Chapter 58 ESSAY 1. not influenced by American popular music. b. ANS: C MSC: Factual DIF: Easy REF: 338 TOP: Ives 4. Which of the following statements about Charles Ives is NOT correct? a. college professor. Stephen Foster. c. Charles Ives made a living as a(n): a.Chapter 59: Sounds American: Ives. Symphony No. d. He was born in New England. heavily influenced by Debussy and Impressionism. The first great American composer of the twentieth century was: a. the Concord Sonata c. use of American tunes b. Which of the following does NOT characterize the music of Ives? a. church organist. conductor. 3 d. Louis Moreau Gottschalk. 2 ANS: B MSC: Factual DIF: Hard REF: 338 TOP: Ives 6. For which work was Ives awarded the Pulitzer Prize? a. While composing in his spare time. Three Places in New England b. all of the above ANS: A MSC: Applied DIF: Easy REF: 338 TOP: Ives 3. c. consistent use of traditional forms ANS: D MSC: Applied DIF: 2 REF: 338 TOP: Ives 263 . d. c. Charles Tomlinson Griffes. dissonant cluster chords d. Copland. c. He rarely heard his music performed. d. b. ANS: D MSC: Applied DIF: Medium REF: 338 TOP: Ives 2. He was the head of a large insurance company. polyrhythms c. b. ANS: C MSC: Applied DIF: Medium REF: 338 TOP: Ives 5. Symphony No. and Musical Nationalism MULTIPLE CHOICE 1. d. insurance executive. His music was very popular. very innovative for its time. Ives’s compositional style was: a. b. Charles Ives. 264 | Chapter 59 7. Billy the Kid ANS: A MSC: Factual DIF: Medium 11. standard march form d. Copland composed Appalachian Spring for: a. ANS: B MSC: Factual DIF: Medium REF: c. ANS: D MSC: Applied DIF: Medium 13. Nadia Boulanger. Yankee Doodle c. b. 341 TOP: Copland neo-Classical all of the above 341 TOP: Copland George Balanchine. ballet. d. dissonance ANS: B MSC: Applied DIF: Medium REF: 340 TOP: Ives 8. cantata. b. Which of the following does NOT characterize Ives’s Country Band March? a. London Bridge ANS: C MSC: Factual DIF: Medium 9. REF: 12. Copland’s Billy the Kid is a(n): a. Sergei Diaghilev. Our Town c. My Old Kentucky Home d. Appalachian Spring b. d. Which of the following is NOT a ballet by Copland? a. Aaron Copland studied composition with: a. 341 TOP: Copland 10. Martha Graham. Charles Tomlinson Griffes. mostly duple meter b. b. ANS: D MSC: Factual DIF: Hard REF: c. Which of the following tunes is NOT included in Ives’s Country Band March? a. b. d. ANS: B MSC: Factual DIF: Hard REF: c. REF: 341 TOP: Copland film score. opera. 341f TOP: Copland . Merce Cunningham. jazz d. In which musical style did Copland compose? a. twelve-tone technique c. Rodeo d. REF: 340 TOP: Ives Arnold Schoenberg. quotations of popular tunes c. Jeanie with the Light Brown Hair b. Charles Ives. rondo b. b. Connecticut. c. Copland’s Appalachian Spring depicts: a. ANS: A MSC: Factual DIF: DIF: Medium 19. Copland’s Appalachian Spring quotes the early American tune: a. before the Revolutionary War b. d. and Musical Nationalism | 265 14. ANS: D MSC: Factual DIF: Hard 20. religious d. b. volatile ANS: C MSC: Applied DIF: Easy REF: 344 TOP: Copland 16. Yankee Doodle. variation d. Simple Gifts.Sounds American: Ives. Georgia. Section 7 of Copland’s Appalachian Spring is in ________ form. Amazing Grace. the change of seasons in the Appalachians. c. an evening dance in the Appalachians. d. d. When was Yankee Doodle composed? a. b. d. a wedding in the Appalachians. ANS: A MSC: Factual DIF: Medium REF: 344 TOP: Copland 17. a. Massachusetts. minuet ANS: B MSC: Applied Medium REF: 18. 342 TOP: American Music to include in patriotic compositions all of the above 342f TOP: American Music . Which of the following best describes the mood at the beginning of Copland’s Appalachian Spring? a. energetic c. to symbolize New England ANS: D MSC: Applied DIF: Easy REF: c. REF: 345 TOP: Copland just after the Revolutionary War during the Civil War 342 TOP: American Music Maine. ANS: A MSC: Factual DIF: Medium REF: 344 TOP: Copland 15. to poke fun at the American army b. A-B-A' c. Dixie. REF: c. calm b. Yankee Doodle remains the state song of: a. How was Yankee Doodle used? a. during the Revolutionary War c. a river in the Appalachians. d. Copland. ANS: T MSC: Factual DIF: Easy REF: 341 TOP: Copland 6. ANS: F MSC: Applied DIF: Easy REF: 338 TOP: Ives 2.266 | Chapter 59 TRUE/FALSE 1. neo-Classical elements. ANS: T MSC: Factual DIF: Medium REF: 340 TOP: Ives 5. ANS: F MSC: Factual DIF: Easy REF: 341 TOP: Copland 7. ANS: T MSC: Factual DIF: Easy REF: 341 TOP: Copland 8. Appalachian Spring contains no borrowed melodies. Simple Gifts was originally a spiritual. ANS: F MSC: Factual DIF: Easy REF: 344 TOP: Copland REF: 344 TOP: Copland 9. Charles Ives’s music reflects his roots in New England through his use of popular songs and American historical themes. ANS: F MSC: Factual DIF: Easy . Ives’s Country Band March is strictly in duple meter with no syncopation. The music of Charles Ives was very popular and was performed frequently during his lifetime. ANS: F MSC: Applied DIF: Easy REF: 340 TOP: Ives 4. Ives’s Country Band March quotes several marches by Sousa. and twelve-tone techniques. During his composing career. Copland employed jazz. ANS: T MSC: Applied DIF: Hard REF: 338 TOP: Ives 3. Martha Graham was a leading figure in modern dance. Copland composed music for the theater. but not for film. What are the American qualities of Copland’s music? Cite examples from works described in the textbook.Sounds American: Ives. and Musical Nationalism | 267 10. DIF: Hard REF: 340f TOP: Copland MSC: Conceptual . DIF: Hard REF: 337f TOP: Ives MSC: Conceptual 2. ANS: Answers will vary. Copland. Yankee Doodle was sung by the British to mock the American army. Why is Charles Ives considered one of the most original musicians of his time? ANS: Answers will vary. ANS: T MSC: Applied DIF: Easy REF: 342 TOP: American Music ESSAY 1. c. all of the above ANS: C MSC: Applied DIF: Hard 3. ANS: B MSC: Factual DIF: Medium REF: 348 TOP: Revueltas 6. Medium REF: 347f TOP: Mexico Mexican art-music composer. Silvestre Revueltas’s compositional style is considered representative of: a. atonal Expressionism. Revueltas’s mature compositional style features: a. complex rhythms. Carlos Chávez was a noted: a. b. b. The music scene in early twentieth-century Mexico was strongly influenced by: a. d. During his career. b. d. discard Western forms and genres. c. Brazil. actual Mexican folk melodies.” composers sought to: a. Silvestre Revueltas was active in all of the following countries EXCEPT: a. b. Impressionist harmonies. ANS: C MSC: Factual DIF: REF: c. c. b. quote authentic Aztec melodies. Hispanic culture. including polyrhythms and ostinatos. d. c. dissonant counterpoint. 348 TOP: Mexico 4. singer of cowboy songs. Spanish music. twelve-tone harmonies.Chapter 60: Also American: Revueltas and Mexican Musical Modernism MULTIPLE CHOICE 1. ANS: D MSC: Applied DIF: Medium REF: 348 TOP: Revueltas 5. d. During the “Aztec Renaissance. Amerindian culture. the United States. mestizo realism. d. Spain. b. Mexico. mariachi band leader. all of the above ANS: D MSC: Applied DIF: Easy REF: 347 TOP: Mexico 2. suggest the character of native music. folk song collector. ANS: A MSC: Applied 268 DIF: Hard REF: 348 TOP: Revueltas . c. d. Neoclassicism. c. Stravinsky’s Rite of Spring. George Gershwin. Sensemayá b. filmmaker. Homenaje a Federico García Lorca d. It incorporates traditions of Mexican vernacular music. Son is a Spanish-language term that refers to: a. Which of the following is NOT a work by Silvestre Revueltas? a. William Grant Still. Federico García Lorca was a well known: a. composer. a familial relationship. REF: 348 TOP: Revueltas writer. ANS: C MSC: Factual DIF: Medium c. d. d. Revueltas’s orchestration for Son is similar to that of: a. shifting between triple and compound meters d. ANS: A MSC: Applied DIF: Medium REF: 10. Carlos Chávez’s music attracted the attention of the American composer: a. d. Aaron Copland. Which of the following does NOT characterize Homage to Federico García Lorca? a. b. REF: 348 TOP: Revueltas song. 348 TOP: Revueltas 9. 