Académique Documents
Professionnel Documents
Culture Documents
Roger Hickman
CALIFORNIA STATE UNIVERSITY, LONG BEACH
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CONTENTS
Part1
Materials of Music
13
17
23
27
31
34
37
40
46
50
64
67
70
73
77
80
85
88
92
96
53
100
57
104
61
108
iii
iv | Contents
Chapter27 | Process as Meaning: Bach and
the Fugue
Part4
112
Eighteenth-Century Classicism
116
121
126
198
203
207
211
214
130
220
135
224
138
228
234
239
243
151
246
157
250
164
256
167
259
172
263
175
178
183
188
193
145
148
272
Part7 Postmodernism:
The Twentieth Century and Beyond
Prelude 7 | Beyond Modernism?
Chapter62 | New Sound Palettes: Mid-TwentiethCentury American Experimentalists
277
282
Contents | v
Chapter63 | Staged Sentiment: Bernstein and
American Musical Theater
287
301
291
306
310
295
298
DIF:
Easy
REF: 4
TOP: Concerts
DIF:
Easy
REF: 5
TOP: Concerts
3. A good source to find out more about works to be performed at a concert is:
a. your music textbook.
c. Internet.
b. online materials with textbook.
d. all of the above
ANS: D
MSC: Factual
DIF:
Medium
REF: 5
TOP: Concerts
4. If you arrive at a concert after the performance has begun, you should:
a. enter and crawl over people to find your seat.
b. enter and stand in the aisle until there is a break.
c. wait until there is a break in the music, then enter and quickly find your seat.
d. give up and go home.
ANS: C
MSC: Applied
DIF:
Medium
REF: 6
TOP: Concerts
DIF:
Medium
REF: 6
TOP: Concerts
6. In a symphony concert, after the orchestra is seated, the first individual to walk on stage is:
a. the conductor.
c. the music director.
b. the soloist.
d. the concertmaster.
ANS: D
MSC: Factual
DIF:
Medium
REF: 7
TOP: Concerts
2 | Prelude 1
7. At a symphony concert, you should applaud:
a. after well-performed solos.
b. at breaks in the works.
ANS: C
MSC: Applied
DIF:
Medium
c.
d.
REF: 7
TOP: Concerts
DIF:
Hard
REF: 7
TOP: Concerts
TRUE/FALSE
1. In daily life, we often listen to music as a background to another activity.
ANS: T
MSC: Factual
DIF:
Easy
REF: 4
TOP: Concerts
2. 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. Front-row orchestra seats are the best location from which to hear a balanced performance by an
orchestra.
ANS: F
MSC: Applied
DIF:
Medium
REF: 5
TOP: Concerts
4. In general, you should plan to arrive at a concert at least twenty minutes before it is scheduled to
begin.
ANS: T
MSC: Factual
DIF:
Medium
REF: 6
TOP: Concerts
5. The concert program handed to you by an usher often has helpful notes about the pieces you will hear.
ANS: T
MSC: Factual
DIF:
Easy
REF: 6
TOP: Concerts
DIF:
Medium
REF: 7
TOP: Concerts
Easy
REF: 4
TOP: Concerts
MSC: Conceptual
Easy
REF: 4
TOP: Concerts
MSC: Conceptual
DIF:
Easy
REF: 8
TOP: Melody
DIF:
Easy
REF: 8
TOP: Melody
DIF:
Easy
REF: 8
TOP: Melody
DIF:
Easy
REF: 8
TOP: Melody
5. The distance between the highest and lowest tones of a melody is called the:
a. tempo.
c. phrase.
b. range.
d. tonic.
ANS: B
MSC: Factual
DIF:
Easy
REF: 9
DIF:
Easy
TOP: Melody
cadence.
countermelody.
REF: 9
TOP: Melody
DIF:
Medium
REF: 9
DIF:
Medium
c.
d.
ANS: B
MSC: Conceptual
DIF:
Hard
REF: 9
c.
d.
TOP: Melody
TOP: Melody
REF: 9
TOP: Melody
DIF:
Medium
REF: 9
TOP: Melody
DIF:
Easy
REF: 9
TOP: Melody
DIF:
Medium
REF: 9
TOP: Melody
13. The striking emotional effect created by the high point in a melodic line is called the:
a. cadence.
c. climax.
b. countermelody.
d. range.
ANS: C
MSC: Factual
DIF:
Medium
REF: 10
TOP: Melody
6 | Chapter 1
14. A melody added to, or played against, another melody is called a:
a. cadence.
c. countermelody.
b. phrase.
d. tune.
ANS: C
MSC: Factual
DIF:
Medium
REF: 10
TOP: Melody
TRUE/FALSE
1. The length or size of a vibrating object has no effect on pitch.
ANS: F
MSC: Factual
DIF:
Easy
REF: 8
TOP: Melody
2. A musical note is the symbolic representation of a sound with pitch and duration.
ANS: T
MSC: Factual
DIF:
Medium
REF: 8
TOP: Melody
REF: 8
TOP: Melody
DIF:
Medium
DIF:
Medium
REF: 9
TOP: Melody
DIF:
Medium
REF: 9
TOP: Melody
DIF:
Medium
REF: 9
TOP: Melody
REF: 9
TOP: Melody
DIF:
Easy
DIF:
Hard
REF: 9
TOP: Melody
DIF:
Medium
REF: 9
TOP: Melody
10. 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. Describe the elements that contribute to the sound of a pitch.
ANS:
Answers will vary.
DIF:
Medium
REF: 8
TOP: Melody
MSC: Applied
2. What are the features that give each melody a distinctive character?
ANS:
Answers will vary.
DIF:
Medium
REF: 9
TOP: Melody
MSC: Conceptual
Hard
REF: 9
TOP: Melody
MSC: Conceptual
DIF:
Easy
c.
d.
texture.
timbre.
REF: 11
TOP: Rhythm
DIF:
Easy
REF: 11
TOP: Rhythm
3. The basic unit of rhythm that divides time into equal segments is called the:
a. meter.
c. beat.
b. syncopation.
d. accent.
ANS: C
MSC: Factual
DIF:
Easy
REF: 11
TOP: Rhythm
4. Beats that are more strongly emphasized than others are said to be:
a. minor.
c. accented.
b. major.
d. metrical.
ANS: C
MSC: Factual
DIF:
Easy
REF:
11
TOP: Rhythm
DIF:
Easy
DIF:
Easy
REF:
c.
d.
REF:
11
TOP: Rhythm
cadences.
chords.
11
TOP: Rhythm
DIF:
Easy
REF:
12
TOP: Rhythm
DIF:
Medium
REF:
12
TOP: Rhythm
DIF:
Medium
REF:
DIF:
Easy
c.
d.
REF:
12
TOP: Rhythm
TOP: Rhythm
11. The repeated rhythmic pattern in which an accented beat is followed by two unaccented beats is
called:
a. duple meter.
c. quadruple meter.
b. triple meter.
d. compound meter.
ANS: B
MSC: Factual
DIF:
Medium
REF:
12
TOP: Rhythm
12. Meters in which each beat is subdivided into three rather than two are known as:
a. simple meters.
c. compound meters.
b. complex meters.
d. unequal meters.
ANS: C
MSC: Factual
DIF:
Hard
REF:
12
TOP: Rhythm
DIF:
Hard
REF:
12
TOP: Rhythm
14. The patriotic song America (My country, tis of thee) is an example of:
a. duple meter.
c. quadruple meter.
b. triple meter.
d. compound meter.
ANS: B
MSC: Applied
DIF:
Hard
REF:
13
TOP: Rhythm
10 | Chapter 2
15. Which of the following songs is in sextuple meter?
a. Twinkle, Twinkle, Little Star
c. America, the Beautiful
b. Greensleeves
d. America (My country, tis of thee)
ANS: B
MSC: Applied
DIF:
Hard
DIF:
Medium
REF:
c.
d.
REF:
13
TOP: Rhythm
accent.
upbeat.
12
TOP: Rhythm
17. When a song begins on the last beat of a measure, it is said to begin with a(n):
a. offbeat.
c. polyrhythm.
b. syncopation.
d. upbeat.
ANS: D
MSC: Factual
DIF:
Hard
REF:
12
TOP: Rhythm
18. The deliberate shifting of the accent to a weak beat or an offbeat is called:
a. rhythm.
c. syncopation.
b. meter.
d. compound meter.
ANS: C
MSC: Factual
DIF:
Medium
REF:
12
TOP: Rhythm
DIF:
Medium
REF:
12
TOP: Rhythm
20. Music that moves without a strong sense of beat or meter is called:
a. compound.
c. nonmetric.
b. additive.
d. irregular.
ANS: C
MSC: Factual
DIF:
Medium
REF:
13
TOP: Rhythm
TRUE/FALSE
1. The element that organizes movement in time is called harmony.
ANS: F
MSC: Factual
DIF:
Easy
REF:
11
TOP: Rhythm
DIF:
Medium
REF:
113
TOP: Rhythm
REF:
11
TOP: Rhythm
DIF:
Medium
DIF:
Hard
REF:
11
TOP: Rhythm
DIF:
Hard
REF:
13
TOP: Rhythm
DIF:
Hard
REF:
12
TOP: Rhythm
DIF:
Hard
REF:
12
TOP: Rhythm
DIF:
Medium
REF:
12
TOP: Rhythm
DIF:
Hard
REF:
13
TOP: Rhythm
10. Music that moves without a strong sense of beat or meter is referred to as nonmetric.
ANS: T
MSC: Factual
DIF:
Easy
REF:
13
TOP: Rhythm
12 | Chapter 2
ESSAY
1. Define rhythm, beat, and meter, and describe the way they work together in music.
ANS:
Answers will vary.
DIF:
Medium
REF:
11f
TOP: Rhythm
MSC: Conceptual
2. 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.
ANS:
Answers will vary.
DIF:
Medium
REF:
12f
TOP: Rhythm
MSC: Conceptual
DIF:
Easy
REF:
DIF:
Hard
REF:
14
TOP: Harmony
perspective
the brush
14
TOP: Harmony
DIF:
Medium
REF:
14
TOP: Harmony
4. A combination of three or more tones that constitutes a single block of harmony is called a(n):
a. interval.
c. octave.
b. scale.
d. chord.
ANS: D
MSC: Factual
DIF:
Medium
REF:
14
TOP: Harmony
DIF:
Medium
REF:
DIF:
Hard
REF:
14
TOP: Harmony
triad.
octave.
14
TOP: Harmony
13
14 | Chapter 3
7. A triad is:
a. the most common chord type found in Western music.
b. a three-note chord.
c. built on alternate scale steps.
d. all of the above
ANS: D
MSC: Factual
DIF:
Hard
DIF:
Medium
REF:
c.
d.
REF:
14
TOP: Harmony
tonic.
dominant.
15
TOP: Harmony
DIF:
Easy
REF:
15
TOP: Harmony
DIF:
Medium
REF:
15f
TOP: Harmony
11. Should a composer write a film score for a horror movie, we might reasonably expect that the
harmony would include a great deal of:
a. syncopation.
c. consonance.
b. conjunct motion.
d. dissonance.
ANS: D
MSC: Applied
DIF:
Hard
REF:
15
TOP: Harmony
12. A combination of tones that sounds discordant, unstable, or in need of resolution is called a:
a. cadence.
c. dissonance.
b. consonance.
d. tonality.
ANS: C
MSC: Factual
DIF:
Easy
REF:
15
TOP: Harmony
13. Which of the following terms describes a concordant, or agreeable, combination of tones?
a. conjunct
c. disjunct
b. consonant
d. dissonant
ANS: B
MSC: Factual
DIF:
Easy
REF:
16
TOP: Harmony
DIF:
Medium
REF:
16
TOP: Harmony
TRUE/FALSE
1. Harmony is important to most non-Western musical cultures.
ANS: F
MSC: Applied
DIF:
Medium
REF:
14
TOP: Harmony
REF:
14
TOP: Harmony
DIF:
Easy
DIF:
Hard
REF:
14
TOP: Harmony
DIF:
Medium
REF:
15
TOP: Harmony
DIF:
Easy
REF:
15
TOP: Harmony
6. The two scale types commonly found in Western music from about 1650 to 1900 are major and minor.
ANS: T
MSC: Factual
DIF:
Medium
REF:
15
TOP: Harmony
DIF:
Medium
REF:
15
TOP: Harmony
DIF:
Medium
REF:
15
TOP: Harmony
16 | Chapter 3
9. A combination of tones that is discordant and unstable produces a consonance.
ANS: F
MSC: Factual
DIF:
Easy
REF:
15
TOP: Harmony
10. Generally speaking, music has grown more consonant through the ages.
ANS: F
MSC: Conceptual
DIF:
Hard
REF:
16
TOP: Harmony
ESSAY
1. Describe the relationship between melody and harmony in music.
ANS:
Answers will vary.
DIF:
Medium
REF:
15
TOP: Harmony
MSC: Conceptual
TOP: Harmony
MSC: Conceptual
Medium
REF:
15
DIF:
Easy
REF:
eight
ten
17
DIF:
Hard
REF:
17
DIF:
Easy
REF:
17
DIF:
Easy
DIF:
Hard
REF:
c.
d.
REF:
17
flat.
pitch.
18
6. On the piano, the black key between the white keys C and D is called:
a. C-sharp or D-flat.
c. D-sharp or E.
b. C-flat or B.
d. none of the above
ANS: A
MSC: Applied
DIF:
Hard
REF:
18
7. Tonality means that we hear a piece of music in relation to a central tone, called the:
a. dominant.
c. scale.
b. subdominant.
d. tonic.
ANS: D
MSC: Factual
DIF:
Easy
REF:
18
17
18 | Chapter 4
8. The principle of organization whereby we hear a piece of music in relation to a central tone is called:
a. tonality.
c. modulation.
b. transposition.
d. chromaticism.