352 TOP: Revueltas 11. a mariachi ensemble. c. irregular accents ANS: C MSC: Applied DIF: Medium REF: 352 TOP: Revueltas 13. b. El Salón México c. a Hollywood film score. ANS: B MSC: Factual DIF: Medium c. The orchestration favors the winds. a traditional song/dance of Mexico. It is scored for full symphony orchestra. simple duple meter b. Which of the following best describes the meter of Revueltas’s Son? a. Leonard Bernstein. sound. La noche de los mayas ANS: A MSC: Factual DIF: Hard REF: 8. ANS: B MSC: Applied DIF: Medium REF: 352 TOP: Revueltas 12. b. painter.Also American: Revueltas and Mexican Musical Modernism | 269 7. c. b. It features elements of European modernist music. b. ANS: A MSC: Factual DIF: Medium REF: 350 TOP: Mexico . d. a Western dance band. simple triple meter c. d. clarinet ANS: D MSC: Factual DIF: Medium REF: 350 TOP: Mariachi music TRUE/FALSE 1. The string section of Revueltas’s Homenaje a Federico García Lorca consists of two violins and one bass only. ANS: F MSC: Factual DIF: Easy REF: 348 TOP: Revueltas 348 TOP: Revueltas 3. ANS: T MSC: Factual DIF: Easy REF: 348 TOP: Revueltas . ANS: C MSC: Factual DIF: Easy c. d. guitar d. The dedicatee of Revueltas’s Homenaje a Federico García Lorca was a famous Mexican poet. Revueltas wrote music for films. The mariachi tradition originated in: a. ANS: T MSC: Factual DIF: Medium REF: 4. ANS: F MSC: Factual DIF: Medium REF: 348 TOP: Revueltas 5.270 | Chapter 60 14. REF: Mexico. The emotional quality in works of Revueltas tend to be objective and reserved. Brazil. The modern music of Mexico is based on the music of indigenous Amerindian cultures and of Spain. violin c. 350 TOP: Mariachi music 15. trumpet b. b. Which of the following instruments would you NOT find in a standard mariachi band? a. Argentina. The Mexican composer Silvestre Revueltas lived a long and productive artistic life. ANS: F MSC: Factual DIF: Easy REF: 348 TOP: Revueltas 6. Cuba. Like Copland. ANS: T MSC: Applied DIF: Medium REF: 347 TOP: Mexico 2. DIF: Medium REF: 348f TOP: Revueltas MSC: Applied 2. ANS: F MSC: Applied DIF: Easy REF: 348 TOP: Revueltas 8. Describe the Mexican mariachi tradition. ANS: Answers will vary. ANS: T MSC: Factual DIF: Hard REF: 350 TOP: Mariachi music ESSAY 1. known as charros.Also American: Revueltas and Mexican Musical Modernism | 271 7. A harp is sometimes included in a mariachi ensemble. the structure of Son is a traditional sonata form. Discuss the nationalist and modernist aspects of the music of Silvestre Revueltas. ANS: Answers will vary. Mariachi performers often wear the costumes of Mexican cowboys. ANS: T MSC: Factual DIF: Medium REF: 350 TOP: Mariachi music 9. DIF: Hard MSC: Applied REF: 350f TOP: Mariachi music . Despite the prominence of Mexican qualities in Revueltas’s Homenaje a Federico García Lorca. It incorporated original instrumentation rather than orchestral settings. How did twentieth-century nationalism differ from its nineteenth-century counterpart? a. d. It shunned music’s melodic content and exploited its rhythmic implications. the symphonic poem c. the concerto ANS: A MSC: Applied DIF: Medium REF: 354 TOP: Neo-Classicism 4. c. the opera b. Handel ANS: C MSC: Applied DIF: Easy REF: 353 TOP: Neo-Classicism 3. the symphony d. ornithology. electricity ANS: B MSC: Factual 272 DIF: Easy REF: 354 TOP: Nationalism . d. ANS: B MSC: Factual DIF: Easy REF: 354 TOP: Nationalism 6. post-Romanticism. Bach d. c. b. It approached music more scientifically. radio b.Chapter 61: Classic Rethinking: Bartók and the “Neo-Classical” Turn MULTIPLE CHOICE 1. ethnomusicology. Which of the following composers would NOT have been emulated during the neo-Classical era? a. d. b. Which of the following was a critical new technology that aided the study of folk music in the early twentieth century? a. Impressionism. the phonograph d. The comparative study of musics of the world is called: a. b. The early twentieth-century style that sought to revive certain principles and forms of earlier music was: a. Expressionism. ANS: A MSC: Factual DIF: Easy REF: 353 TOP: Neo-Classicism 2. c. Which of the following genres was NOT favored by the neo-Classicists of the early twentieth century? a. neo-Classicism. musicology. music notation c. iconography. Wagner b. Vivaldi c. all of the above ANS: A MSC: Applied DIF: Medium REF: 354 TOP: Nationalism 5. Paris c. b. ANS: A MSC: Factual DIF: Easy REF: 354 TOP: Bartók 10. the continued influence of Wagner’s music dramas. Bartók’s compositions show the influence of eastern European folk music in: a.Classic Rethinking: Bartók and the “Neo-Classical” Turn | 273 7. and rhythm. Which of the following English composers is viewed as one of the foremost twentieth-century opera composers? a. Britten b. d. ancient modes. Zurich d. ANS: A MSC: Factual DIF: Hard REF: 354 TOP: Bartók 11. Which Hungarian composer combined native folk music characteristics with main currents of European music? a. Zoltán Kodály. a. Ernest Bloch. d. c. the Soviet Union. b. ANS: C MSC: Factual DIF: Hard REF: 354 TOP: Nationalism 9. Albeniz. New York City b. d. d. d. reintroducing the major-minor system. harmony. Bloch. b. Bartók found that eastern European folk music was based on: a. c. Erik Satie. Delius c. Bartók immigrated to ________ during World War II and remained there for the last few years of his life. c. all of the above ANS: B MSC: Applied DIF: Medium REF: 356 TOP: Bartók . Bartók. nonsymmetrical rhythms. unfamiliar scales. Elgar d. new concepts of melody. b. Jean Sibelius. Germany. Béla Bartók traveled around Hungary collecting peasant songs with the composer: a. all of the above ANS: D MSC: Factual DIF: Hard REF: 356 TOP: Bartók 13. Sibelius. b. Los Angeles ANS: C MSC: Factual DIF: Easy REF: 356 TOP: Bartók 12. c. Hungary. Vaughan Williams ANS: C MSC: Applied DIF: Medium REF: 354 TOP: Nationalism 8. c. England. Prokofiev and Shostakovich were prominent composers from: a. Cello. a puppet act in a carnival. Clarinet. his happy state of mind at the time. pounding rhythms d. Elizabethan dances. all of the above ANS: C MSC: Applied DIF: Medium REF: 354 TOP: Bartók 19. REF: 356 TOP: Bartók symmetrical and balanced. Percussion. Which of the following is NOT a characteristic of Bartók’s music? a. ANS: D MSC: Applied DIF: Medium REF: 355 TOP: Bartók . neo-Classical in concept. traditional forms b. One of Bartók’s most popular works is his Music for Strings. The “interruption” section in Bartók’s Interrupted Intermezzo represents: a. unchanging metric patterns c. ANS: A MSC: Applied DIF: Medium REF: c. b. major-minor tonality ANS: D MSC: Applied DIF: Hard 16. folklike melodies d. b. the Nazis. Bartók’s use of rhythm was: a. a peasant dance. c.274 | Chapter 61 14. particularly innovative. Why did Bartók name his last work Concerto for Orchestra? a. Hungarian folk songs. Celesta. 356 TOP: Bartók 17. d. a broad lyric melody ANS: A MSC: Applied DIF: Medium REF: 354f TOP: Bartók 20. ANS: B MSC: Applied DIF: Hard REF: 356 TOP: Bartók 18. Wagnerian operas. ANS: C MSC: Applied DIF: Easy REF: 356 TOP: Bartók 15. and: a. Clavichord. because he treated single instruments in a soloistic manner d. quotation of a theme by Shostakovich b. The model for Bartók’s melodies can be found in: a. c. b. the works of Beethoven. because of the prominent violin solo b. d. polytonality c. because it had three movements c. c. Which of the following does NOT characterize the Interrupted Intermezzo from Bartók’s Concerto for Orchestra? a. b. d. unimportant to his compositional style. d. ANS: F MSC: Applied DIF: Medium REF: 354 TOP: Bartók 4. Unlike Bartók’s work with Hungarian folk music. Bartók’s Concerto for Orchestra is set in the standard symphonic format of four movements. Bartók generally avoided Classical structures. Although Hungarian. Bartók composed in the prevailing international style. ANS: T MSC: Applied DIF: Medium REF: 356 TOP: Bartók 8.Classic Rethinking: Bartók and the “Neo-Classical” Turn | 275 TRUE/FALSE 1. Neo-Classical composers preferred absolute music and forms to program music. ANS: F MSC: Factual DIF: Medium REF: 357 TOP: Bartók . ANS: F MSC: Applied DIF: Medium REF: 7. ANS: T MSC: Factual DIF: Medium REF: 354 TOP: Nationalism 3. there was no similar study for the music of American Indians. Bartók attempted to imitate the vocal styles and rhythms of certain eastern European traditional musics. Bartók’s six string quartets rank among the finest achievements of twentieth-century chamber music. Bartók composed his Concerto for Orchestra while he was terminally ill. ANS: T MSC: Applied DIF: Easy REF: 353 TOP: Neo-Classicism 2. ANS: T MSC: Factual DIF: Medium REF: 356 TOP: Bartók 9. Sergei Prokofiev composed the popular Peter and the Wolf. ANS: T MSC: Applied DIF: Medium REF: 356 TOP: Bartók 356 TOP: Bartók 6. ANS: F MSC: Applied DIF: Medium REF: 355 TOP: Bartók 5. Few Hungarian folk elements are heard in Interrupted Intermezzo. ANS: Answers will vary. ANS: Answers will vary. from Bartók’s Concerto for Orchestra. Describe twentieth-century musical nationalism. What neo-Classical elements can be found in the music of European nationalist composers of the twentieth century? Include examples in your answer. ANS: F MSC: Conceptual DIF: Easy REF: 354 TOP: Bartók ESSAY 1. DIF: Medium MSC: Applied REF: 353f TOP: Neo-Classicism 2.276 | Chapter 61 10. citing examples from your text. DIF: Medium REF: 354f TOP: Nationalism MSC: Applied . Jasper Johns ANS: B MSC: Applied DIF: Hard REF: 360 TOP: New directions 4. surrealism. comic strips. new media and materials c. multimedia art b. abstract expressionism c. minimalism c. Ludwig Mies van der Rohe c. c. Which of the following does NOT characterize postmodernism? a. including machines.Prelude 7: Beyond Modernism? MULTIPLE CHOICE 1. d. Dadaism d. Frank Lloyd Wright b. rejection of traditional and classical elements b. Andy Warhol’s style of art is best described as: a. Which art movement drew themes from modern urban life. Andy Warhol b. Jackson Pollock d. b. Robert Venturi d. postmodernism ANS: C MSC: Applied DIF: Medium REF: 5. Robert Rauschenberg c. abstract expressionism ANS: D MSC: Applied DIF: Medium REF: 361 TOP: New directions 277 . collage and quotation d. environmental art d. Which of the following is NOT a subcategory of postmodern art? a. Frank Gehry ANS: D MSC: Factual DIF: Hard REF: 360 TOP: New directions 3. incorporation of popular elements ANS: A MSC: Applied DIF: Hard REF: 360 TOP: New directions 2. 361 TOP: New directions 6. Cubism. Which architect designed the Walt Disney Concert Hall in Los Angeles? a. and commercial advertisements? a. abstract expressionism. pop art b. Which artist is most closely associated with abstract expressionism? a. ANS: C MSC: Applied DIF: Medium REF: 360 TOP: New directions pop art. ANS: C MSC: Factual DIF: Easy REF: 362 TOP: New directions MTV YouTube 363 TOP: New directions 13. The African American artist noted for “storybook” quilts is: a. Laurie Anderson b. b. Antonioni ANS: B MSC: Applied DIF: Medium REF: 362 TOP: New directions 10. Faith Ringgold. c. minimalism. Which of the following directors is NOT associated with new-wave cinema? a. ANS: A MSC: Conceptual DIF: Hard REF: 361 TOP: New directions 8. Koyaanisqatsi ANS: D MSC: Factual DIF: Easy REF: 362 TOP: New directions 11. FM radio d. My Fair Lady c. Judy Chicago. d. abstract expressionism. Oklahoma! ANS: D MSC: Factual DIF: Medium REF: 363 TOP: New directions . Inception d. pop art. Fellini c. Lois Mailou Jones. Pulp Fiction b. ANS: B MSC: Factual DIF: Hard REF: 361 TOP: New directions 9. Environmental art is most closely associated with: a. Spielberg d. Which of the following films is a nonnarrative visual collage with music by Philip Glass? a. Gabriel García Márquez ANS: C MSC: Applied DIF: Hard REF: 12. Which of the following is NOT a distinguished contemporary novelist? a. b. Rowling d. Maya Angelou. West Side Story b. d. The Sound of Music d. Which mass-media forum was launched in 1981? a. Godard b. b. c. K. Which of the following musicals was NOT produced after 1950? a. new wave.278 | Prelude 7 7. Dick Clark’s American Bandstand c. Toni Morrison c. Kill Bill c. J. create new sounds. d. recreating the sounds of a grand piano. postminimalism b. theater of the absurd c. c. With which contemporary movement is the composer John Cage linked? a. c. REF: c. d. Cologne. Blowin’ in the Wind c. Walter Carlos. collage. A technique developed by Lukas Foss in which composers incorporate music from the past is called: a. c. ANS: B MSC: Factual DIF: e 18. If I Had a Hammer d. electronically generated music. b. d. recreating natural sounds such as bird calls. Donald Buchla. Which of the following songs was written by Bob Dylan? a. chance music d. total serialism. d. b. 364 TOP: New directions Karl Stockhausen. b. ANS: B MSC: Factual DIF: Medium REF: c. 364 TOP: New directions 365 TOP: New directions 19. d. Electronic music that relies on natural sounds is called: a. Berlin. Where did Electronische Musik originate? a. all of the above ANS: A MSC: Factual DIF: Medium REF: 363 TOP: New directions 16. The creator of Switched-On Bach was: a. We Shall Overcome b. open form. synthesized music. Robert Moog. REF: 364 TOP: New directions Mannheim. Vienna. all of the above ANS: D MSC: Factual DIF: Easy REF: 20. microtonality. serialism ANS: B MSC: Applied DIF: Hard REF: 363 TOP: New directions 15. ANS: B MSC: Factual DIF: Medium REF: 365 TOP: New directions . taped music ANS: C MSC: Factual DIF: Medium 17. b. The synthesizer is capable of: a.Beyond Modernism? | 279 14. musique concrète b. ANS: F MSC: Applied DIF: Easy REF: 360 TOP: New directions 2. ANS: F MSC: Applied DIF: Easy REF: 363 TOP: New directions 8. Postmodern music embraced mass media. ANS: F MSC: Applied DIF: Easy REF: 364 TOP: New directions 9.” ANS: F MSC: Factual DIF: Medium REF: 360 TOP: New directions 3. ANS: T MSC: Factual DIF: Medium REF: 365 TOP: New directions . Performers of late-twentieth-century popular music tended to ignore current events. Postmodern music rejected the use of electronic instruments. Jasper Johns and Robert Rauschenberg owe some of their inspiration to the Dadaists.280 | Prelude 7 TRUE/FALSE 1. ANS: T MSC: Applied DIF: Easy REF: 5. ANS: F MSC: Applied DIF: Easy REF: 362 TOP: New directions REF: 362 TOP: New directions 6. The definition of postmodern in music is simpler than in other art forms. Postmodern architecture strove for greater simplicity. ANS: T MSC: Applied DIF: Easy 7. The MIDI allows synthesizers to communicate with computers. New-wave cinema reflects postmodern ideas. The motto of architect Frank Gehry is “less is more. ANS: T MSC: Applied DIF: Medium REF: 360 TOP: New directions 362 TOP: New directions 4. ANS: F MSC: Factual DIF: Hard REF: 366 TOP: New directions ESSAY 1. ANS: Answers will vary. Include examples from the textbook in your answer. Discuss some of the post–World War II trends in the arts. ANS: Answers will vary.Beyond Modernism? | 281 10. DIF: Medium MSC: Applied REF: 360f TOP: New directions 2. Robert Moog was a key figure in the development of hyperinstruments. DIF: Hard MSC: Conceptual REF: 362f TOP: New directions . How is postmodernism manifested in music? Include examples from the textbook in your answer. John Cage ANS: C MSC: Factual DIF: Hard REF: 368 TOP: Early