ANS: A
MSC: Factual
DIF:
Easy
REF:
18
DIF:
Easy
REF:
18
10. In a major scale, the greatest tension lies between what two tones?
a. 3 and 4
c. 6 and 7
b. 4 and 5
d. 7 and 8
ANS: D
MSC: Factual
DIF:
Hard
REF:
18
11. In a major scale, between what pairs of tones do the half steps occur?
a. 2 and 3, 7 and 8
c. 2 and 3, 6 and 7
b. 3 and 4, 7 and 8
d. 2 and 3, 5 and 6
ANS: B
MSC: Factual
DIF:
Hard
REF:
18
DIF:
Hard
REF:
19
13. Music based on the seven tones of a major or minor scale is called:
a. chromatic.
c. modal.
b. diatonic.
d. transposed.
ANS: B
MSC: Factual
DIF:
Easy
REF:
19
DIF:
Easy
REF:
20
DIF:
Medium
REF:
twelve
four
20
16. Which of the following does NOT make frequent use of pentatonic scales?
a. Western art music
c. Japanese music
b. Native American music
d. Chinese music
ANS: A
MSC: Applied
DIF:
Hard
REF:
20
17. An interval smaller than the semitone, or half step, is called a(n):
a. whole tone.
c. microtone.
b. glissando.
d. octave.
ANS: C
MSC: Factual
DIF:
Medium
REF:
20
18. The triad built on the first note of the scale is called the:
a. tonic.
c. subdominant.
b. dominant.
d. subtonic.
ANS: A
MSC: Factual
DIF:
Easy
REF:
20
DIF:
Medium
REF:
20
DIF:
Medium
REF:
20
DIF:
Medium
REF:
20
20 | Chapter 4
22. The three basic triads in the Western musical system are the tonic, the dominant, and the:
a. supertonic.
c. submediant.
b. mediant.
d. subdominant.
ANS: D
MSC: Factual
DIF:
Medium
REF:
20
DIF:
Medium
REF:
20
24. The process of passing from one key to another is known as:
a. modulation.
c. transposition.
b. development.
d. transformation.
ANS: A
MSC: Factual
DIF:
Easy
REF:
21
25. When a melody is transposed to another key, what remains the same?
a. the pitch level of the melody
c. the shape of the melodic line
b. the key note, or tonic, of the melody
d. the number of sharps or flats
ANS: C
MSC: Applied
DIF:
Hard
REF:
21
TRUE/FALSE
1. In Western music, the octave is divided into seven equal parts, which make up the chromatic scale.
ANS: F
MSC: Factual
DIF:
Hard
REF:
17
2. All musical cultures of the world divide the octave into twelve equal half steps.
ANS: F
MSC: Factual
DIF:
Hard
REF:
17
18
DIF:
Easy
REF:
4. A key is a group of related tones with a common center, the tonic, toward which the other tones
gravitate.
ANS: T
MSC: Factual
DIF:
Easy
REF:
18
DIF:
Easy
REF:
18
6. A major scale can begin on any of the twelve semitones of the octave.
ANS: T
MSC: Factual
DIF:
Hard
REF:
18
DIF:
Medium
REF:
20
DIF:
Medium
REF:
20
9. All pentatonic scales use the same notes and thus sound the same.
ANS: F
MSC: Factual
DIF:
Hard
REF:
REF:
20
DIF:
Easy
11. Although common in jazz, inflecting a pitch is unusual in most Western music.
ANS: T
MSC: Factual
DIF:
Medium
REF:
20
12. Active chords seek to resolve to resting chords, imparting a sense of direction or goal.
ANS: T
MSC: Factual
DIF:
Easy
REF:
20
13. The dominant is an example of an active chord, which can cause tension in music until it is resolved.
ANS: T
MSC: Applied
DIF:
Medium
REF:
20
14. The process of passing from one key to another is known as modulation.
ANS: T
MSC: Factual
DIF:
Easy
REF:
21
22 | Chapter 4
15. The act of shifting all the tones of a musical composition a uniform distance to a different pitch level
is called transposition.
ANS: T
MSC: Factual
DIF:
Easy
REF:
21
ESSAY
1. We describe our perception of Western harmony in terms of tonality. What does this mean?
ANS:
Answers will vary.
DIF: Hard
MSC: Applied
REF:
18
2. What makes major and minor scales sound different? Describe the character of each.
ANS:
Answers will vary.
DIF: Medium
MSC: Conceptual
REF:
18f
3. Describe various scale types used around the world. Compare these with major and minor scales.
ANS:
Answers will vary.
DIF: Hard
MSC: Applied
REF:
19
DIF:
Easy
REF:
22
TOP: Texture
DIF:
Easy
REF:
22
TOP: Texture
3. The predominant texture in music up to about one thousand years ago was:
a. polyphonic.
c. monophonic.
b. homophonic.
d. all of the above
ANS: C
MSC: Factual
DIF:
Medium
DIF:
Medium
REF:
c.
d.
REF:
22
TOP: Texture
polyphonic.
monophonic.
22
TOP: Texture
5. When a melody is combined with an ornamented version of itself, often heard in jazz, the resulting
texture is known as:
a. monophony.
c. heterophony.
b. monody.
d. homophony.
ANS: C
MSC: Factual
DIF:
Medium
REF:
22
TOP: Texture
6. When two or more independent melodic lines are combined, the resulting texture is called:
a. polyphony.
c. homophony.
b. monophony.
d. heterophony.
ANS: A
MSC: Factual
DIF:
Medium
REF:
22
TOP: Texture
23
24 | Chapter 5
7. The texture that combines two or more simultaneous melodic lines is called:
a. monophony.
c. heterophony.
b. homophony.
d. polyphony.
ANS: D
MSC: Factual
DIF:
Medium
REF:
22
TOP: Texture
8. A texture in which a single voice takes over the melodic interest while the accompanying voices are
subordinate is called:
a. homophony.
c. polyphony.
b. counterpoint.
d. monophony.
ANS: A
MSC: Factual
DIF:
Easy
REF:
23
TOP: Texture
9. The texture in which all the voices move in the same rhythm is called:
a. homorhythm.
c. homometer.
b. polyrhythm.
d. polymeter.
ANS: A
MSC: Factual
DIF:
Easy
REF:
24
TOP: Texture
10. The procedure in which a melodic idea is presented in one voice and then restated in another is called:
a. inversion.
c. retrograde.
b. diminution.
d. imitation.
ANS: D
MSC: Factual
DIF:
Medium
REF:
25
TOP: Texture
DIF:
Hard
REF:
DIF:
Easy
REF:
25
TOP: Texture
round.
scale.
25
TOP: Texture
13. What term best describes Row, Row, Row Your Boat?
a. monophonic
c. homophonic
b. heterophonic
d. round
ANS: D
MSC: Applied
DIF:
Easy
REF:
25
TOP: Texture
Musical Texture | 25
TRUE/FALSE
1. A single-voiced texture is called monophony.
ANS: T
MSC: Factual
DIF:
Easy
REF:
22
TOP: Texture
DIF:
Medium
REF:
22
TOP: Texture
3. The art of combining two or more simultaneous melodic lines is called counterpoint.
ANS: T
MSC: Factual
DIF:
Medium
REF:
22
TOP: Texture
DIF:
Medium
REF:
22
TOP: Texture
DIF:
Hard
REF:
23
TOP: Texture
DIF:
Easy
REF:
22
TOP: Texture
7. In a homorhythmic texture, the melody and harmony move with the same rhythm.
ANS: T
MSC: Factual
DIF:
Easy
REF:
24
TOP: Texture
DIF:
Medium
REF:
24
TOP: Texture
DIF:
Medium
REF:
25
TOP: Texture
26 | Chapter 5
10. A canon is a type of homophony.
ANS: F
MSC: Applied
DIF:
Medium
REF:
25
TOP: Texture
ESSAY
1. Compare the principal types of texture discussed in this chapter, giving examples of each.
ANS:
Answers will vary.
DIF:
Hard
REF:
22f
TOP: Texture
MSC: Applied
Medium
REF:
25
TOP: Texture
MSC: Applied
DIF:
Easy
REF:
26
TOP: Form
DIF:
Medium
REF:
26
TOP: Form
3. A vocal work in which each poetic stanza is sung to the same melody is in:
a. refrain form.
c. chorus form.
b. strophic form.
d. variation form.
ANS: B
MSC: Factual
DIF:
Medium
REF:
26
TOP: Form
4. The term ________ describes the technique whereby some aspects of the music are changed, yet the
whole remains recognizable.
a. variation
c. form
b. contrast
d. repetition
ANS: A
MSC: Factual
DIF:
Medium
REF:
26
TOP: Form
5. The technique through which performers create music on the spot is known as:
a. ostinato.
c. inversion.
b. improvisation.
d. canon.
ANS: B
MSC: Factual
DIF:
Hard
REF:
27
TOP: Form
6. The form based on a statement and a departure without a return to the complete opening statement is
called:
a. binary.
c. variation.
b. ternary.
d. repetition.
ANS: A
MSC: Factual
DIF:
Medium
REF:
27
TOP: Form
27
28 | Chapter 6
7. Which of the following best defines binary form?
a. A-B-A
c.
b. A-B
d.
ANS: B
MSC: Factual
DIF:
Easy
DIF:
Easy
REF:
c.
d.
REF:
A-A
B-B
27
TOP: Form
A-B-A.
A-B-C.
27
TOP: Form
9. The compositional technique whereby a composer searches out a themes capacity for growth and
expansion is known as:
a. augmentation.
c. thematic development.
b. diminution.
d. ternary form.
ANS: C
MSC: Factual
DIF:
Medium
REF:
27
TOP: Form
10. The restatement of a musical idea at a higher or lower pitch is called a(n):
a. motive.
c. theme.
b. sequence.
d. ostinato.
ANS: B
MSC: Factual
DIF:
Medium
REF:
28
TOP: Form
DIF:
Medium
REF:
28
TOP: Form
12. The smallest fragment of a theme that forms a melodic-rhythmic unit is called a:
a. motive.
c. canon.
b. sequence.
d. cadence.
ANS: A
MSC: Factual
DIF:
Medium
REF:
28
TOP: Form
13. A singing style that features a leader who is imitated by a group is called:
a. call and response.
c. crossover.
b. ostinato.
d. thematic development.
ANS: A
MSC: Factual
DIF:
Easy
REF:
29
TOP: Form
Musical Form | 29
14. Ostinato, or the repetitive use of a short melodic, rhythmic, or harmonic pattern, is common in:
a. rock.
c. jazz.
b. the blues.
d. all of the above
ANS: D
MSC: Factual
DIF:
Medium
REF:
29
TOP: Form
DIF:
Easy
REF:
29
TOP: Form
TRUE/FALSE
1. Musical structure generally features a balance between unity and variety.
ANS: T
MSC: Factual
DIF:
Easy
REF:
26
TOP: Form
2. Forms are fixed molds into which composers force their material.
ANS: F
MSC: Conceptual
DIF:
Medium
REF:
26
TOP: Form
DIF:
Medium
REF:
27
TOP: Form
4. A musical form based on a statement, a departure, and a restatement of the first idea is called binary
form.
ANS: F
MSC: Factual
DIF:
Easy
REF:
27
TOP: Form
REF:
27
TOP: Form
DIF:
Easy
6. The restatement of a theme or motive at a higher or lower pitch level is known as a sequence.
ANS: T
MSC: Factual
DIF:
Easy
REF:
28
TOP: Form
7. Call and response style is common in African and Native American cultures.
ANS: T
MSC: Factual
DIF:
Medium
REF:
29
TOP: Form
30 | Chapter 6
8. An ostinato is the smallest fragment of a theme that forms a melodic-rhythmic unit.
ANS: F
MSC: Factual
DIF:
Medium
REF:
29
TOP: Form
9. A short melodic, rhythmic, or harmonic pattern repeated throughout a musical work is called an
ostinato.
ANS: T
MSC: Factual
DIF:
Medium
REF:
29
TOP: Form
DIF:
Easy
REF:
29
TOP: Form
ESSAY
1. Discuss how repetition and contrast create structure in music. Include descriptions of several
fundamental musical forms.
ANS:
Answers will vary.
DIF:
Medium
REF:
26f
TOP: Form
MSC: Conceptual
TOP: Form
MSC: Conceptual
Hard
REF:
27f
DIF:
Easy
REF:
30
TOP: Tempo/dynamics
2. What emotional response would most likely be associated with an accelerating tempo?
a. peacefulness
c. sadness
b. agitation
d. exhaustion
ANS: B
MSC: Applied
DIF:
Easy
REF:
30
TOP: Tempo/dynamics
3. Music that sounds despairing and sad usually has a ________ tempo.
a. fast
c. slow
b. moderate
d. vigorous
ANS: C
MSC: Applied
DIF:
Medium
REF:
30
TOP: Tempo/dynamics
DIF:
Easy
REF:
DIF:
Medium
REF:
30
TOP: Tempo/dynamics
piano
allegro
30
TOP: Tempo/dynamics
6. Which of the following tempo markings does NOT indicate a slow tempo?
a. grave
c. presto
b. largo
d. adagio
ANS: C
MSC: Applied
DIF:
Medium
REF:
30
TOP: Tempo/dynamics
DIF:
Hard
REF:
30
TOP: Tempo/dynamics
31
32 | Chapter 7
8. Which of the following modifiers should be added to an allegro marking to indicate a very fast
tempo?
a. meno
c. non troppo
b. molto
d. a tempo
ANS: B
MSC: Factual
DIF:
Hard
REF:
DIF:
Easy
REF:
30
TOP: Tempo/dynamics
getting faster.
returning to the original tempo.
31
TOP: Tempo/dynamics
10. The degree of loudness or softness, or volume, at which music is played is called:
a. texture.
c. timbre.
b. tempo.
d. dynamics.
ANS: D
MSC: Factual
DIF:
Easy
REF:
31
TOP: Tempo/dynamics
DIF:
Medium
REF:
31
TOP: Tempo/dynamics
DIF:
Medium
REF:
31
TOP: Tempo/dynamics
DIF:
Medium
REF:
31
TOP: Tempo/dynamics
14. The markings for tempo and dynamics contribute most directly to the:
a. expressive content of a piece of music.
b. form of a piece of music.
c. thematic development of a piece of music.
d. tonality of a piece of music.