Experiments 3. whole tone ANS: A MSC: Factual DIF: Hard REF: 369 TOP: Early Experiments 6. Harry Partch d. noise as music c. John Cage ANS: B MSC: Factual DIF: Hard REF: 369 TOP: Early Experiments 5. Harry Partch d. serial music d. Aaron Copland c. Harry Partch ANS: B MSC: Applied DIF: Medium REF: 368f TOP: Early Experiments 2. Which of the following composers combined Asian instruments with traditional Western ensembles and experimented with exotic scales? a. Harry Partch experimented with a ________ tuning system. modal d. Henry Cowell b. Aaron Copland d. Which of the following musical concepts is NOT associated with John Cage? a. gamelan-type ensembles ANS: B MSC: Factual 282 DIF: Medium REF: 369 TOP: Cage . chance music b. John Cage ANS: B MSC: Factual DIF: Medium REF: 369 TOP: Early Experiments 4. Henry Cowell b. pentatonic b. Henry Cowell b. a. Henry Cowell b. Aaron Copland c. Aaron Copland c. Which of the following American composers was NOT greatly influenced by the philosophy of the Far East? a. John Cage c. Which innovative composer constructed a scale of forty-three microtones to the octave and built instruments with this tuning? a. Harry Partch d. microtonal c. Which innovative composer first explored tone clusters at the piano? a.Chapter 62: New Sound Palettes: Mid-Twentieth-Century American Experimentalists MULTIPLE CHOICE 1. quarter tones b. Which of the following does NOT characterize John Cage’s Sonatas and Interludes? a. 4'33" ANS: D MSC: Factual DIF: Medium REF: 369 TOP: Cage 8. is in ________ form. b. Henry Cowell b.New Sound Palettes: Mid-Twentieth-Century American Experimentalists | 283 7. unusual effects. percussive effects c. gamelan-like timbres b. b. I Ching b. Javanese gamelan. sitar of India. rondo b. Sonata V. synthesizer. Pierre Boulez ANS: B MSC: Factual DIF: Medium REF: 369 TOP: Cage 9. Fontana Mix d. John Cage’s Sonatas and Interludes evoke the sounds of the: a. bagpipe of eastern Europe. ternary d. irregular meters d. a. ANS: C MSC: Conceptual DIF: Easy REF: 369 TOP: Cage 10. chamber ensemble. John Cage d. lyrical melodies ANS: D MSC: Applied DIF: Medium REF: 369f TOP: Cage 12. John Cage’s Sonatas and Interludes is a work for: a. Sonatas and Interludes c. including Sprechstimme c. Which of the following does NOT characterize the music of George Crumb? a. c. sonata-allegro ANS: A MSC: Factual DIF: Easy REF: 371 TOP: Cage 13. Harry Partch c. Which of the following works by John Cage has no musical content and can be performed by anyone on any instrument? a. from John Cage’s Sonatas and Interludes. Japanese koto. prepared piano. d. d. Which of the following composers invented the prepared piano? a. new sonorities ANS: B MSC: Applied DIF: Hard REF: 372 TOP: Crumb . binary c. emotional detachment d. violin and piano. ANS: B MSC: Factual DIF: Easy REF: 369 TOP: Cage 11. c. Robert Frost. Ancient Voices of Children d. ANS: A MSC: Factual DIF: Hard REF: 371 TOP: Crumb 17. soprano. piccolo. Rod McKuen. Federico García Lorca. ANS: B MSC: Factual DIF: Hard REF: 20. song cycles. China. The music of George Crumb includes many settings of the poetry of: a. b. Japan. b. d. metal. chamber works. Echoes of Time and the River b. piano preludes. madrigals. b. c. c. The ensemble known as the gamelan comes from: a. Composers influenced by gamelan music include: a.284 | Chapter 62 14. d. Crumb’s Caballito negro is included in a book of: a. b. b. c. d. c. d. Which of the following was NOT composed by George Crumb? a. b. 374 TOP: Crumb Harrison. c. Fontana Mix ANS: D MSC: Factual DIF: Hard REF: 372 TOP: Crumb 15. The performing forces of Crumb’s Caballito negro include all of the following EXCEPT: a. Cage. d. piano. ANS: D MSC: Factual DIF: Hard REF: 19. c. ANS: B MSC: Factual DIF: Hard REF: 18. oil cans. 374 TOP: Crumb glass. ANS: D MSC: Applied DIF: Hard REF: 373 TOP: Crumb Korea. all of the above 374 TOP: Crumb . Gamelan instruments are made of: a. Java. Black Angels c. Emily Dickinson. Cowell. wood. d. marimba. ANS: B MSC: Factual DIF: Easy REF: 372 TOP: Crumb 16. Harry Partch was the first composer to experiment with tone clusters on the piano. John Cage’s 4'33" questions the distinction between music and noise. ANS: T MSC: Applied DIF: Easy REF: 369 TOP: Early Experiments 4. ANS: F MSC: Applied DIF: Easy REF: 369 TOP: Cage 7. with interludes between the groups. ANS: T MSC: Conceptual DIF: Medium REF: 369 TOP: Cage 6.New Sound Palettes: Mid-Twentieth-Century American Experimentalists | 285 TRUE/FALSE 1. ANS: T MSC: Applied DIF: Easy REF: 368f TOP: Early Experiments 2. ANS: F MSC: Applied DIF: Easy REF: 368 TOP: Early Experiments 3.. ANS: T MSC: Factual DIF: Hard REF: 369 TOP: Cage 8. ANS: T MSC: Conceptual DIF: Medium REF: 373 TOP: Crumb . ANS: F MSC: Applied DIF: Easy REF: 369 TOP: Cage 5. The composers Henry Cowell and Harry Partch were highly influenced by a variety of non-Western musics. Harry Partch developed a scale with forty-three notes in an octave. Prior to each performance of music for prepared piano. The mood of Crumb’s Caballito negro can be described as grimly playful. materials are inserted between the strings entirely at random. George Crumb spent most of his teaching career at the University of Illinois. The overall form of Cage’s Sonatas and Interludes is four groups of four sonatas each. Cage’s Sonatas and Interludes are traditional works for the standard grand piano. ANS: F MSC: Factual DIF: Hard REF: 372 TOP: Cage 9. What makes the music of George Crumb so imaginative? Include examples from the textbook in your answer. ANS: Answers will vary. who developed it. DIF: Medium REF: 369f TOP: Crumb MSC: Conceptual 3. ANS: Answers will vary. Describe the influence of non-Western culture on twentieth-century composers of Western music. DIF: Hard MSC: Conceptual REF: 368 TOP: Early Experiments 2. Gamelan music traditionally accompanied shadow-puppet plays. DIF: Medium REF: 371f TOP: Crumb MSC: Conceptual . How is it created.286 | Chapter 62 10. Discuss the prepared piano. and what sound does it mimic? ANS: Answers will vary. ANS: T MSC: Factual DIF: Hard REF: 374f TOP: Cage ESSAY 1. Include examples from the textbook in your answer. Claude-Michel Schonberg d. Which of the following musicals was NOT a collaboration by Rodgers and Hammerstein? a.Chapter 63: Staged Sentiment: Bernstein and American Musical Theater MULTIPLE CHOICE 1. Victor Herbert revamped operetta to suit American tastes with works such as: a. Oklahoma! d. South Pacific ANS: A MSC: Factual DIF: Easy REF: 377 TOP: Musical theater 6. Les Misérables d. Stephen Sondheim c. Richard Rodgers ANS: A MSC: Factual DIF: Medium REF: 377 TOP: Musical theater 7. Jerome Kern b. Gilbert and Sullivan c. Which of the following is a musical by the British composer Andrew Lloyd Webber? a. George Gershwin c. Which of the following is an established. Jr. Which of the following composers did NOT write operettas? a. Richard Wagner b. Which of the following is considered America’s unique contribution to theater? a. Aaron Copland d. Which of the following American composers did NOT write musicals? a. The Phantom of the Opera ANS: D MSC: Factual DIF: Easy REF: 377 TOP: Musical theater 287 . Show Boat d. operetta c. Babes in Toyland c. pantomime d. My Fair Lady ANS: A MSC: Factual DIF: Hard REF: 377 TOP: Musical theater 4. Carousel b. Wicked b. Finian’s Rainbow b. the musical b. ballad opera ANS: C MSC: Applied DIF: Easy REF: 376 TOP: Musical theater 2. Will Marion Cook b. living American composer of musicals? a. d. Johann Strauss. The Phantom of the Opera c. Sweeney Todd c. Jerome Kern ANS: B MSC: Factual DIF: Hard REF: 377 TOP: Musical theater 5. Victor Herbert ANS: C MSC: Factual DIF: Medium REF: 377 TOP: Musical theater 3. Bernstein rose to prominence as: a. West Side Story is a modern-day musical retelling of Shakespeare’s: a. Sweeney Todd c. Macbeth. Which of the following is an example of a rock musical? a. Oscar Hammerstein d. ANS: D MSC: Factual DIF: Easy REF: c. Los Angeles Philharmonic. An American in Paris b. all of the above. Andrew Lloyd Webber ANS: C MSC: Factual DIF: Medium REF: 377 TOP: Bernstein . Romeo and Juliet. d. 379 TOP: Bernstein 11. Chichester Psalms c. c. Fancy Free ANS: C MSC: Factual DIF: Hard REF: 379 TOP: Bernstein 13.288 | Chapter 63 8. Evita d. On the Town d. Leonard Bernstein was the first American-born conductor to be appointed director of the: a. Which of the following wrote the lyrics for West Side Story? a. Stephen Sondheim b. c. Boston Pops Orchestra. b. ANS: A MSC: Factual DIF: Medium REF: 379 TOP: Bernstein 12. Rent b. a conductor. ANS: D MSC: Factual DIF: Easy REF: 377 TOP: Bernstein 14. Carmen b. a pianist. Which of the following operas was the inspiration for Jonathan Larson’s rock opera Rent? a. Pagliacci ANS: B MSC: Factual DIF: Hard 10. Which of the following was NOT composed by Leonard Bernstein? a. Merchant of Venice. Twelfth Night. REF: 377 TOP: Musical theater a composer. New York Philharmonic. Le nozze di Figaro c. Leonard Bernstein c. Chicago Symphony. La bohème d. Sunday in the Park with George ANS: C MSC: Factual DIF: Medium REF: 377 TOP: Musical theater 9. b. d. b. d. African Americans and Puerto Ricans. Composers of musicals often look to sophisticated literary sources. West Side Story b. Spanish b. ANS: T MSC: Applied DIF: Easy REF: 377 TOP: Musical theater . It incorporates jazz and Latin American rhythms. ANS: F MSC: Factual DIF: Easy REF: 377 TOP: Musical theater 4. What are the ethnic origins of the mambo? a. ANS: T MSC: Applied DIF: Easy REF: 377 TOP: Musical theater 3. The Sound of Music d. American musical theater developed out of the European comic opera or operetta tradition. Which of the following is NOT true of Bernstein’s West Side Story? a. Show Boat helped usher in the golden age of American musicals. ANS: T MSC: Applied DIF: Easy REF: 377 TOP: Musical theater 2. Which musical was the first to be based on a tragedy? a. not attempted by composers from other countries. c. c. ANS: C MSC: Factual DIF: Medium REF: 377f TOP: Bernstein 16. d. Oklahoma! c. the Jets and the Sharks. b. ANS: C MSC: Factual DIF: Medium 17. d. Afro-Cuban ANS: B MSC: Factual DIF: Hard REF: c. Bernstein’s West Side Story updates the feud of the Capulets and the Montagues to a feud between: a.Staged Sentiment: Bernstein and American Musical Theater | 289 15. It has memorable songs that recur in the musical. Sweeney Todd ANS: C MSC: Factual DIF: Medium REF: 378 TOP: Bernstein TRUE/FALSE 1. d. the Jets and the police. b. Tony and Maria. It has a number of elaborate dance segments. REF: 378 TOP: Bernstein Mexican Brazilian 380 TOP: Bernstein 18. It has a happy ending. The musical has remained exclusively an American art form. Because most musicals now seem dated. ANS: T MSC: Factual DIF: Easy REF: 379 TOP: Bernstein REF: 379 TOP: Bernstein 8. Cite examples whenever possible. ANS: F MSC: Factual DIF: Easy REF: 377 TOP: Musical theater 6. ANS: Answers will vary. DIF: Medium MSC: Applied REF: 376f TOP: Musical theater 2. ANS: F MSC: Factual DIF: Easy 9. Bernstein’s West Side Story draws on Afro-Cuban dance rhythms. Describe how the plots of musicals changed throughout the twentieth century. ANS: F MSC: Factual DIF: Easy REF: 377 TOP: Bernstein 10. Leonard Bernstein composed both popular and art music. ANS: T MSC: Factual DIF: Easy REF: 379 TOP: Bernstein 7. Leonard Bernstein was the first American-born musician to be appointed music director of the New York Philharmonic.290 | Chapter 63 5. revivals have been largely unsuccessful. DIF: Hard REF: 377f TOP: Bernstein MSC: Conceptual . Bernstein’s West Side Story deals with rival youth gangs in Los Angeles. ANS: T MSC: Factual DIF: Easy REF: 380 TOP: Bernstein ESSAY 1. ANS: Answers will vary. West Side Story is Bernstein’s only musical. Why did Leonard Bernstein employ vernacular musical styles in West Side Story? Describe how he combined these qualities with the traditions of musical theater. Ewe drumming c. Steve Reich was influenced by polyrhythms of: a. b. REF: music for a procession chance music 385 TOP: Minimalism 2. d. Tehillim d. Sonatas and Interludes c. What is process music? a. music that changes gradually ANS: B MSC: Factual DIF: Easy c. gamelan music d. d. all of the above ANS: D MSC: Applied DIF: Medium REF: 385 TOP: Reich 5. LaMonte Young d. b. musique concrète. West Africa. Which of the following composers is NOT a minimalist? a. looping music. serial music b. Judaism b. Terry Riley b. Mexico. Violin Phase ANS: A MSC: Factual DIF: Medium REF: 6. process music. d. 386 TOP: Reich 291 . ANS: B MSC: Applied DIF: Medium REF: 385 TOP: Reich Java. Different Trains b.Chapter 64: Less Is More: Reich and Minimalist Music MULTIPLE CHOICE 1. c. c. The process whereby several copies of a recorded musical idea are looped but at different speeds is called: a. ANS: C MSC: Applied DIF: Medium REF: 385 TOP: Minimalism 4. Steve Reich c. Cuba. George Crumb ANS: D MSC: Applied DIF: Medium REF: 385 TOP: Minimalism 3. Which of the following was an influence on the music of Steve Reich? a. Which of the following is NOT a composition by Steve Reich? a. phase music. c. Electric Counterpoint features the: a. The melody drums of a royal drum ensemble from Uganda are tuned to a ________ scale. polyrhythm. ANS: B MSC: Factual DIF: Easy REF: c. Which of the following does NOT characterize Electric Counterpoint? a. ANS: D MSC: Factual DIF: Medium 8. pentatonic b. two c. Electric Counterpoint is intended for a live performer and ________ prerecorded tracks. a repetitive musical idea d. canons c. a. eight b. One reason for the success of serialism was its sense of scientific rigor. REF: 386 TOP: Reich synthesizer. diatonic d. b. minimalism. goal-oriented harmony b. five b. four d. jazz violin. 386 TOP: Reich 9. Steve Reich eventually embraced a more developed process-influenced style called: a. process music. How many movements are in Electric Counterpoint? a. piano.292 | Chapter 64 7. octatonic c. three c. complexity ANS: C MSC: Applied DIF: Medium REF: 386 TOP: Reich 11. fourteen ANS: D MSC: Factual DIF: Medium REF: 386 TOP: Reich 12. chance music d. d. chromatic ANS: C MSC: Factual DIF: Medium REF: 388 TOP: Reich TRUE/FALSE 1. seven ANS: A MSC: Factual DIF: Medium REF: 386 TOP: Reich 10. a. ANS: T MSC: Conceptual DIF: Medium REF: 384 TOP: Minimalism . four d. b. electric guitar. Repetition is an important element of minimalism. Drumming in Uganda is based on rhythms and has no melodic content. The goal of process music is to make change imperceptible. The salient feature of minimalism is contrast. ANS: T MSC: Applied DIF: Hard REF: 387 TOP: Reich 9. ANS: F MSC: Applied DIF: Hard REF: 385 TOP: Minimalism REF: 385 TOP: Minimalism 3. The harmony in Electric Counterpoint is primarily chromatic. Phase music uses electronic looping. ANS: T MSC: Factual DIF: Medium REF: 386 TOP: Reich 8. Electric Counterpoint exhibits several Baroque qualities. ANS: T MSC: Applied DIF: Easy REF: 385 TOP: Reich 386 TOP: Minimalism 386 TOP: Minimalism 5. ANS: F MSC: Applied DIF: Medium REF: 339 TOP: Reich . ANS: T MSC: Factual DIF: Medium 4. ANS: T MSC: Applied DIF: Easy REF: 7. ANS: T MSC: Conceptual DIF: Medium REF: 386 TOP: Reich 10. Steve Reich was influenced by both African drumming and gamelan music. Electric Counterpoint can be played by an ensemble of live guitarists. ANS: F MSC: Applied DIF: Easy REF: 6.Less Is More: Reich and Minimalist Music | 293 2. DIF: Hard REF: 385f TOP: Reich MSC: Conceptual .294 | Chapter 64 ESSAY 1. Describe the musical stages that brought Reich to minimalism. ANS: Answers will vary. DIF: Hard REF: 385f TOP: Reich MSC: Applied 