ANS: A
MSC: Applied
DIF:
Medium
REF:
31
TOP: Tempo/dynamics
DIF:
Easy
REF:
30
TOP: Tempo/dynamics
DIF:
Easy
REF:
30
TOP: Tempo/dynamics
30
TOP: Tempo/dynamics
DIF:
Medium
REF:
DIF:
Easy
REF:
31
TOP: Tempo/dynamics
5. Tempos and dynamics are dictated by composers, and performer have no role in interpreting these
elements.
ANS: F
MSC: Conceptual
DIF:
Medium
REF:
32
TOP: Tempo/dynamics
ESSAY
1. Describe how tempo and dynamics affect our response to music. Cite examples to support your
response.
ANS:
Answers will vary.
DIF: Easy
MSC: Conceptual
REF:
30f
TOP: Tempo/dynamics
DIF:
Medium
DIF:
DIF:
REF:
c.
d.
Easy
c.
d.
REF:
c.
d.
Easy
REF:
has no repetitions.
features a play on words.
33
Renaissance madrigals.
Christmas carols.
33
a wordless melody.
an elaborate melody with a Latin text.
33
4. The language of the Roman Empire and of the Roman Catholic Church through most of its history
was:
a. Italian.
c. Greek.
b. German.
d. Latin.
ANS: D
MSC: Factual
Easy
REF:
c.
d.
ANS: A
MSC: Factual
DIF:
DIF:
Hard
34
DIF:
Easy
REF:
c.
d.
REF:
33
choruses.
cadences.
34
DIF:
Easy
c.
d.
REF:
neumatic
word-painting
35
8. The extended melodic line on the word rejoice in Handels Messiah is a(n):
a. improvisation.
c. refrain.
b. melisma.
d. example of neumatic music.
ANS: B
MSC: Factual
DIF:
Medium
REF:
35
DIF:
Hard
REF:
neumatic.
word-painting.
35
DIF:
Easy
REF:
35
TRUE/FALSE
1. The term song technically refers to all music, with or without words.
ANS: F
MSC: Factual
DIF:
Easy
REF:
33
2. Plato felt that music without words was lacking in artistic taste.
ANS: T
MSC: Factual
DIF:
Medium
REF:
33
REF:
33
DIF:
Medium
DIF:
Medium
REF:
34
36 | Chapter 8
5. In the composition of songs, the music always comes first.
ANS: F
MSC: Applied
DIF:
Easy
REF:
34
ESSAY
1. Describe the variety of treatments of a written text in music.
ANS:
Answers will vary.
DIF: Medium
MSC: Applied
REF:
33
2. In setting a text, a composer can choose how many notes to use on a syllable. What are the terms for
the various settings? Cite an example of each.
ANS:
Answers will vary.
DIF: Hard
MSC: Conceptual
REF:
35
DIF:
Medium
REF:
36
TOP: Timbre
2. The quality of sound that distinguishes one instrument or voice from another is:
a. timbre.
c. tempo.
b. pitch.
d. volume.
ANS: A
MSC: Factual
DIF:
Easy
DIF:
Easy
REF:
c.
d.
REF:
36
TOP: Timbre
color of a tone.
loudness of a tone.
36
TOP: Timbre
4. A mechanism that generates musical vibrations and launches them into the air is called a(n):
a. mute.
c. baton.
b. podium.
d. instrument.
ANS: D
MSC: Factual
DIF:
Easy
REF:
36
TOP: Timbre
5. A specific area within the range of a voice or instrument, such as high, middle, or low, is called its:
a. timbre.
c. register.
b. volume.
d. form.
ANS: C
MSC: Factual
DIF:
Hard
REF:
36
TOP: Timbre
6. The standard ranges of the human voice, from highest to lowest, are:
a. soprano, alto, tenor, bass.
c. tenor, soprano, alto, bass.
b. bass, tenor, soprano, alto.
d. soprano, tenor, alto, bass.
ANS: A
MSC: Factual
DIF:
Easy
REF:
36
TOP: Timbre
DIF:
Medium
REF:
36
TOP: Timbre
37
38 | Chapter 9
8. The generally accepted term for the high male vocal range is:
a. bass.
c. alto.
b. tenor.
d. soprano.
ANS: B
MSC: Factual
DIF:
Medium
REF:
36
TOP: Timbre
DIF:
Hard
REF:
36
TOP: Timbre
10. Instruments that produce sound by using air as the vibrating means are called:
a. aerophones.
c. idiophones.
b. chordophones.
d. membranophones.
ANS: A
MSC: Factual
DIF:
Easy
REF:
38
TOP: Timbre
11. Instruments that produce sound from a vibrating string are called:
a. aerophones.
c. idiophones.
b. chordophones.
d. membranophones.
ANS: B
MSC: Factual
DIF:
Easy
REF:
38
TOP: Timbre
DIF:
Medium
REF:
38
TOP: Timbre
DIF:
Hard
REF:
DIF:
Medium
REF:
38
TOP: Timbre
idiophones.
membranophones.
38
TOP: Timbre
DIF:
Medium
REF:
36
TOP: Timbre
2. In some cultures, womens voices are preferred for certain styles of music.
ANS: T
MSC: Factual
DIF:
Easy
REF:
37
TOP: Timbre
3. Throughout history, the voice has been a model for instrumentalists and instrument builders.
ANS: T
MSC: Factual
DIF:
Hard
REF:
37
TOP: Timbre
REF:
38
TOP: Timbre
REF:
38
TOP: Timbre
DIF:
Medium
DIF:
Easy
ESSAY
1. Describe the variety of musical sounds the human voice is capable of producing. Consider issues such
as range, social function, historical period, and regional styles.
ANS:
Answers will vary.
DIF:
Hard
REF:
36f
TOP: Timbre
MSC: Applied
2. Describe the four categories of musical instruments around the world and how they each produce
sound. Cite an example of each.
ANS:
Answers will vary.
DIF:
Hard
REF:
48
TOP: Timbre
MSC: Applied
DIF:
Easy
REF:
39
2. Which is the correct order of bowed string instruments from highest to lowest in range?
a. violin, viola, cello, double bass
c. viola, violin, cello, double bass
b. violin, cello, viola, double bass
d. double bass, cello, viola, violin
ANS: A
MSC: Factual
DIF:
Medium
REF:
3940
3. The special effect produced on a string instrument by plucking a string with the finger is called:
a. vibrato.
c. pizzicato.
b. glissando.
d. tremolo.
ANS: C
MSC: Factual
DIF:
Medium
REF:
40
4. In string playing, the rapid movement of the wrist creates a throbbing effect called:
a. vibrato.
c. pizzicato.
b. glissando.
d. trill.
ANS: A
MSC: Factual
DIF:
Medium
REF:
40
5. What is double-stopping?
a. a special staccato bow stroke
b. a technique for changing pitches on the French horn
c. playing on two strings at once
d. a lengthy pause in music
ANS: C
MSC: Factual
DIF:
Medium
REF:
40
6. The device placed on the bridge of string instruments to muffle the sound is called a:
a. reed.
c. bow.
b. double reed.
d. mute.
ANS: D
MSC: Factual
40
DIF:
Medium
REF:
41
DIF:
Hard
REF:
41
8. A chord whose notes are played in succession, as on the harp, is called a(n):
a. scale.
c. arpeggio.
b. glissando.
d. double-stop.
ANS: C
MSC: Factual
DIF:
Hard
REF:
41
9. Which of the following instruments is NOT a member of the bowed string family?
a. guitar
c. viola
b. violoncello
d. violin
ANS: A
MSC: Factual
DIF:
Easy
REF:
41
10. Which of the following instruments is most likely played by a rock musician?
a. acoustic guitar
c. solid-bodied electric guitar
b. hollow-bodied electric guitar
d. mandolin
ANS: C
MSC: Applied
DIF:
Medium
DIF:
Hard
REF:
c.
d.
REF:
41
DIF:
Medium
REF:
42
13. Which of the following is the lowest-sounding member of the double-reed family?
a. oboe
c. bassoon
b. English horn
d. bass clarinet
ANS: C
MSC: Factual
DIF:
Medium
REF:
42f
42 | Chapter 10
14. Which of the following is NOT a double-reed instrument?
a. clarinet
c. bassoon
b. English horn
d. oboe
ANS: A
MSC: Factual
DIF:
Medium
REF:
42
DIF:
Medium
REF:
42
DIF:
Medium
REF:
43
17. The soprano brass instrument sometimes described as possessing a brilliant timbre is the:
a. trumpet.
c. clarinet.
b. French horn.
d. violin.
ANS: A
MSC: Factual
DIF:
Medium
REF:
44
18. Which of the following brass instruments is sometimes played with the performers hand plugging the
bell?
a. trumpet
c. trombone
b. French horn
d. tuba
ANS: B
MSC: Factual
DIF:
Medium
REF:
44
DIF:
Easy
REF:
DIF:
Easy
REF:
43f
bassoon.
tuba.
44
DIF:
Easy
REF:
45
DIF:
Easy
REF:
45
DIF:
Easy
REF:
45f
DIF:
Easy
REF:
45
DIF:
Hard
REF:
45
DIF:
Medium
REF:
46
DIF:
Medium
REF:
46
44 | Chapter 10
TRUE/FALSE
1. String instruments are generally played by either bowing or plucking.
ANS: T
MSC: Factual
DIF:
Easy
REF:
39
2. The violin was highly developed by Italian instrument makers between about 1600 and 1750.
ANS: T
MSC: Factual
DIF:
Hard
REF:
39
3. The viola is somewhat smaller and higher pitched than the violin.
ANS: F
MSC: Factual
DIF:
Medium
REF:
39
DIF:
Easy
REF:
40
REF:
41
41
DIF:
Medium
DIF:
Medium
REF:
7. The most recently invented member of the woodwind family is the saxophone.
ANS: T
MSC: Factual
DIF:
Hard
REF:
43
8. The term embouchure refers to the position of the players lips, jaw, and facial muscles.
ANS: T
MSC: Factual
DIF:
Easy
REF:
43
DIF:
Easy
REF:
43f
10. The bugle has a wide range of pitches due to its valves.
ANS: F
MSC: Factual
DIF:
Medium
REF:
44
DIF:
Easy
REF:
45
12. Most percussion instruments fall into the categories of idiophones and aerophones.
ANS: F
MSC: Factual
DIF:
Hard
REF:
45
DIF:
Hard
REF:
45
DIF:
Medium
REF:
46
DIF:
Medium
REF:
46
ESSAY
1. Choose four musical instruments, each representing one of the four families of instruments, and
describe their physical appearances and how they produce sound.
ANS:
Answers will vary.
DIF: Easy
MSC: Applied
REF:
39f
2. Describe the principal types of keyboard instruments and how they produce sound.
ANS:
Answers will vary.
DIF: Medium
MSC: Applied
REF:
46
DIF:
Easy
REF:
47
DIF:
Medium
REF:
47
DIF:
Hard
REF:
48
4. What is the name for a Balinese or Javanese orchestra made up largely of gongs, drums, and
xylophone-like instruments?
a. gagaku
c. sitar
b. koto
d. gamelan
ANS: D
MSC: Factual
DIF:
Hard
REF:
48
DIF:
Easy
REF:
49
46
DIF:
Medium
REF:
49
Musical Ensembles | 47
7. The term band refers to:
a. a rock group.
b. a jazz group.
ANS: D
MSC: Factual
DIF:
c.
d.
Easy
REF:
DIF:
Easy
DIF:
Easy
REF:
c.
d.
REF:
a marching ensemble.
all of the above
49
piano trios.
marches.
49
percussion instruments.
all of the above
49
DIF:
Hard
REF:
51
11. Brittens Young Persons Guide to the Orchestra exemplifies the forms of:
a. concerto and sonata.
c. variations and fugue.
b. prelude and fugue.
d. variations and madrigal.
ANS: C
MSC: Factual
DIF:
Hard
REF:
51
TRUE/FALSE
1. Specialized choirs that perform with organ are called a cappella ensembles.
ANS: F
MSC: Factual
DIF:
Medium
REF:
47
2. Chamber music is intended for a small group of performers, with one player to a part.
ANS: T
MSC: Factual
DIF:
Easy
REF:
48
3. The standard instrumentation of a string quartet is two violins, viola, and cello.
ANS: T
MSC: Factual
DIF:
Hard
REF:
48
48 | Chapter 11
4. A piano trio is an ensemble of three pianos.
ANS: F
MSC: Factual
DIF:
Medium
REF:
48
5. The term orchestra may be applied to various musical ensembles around the world.
ANS: T
MSC: Factual
DIF:
Easy
REF:
48
DIF:
Hard
REF:
49
7. The earliest wind and percussion groups were created for military purposes.
ANS: T
MSC: Factual
DIF:
Medium
REF:
49
DIF:
Easy
REF:
50
REF:
50
DIF:
Medium
10. The Young Persons Guide to the Orchestra by Britten is based on a dance tune by Beethoven.
ANS: F
MSC: Factual
DIF:
Easy
REF:
50
ESSAY
1. Describe the principal types of musical ensembles (vocal and instrumental) and state how they differ
from one another.
ANS:
Answers will vary.
DIF: Medium
MSC: Applied
REF:
47f
Musical Ensembles | 49
2. Describe the role of conductors, mentioning the elements of music for which they are responsible.
ANS:
Answers will vary.
DIF: Hard
MSC: Applied
REF:
48f
DIF:
Easy
REF:
54
2. What general term suggests something of the overall character of a work as well as its function?
a. form
c. medium
b. genre
d. opus
ANS: B
MSC: Factual
DIF:
Medium
REF:
54
DIF:
Medium
REF:
55
DIF:
Medium
REF:
55
DIF:
Medium
REF:
56
56
50
DIF:
Hard
REF:
DIF:
Easy
c.
d.
REF:
8. Which of the following is the proper chronological order of musical style periods?
a. Renaissance, Middle Ages, Classical, Baroque, Romantic, twentieth century
b. Middle Ages, Baroque, Renaissance, Romantic, Classical, twentieth century
c. Middle Ages, Renaissance, Baroque, Classical, Romantic, twentieth century
d. Middle Ages, Renaissance, Baroque, Romantic, Classical, twentieth century
ANS: C
MSC: Factual
DIF:
Hard
REF:
57
DIF:
Hard
REF:
57
DIF:
Medium
REF:
57
TRUE/FALSE
1. Secular music is generally intended for religious occasions.
ANS: F
MSC: Factual
DIF:
Easy
REF:
54
54
DIF:
Medium
REF:
3. The notated music of an urban and cultivated society is preserved through oral transmission.
ANS: F
MSC: Factual
DIF:
Medium
REF:
55
52 | Chapter 12
4. The line between classical and popular music is clearly defined.
ANS: F
MSC: Applied
DIF:
Medium
REF:
55
5. The dates given for the beginning and end of eras are precise ones.
ANS: F
MSC: Factual
DIF:
Easy
REF:
56
DIF:
Medium
REF:
57
ESSAY
1. Discuss the similarities of the functions of music around the world.
ANS:
Answers will vary.
DIF: Medium
MSC: Applied
REF:
54
2. What defines the style of a work of art? How do different musical styles develop, and how do we
categorize them?
ANS:
Answers will vary
DIF: Hard
MSC: Conceptual
REF:
56
DIF:
Hard
REF:
60
2. Why was the art music of the Middle Ages predominantly religious?
a. There was little need for secular music at the time.
b. Secular states had little power.
c. The church patronized music extensively.
d. Composers were devoutly religious.
ANS: C
MSC: Conceptual
DIF:
Medium
REF:
60
3. The two centers of power during the early Middle Ages were the church and:
a. newly formed centralized governments led by kings.
b. diffuse courts headed by dukes.
c. barbarian tribes.
d. Arab tribes.
ANS: A
MSC: Applied
DIF:
Medium
REF:
61
4. The Frankish emperor who encouraged education and the concept of a centralized government was:
a. Charlemagne.
c. Hildegard of Bingen.
b. Pope Gregory.
d. Chaucer.
ANS: A
MSC: Factual
DIF:
Medium
DIF:
Hard
REF:
c.
d.
REF:
61
6. Which of the following is NOT a major literary landmark of the Middle Ages?
a. Chanson de Roland
c. Chaucers Canterbury Tales
b. Dantes Divine Comedy
d. Cervantess Don Quixote
ANS: D
MSC: Factual
DIF:
Hard
REF:
61
53
54 | Prelude 2
7. During the Middle Ages, the status of women:
a. remained unchanged for nearly one thousand years.
b. steadily declined until late in the era, just before the Renaissance.
c. was raised through the concept of chivalry, which arose among knights and was idealized
in music.
d. was much the same as it is today.
ANS: C
MSC: Applied
DIF:
Easy
REF:
61
8. Which of the following does NOT represent the thinking of the Renaissance?
a. an exclusively religious orientation
c. a questioning of blind faith
b. an interest in scientific inquiry
d. a focus on humanity and life
ANS: A
MSC: Applied
DIF:
Hard
REF:
62
DIF:
Medium
REF:
62
DIF:
Medium
REF:
63
11. Why is Renaissance painting considered to be more realistic than medieval painting?
a. Renaissance painters used more vivid colors.
b. The subjects of Renaissance paintings were often ordinary people doing ordinary tasks.
c. Renaissance painters explored perspective, which made it possible to depict visual depth.
d. Renaissance subjects were more consistently religious.
ANS: C
MSC: Conceptual
DIF:
Hard
REF:
63
DIF:
Medium
REF:
63
13. Renaissance musicians could make their living in all of the following ways EXCEPT as:
a. choirmasters, singers, and organists.
c. music printers and publishers.
b. instrument builders or players.
d. professional orchestral conductors.
ANS: D
MSC: Factual
DIF:
Easy
REF:
63
DIF:
Easy
REF:
60
2. Most of the surviving music from the early Middle Ages is secular.
ANS: F
MSC: Factual
DIF:
Easy
REF:
60
3. The two centers of power in the Middle Ages were the feudal lord and the state.
ANS: F
MSC: Factual
DIF:
Easy
REF:
60
4. Chivalry helped bring about the first flowering of secular music written in the vernacular.
ANS: T
MSC: Factual
DIF:
Easy
REF:
61
DIF:
Easy
REF:
62
DIF:
Easy
REF:
61
7. Although feudal society was male dominated, the status of women was raised by prevailing attitudes
of chivalry and devotion to the cult of the Virgin Mary.
ANS: T
MSC: Applied
DIF:
Easy
REF:
61
8. The Renaissance was characterized by an increased awareness of the cultures of learned civilizations.
ANS: T
MSC: Applied
DIF:
Medium
REF:
62
9. The early exploration of the New World took place during the Renaissance.
ANS: T
MSC: Factual
DIF:
Easy
REF:
62
56 | Prelude 2
10. Renaissance painters preferred symbolism to realism.
ANS: F
MSC: Factual
DIF:
Medium
REF:
63
63
DIF:
Easy
REF:
12. The Renaissance saw the rise of amateur musicians and home music-making.
ANS: T
MSC: Factual
DIF:
Easy
REF:
63
ESSAY
1. Compare the roles of the church and secular powers in medieval art and society.
ANS:
Answers will vary.
DIF: Hard
MSC: Conceptual
REF:
60f
2. Describe the ways in which Renaissance thought differed from that of the Middle Ages.
ANS:
Answers will vary.
DIF: Medium
MSC: Conceptual
REF:
62f
3. What were the various ways in which early musicians could make a living?
ANS:
Answers will vary.
DIF: Easy
MSC: Applied
REF:
63
Chapter 13: Voice and Worship: Tradition and Individuality in Medieval Chant
MULTIPLE CHOICE
1. Which of the following does NOT describe life in the medieval cloister?
a. living in quiet seclusion
b. being at the center of trade and commerce
c. devotion to prayer, scholarship, and charity
d. participating in teaching and hospital work
ANS: B
MSC: Applied
DIF:
Easy
REF:
65
2. ________ is traditionally associated with collecting and organizing the chants of the church.
a. Charlemagne
c. Pope Gregory the Great
b. Lonin
d. Machaut
ANS: C
MSC: Factual
DIF:
Easy
REF:
65
DIF:
Medium
REF:
65
4. Why does Gregorian chant sound so different from other types of Western music?
a. It is for voices only.
c. The melodies are sometimes improvised.
b. There is no harmony.
d. It is religious.
ANS: B
MSC: Conceptual
DIF:
Hard
REF:
65
DIF:
Easy
REF:
65f
6. A setting of Gregorian chant with two to four notes per syllable might be considered:
a. syllabic.
c. melismatic.
b. neumatic.
d. modal.
ANS: B
MSC: Factual
DIF:
Easy
REF:
66
57
58 | Chapter 13
7. In addition to composing music, Hildegard of Bingen is known for:
a. visions that foretold the future.
c. writing religious poetry.
b. founding her own convent.
d. all of the above
ANS: D
MSC: Factual
DIF:
Easy
REF:
66
8. Which of the following women was a religious leader and a prominent figure in literature and music?
a. Hildegard of Bingen
c. Isabella dEste
b. Eleanor of Aquitaine
d. Lucrezia Borgia
ANS: A
MSC: Factual
DIF:
Medium
REF:
66
DIF:
Hard
REF:
66
10. Which religious figure is praised in the text of Hildegards Alleluia, O virga mediatrix?
a. Saint Peter
c. the Holy Spirit
b. Jesus Christ
d. the Virgin Mary
ANS: D
MSC: Factual
Medium
REF:
c.
d.
ANS: A
MSC: Factual
DIF:
DIF:
Medium
REF:
66
maqam.
Siyer-I Nebi.
68
12. In Islamic practice, how many times is the call to prayer sounded in a day?
a. three
c. seven
b. five
d. nine
ANS: B
MSC: Factual
DIF:
Hard
REF:
66
TRUE/FALSE
1. The knowledge of early civilizations and the culture of the Middle Ages were preserved largely in
monasteries.
ANS: T
MSC: Factual
DIF:
Easy
REF: 64
DIF:
Easy
REF: 64
3. The order of church services and the structure of each service are known as the liturgy.
ANS: T
MSC: Factual
DIF:
Easy
REF:
65
DIF:
Easy
REF:
65f
5. The modes were developed from the major and minor scales.
ANS: F
MSC: Applied
DIF:
Easy
REF:
66
6. Hildegard of Bingen wrote both the poetry and the music for Alleluia, O virga mediatrix.
ANS: T
MSC: Factual
DIF:
Easy
REF:
66
7. Hildegards Alleluia, O virga mediatrix has a neumatic text setting with some melismas.
ANS: T
MSC: Applied
DIF:
Medium
REF:
67
REF:
66
REF:
68
DIF:
Medium
DIF:
Medium
DIF:
Medium
REF:
68
60 | Chapter 13
ESSAY
1. Describe the influence of the Roman Catholic Church on music in the Middle Ages.
ANS:
Answers will vary.
DIF: Medium
MSC: Applied
REF:
64f
2. How does Hildegard of Bingen treat individual words of the text in her music for Alleluia. O virga
mediatrix?
ANS:
Answers will vary.
DIF: Hard
MSC: Conceptual
REF:
66f
3. What contributions did Hildegard of Bingen make to knowledge and the arts? Discuss her music in
your answer.
ANS:
Answers will vary.
DIF: Medium
MSC: Applied
REF:
66f
4. Describe the similarities and differences between Christian and Islamic worship traditions and their
use of music.
ANS:
Answers will vary.
DIF: Medium
MSC: Applied
REF:
68f
DIF:
Hard
c.
d.
REF:
music notation.
new performance venues.
71
TOP: Polyphony
DIF:
Medium
REF:
71
TOP: Polyphony
DIF:
Medium
DIF:
Easy
DIF:
Medium
REF:
c.
d.
REF:
c.
d.
REF:
71f
TOP: Polyphony
the motet.
secular.
72
TOP: Polyphony
TOP: Polyphony
6. The Notre Dame style of polyphony, in which the tenor line was based on a preexisting chant melody
and the upper voice moved freely (and more rapidly), was called:
a. organum.
c. liturgical drama.
b. plainsong.
d. chanson.
ANS: A
MSC: Factual
DIF:
Medium
REF:
72
TOP: Polyphony
61
62 | Chapter 14
7. Who is credited with compiling the Great Book of Organum (Magnus liber organi)?
a. Hildegard of Bingen.
c. Lonin.
b. Protin.
d. Machaut.
ANS: C
MSC: Factual
DIF:
Medium
REF:
73
TOP: Polyphony
DIF:
Medium
REF:
72f
TOP: Polyphony
TRUE/FALSE
1. 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
DIF:
Medium
REF:
72
TOP: Polyphony
3. An early center for the development of polyphony was the Cathedral of Notre Dame in Paris.
ANS: T
MSC: Factual
DIF:
Medium
REF:
73
TOP: Polyphony
4. In the early Middle Ages, music was often composed in fixed patterns of long and short notes known
as rhythmic modes.
ANS: T
MSC: Factual
DIF:
Medium
REF:
73
TOP: Polyphony
5. Each musical line in Gaude Maria virgo has the same rhythmic activity.
ANS: F
MSC: Factual
DIF:
Medium
REF:
72
TOP: Polyphony
DIF:
Medium
REF:
73
TOP: Polyphony
DIF:
Medium
REF:
73
TOP: Polyphony
DIF:
Medium
REF:
73
TOP: Polyphony
ESSAY
1. What is the most distinctive quality of Western music? How was this development received in
non-Western cultures?
ANS:
Answers will vary.
DIF:
Hard
REF:
71
TOP: Polyphony
MSC: Conceptual
2. Describe the development of polyphony and the contributions of the Notre Dame school composers.
ANS:
Answers will vary.
DIF:
Hard
REF:
71f
TOP: Polyphony
MSC: Applied
Chapter 15: Symbols and Puzzles: Machaut and the Medieval Mind
MULTIPLE CHOICE
1. The tradition of troubadours and trouvres developed in:
a. France.
c. England.
b. Italy.
d. the Middle East.
ANS: A
MSC: Factual
DIF:
Medium
REF:
74
2. Which of the following was NOT a subject reflected in the poems of the troubadours and trouvres?
a. politics and current events
c. love and unrequited passion
b. moralizing and devotional themes
d. the rebirth of Classical learning
ANS: D
MSC: Factual
DIF:
Hard
REF:
74f
DIF:
Easy
REF:
75
4. During the fourteenth century, a style of music developed that became known as:
a. the Ars antiqua.
c. the Renaissance.
b. the Ars nova.
d. Notre Dame polyphony.
ANS: B
MSC: Factual
DIF:
Easy
REF:
76
DIF:
Medium
REF:
76
6. The French courtly love song of the Middle Ages was called the:
a. motet.
c. estampie.
b. goliard song.
d. chanson.
ANS: D
MSC: Applied
64
DIF:
Easy
REF:
76
DIF:
Hard
REF:
76
DIF:
Easy
REF:
77
9. Which of the following does NOT characterize Ma fin est mon commencement?
a. It has a rondeau structure.
c. It is in duple meter with syncopations.
b. It has a monophonic texture.
d. The structure involves palindromes.
ANS: B
MSC: Applied
DIF:
Easy
DIF:
Hard
REF:
c.
d.
REF:
77
AAB
ABaAabAB
77
TRUE/FALSE
1. Music and mathematics have been linked since the time of the ancient Greeks.
ANS: T
MSC: Factual
DIF:
Easy
REF:
74
2. Troubadours and trouvres were medieval musicians often living on the fringes of society.
ANS: F
MSC: Factual
DIF:
Easy
REF:
74
DIF:
Easy
REF:
75
DIF:
Hard
REF:
76
66 | Chapter 15
5. The chanson is an example of secular music.
ANS: T
MSC: Factual
DIF:
Medium
REF:
76
6. Because Machaut was a cleric in the church, he wrote only sacred music.
ANS: F
MSC: Applied
DIF:
Medium
REF:
76
7. Machauts chanson Ma fin est mon commencement is a ballade for three voices.
ANS: F
MSC: Factual
DIF:
Medium
REF:
76
8. Machauts chanson Ma fin est mon commencement reflects his eras fascination with complexity.
ANS: T
MSC: Factual
DIF:
Medium
REF:
78
ESSAY
1. What roles did secular music play in medieval life? Provide examples to support your answer.
ANS:
Answers will vary.
DIF: Medium
MSC: Conceptual
REF:
74
2. What impact did the Crusades have on Western medieval life? Provide examples to support your
answer.