2. How was Reich influenced by non-Western music? Include examples from the textbook in your answer. Include examples from the textbook in your answer. ANS: Answers will vary. and Mary d. Woody Guthrie. George Crumb ANS: B MSC: Factual DIF: Medium REF: 391 TOP: Dylan 3. Tambourine Man is a setting of a text by: a. Tambourine Man? a. Paul. If I Had a Hammer ANS: D MSC: Factual DIF: Hard REF: 391 TOP: Dylan 4. opera. Tambourine Man b. Which of the following does NOT characterize the songs of Bob Dylan? a. predominantly contrapuntal texture d. complicated textures ANS: A MSC: Applied DIF: Medium REF: 390f TOP: Dylan 2. the Byrds b. Peter. Corigliano’s Prelude: Mr. settings of his own poetry b. Pete Seeger. Blowin’ in the Wind c. disjunct melody c. ANS: B MSC: Factual DIF: Easy REF: 392 TOP: Corigliano 6. Which of the following does NOT characterize Corigliano’s Mr. Mr. c. chromatic and dissonant harmony b. song. Which of the following is NOT a song by Bob Dylan? a. Corigliano. jazz qualities ANS: B MSC: Applied DIF: Hard REF: 395 TOP: Corigliano 295 . John Cage b. musical. and Postmodern Reworkings MULTIPLE CHOICE 1. d. Bob Dylan c. Aaron Copland c. Who had the greatest success with a recording of Dylan’s Mr. b. d. song cycle. b. Bob Dylan d. Tambourine Man? a. Bob Dylan. the Monkees ANS: C MSC: Factual DIF: Hard REF: 391 TOP: Dylan 5. Masters of War d. ANS: D MSC: Factual DIF: Hard REF: 393 TOP: Corigliano 7. texts full of imagery d. Federico García Lorca. predictable form and melody c. Tambourine Man is part of a(n): a. c.Chapter 65: Returning with Interest: Dylan. John Corigliano’s Prelude: Mr. Which of the following composers is considered one of America’s greatest poets as well? a. 296 | Chapter 65 8. The text and music of Mr. The Ghosts of Versailles b. ANS: T MSC: Applied DIF: Hard REF: 4. 3 c. The Red Violin c. Tambourine Man ANS: A MSC: Factual DIF: Hard REF: 394 TOP: Corigliano TRUE/FALSE 1. guitars. How many songs are included in Corigliano’s Mr. composes songs. ANS: D MSC: Factual DIF: Hard REF: 395 TOP: Corigliano 10. Tambourine Man? a. and performs his own music. Bob Dylan writes poems. string orchestra. Bob Dylan was influenced by Woody Guthrie. orchestra with saxophones. b. Tambourine Man is written for voice and: a. Tambourine Man are simple. c. Mr. The Naked Carmen d. ANS: F MSC: Factual DIF: Medium REF: 390 TOP: Dylan 391 TOP: Dylan 3. The musical elements in Dylan’s Mr. big band. 9 ANS: C MSC: Factual DIF: Hard REF: 395 TOP: Corigliano 9. Which of the following compositions by Corigliano received an Academy Award? a. d. Bob Dylan has performed his songs only with guitar accompaniment throughout his career to pay homage to the tradition of folk music. 6 d. ANS: F MSC: Factual DIF: Easy REF: 391 TOP: Dylan 5. ANS: T MSC: Factual DIF: Easy REF: 390f TOP: Dylan 2. Corigliano’s Mr. Tambourine Man were written by Joan Baez. 7 b. ANS: T MSC: Applied DIF: Medium REF: 391 TOP: Dylan . John Corigliano is known primarily as an opera composer and has written few orchestral works. Tambourine Man has a modified verse-chorus structure. ANS: T MSC: Applied DIF: Medium REF: 391f TOP: Dylan 7. Why is Bob Dylan considered to be one of the most important cultural figures of the twentieth century? ANS: Answers will vary. DIF: Hard REF: 391f TOP: Corigliano MSC: Applied . Which aspects of Bob Dylan’s original song did John Corigliano retain in his Prelude from Mr. ANS: T MSC: Applied DIF: Easy REF: 393 TOP: Corigliano ESSAY 1. Tambourine Man.Returning with Interest: Dylan. and Postmodern Reworkings | 297 6. Corigliano quotes Dylan’s song extensively in Prelude: Mr. ANS: F MSC: Applied DIF: Medium REF: 393 TOP: Corigliano 10. DIF: Hard REF: 390f TOP: Bob Dylan MSC: Conceptual 2. Corigliano makes extensive us of the tambourine in Prelude: Mr. Tambourine Man. ANS: F MSC: Applied DIF: Medium REF: 394 TOP: Corigliano 8. Both Bob Dylan and John Corigliano have won Academy Awards. Corigliano’s Prelude: Mr. ANS: T MSC: Applied DIF: Hard REF: 393 TOP: Corigliano 9. Corigliano. ANS: Answers will vary. Tambourine Man? What did he change? Include examples in your answer. She was awarded the Pulitzer Prize. post-minimalism. It incorporates the complexities of postmodernism. d. d. Which of the following best describes Higdon’s treatment of harmony? a. modernizing the nineteenth-century orchestral tradition c. exploring new ways to expand and renew concert music for the twenty-first century ANS: A MSC: Applied DIF: Hard REF: 398 TOP: Higdon 3. Which of the following does NOT characterize neo-Romanticism? a. ANS: A MSC: Factual DIF: Medium REF: 398 TOP: Higdon 6. George Crumb d. ANS: C MSC: Applied 298 DIF: Hard REF: 398 TOP: Higdon . d. Which is not a musical goal of Jennifer Higdon? a. d. b. neo-Romanticism. Her music is rooted in tonality. Samuel Barber b. post-Romanticism. ANS: D MSC: Applied DIF: Medium REF: 397 TOP: Neo-Romanticism 2. John Cage ANS: C MSC: Applied DIF: Hard REF: 398 TOP: Neo-Romanticism 4. c. expanding on the procedures of John Cage b. She was influenced by the Beatles. continuing to incorporate influences of non-Western cultures d.Chapter 66: Neo-Romantic Evocations: Higdon and Program Music into the Twenty-First Century MULTIPLE CHOICE 1. c. Aaron Copland c. Which of the following does NOT characterize the career of Jennifer Higdon? a. b. c. She studied with George Crumb. The postmodern approach that mixes styles from the nineteenth century with contemporary ones is called: a. c. b. b. It looks to the past with respect and nostalgia. Her music is highly dissonant. Which American composer is associated with neo-Romanticism? a. ANS: B MSC: Applied DIF: Medium REF: 398 TOP: Neo-Romanticism 5. It maintains Schoenberg’s concept of atonality. Her music lacks tonal centers. It reclaims the language of nineteenth-century music. minimalism. She avoids triads. She was a child prodigy on the piano. ANS: C MSC: Factual DIF: Easy REF: 398 TOP: Higdon TRUE/FALSE 1. Fanfare Ritmico c. ANS: F MSC: Applied DIF: Easy REF: 397 TOP: Neo-Romanticism 4. the French painter Matisse. an a cappella choir. b. d. Program music has continued to be prominent in recent music composition. Samuel Barber’s most celebrated composition is Adagio for Strings. Adagio for Strings b. ANS: D MSC: Factual DIF: Medium 9. b. her brother. film score. song cycle. 398 TOP: Higdon 10. b. d. The nineteenth-century musical styles disappeared from concert halls during the twentieth century. small chamber orchestra. ANS: T MSC: Factual DIF: Easy REF: 398 TOP: Neo-Romanticism . Higdon’s blue cathedral was written for a performance by: a. Medium REF: 398 TOP: Higdon concerto. d. Which of the following works is NOT by Higdon? a. gospel singers. ANS: T MSC: Applied DIF: Easy REF: 397 TOP: Neo-Romanticism 397 TOP: Neo-Romanticism 2. c. full symphony orchestra.Neo-Romantic Evocations: Higdon and Program Music into the Twenty-First Century | 299 7. Concerto for Orchestra d. ANS: F MSC: Applied DIF: Easy REF: 3. ANS: A MSC: Factual DIF: REF: c. Higdon’s blue cathedral is a: a. c. Neo-Romanticism rejects non-Western influences. gospel choir. Higdon chose the title blue cathedral as a tribute to: a. a minimalist church in New York. tone poem. Dooryard Bloom ANS: C MSC: Factual DIF: Hard REF: 398 TOP: Higdon 8. 