ANS:
Answers will vary.
DIF: Medium
MSC: Conceptual
REF:
75
3. Why was the Ars nova important in the development of Western music? Provide examples to support
your answer.
ANS:
Answers will vary.
DIF:
Hard
REF:
76
MSC: Conceptual
DIF:
Medium
REF:
79
2. The expressive device that Renaissance composers used to pictorialize words musically is called:
a. word-painting.
c. imagery.
b. a cappella.
d. chromaticism.
ANS: A
MSC: Factual
DIF:
Easy
REF:
79
3. Which of the following was the most important secular genre of the sixteenth century?
a. the galliard
c. the madrigal
b. the chanson
d. the ronde
ANS: C
MSC: Factual
DIF:
Hard
DIF:
Easy
REF:
c.
d.
REF:
80
France
Germany
80
5. The vivid depiction of a text through music, known as word-painting, is a hallmark of the:
a. madrigal.
c. motet.
b. chanson.
d. anthem.
ANS: A
MSC: Applied
DIF:
Easy
REF:
80
DIF:
Easy
REF:
80
67
68 | Chapter 16
7. Madrigals with simpler and more accessible texts were especially favored in:
a. Germany.
c. France.
b. Italy.
d. England.
ANS: D
MSC: Applied
DIF:
Medium
REF:
83
8. Which of the following best describes the character of Farmers Fair Phyllis?
a. devotional and moralizing
c. pastoral and light
b. courtly and idealized
d. bombastic and heavy
ANS: C
MSC: Conceptual
DIF:
Hard
DIF:
Medium
REF:
c.
d.
REF:
83
the Chinese
Isaac Newton
82
DIF:
Medium
REF:
82
TRUE/FALSE
1. Only professional musicians performed secular music during the Renaissance.
ANS: F
MSC: Applied
DIF:
Easy
REF:
79
2. During the Renaissance, the study of a musical instrument was considered improper for ladies.
ANS: F
MSC: Applied
DIF:
Easy
REF:
79
3. The two most important genres of Renaissance secular music were the chanson and the madrigal.
ANS: T
MSC: Applied
DIF:
Easy
REF:
79
4. Italian madrigalists set words such as weeping, trembling, and dying with great expression.
ANS: T
MSC: Applied
DIF:
Easy
REF:
80
DIF:
Medium
REF:
81f
6. England adopted the Italian madrigal and developed it into a native form.
ANS: T
MSC: Applied
DIF:
Easy
REF:
83
DIF:
Easy
REF:
83
DIF:
Easy
REF:
82
ESSAY
1. Describe the changes in secular music during the sixteenth century. What are the principal genres?
How did these musical genres differ from their counterparts of the fifteenth century?
ANS:
Answers will vary.
DIF: Hard
MSC: Conceptual
REF:
79f
2. Describe the differences between Italian and English madrigals. Give an example of each.
ANS:
Answers will vary.
DIF: Medium
MSC: Applied
REF:
79f
3. How did Renaissance composers achieve a union of words and music? Give an example.
ANS:
Answers will vary.
DIF: Hard
MSC: Conceptual
REF:
79f
DIF:
Easy
REF: 86
DIF:
Easy
REF: 86
3. Which genre of vocal music was NOT used in Renaissance church services?
a. Gregorian chant
c. the hymn
b. the motet
d. the chanson
ANS: D
MSC: Applied
DIF:
Medium
REF:
86
DIF:
Medium
REF:
86f
DIF:
Medium
REF:
86f
6. The fixed melody used as a basis for elaborate polyphonic writing in the Renaissance was called:
a. word-painting.
c. a cantus firmus.
b. a cappella.
d. a saltarello.
ANS: C
MSC: Factual
70
DIF:
Easy
REF:
87
DIF:
Medium
REF:
87
8. Which early Renaissance composer exerted a powerful influence on generations of composers who
followed?
a. Guillaume de Machaut
c. John Farmer
b. Josquin des Prez
d. Moniot dArras
ANS: B
MSC: Factual
DIF:
Medium
REF: 87
DIF:
Medium
REF:
88
88
DIF:
Easy
REF:
11. What is the musical basis of Josquins Ave Maria . . . virgo serena?
a. a popular cantus firmus heard throughout the entire work
b. a Gregorian chant in the top voice, then a freely composed melody
c. an isorhythm in the two bottom voices
d. a five-note ostinato figure
ANS: B
MSC: Applied
DIF:
Hard
REF:
89
TRUE/FALSE
1. Medieval artists preferred to depict their subjects in profile rather than facing front.
ANS: F
MSC: Applied
DIF:
Easy
REF:
85
72 | Chapter 17
2. Humanism was inspired by the ancient cultures of Greece and Rome.
ANS: T
MSC: Applied
DIF:
Easy
REF:
86
DIF:
Easy
REF:
87
4. The preeminent composers of motets in the early Renaissance were from Italy.
ANS: T
MSC: Applied
DIF:
Easy
REF:
87
DIF:
Easy
REF:
87
DIF:
Hard
REF:
87
ESSAY
1. 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:
85f
2. What are the distinctive qualities of Renaissance sacred music? Support your answer with examples
drawn from Josquins motet Ave Maria . . . virgo serena.
ANS:
Answers will vary.
DIF: Medium
MSC: Conceptual
REF:
86f
DIF:
Easy
REF:
90
2. The portion of the Mass that remains the same in every celebration of the service is called:
a. the Proper.
c. the Gradual.
b. the Ordinary.
d. none of the above
ANS: B
MSC: Factual
DIF:
Medium
REF:
90
3. The portion of the Mass that changes from day to day, depending on the feast celebrated, is called:
a. the Proper.
c. the liturgy.
b. the Ordinary.
d. none of the above
ANS: A
MSC: Factual
DIF:
Medium
REF:
DIF:
Easy
c.
d.
REF:
90
Italian
Latin
90f
5. Which of the following are the movements of the Ordinary of the Mass?
a. Introit, Gradual, Offertory, Agnus Dei
c. Kyrie, Gloria, Credo, Sanctus, Agnus Dei
b. Kyrie, Collect, Offertory, Gradual
d. Agnus Dei, Communion, Dies irae, Kyrie
ANS: C
MSC: Factual
DIF:
Hard
REF:
91
6. The first section of the Ordinary of the Mass, a plea for mercy, is called the:
a. Sanctus.
c. Gloria.
b. Credo.
d. Kyrie.
ANS: D
MSC: Factual
DIF:
Hard
REF:
91
DIF:
Hard
REF:
91
73
74 | Chapter 18
8. Which of the following was a leader in the Protestant Reformation?
a. Giovanni Pierluigi da Palestrina
c. Saint Ignatius Loyola
b. Martin Luther
d. Ascanio Sforza
ANS: B
MSC: Factual
DIF:
Medium
REF:
91
TOP: Reformation
9. In the churches of Luther and Calvin, the musical emphasis was on:
a. spectacular polyphonic works.
b. the inclusion of instruments in the service.
c. congregational singing.
d. a return to Gregorian chant.
ANS: B
MSC: Factual
DIF:
Medium
REF:
92
TOP: Reformation
10. After the Protestant Reformation of the early sixteenth century, the Roman Catholic Church
responded with a movement to recapture the loyalty of its people. This was known as:
a. the Crusades.
c. the Counter-Reformation.
b. the Reformation.
d. the Thirty Years War.
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. removing all secularism from church music
b. making the words more understandable
c. disciplining the irreverent attitudes of church musicians
d. using more musical instruments to enhance church music
ANS: D
MSC: Applied
DIF:
Hard
REF:
92
TOP: Counter-Reformation
12. Which composer responded to the reforms of the Council of Trent in an exemplary fashion?
a. Giovanni Pierluigi da Palestrina
c. Guillaume Du Fay
b. Josquin des Pez
d. Johannes Ockeghem
ANS: A
MSC: Factual
DIF:
Easy
REF:
92
TOP: Counter-Reformation
13. Which of the following best describes the intended performance practice for the Pope Marcellus
Mass?
a. It would have been sung by a full choir.
b. It would have been sung by an all-male choir with boy sopranos or male falsettos.
c. It would have been sung by a choir with instrumental accompaniment.
d. It would have been accompanied by an organ.
ANS: B
MSC: Applied
DIF:
Hard
REF:
94
TOP: Counter-Reformation
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
DIF:
Medium
REF:
91
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
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
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
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
DIF:
Medium
REF:
95
DIF:
Easy
REF:
95
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
DIF:
Medium
REF:
96
DIF:
Easy
REF:
96
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
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
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
TRUE/FALSE
1. Early instrumental music largely depended on improvisation.
ANS: T
MSC: Applied
DIF:
Easy
REF:
95
2. Bas instruments were used frequently for outdoor occasions during the Middle Ages.
ANS: F
MSC: Applied
DIF:
Medium
REF:
95
REF:
96
DIF:
Easy
DIF:
Easy
REF:
96
5. Instrumental music of the sixteenth century often did not specify its instrumentation.
ANS: T
MSC: Factual
DIF:
Medium
REF:
96
6. Stately indoor occasions most often called for soft instruments, such as recorders and strings.
ANS: T
MSC: Applied
DIF:
Easy
REF:
96
DIF:
Easy
REF:
97
DIF:
Easy
REF:
97
ESSAY
1. How are musical instruments from the Middle Ages categorized? Give some examples.
ANS:
Answers will vary.
DIF: Medium
MSC: Applied
REF:
95f
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
DIF:
Easy
REF:
DIF:
Easy
REF:
102
15501600.
18001900.
103
DIF:
Medium
REF:
103
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
DIF:
Hard
REF:
103
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
DIF:
Medium
REF:
104
8. The group of early Baroque writers, artists, and musicians whose aim was to resurrect the musical
drama of ancient Greece was known as:
a. the Italian madrigalists.
c. the Freemasons.
b. the Florentine Camerata.
d. the Notre Dame school.
ANS: B
MSC: Factual
DIF:
Easy
REF:
105
105
DIF:
Hard
REF:
DIF:
Medium
REF:
105
11. The ideas and music of the Florentine Camerata led directly to the development of:
a. opera.
c. the symphony.
b. the Mass.
d. the concerto.
ANS: A
MSC: Applied
DIF:
Medium
REF:
106
12. The artificially created male soprano or alto voice that dominated Baroque opera was known as the:
a. castrato.
c. Camerata.
b. contralto.
d. continuo.
ANS: A
MSC: Factual
DIF:
Easy
REF:
106
82 | Prelude 3
13. Womens roles in Baroque music:
a. diminished in importance in comparison to the Renaissance.
b. expanded into professional performance careers, including as opera singers.
c. remained largely the same as during the Renaissance.
d. totally dominated the music scene.
ANS: B
MSC: Conceptual
DIF:
Medium
REF:
107
14. The Baroque performance practice whereby musicians embellished melodies is called:
a. improvisation.
c. continuous melody.
b. ritornello.
d. driving rhythm.
ANS: A
MSC: Factual
DIF:
Easy
REF:
107
15. Which of the following national styles influenced the Baroque style?
a. German polyphony
c. English choral song
b. French dance rhythms
d. all of the above
ANS: D
MSC: Applied
DIF:
Medium
REF:
107
TRUE/FALSE
1. The term baroque originally meant serenity and balance.
ANS: F
MSC: Factual
DIF:
Easy
REF:
103
DIF:
Easy
REF:
103f
DIF:
Medium
REF:
104
4. Religion remained a driving force behind power struggles in the Baroque era.
ANS: T
MSC: Applied
DIF:
Medium
REF:
104
5. The transition from Renaissance to Baroque was characterized by a change from polyphonic to
homophonic texture in music.
ANS: T
MSC: Applied
DIF:
Medium
REF:
104
DIF:
Medium
REF:
105
DIF:
Medium
REF:
106
DIF:
Hard
REF:
106
9. Dramatic contrasts of forte and piano are typical of the Baroque era.
ANS: T
MSC: Applied
DIF:
Easy
REF:
106
10. During the Baroque era, some boy singers were castrated to preserve the high register of their voices,
allowing them to sing high-pitched operatic roles.
ANS: T
MSC: Factual
DIF:
Medium
REF:
106
DIF:
Easy
REF:
107
12. During the Baroque era, women began entering the ranks of professional musicians as both composers
and performers.
ANS: T
MSC: Factual
DIF:
Medium
REF:
107
DIF:
Easy
REF:
107
DIF:
Easy
REF:
107
84 | Prelude 3
ESSAY
1. Describe the major achievements in art, literature, and science during the Baroque period. Give some
examples.
ANS:
Answers will vary.
DIF:
Medium
REF: 103f
MSC: Conceptual
REF:
104f
Chapter 20: Voicing the Virgin: Cozzolani and Italian Baroque Sacred Music
MULTIPLE CHOICE
1. During the seventeenth century, women who desired a public voice through music often joined a:
a. camerata.
c. convent.
b. composers guild.
d. local church choir.
ANS: C
MSC: Factual
DIF:
Medium
REF:
109
2. Which of the following was a reason that a woman would join a convent during the seventeenth
century?
a. to avoid an unwanted marriage
c. to have an outlet for musical talent
b. to seek asylum after being widowed
d. all of the above
ANS: D
MSC: Factual
DIF:
Hard
REF:
DIF:
Medium
REF:
DIF:
Hard
REF:
110
Gradual.
antiphon.
109
Vespers.
all of the above
109
5. What service(s) did Chiara Margarita Cozzolani provide for the convent of St. Radegonda?
a. director of choirs
c. composer
b. abbess and prioress
d. all of the above
ANS: C
MSC: Factual
DIF:
Medium
REF:
111
6. Which of the following is a type of music NOT composed by Chiara Margarita Cozzolani?
a. the motet
c. the Magnificat
b. the four-voice mass
d. the secular cantata
ANS: D
MSC: Factual
DIF:
Easy
REF:
111
85
86 | Chapter 20
7. The dramatic and mystical qualities of Cozzolanis setting of the Magnificat are similar to those of
what other significant artwork?
a. Berninis Ecstasy of St. Teresa
c. Michelangelos David
b. Leonardos Last Supper
d. Raphaels Alba Madonna
ANS: A
MSC: Applied
DIF:
Easy
REF:
109
DIF:
Medium
REF:
109
DIF:
Medium
REF:
111
10. The prayer of praise at the end of the Magnificat is called the:
a. doxology.
c. Gloria.
b. Agnus Dei.
d. Alleluia.
ANS: A
MSC: Factual
DIF:
Medium
REF:
110
TRUE/FALSE
1. Creative voices from groups excluded from equal opportunity seldom have any emotional impact.
ANS: F
MSC: Applied
DIF:
Easy
REF:
108
2. Women who made a name for themselves as professional musicians were often viewed as having low
morals.
ANS: T
MSC: Applied
DIF:
Medium
REF:
108
3. The convent of St. Radegonda in Milan was famous for its music-making.
ANS: T
MSC: Applied
DIF:
Medium
REF:
109
DIF:
Easy
REF:
110
5. In convents, men frequently joined the nuns choir in order to perform the bass parts.
ANS: F
MSC: Factual
DIF:
Medium
REF:
109
6. Although coming from the family of a wealthy Milanese merchant, Chiara Margarita Cozzolani
entered a convent and professed her final vows at age eighteen.
ANS: T
MSC: Factual
DIF:
Medium
REF:
111
DIF:
Medium
REF:
109
REF:
111
DIF:
Medium
ESSAY
1. How can music become a voice for groups excluded from equal opportunity? Give some examples.
ANS:
Answers will vary.
DIF:
Medium
REF:
108
REF:
109f
REF:
109f
DIF:
Easy
c.
d.
REF:
cantata.
motet.
113
2. The vocal style in opera that imitates the natural inflections of speech is called:
a. aria.
c. madrigal.
b. a chorus.
d. recitative.
ANS: D
MSC: Factual
DIF:
Medium
REF:
113
DIF:
Easy
REF:
113
Easy
REF:
c.
d.
ANS: C
MSC: Factual
DIF:
DIF:
Medium
REF:
114
libretto.
book.
114
DIF:
Easy
REF:
88
DIF:
Medium
c.
d.
REF:
114
Austria
France
114
DIF:
Medium
REF:
114
DIF:
Easy
REF:
115
DIF:
Easy
REF:
115
DIF:
Hard
REF:
115
12. Which epic poem was the basis for Purcells opera Dido and Aeneas?
a. Miltons Paradise Lost
c. Homers Iliad
b. Homers Odyssey
d. Virgils Aeneid
ANS: D
MSC: Factual
DIF:
Hard
REF:
115
13. Dido sings her famous lament in Purcells opera Dido and Aeneas just prior to:
a. marrying Aeneas.
c. killing herself.
b. killing Aeneas.
d. leaving with Aeneas.
ANS: C
MSC: Applied
DIF:
Hard
REF:
115
14. Didos Lament from Purcells opera Dido and Aeneas is composed:
a. over a ground bass.
c. in the ternary form common to the genre.
b. in the style of imitative counterpoint.
d. in the ritornello form of the period.
ANS: A
MSC: Applied
DIF:
Medium
REF:
115
90 | Chapter 21
TRUE/FALSE
1. In opera, the lyric melodies that release emotional tension are called recitatives.
ANS: F
MSC: Factual
DIF:
Easy
REF:
113
2. Early operas, such as Monteverdis Orfeo, were simple productions for intimate gatherings.
ANS: F
MSC: Applied
DIF:
Easy
REF:
114
114
DIF:
Medium
REF:
4. In seventeenth-century England, the masque was a popular type of aristocratic entertainment that
combined vocal and instrumental music with poetry and dance.
ANS: T
MSC: Factual
DIF:
Easy
REF:
114
5. Purcells Dido and Aeneas was first performed in a public opera house.
ANS: F
MSC: Factual
DIF:
Medium
REF:
115
6. The aria When I am laid in earth is unified by a ground bass on a descending chromatic scale..
ANS: T
MSC: Applied
DIF:
Easy
REF:
115
DIF:
Medium
REF:
116
ESSAY
1. Describe the various components of opera, commenting on the function of each in the drama.
ANS:
Answers will vary.
DIF: Medium
MSC: Conceptual
REF: 113f
REF: 114f
DIF:
Medium
c.
d.
REF:
cantor.
congregation.
118
2. In the Lutheran Church, the weekly hymns sung by the congregation were called:
a. chorales.
c. cantatas.
b. motets.
d. anthems.
ANS: A
MSC: Factual
DIF:
Hard
REF:
118
DIF:
Hard
REF:
DIF:
Easy
REF:
118
DIF:
Medium
REF:
119
6. During his musical career, Johann Sebastian Bach held the position of:
a. cantor of St. Thomas Church in Leipzig.
b. court organist and chamber musician to the duke of Weimar.
c. court musician to the prince of Anhalt-Cthen.
d. all of the above
ANS: D
MSC: Factual
92
DIF:
Medium
REF:
119
DIF:
Easy
REF:
119
DIF:
Hard
REF:
DIF:
Hard
REF:
119f
da capo (A-B-A)
bar form (A-A-B)
120
10. Bachs Cantata No. 140, Wachet auf, has ________ movements.
a. eight
c. six
b. seven
d. five
ANS: B
MSC: Factual
DIF:
Medium
REF:
120f
11. The opening movement of Bachs cantata Wachet auf is best described as a:
a. grand chorale fantasia.
c. soprano aria.
b. duet for soprano and bass.
d. four-part chorale.
ANS: A
MSC: Applied
DIF:
Easy
REF:
120
12. The fourth movement of Bachs cantata Wachet auf has three musical lines:
a. solo oboe, soprano, and bass.
b. unison choir, unison strings, and continuo.
c. boy sopranos, unison strings, and continuo.
d. solo violin, soprano, and continuo.
ANS: B
MSC: Applied
DIF:
Hard
REF:
122
TRUE/FALSE
1. Luther believed that professional musicians had no place in a church service.
ANS: F
MSC: Factual
DIF:
Medium
REF:
118
94 | Chapter 22
2. A chorale is a hymn tune associated with German Protestantism.
ANS: T
MSC: Factual
DIF:
Easy
REF:
118
DIF:
Easy
REF:
118
4. The texts for chorales were always taken directly from the Bible.
ANS: F
MSC: Factual
DIF:
Medium
REF:
119
REF:
119
DIF:
Medium
6. Johann Sebastian Bach lived a short, unhappy life and had no children.
ANS: F
MSC: Factual
DIF:
Easy
REF:
119
7. During his lifetime, Johann Sebastian Bach was known primarily as a great organist.
ANS: T
MSC: Factual
DIF:
Medium
REF:
119
8. All the movements of Bachs Cantata No. 140 make use of the chorale tune Wachet auf.
ANS: F
MSC: Applied
DIF:
Medium
REF:
120
9. In Wachet auf, Bach avoids mirroring the form of the chorale in his chorale movements.
ANS: F
MSC: Applied
DIF:
Medium
REF:
121
REF:
120
DIF:
Medium
REF: 118f
REF: 119f
DIF:
c.
d.
Easy
REF:
oratorio.
masque.
123
2. Which of the following is Handels most famous oratorio, frequently performed today?
a. Julius Caesar
c. Samson
b. Israel in Egypt
d. Messiah
ANS: D
MSC: Applied
DIF:
Easy
REF:
123
DIF:
Easy
REF:
123
DIF:
Easy
REF:
123f
DIF:
Easy
REF:
123f
96
DIF:
Easy
REF:
124
DIF:
Easy
REF:
124
DIF:
Medium
REF:
124
9. Later in life, Handel turned his efforts from the opera to the:
a. cantata.
c. Mass.
b. symphony.
d. oratorio.
ANS: D
MSC: Factual
DIF:
Easy
REF:
DIF:
Hard
c.
d.
REF:
DIF:
Easy
REF:
124
trumpets.
drums.
125
DIF:
Medium
REF:
125
125
DIF:
Medium
REF:
98 | Chapter 23
14. The famous choral climax of Handels Messiah is:
a. For unto us a Child is born.
c. Comfort ye, my people.
b. the Hallelujah Chorus.
d. And the glory of the Lord.
ANS: B
MSC: Factual
DIF:
Easy
REF:
125
15. Which the following does NOT characterize the Hallelujah Chorus?
a. varied dynamics
c. homophonic passages
b. fugal passages
d. a cappella setting
ANS: D
MSC: Applied
DIF:
Hard
REF:
127
TRUE/FALSE
1. An oratorio is a dramatic, staged work with elaborate scenery and costumes.
ANS: F
MSC: Factual
DIF:
Easy
REF:
123f
DIF:
Medium
REF:
124
DIF:
Medium
REF:
125
4. The libretto for Handels oratorio Messiah is a compilation of verses from the Old and New
Testaments.
ANS: T
MSC: Factual
DIF:
Easy
REF:
125
125
DIF:
Easy
REF:
DIF:
Medium
REF:
125
DIF:
Medium
REF:
125
DIF:
Medium
REF:
127
ESSAY
1. Compare opera and oratorio, using examples of each genre to support your answer.
ANS:
Answers will vary.
DIF: Easy
MSC: Conceptual
REF:
123f
2. Compare the lives and output of Bach and Handel. Which was the more international composer?
Why? For what audiences did each compose?
ANS:
Answers will vary.
DIF: Medium
MSC: Conceptual
REF:
124f
Chapter 24: Independent Study: Billings and the North American Sacred Tradition
MULTIPLE CHOICE
1. In seventeenth-century New England, the Puritan practice of singing that is based on call and response
was called:
a. spiritualizing.
c. lining-out.
b. shape-note singing.
d. secularization.
ANS: C
MSC: Factual
DIF:
Medium
REF:
128
DIF:
Easy
REF:
128
DIF:
Hard
REF:
128
DIF:
Medium
REF:
128
100
DIF:
Hard
REF:
129
Independent Study: Billings and the North American Sacred Tradition | 101
6. Which of the following does NOT characterize shape-note notation?
a. It was created in order to standardize sacred melodies.
b. It was based on solfge, syllables used to memorize music.
c. The shape of a note denoted its solfge syllable.
d. It was first applied to tutorials for piano playing.
ANS: D
MSC: Applied
DIF:
Medium
REF:
129
DIF:
Hard
DIF:
Hard
REF:
c.
d.
REF:
DIF:
Hard
REF:
130
A-B-A.
A-B-B.
130
DIF:
Hard
REF:
130
11. Of the following, what contributes to the simplicity of Billingss Davids Lamentation?
a. mostly stepwise melodies
b. consonant harmonies
c. duple meter and regular rhythmic patterns
d. all of these
ANS: D
MSC: Conceptual
DIF:
Hard
REF:
131
102 | Chapter 24
12. Which of the following describes Spanish attitudes toward indigenous American peoples?
a. They tried to reconcile local beliefs and Christianity.
b. They attempted to preserve indigenous music through notation.
c. They avoided contact with the indigenous civilizations.
d. all of the above
ANS: A
MSC: Conceptual
DIF:
Hard
REF:
132
13. Which of the following musical activities is NOT associated with Gaspar Fernandes?
a. playing organ
b. composing operas
c. teaching music to choirboys
d. collecting music performed in Mexico at the time
ANS: B
MSC: Factual
DIF:
Hard
REF:
132f
14. What of the following does NOT characterize the villancico by Fernandes?
a. images of Christianity mixed with those of the Aztec religion
b. an ensemble refrain
c. notation that includes parts for organ and other instruments
d. a frequent short-long rhythm
ANS: C
MSC: Factual
DIF:
Hard
REF:
133
TRUE/FALSE
1. Lining-out was a system designed to promote polyphony in America.
ANS: F
MSC: Applied
DIF:
Easy
REF:
128
REF:
128
DIF:
Medium
3. Shape-note notation was designed to help the general public read music.
ANS: T
MSC: Applied
DIF:
Easy
REF:
129
4. William Billings was the first highly trained composer active in America.
ANS: F
MSC: Factual
DIF:
Easy
REF:
130
Independent Study: Billings and the North American Sacred Tradition | 103
5. Billingss four-part compositions generally placed the main melody in the soprano.
ANS: F
MSC: Applied
DIF:
Hard
REF:
130
6. The text for Billingss Davids Lamentation is derived from the Bible.
ANS: T
MSC: Factual
DIF:
Easy
REF:
130
DIF:
Medium
REF:
132
8. The incorporation of percussion instruments in Fernandess villancico is not indicated in the score but
suggested by various historical documents.
ANS: T
MSC: Applied
DIF:
Medium
REF:
133
ESSAY
1. Describe the development of music-making in colonial American during the seventeenth century.
Include some examples in your answer.
ANS:
Answers will vary.
DIF: Medium
MSC: Applied
REF:
128f
REF:
130f
3. Describe the interaction of European and indigenous American cultures in Latin America. Include
some examples in your answer.
ANS:
Answers will vary.
DIF: Hard
MSC: Conceptual
REF:
132f
DIF:
Easy
REF:
134
2. Which of the following does NOT describe instrumental music in the Baroque era?
a. The flowering of instrumental music was largely encouraged by wealthy patrons.
b. Elaborate instrumental music often accompanied grand celebrations.
c. New technologies made more sophisticated instruments possible.
d. Instrumental music became the central focus of Western concert music at this time.
ANS: D
MSC: Applied
DIF:
Hard
REF: 134
3. Which of the following is NOT a major difference between Baroque and modern violins?
a. the general shape of the instrument
c. the playing techniques
b. the type of strings
d. the cost of the instrument
ANS: A
MSC: Applied
DIF:
Medium
REF:
135
4. During the Baroque, which of the woodwind instruments became associated with a somber mood?
a. recorder
c. oboe
b. flute
d. bassoon
ANS: D
MSC: Applied
DIF:
Hard
REF:
135
5. Which of the following wind instruments was NOT made of wood during the Baroque?
a. recorder
c. trumpet
b. oboe
d. flute
ANS: C
MSC: Factual
DIF:
Medium
REF:
135
104
DIF:
Medium
REF:
135
DIF:
Hard
REF:
135
DIF:
Medium
REF:
135
DIF:
Medium
REF:
DIF:
Easy
c.
d.
REF:
135f
suite.
passacaglia.