300 | Chapter 66 5. Describe the basic tenants of neo-Romanticism. There are no non-Western influences in Jennifer Higdon’s blue cathedral. ANS: T MSC: Applied DIF: Medium REF: ESSAY 1. ANS: Answers will vary. ANS: T MSC: Applied DIF: Easy REF: 398 TOP: Neo-Romanticism 6. Higdon’s blue cathedral has a rondo-like structure. ANS: Answers will vary. Postmodernism emphasized the new and rejected the past. ANS: T MSC: Factual DIF: Medium REF: 398 TOP: Higdon 8. ANS: F MSC: Conceptual DIF: Easy REF: 399 TOP: Higdon 399 TOP: Higdon 10. Neo-Romanticism absorbed some of the complexities of modernism. ANS: T MSC: Applied DIF: Hard REF: 399 TOP: Higdon 9. DIF: Hard MSC: Conceptual REF: 397f TOP: Neo-Romanticism 2. DIF: Hard REF: 398f TOP: Higdon MSC: Applied . Discuss how Jennifer Higdon creates a Romantic character within a modern musical style. Jennifer Higdon’s performance background is as a flutist. Jennifer Higdon’s blue cathedral contains major triads but no strong sense of a key center. Include examples from the textbook in your answer. ANS: F MSC: Applied DIF: Easy REF: 398 TOP: Neo-Romanticism 7. counter to the action. Beethoven c. leitmotifs. all of the above ANS: D MSC: Conceptual DIF: Easy REF: 401f TOP: Film music 2. The mood runs counter to the action. b. b. The mood reflects the action. It can tell the audience where or when the story takes place. Tchaikovsky ANS: C MSC: Factual DIF: Medium REF: 402 TOP: Film music 301 . ANS: B MSC: Applied DIF: Medium REF: 402 TOP: Film music 3. No music is heard until the last moment. Tan Dun ANS: C MSC: Factual DIF: Medium REF: 402 TOP: Film music 4. It can set the mood of the film. Wagner b. d. Which of the following best describes the music at the climax of The Godfather? a. d. Ang Lee ANS: B MSC: Applied DIF: Hard REF: 402 TOP: Film music 5. d. source music. Which movie director has frequently used lighthearted rock music for scenes of graphic violence? a. Music that is performed on screen and is part of the drama itself is called: a. It can reveal the emotions of the characters. The lack of music creates a sense of realism. John Williams c. c. Brahms d. b. Why is music important to motion pictures? a. James Horner d. ANS: D MSC: Factual DIF: Medium REF: 402 TOP: Film music 6.Chapter 67: Underscoring Meaning: Music for Film MULTIPLE CHOICE 1. Howard Shore b. underscoring. Quentin Tarantino d. c. Steven Spielberg c. Which nineteenth-century composer was the inspiration for unity in film music through the use of leitmotifs ? a. c. Who composed the music for The Lord of the Rings trilogy? a. Alfred Hitchcock b. Which of the following characterizes the career of John Williams? a. Marco Polo c. Which movie first introduced the Imperial March? a. d. Los Angeles Philharmonic. c. Boston Pops. He is a composer and conductor of concert music. ANS: D MSC: Applied DIF: Medium REF: 404 TOP: Williams 11. It uses simple march harmonies. Schindler’s List c. He was the composer for films such as Jaws and Star Wars. John Williams was the music director and principal conductor of the: a. It is a theme and variations. d. The Empire Strikes Back d. Superman b. It creates a dark. c. Vienna Philharmonic. menacing mood. Star Wars c. Japan d. ANS: C MSC: Factual DIF: Hard REF: 403 TOP: Williams 9. Titanic d. Raiders of the Lost Ark ANS: B MSC: Factual DIF: Hard REF: 403 TOP: Williams 12. The Return of the Jedi b.302 | Chapter 67 7. Which of the following film scores was NOT composed by John Williams? a. New York Philharmonic. China c. It features brass instruments. Which of the following does NOT characterize the Imperial March? a. Symphony 1997 b. Internet Symphony No. b. b. c. b. Harry Potter and the Sorcerer’s Stone ANS: B MSC: Factual DIF: Medium REF: 403 TOP: Williams 10. Tan Dun combines Western musical styles with those of: a. Java ANS: A MSC: Applied DIF: Easy REF: 405 TOP: Tan Dun 13. d. Which of the following works is NOT composed by Tan Dun? a. 1 ANS: B MSC: Factual DIF: Hard REF: 405 TOP: Tan Dun . He was a composer for the TV series Gilligan’s Island. Korea b. all of the above ANS: D MSC: Factual DIF: Easy REF: 403 TOP: Williams 8. Summon the Heroes d. REF: 406 TOP: Tan Dun multimedia ensemble video game 408 TOP: Video Games never used source music. composition by John Corigliano. cello ANS: D MSC: Factual DIF: Medium REF: 405 TOP: Tan Dun 15. Tan Dun b. movie featuring Santana. d. tao. Guitar Hero is a: a. ANS: A MSC: Factual DIF: 3 REF: 405 TOP: Tan Dun 16. long used source music. rondo c. trumpet d. Farewell from Crouching Tiger. Tan Dun’s score for Crouching Tiger. yueqin. John Williams ANS: C MSC: Factual DIF: Hard c. ABA d. REF: 18. Which of the following does NOT characterize “Aerith’s Theme” from Final Fantasy VII? a. b. Hidden Dragon features which Western solo instrument? a. guitar b. unpredictable form d. violin c. c. Hidden Dragon is the: a. avoided using music. only recently begun using source music. c. Hidden Dragon is in ________ form. Video games have: a. d.Underscoring Meaning: Music for Film | 303 14. b. 408 TOP: Video Games Nobuo Uematsu Ge Wang 409 TOP: Video Games 20. b. erhu. a. d. large orchestra c. distinctive use of dynamics ANS: B MSC: Applied DIF: Hard REF: 409 TOP: Video Games . sonata-allegro ANS: C MSC: Factual DIF: Hard REF: 17. theme and variations b. Who composed the music for Final Fantasy? a. ANS: A MSC: Factual DIF: Hard REF: 19. The Chinese melodic instrument prominent in Farewell from Crouching Tiger. d. two primary themes b. ANS: D MSC: Factual DIF: Hard c. pipa. Film music that contradicts the mood of a scene is referred to as “running counter to the action. ANS: T MSC: Factual DIF: Medium REF: 405 TOP: Tan Dun . ANS: F MSC: Conceptual DIF: Easy REF: 401 TOP: Film music 2. The use of leitmotifs in the Star Wars films mirrors that in Wagner’s Ring cycle. ANS: T MSC: Applied DIF: Easy REF: 402 TOP: Film music 4. Music can help create a sense of place and time in films. not to reflect the emotional content of a given scene. ANS: F MSC: Factual DIF: Hard REF: 405 TOP: Tan Dun 9. ANS: F MSC: Factual DIF: Easy REF: 403 TOP: Williams 8. Most Hollywood films use music to establish an overall mood. John Williams devotes his compositional activities strictly to films. 1. In films.” ANS: T MSC: Factual DIF: Easy REF: 402 TOP: Film music 3. ANS: F MSC: Factual DIF: Easy REF: 402 TOP: Film music 5. music that can be heard by a character on the screen is called underscoring.304 | Chapter 67 TRUE/FALSE 1. One of the highlights of John Williams’s career is his Internet Symphony No. ANS: F MSC: Applied DIF: Medium REF: 404 TOP: Williams 7. Tan Dun experienced China’s Cultural Revolution firsthand. Williams’s Imperial March is in standard march form. Unlike Tan Dun. ANS: T MSC: Applied DIF: Medium REF: 402 TOP: Williams 6. Describe the roles that music plays in film. Include examples from the textbook in your answer. Hidden Dragon. What are some of the film scores composed by John Williams? What makes his music so successful? ANS: Answers will vary.Underscoring Meaning: Music for Film | 305 10. ANS: Answers will vary. ANS: T MSC: Applied DIF: Medium REF: 405 TOP: Tan Dun ESSAY 1. In Tan Dun’s score for Crouching Tiger. Describe the mixture of East and West in the music and film scores of Tan Dun. DIF: Medium REF: 405f TOP: Tan Dun MSC: Conceptual . the solo cello imitates the vocal style heard in Beijing Opera. DIF: Medium REF: 401f TOP: Film music MSC: Conceptual 2. What do you think are the advantages and disadvantages of using music in films? Include examples from films you have seen. DIF: Medium REF: 402f TOP: Williams MSC: Conceptual 3. ANS: Answers will vary. Which of the following composers is NOT associated with spiritual minimalism? a. a. Which of the following does NOT characterize spiritual minimalism? a. It is primarily an American movement. Which composer fused Russian Orthodox rituals with folk music and Gregorian chant? a. John F. Steve Reich b. Arvo Pärt c. REF: 5. Paul Lansky d. Kennedy. ANS: D MSC: Conceptual DIF: Medium REF: 410 TOP: Minimalism 2. John Tavener was a(n) ________ composer. b. during the mid-1970s. Arvo Pärt c. d. It has simple chains of tonal progressions. Henryk Górecki d. Lutheranism ANS: D MSC: Factual DIF: Medium c. John Tavener ANS: B MSC: Applied DIF: Medium REF: 410f TOP: Minimalism 3. ANS: C MSC: Factual 306 DIF: Hard REF: 411 TOP: Tavener .Chapter 68: Icons in Sound: Tavener and Postmodern Orthodoxy MULTIPLE CHOICE 1. Michael Jackson. Princess Diana. REF: 411 TOP: Minimalism German Polish 411 TOP: Tavener Judaism Greek Orthodoxy 411 TOP: Tavener 6. It is inspired by religious beliefs. c. Jennifer Higdon ANS: A MSC: Applied DIF: Medium REF: 4. Tavener’s Song for Athene was performed at the funeral service for: a. English ANS: B MSC: Factual DIF: Easy c. John Lennon. Catholicism b. Tavener converted to: a. d. Henryk Górecki b. d. It is nonpulsed music d. c. American b. b. b. all of the above ANS: D MSC: Applied DIF: Hard REF: 411 TOP: Tavener 9. Despite the secularization of the world as a whole. There is no instrumental accompaniment. It is written for full orchestra. d. sonata-allegro ANS: B MSC: Applied DIF: Medium REF: 413 TOP: Tavener TRUE/FALSE 1. It is written for percussion ensemble. major and minor harmonic progressions c. ANS: C MSC: Factual DIF: Hard REF: 412 TOP: Tavener 10. during Lent. What is the form of Tavener’s Hymn to the Mother of God? a. d. a number of composers still write music with spiritual goals. Song for Athene d. How does Greek Orthodox chant differ from Western Christian chant? a. most notably: a. It is not sung in Latin. Which of the following does NOT characterize Tavener’s Hymn to the Mother of God? a. Berlin Mass ANS: D MSC: Factual DIF: Hard REF: 411 TOP: Tavener 8.Icons in Sound: Tavener and Postmodern Orthodoxy | 307 7. It includes microtones. The Veil of the Temple b. c. Tavener’s Hymn to the Mother of God is sung several times a year. at Easter. c. It is written for four pianos. Which of the following describes the accompaniment for Tavener’s Hymn to the Mother of God? a. Hymn to the Mother of God c. A-B-A-B b. A-B-A' d. at Christmas. b. c. procedures of minimalism b. strophic c. ANS: D MSC: Applied DIF: Easy REF: 412 TOP: Tavener 12. slow-moving counterpoint ANS: A MSC: Applied DIF: Medium REF: 412 TOP: Tavener 11. b. Which of the following was NOT composed by John Tavener? a. ANS: T MSC: Applied DIF: Medium REF: 410 TOP: Minimalism . d. during Advent. drones that create dissonances d. It incorporates irregular rhythmic patterns. The text of Tavener’s Hymn to the Mother of God is attributed to Saint John Damascene. ANS: F MSC: Applied DIF: Medium REF: 413 TOP: Tavener . Tavener avoids triads in his music.308 | Chapter 68 2. ANS: F MSC: Applied DIF: Medium REF: 410 TOP: Minimalism 3. The chants for the Greek Orthodox and Western Christian churches retained similar melodies and compositional procedures. In keeping with non-Western musical tradition. The Estonian composer Arvo Pärt incorporates the fervent mysticism of Russian Orthodox rituals into his works. Spiritual minimalism is characterized by a strong rhythmic pulse. 3 is written with a slow-moving tonal language. ANS: T MSC: Applied DIF: Medium REF: 411 TOP: Tavener 8. Górecki’s Symphony No. Latin is the official language of the Eastern Christian Church. Tavener’s Hymn to the Mother of God contains no links to medieval and Renaissance polyphony. ANS: F MSC: Applied DIF: Easy REF: 411 TOP: Tavener 6. ANS: T MSC: Applied DIF: Hard REF: 410f TOP: Minimalism 5. John Tavener’s music assimilates the patterns of repetition of Orthodox rituals. ANS: T MSC: Applied DIF: Hard REF: 412 TOP: Tavener 9. ANS: T MSC: Applied DIF: Hard REF: 410 TOP: Minimalism 4.. ANS: F MSC: Applied DIF: Easy REF: 411 TOP: Tavener 7. ANS: F MSC: Applied DIF: Easy REF: 412 TOP: Tavener 10. How is John Tavener’s religious background reflected in his music? Include examples from the textbook in your answer. ANS: Answers will vary. DIF: Hard REF: 410f TOP: Minimalism MSC: Applied 2. What is spiritual minimalism? Who are the leading composers in this movement? ANS: Answers will vary.Icons in Sound: Tavener and Postmodern Orthodoxy | 309 ESSAY 1. DIF: Hard REF: 411f TOP: Tavener MSC: Conceptual . Austria. ANS: D MSC: Applied DIF: Medium REF: 414 TOP: Adams 3. d. ANS: D MSC: Factual DIF: Hard REF: 415 TOP: Adams 4. Mozart. Hans Geiger. b. Vienna. Terry Riley c. electronic music. France. Texas. neo-Romanticism. John Adams d. rock. all of the above ANS: A MSC: Applied DIF: Medium REF: 415 TOP: Adams 5. serialism. c. Robert Oppenheimer.Chapter 69: Reality Shows: Adams and Contemporary Opera MULTIPLE CHOICE 1. J. d. In his post-minimalist style. chance music. serialism. The music of John Adams reflects the influence of: a. d. It seeks documentary like authenticity. c. d. Steve Reich b. c. California. Philip Glass ANS: B MSC: Factual DIF: Medium REF: 415 TOP: Adams 6. Paris. John Adams has spent most of his career in: a. ANS: B MSC: Factual 310 DIF: Easy REF: 415 TOP: Adams . Which of the following characterizes historical opera? a. John Adams’s opera Doctor Atomic is based on the life of: a. Albert Einstein. El Paso. It is a recent development in opera plots. b. d. San Francisco. all of the above ANS: C MSC: Conceptual DIF: Medium REF: 414 TOP: Opera 2. c. b. It evokes the emotions of historical figures. b. Richard Nixon. b. John Adams combines minimalism with: a. Which of the following composers wrote the opera Nixon in China? a. c. Although educated at Harvard. John Adams. piano d. ANS: A MSC: Applied DIF: Medium REF: 417 TOP: Adams TRUE/FALSE 1. electronic sounds ANS: B MSC: Factual DIF: Medium REF: 417 TOP: Adams 10. Which of the following was NOT a source for the libretto of Doctor Atomic? a. Alice Goodman. Nixon in China is an opera by Philip Glass. b. It is syncopated with offbeat accents. 415 TOP: Adams 8. It has a verse-refrain structure. ANS: F MSC: Factual DIF: Medium 4.Reality Shows: Adams and Contemporary Opera | 311 7. William Shakespeare’s sonnets b. ANS: A MSC: Factual DIF: Hard c. b. REF: Bob Dylan. It avoids dissonance. John Donne’s poetry c. d. Which of the following does NOT describe “At the sight of this” from Adams’s Doctor Atomic? a. John Adams can be considered a post-minimalist composer. d. ANS: T MSC: Applied DIF: Easy REF: 414 TOP: Adams 2. c.” from Doctor Atomic? a. ANS: T MSC: Factual DIF: Medium REF: 415 TOP: Adams . chorus c. All of John Adams’s best-known operas are based on historical events. The music of John Adams exhibits elements of neo-Romanticism. Which of the following is NOT among the performing forces for “At the sight of this. sacred Hindu scripture d. orchestra b. The mood is fiery. Peter Sellars. Charles Baudelaire’s poetry ANS: C MSC: Factual DIF: Easy REF: 415 TOP: Adams 9. ANS: T MSC: Applied DIF: Medium REF: 414 TOP: Adams REF: 415 TOP: Adams 3. The librettist of Doctor Atomic is: a. DIF: Hard REF: 414f TOP: Adams MSC: Conceptual 2. Doctor Atomic tells of the events leading to the initial test of the first atomic bomb. even though Oppenheimer was unfamiliar with that text. ANS: T MSC: Factual DIF: Medium REF: 416 TOP: Adams ESSAY 1. DIF: Hard REF: 415f TOP: Adams MSC: Applied . ANS: F MSC: Applied DIF: Medium REF: 417 TOP: Adams 10. Atomic. ANS: T MSC: Applied DIF: Medium REF: 417 TOP: Adams 9. ANS: Answers will vary. “At the sight of this” from Doctor Atomic is highlighted by long. ANS: T MSC: Factual DIF: Medium REF: 415 TOP: Adams 6. “At the sight of this” from Doctor Atomic includes electronic sonorities. ANS: F MSC: Factual DIF: Medium REF: 415 TOP: Adams 8. ANS: T MSC: Factual DIF: Medium REF: 415 TOP: Adams 7. John Adams won a Pulitzer Prize for On the Transmigration of Souls. lyric melodies sung by Oppenheimer. Adams’s opera The Death of Klinghoffer created a controversy. ANS: Answers will vary. Discuss the variety of sources for the libretto and music of Dr. How do minimalism and post-minimalism differ? Cite specific examples from the music of John Adams. The libretto of Doctor Atomic includes excerpts from the Hindu Bhagavad Gita.312 | Chapter 69 5.
Copyright © 2024 DOKUMEN.SITE Inc.