136
11. Why is the music for Handels Water Music marked by lively rhythms and catchy melodies?
a. It was written to be performed outdoors on barges.
b. It mimicked the sound of the ocean.
c. It was written during a time of war.
d. It celebrated a royal marriage.
ANS: A
MSC: Conceptual
DIF:
Medium
REF:
136
12. The Alla hornpipe movement from Water Music is characterized by:
a. lively duple meter.
b. binary form.
c. instrumental groups exchanging motivic ideas.
d. all of the above
ANS: C
MSC: Applied
DIF:
Medium
REF:
136
106 | Chapter 25
TRUE/FALSE
1. The Renaissance period was the first in which instrumental music was comparable in importance to
vocal music.
ANS: F
MSC: Applied
DIF:
Medium
REF:
134
2. Stradivarius, Guarneri, and Amati were famous makers of violins during the Baroque era.
ANS: F
MSC: Factual
DIF:
Easy
REF:
134
DIF:
Easy
REF:
135
DIF:
Medium
REF:
135
DIF:
Medium
REF:
135
135
DIF:
Medium
REF:
7. Handels Water Music received its name because of the depiction of waves in the Alla hornpipe.
ANS: F
MSC: Factual
DIF:
Easy
REF:
136
DIF:
Medium
REF:
135
REF:
134f
2. Describe the variety of dance movements that might be found in a Baroque suite.
ANS:
Answers will vary.
DIF: Hard
MSC: Applied
REF:
135f
DIF:
Easy
REF:
138
DIF:
Medium
REF:
138
3. The ________ form in a concerto is loosely based on the alternation between orchestral statements
and virtuosic passages for the soloist.
a. ritornello
c. refrain
b. cadenza
d. sinfonia
ANS: A
MSC: Factual
DIF:
Easy
REF:
138f
DIF:
Easy
REF:
138
5. Which of the following was the greatest and most prolific Italian composer of concertos?
a. Vivaldi
c. Handel
b. Purcell
d. Bach
ANS: A
MSC: Factual
DIF:
Easy
REF:
139
108
DIF:
Easy
REF:
139
DIF:
c.
d.
Medium
REF:
Rome.
Bologna.
139
DIF:
Easy
REF:
139
DIF:
Easy
REF:
140
10. Which of the following does NOT characterize Vivaldis Four Seasons?
a. The concertos are based on poems.
b. The concertos avoid ritornello form.
c. The concertos convey pictorial images.
d. The concertos are structured in three-movement forms.
ANS: B
MSC: Applied
DIF:
Medium
REF:
140
11. The opening movement of Spring, from The Four Seasons, is in ________ form.
a. sonata-allegro
c. minuet and trio
b. ritornello
d. binary
ANS: B
MSC: Applied
DIF:
Medium
REF:
140
12. In the slow movement of Spring, from The Four Seasons, Vivaldi evokes a dogs barking through:
a. trills and running scales.
c. a folk dance.
b. fast staccato notes
d. an ostinato rhythm.
ANS: D
MSC: Applied
DIF:
Hard
REF:
140
TRUE/FALSE
1. The typical Baroque concerto is written for a solo instrument with a continuo accompaniment.
ANS: F
MSC: Factual
DIF:
Easy
REF:
138
110 | Chapter 26
2. The concerto lends itself to virtuoso playing.
ANS: T
MSC: Applied
DIF:
Easy
REF:
138
DIF:
Easy
REF:
138
4. Antonio Vivaldi composed over two hundred concertos for solo violin.
ANS: T
MSC: Factual
DIF:
Medium
REF:
139
DIF:
Easy
REF:
139
6. Bach composed the famous set of works known as the Brandenburg Concertos.
ANS: T
MSC: Factual
DIF:
Hard
REF:
139
DIF:
Medium
REF:
140
8. In Spring from The Four Seasons, all of the images are created in the orchestra passages.
ANS: F
MSC: Factual
DIF:
Hard
REF:
141
ESSAY
1. How did Baroque composers provide unity and contrast in concerto movements? Include examples in
your answer.
ANS:
Answers will vary.
DIF: Hard
MSC: Conceptual
REF:
138f
REF:
139f
REF: 142
MSC: Applied
REF: 142
MSC: Factual
REF: 142
MSC: Applied
4. The keyboard instrument that uses various sets of pipes to create contrasting colors is:
a. the harpsichord.
c. the clavichord.
b. the organ.
d. the piano.
ANS: B
DIF: Easy
TOP: Baroque keyboard instruments
REF: 143
MSC: Applied
5. What is a toccata?
a. a set of variations on a repeated harmonic pattern
b. an improvisatory, virtuosic keyboard work
c. a movement based on strict counterpoint
d. a four-movement keyboard work containing a fugue
ANS: B
MSC: Factual
DIF:
Hard
REF:
143
6. The ________ is a keyboard form based on the principle of voices imitating each other.
a. fugue
c. suite
b. prelude
d. toccata
ANS: A
MSC: Factual
112
DIF:
Easy
REF:
143
DIF:
Medium
c.
d.
REF:
a chorale tune
arpeggios
143
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
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
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
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
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
13. In the field of keyboard music, Johann Sebastian Bachs 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
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
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
DIF:
Medium
REF:
145
17. How many voices, or individual lines, are there in Bachs Contrapunctus I, from The Art of Fugue?
a. two
c. four
b. three
d. five
ANS: C
MSC: Factual
DIF:
Medium
REF:
145
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
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
REF: 142
MSC: Factual
REF: 142
MSC: Applied
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
DIF:
Medium
REF:
143
DIF:
Medium
REF:
143
8. Johann Sebastian Bachs Art of Fugue is now generally considered to be a keyboard work.
ANS: T
MSC: Factual
DIF:
Easy
REF:
145
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
REF:
143f
DIF:
Medium
REF:
150
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
DIF:
Hard
REF:
150
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
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
116
DIF:
Medium
REF:
151
DIF:
Hard
REF:
152
DIF:
Easy
REF:
150
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
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
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
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
DIF:
Medium
REF:
153
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
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
DIF:
Easy
REF:
151
3. Despite intellectual attitudes in the Classical era, few significant advances were made in the sciences.
ANS: F
MSC: Applied
DIF:
Easy
REF:
151
4. The American Declaration of Independence reflects the intellectual climate of the Classical era.
ANS: T
MSC: Applied
DIF:
Easy
REF:
151
DIF:
Easy
REF:
151
DIF:
Medium
REF:
151
7. Romantic elements can be found in the late works of Mozart, Haydn, and Beethoven.
ANS: T
MSC: Applied
DIF:
Hard
REF:
152
DIF:
Easy
REF:
153
DIF:
Easy
REF:
153
DIF:
Medium
REF:
154
TOP: Patronage
11. Some women achieved fame during the eighteenth century as opera singers and as solo
instrumentalists.
ANS: T
MSC: Factual
DIF:
Medium
REF:
154
TOP: Patronage
12. In the eighteenth century, composers were viewed as equal to nobles at the highest level of society.
ANS: F
MSC: Applied
DIF:
Medium
REF:
154
TOP: Patronage
13. The audience of the eighteenth century, like that of today, was mainly interested in music from the
past.
ANS: F
MSC: Applied
DIF:
Easy
REF:
154
TOP: Patronage
154
TOP: Patronage
DIF:
Medium
REF:
120 | Prelude 4
ESSAY
1. Describe how various major historical events shaped the Classical era. Include examples in your
answer.
ANS:
Answers will vary.
DIF: Medium
MSC: Applied
REF:
150
2. Discuss the intellectual climate of the Classical era and how it influenced the arts. Include examples in
your answer.
ANS:
Answers will vary.
DIF: Hard
MSC: Applied
REF:
151f
3. How do Classical and Romantic arts differ? Include examples in your answer.
ANS:
Answers will vary.
DIF: Medium
MSC: Applied
REF:
152
4. Describe the patronage system, its advantages and disadvantages to composers, and how it affected
the careers of Haydn, Mozart, and Beethoven.
ANS:
Answers will vary.
DIF:
Medium
REF:
154
TOP: Patronage
MSC: Applied
5. Describe the role of women in music during the Classical era. Include examples in your answer.
ANS:
Answers will vary.
DIF:
Medium
REF:
154
TOP: Patronage
MSC: Applied
DIF:
Easy
REF:
156
DIF:
Easy
REF:
157
DIF:
Hard
REF:
157
DIF:
Medium
REF:
157
DIF:
Medium
REF:
157
DIF:
Easy
REF:
157
121
122 | Chapter 28
7. In absolute music, the lack of a prescribed story or text to hold the music together makes the element
of ________ especially important.
a. melody
c. harmony
b. texture
d. form
ANS: D
MSC: Conceptual
DIF:
Hard
REF:
157
8. Which of the following genres does NOT usually follow the general structure of a multimovement
cycle?
a. sonata
c. overture
b. symphony
d. concerto
ANS: C
MSC: Applied
DIF:
Hard
REF:
158
9. Which movement is the most highly organized and most characteristic of the multimovement cycle?
a. first
c. third
b. second
d. fourth
ANS: A
MSC: Applied
DIF:
Medium
REF:
158
10. Which of the following is a common characteristic of the second movement of a multimovement
cycle?
a. a slow introduction
c. dance rhythms
b. lyrical, songful melodies
d. all of the above
ANS: B
MSC: Applied
DIF:
Hard
REF:
158
11. In the Classical multimovement cycle, the third movement is usually in ________ form.
a. theme and variations
c. rondo
b. sonata
d. minuet and trio
ANS: D
MSC: Applied
DIF:
Easy
REF:
158
12. A rondo is most typically found in the ________ movement of a Classical multimovement cycle.
a. first
c. third
b. second
d. last
ANS: D
MSC: Applied
DIF:
Medium
REF:
158
13. Which of the following compositional techniques does theme and variation form often utilize?
a. melodic variation
c. rhythmic variation
b. harmonic variation
d. all of the above
ANS: D
MSC: Applied
DIF:
Medium
REF:
158
DIF:
Medium
c.
d.
REF:
15. Which of the following was NOT a major composer of string quartets?
a. Bach
c. Beethoven
b. Mozart
d. Haydn
ANS: A
MSC: Applied
DIF:
Easy
REF:
159
16. Haydns String Quartet, Op. 76, No. 3 was nicknamed the Emperor because:
a. Emperor Franz II commissioned the work.
b. Emperor Franz II entered the hall during the first performance.
c. The work has a majestic character.
d. The slow movement is based on a hymn written for Emperor Franz II.
ANS: D
MSC: Applied
DIF:
Hard
REF:
159
17. The form of the slow movement of Haydns String Quartet, Op. 76, No. 3 is:
a. sonata-allegro.
c. theme and variations.
b. minuet and trio.
d. rondo.
ANS: C
MSC: Factual
DIF:
Medium
REF:
159
18. The melody of the slow movement of Haydns String Quartet, Op. 76, No. 3 became the national
anthem of:
a. Austria.
c. Italy.
b. France.
d. Spain.
ANS: A
MSC: Applied
DIF:
Easy
DIF:
Medium
DIF:
Medium
REF:
c.
d.
REF:
c.
d.
REF:
161
Salzburg.
Vienna.
159
TOP: Haydn
Prince Esterhzy
Count Razumovsky
159
TOP: Haydn
124 | Chapter 28
21. Haydn enjoyed phenomenal musical success with two trips to ________.
a. Paris
c. Rome
b. London
d. New York
ANS: B
MSC: Factual
DIF:
Medium
REF:
159
TOP: Haydn
TRUE/FALSE
1. The concept of music as a conversation is best seen in the Classical concerto.
ANS: F
MSC: Applied
DIF:
Easy
REF:
156
DIF:
Easy
REF:
156
3. The expansion and reworking of a theme within a composition is called thematic development.
ANS: T
MSC: Factual
DIF:
Easy
REF:
156f
4. Thematic development provides clarity, coherence, and logic to larger musical forms.
ANS: T
MSC: Conceptual
DIF:
Hard
REF:
157
DIF:
Medium
REF:
157
6. The term multimovement cycle is applied not only to sonatas and chamber music but also to concertos
and symphonies.
ANS: T
MSC: Applied
DIF:
Medium
REF:
157
7. The slow movement of a multimovement cycle is most frequently the third movement.
ANS: F
MSC: Factual
DIF:
Medium
REF:
158
8. In the Classical multimovement cycle, the third movement is typically a minuet and trio.
ANS: T
MSC: Factual
DIF:
Easy
REF:
158
DIF:
Medium
REF:
158
10. The melody of the slow movement of Haydns String Quartet, Op. 76, No. 3 is taken from an obscure
folk tune.
ANS: F
MSC: Factual
DIF:
Easy
REF:
159
11. In the slow movement of Haydns Emperor string quartet, each instrument gets a turn at playing the
theme.
ANS: T
MSC: Factual
DIF:
Easy
REF:
161
12. The career of Joseph Haydn spanned the years from the development of the Classical style to the
beginning of Romanticism.
ANS: T
MSC: Factual
DIF:
Medium
REF:
159
TOP: Haydn
13. The patronage system failed to support Haydn, and he was forced to live by teaching and performing.
ANS: F
MSC: Factual
DIF:
Medium
REF:
159
TOP: Haydn
ESSAY
1. Compare the concept of musical development in the Classical symphony with that in jazz.
ANS:
Answers will vary.
DIF: Hard
MSC: Conceptual
REF:
156f
2. Describe the overall outline of a multimovement cycle. Be sure to mention the tempo and
chronological character of each movement. Which genres generally involve multimovement cycles?
ANS:
Answers will vary.
DIF: Hard
MSC: Applied
REF:
158f
DIF:
Hard
c.
d.
REF:
opera overture.
ballet.
162
DIF:
Hard
REF:
162
3. Quick crescendos and the four-movement cycle for symphonies were developed in:
a. Italy.
c. England.
b. France.
d. Germany.
ANS: D
MSC: Factual
DIF:
Hard
REF:
162f
4. The early Classical symphony is characterized by quickly ascending themes with a strong rhythmic
drive. These are known as ________ themes.
a. steamroller
c. rocket
b. torpedo
d. operatic
ANS: C
MSC: Factual
DIF:
Hard
REF:
163
DIF:
Easy
REF:
163
126
DIF:
Medium
REF:
163
DIF:
Medium
c.
d.
REF:
forty-one
over 100
163
DIF:
Easy
REF:
163
DIF:
Easy
REF:
163
DIF:
Easy
REF:
163
11. Haydn composed the Military Symphony for his second visit to ________.
a. Vienna
c. Prague
b. Paris
d. London
ANS: D
MSC: Factual
DIF:
Easy
REF:
165
DIF:
Easy
DIF:
Hard
REF:
c.
d.
REF:
165
China.
India.
165
128 | Chapter 29
14. What is the form of the second movement of Haydns Military Symphony?
a. sonata-allegro
c. A-B-A'
b. theme and variations
d. rondo
ANS: C
MSC: Applied
DIF:
Medium
REF:
165
TRUE/FALSE
1. The orchestra came to be viewed as the ultimate instrument during the Classical era.
ANS: T
MSC: Factual
DIF:
Hard
REF:
162
DIF:
Hard
REF:
162
3. The establishment of a four-movement cycle for the symphony is generally credited to the London
school of composers.
ANS: F
MSC: Applied
DIF:
Hard
REF:
163
4. The terms rocket theme and steamroller were applied to early symphonies from Germany.
ANS: T
MSC: Applied
DIF:
Hard
REF:
163
DIF:
Hard
REF:
163
DIF:
Medium
REF:
165
7. The second movement of Haydns Military Symphony contains few dynamic contrasts.
ANS: F
MSC: Applied
DIF:
Easy
REF:
164
8. The triangle, cymbals, bass drum and bell tree are associated with Turkish military music.
ANS: T
MSC: Applied
DIF:
Easy
REF:
165
REF:
162f
REF:
163f
Chapter 30: Expanding the Conversation: Mozart, Chamber Music, and Larger Forms
MULTIPLE CHOICE
1. Mozarts Eine kleine Nachtmusik is an example of a:
a. symphony.
c. sonata.
b. serenade.
d. concerto.
ANS: B
MSC: Factual
Medium
REF:
c.
d.
ANS: A
MSC: Factual
DIF:
DIF:
Easy
REF:
167
DIF:
Hard
REF:
167
4. The three main sections of sonata-allegro form are the exposition, the development, and the:
a. bridge.
c. coda.
b. recapitulation.
d. trio.
ANS: B
MSC: Factual
DIF:
Medium
REF:
167
5. In sonata-allegro form, a modulatory section that leads from one theme to the next is called the:
a. codetta.
c. bridge.
b. development.
d. introduction.
ANS: C
MSC: Factual
DIF:
Easy
REF:
167
DIF:
Medium
REF:
167
130
DIF:
Hard
REF:
167
Expanding the Conversation: Mozart, Chamber Music, and Larger Forms | 131
8. In sonata-allegro form, the section that features the most tension and drama through modulation and
motivic interplay is the:
a. exposition.
c. recapitulation.
b. development.
d. coda.
ANS: B
MSC: Applied
DIF:
Medium
REF:
167
9. The psychological climax of sonata-allegro form appears when the tonic returns at the:
a. exposition.
c. recapitulation.
b. development.
d. coda.
ANS: C
MSC: Applied
DIF:
Medium
REF:
167
10. The final section of a sonata-allegro movement, which rounds it off with a vigorous closing cadence,
is the:
a. exposition.
c. recapitulation.
b. development.
d. coda.
ANS: D
MSC: Factual
DIF:
Easy
REF:
167
DIF:
Easy
REF:
169
TOP: Mozart
12. Which composer rebelled against the patronage system and struggled to achieve financial
independence?
a. Haydn
c. Salieri
b. Mozart
d. Bach
ANS: B
MSC: Factual
DIF:
Easy
DIF:
Medium
REF:
c.
d.
REF:
169
TOP: Mozart
TOP: Mozart
132 | Chapter 30
14. Mozarts Eine kleine Nachtmusik was originally written for what orchestration?
a. wind quintet
b. full symphony orchestra
c. string quartet plus double bass
d. solo violin and string orchestra
ANS: C
MSC: Applied
DIF:
Medium
REF:
167
15. Which of the following best describes the form of the first movement of Mozarts Eine kleine
Nachtmusik?
a. sonata-allegro
c. rondo
b. theme and variations
d. minuet
ANS: A
MSC: Applied
DIF:
Medium
REF:
168
16. Which of the following best describes the opening of the first movement of Mozarts Eine kleine
Nachtmusik?
a. It is a lilting, triple-meter dance.
b. It has a marchlike character.
c. It has a lyrical, conjunct melody.
d. It begins with a slowly ascending chromatic scale.
ANS: B
MSC: Conceptual
DIF:
Medium
DIF:
Medium
REF:
c.
d.
REF:
168
quadruple
irregular
168
18. The overall form of a minuet and trio is best outlined as:
a. A-B.
c. A-B-A-C-A-B-A.
b. A-B-A.
d. A-B-C-D-E-F-A.
ANS: B
MSC: Factual
DIF:
Easy
REF:
169
19. The second dance, or the middle section, of a minuet, is called the:
a. minuet II.
c. da capo.
b. trio.
d. scherzo.
ANS: B
MSC: Factual
DIF:
Medium
REF:
169
Expanding the Conversation: Mozart, Chamber Music, and Larger Forms | 133
20. The Italian words da capo are commonly found in ________ form.
a. binary
c. theme and variations
b. ternary
d. sonata
ANS: B
MSC: Conceptual
DIF:
Easy
REF:
169
172
DIF:
Easy
REF:
22. The long-necked, plucked string instrument common in North Indian classical music is called the:
a. sitar.
c. theorbo.
b. tabla.
d. tala.
ANS: A
MSC: Conceptual
DIF:
Easy
REF:
172
TRUE/FALSE
1. The Classical divertimento and serenade were light genres intended for social functions.
ANS: T
MSC: Applied
DIF:
Easy
REF:
167
2. The finale of a multimovement cycle is generally the longest and most developed.
ANS: F
MSC: Applied
DIF:
Easy
REF:
167
3. In sonata-allegro form, the development section manipulates thematic material from the exposition
while remaining in the tonic key.
ANS: F
MSC: Applied
DIF:
Easy
REF:
167
DIF:
Easy
REF:
167
5. In sonata-allegro form, the bridge is the transition between the development and the recapitulation.
ANS: F
MSC: Applied
DIF:
Medium
REF:
167
134 | Chapter 30
6. The minuet was originally a Baroque court dance.
ANS: T
MSC: Applied
DIF:
Easy
REF:
168
7. Mozart was able to complete many masterworks during his long career.
ANS: F
MSC: Applied
DIF:
Easy
REF:
169
TOP: Mozart
8. The musical processes of repetition, variation, and the introduction new material also occur in North
Indian classical music.
ANS: T
MSC: Applied
DIF:
Easy
REF:
172
9. The complexity of North Indian classical music is passed down through musical treatises.
ANS: F
MSC: Applied
DIF:
Easy
REF:
172
10. Harmony, often using just a drone, is not important in North Indian classical music.
ANS: T
MSC: Applied
DIF:
Easy
REF:
172
ESSAY
1. Describe the basic parts of sonata-allegro form. Use the first movement of Mozarts Eine kleine
Nachtmusik as a model.
ANS:
Answers will vary.
DIF: Medium
MSC: Applied
REF:
167f
2. How does the minuet and trio differ from sonata-allegro form? How are they similar?
ANS:
Answers will vary.
DIF: Easy
MSC: Applied
REF:
168f
DIF:
Easy
REF:
173
2. A typical feature of a concerto is a free solo passage without orchestral accompaniment called the:
a. introduction.
c. cadenza.
b. codetta.
d. development.
ANS: C
MSC: Factual
DIF:
Easy
REF:
173
DIF:
Easy
REF:
173
DIF:
Medium
REF:
DIF:
Easy
REF:
173
DIF:
Easy
REF:
174
135
136 | Chapter 31
7. Mozart wrote the Piano Concerto in G Major, K. 453, for a performance by:
a. his sister Nannerl
c. Maria Theresia von Paradis
b. himself
d. Babette von Ployer
ANS: D
MSC: Applied
DIF:
Hard
REF:
174
8. What is the form of the first movement of Mozarts Piano Concerto in G Major, K. 453?
a. theme and variations
c. fugue
b. first-movement concerto form
d. A-B-A
ANS: B
MSC: Applied
DIF:
Medium
REF:
174
9. How does the orchestral exposition of the first movement of Mozarts Piano Concerto in G Major,
K. 453 differ from the exposition in a symphony sonata-allegro?
a. It remains in one key area.
c. It has an extended introduction.
b. It has no closing theme.
d. It has no second theme.
ANS: A
MSC: Conceptual
DIF:
Medium
REF:
175
10. What is the form of the second movement of Mozarts Piano Concerto in G Major, K. 453?
a. theme and variations
c. fugue
b. first-movement concerto form
d. A-B-A
ANS: A
MSC: Applied
DIF:
Hard
REF:
174
TRUE/FALSE
1. The Classical concerto emphasized the combination of a solo group and orchestra.
ANS: F
MSC: Factual
DIF:
Easy
REF:
173
2. In the Classical concerto, the marking andante or adagio would most likely apply to the third
movement.
ANS: F
MSC: Applied
DIF:
Easy
REF:
173
DIF:
Easy
REF:
173
DIF:
Easy
REF:
174
DIF:
Hard
REF:
174
6. Mozarts Piano Concerto in G Major, K. 453, was composed in 1784, along with four other
impressive piano concertos.
ANS: T
MSC: Factual
DIF:
Hard
REF:
174
ESSAY
1. Describe the form of a typical Classical concerto.
ANS:
Answers will vary.
DIF: Medium
MSC: Applied
REF:
173f
2. What are the differences between a Classical symphony and a concerto in performing forces, number
of movements, and forms?
ANS:
Answers will vary.
DIF: Medium
MSC: Conceptual
REF:
173f
Chapter 32: Personalizing the Conversation: Beethoven and the Classical Sonata
MULTIPLE CHOICE
1. Which of the following was NOT a favored sonata instrumentation during the late eighteenth century?
a. piano alone
c. piano and cello
b. piano and violin
d. piano and trumpet
ANS: D
MSC: Factual
DIF:
Easy
REF:
177
DIF:
Hard
DIF:
Medium
REF:
c.
d.
REF:
177
TOP: Beethoven
4. Beethoven suffered from perhaps the most traumatic of all maladies for a musician. What was it?
a. blindness
c. diabetes
b. deafness
d. paralysis
ANS: B
MSC: Factual
DIF:
Easy
REF:
177
TOP: Beethoven
DIF:
Medium
REF: 177
TOP: Beethoven
138
DIF:
Hard
REF:
177
TOP: Beethoven
DIF:
Easy
REF:
32
104
177
TOP: Beethoven
8. Beethovens Piano Sonata in C-sharp minor, Op. 27, No. 2 was subtitled Moonlight by:
a. the publisher.
b. the composer.
c. the poet Rellstab, shortly after the composers death.
d. modern publishers.
ANS: C
MSC: Factual
DIF:
Hard
REF:
177
9. Beethoven gave his Piano Sonata in C-sharp minor, Op. 27, No. 2 the designation:
a. Moonlight.
c. adagio cantabile.
b. quasi una fantasia.
d. con amabilit.
ANS: B
MSC: Factual
DIF:
Hard
REF:
177
DIF:
Easy
REF:
177f
DIF:
Medium
REF:
164
12. The first movement of Beethovens Piano Sonata in C-sharp minor, Op. 27, No. 2:
a. is in a modified song form.
b. is in strict sonata form.
c. is in variation form.
d. cannot be analyzed with any reference to sonata form.
ANS: A
MSC: Applied
DIF:
Medium
REF:
178
13. The second movement of Beethovens Piano Sonata in C-sharp minor, Op. 27, No. 2 is:
a. slow and expressive.
c. a high-spirited scherzo and trio.
b. a gentle scherzo and trio.
d. a rondo.
ANS: B
MSC: Applied
DIF:
Hard
REF:
178
140 | Chapter 32
14. The third movement of Beethovens Piano Sonata in C-sharp minor, Op. 27, No. 2 is:
a. filled with restless emotion.
c. marked quasi una fantasia.
b. in simple rondo form.
d. all of the above
ANS: A
MSC: Applied
DIF:
Medium
REF:
178
TRUE/FALSE
1. The sonata is an instrumental work in one movement for one or two solo instruments.
ANS: F
MSC: Factual
DIF:
Easy
REF:
176
2. During the Classical era, the sonata was intended for professional musicians only.
ANS: F
MSC: Applied
DIF:
Easy
REF:
177
3. Although Beethoven received financial support from music-loving aristocrats, he functioned primarily
as a freelance, or independent, composer.
ANS: T
MSC: Factual
DIF:
Hard
REF:
177
TOP: Beethoven
DIF:
Easy
REF:
177
TOP: Beethoven
5. Beethoven won great acclaim during his lifetime and died a famous and revered composer.
ANS: T
MSC: Factual
DIF:
Easy
REF:
177
TOP: Beethoven
DIF:
Easy
REF:
177
TOP: Beethoven
7. Someone other than Beethoven first suggested calling his Piano Sonata in C-sharp minor, Op. 27, No.
2 the Moonlight Sonata.
ANS: T
MSC: Factual
DIF:
Medium
REF:
177
8. Beethoven composed his Piano Sonata in C-sharp minor, Op. 27, No. 2 during his late style period.
ANS: F
MSC: Applied
DIF:
Easy
REF:
177
DIF:
Medium
REF:
178
10. The outer movements of Beethovens Piano Sonata in C-sharp minor, Op. 27, No. 2 share a common
mood and expressive quality.
ANS: F
MSC: Conceptual
DIF:
Medium
REF:
178
ESSAY
1. How does Beethovens Moonlight Sonata conform to and deviate from the standard multimovement
form of the Classical era?
ANS:
Answers will vary.
DIF: Hard
MSC: Conceptual
REF:
176f
Medium
REF:
177
TOP: Beethoven
MSC: Applied
Chapter 33: Disrupting the Conversation: Beethoven and the Symphony in Transition
MULTIPLE CHOICE
1. Which composer both maintained and disrupted the balance of the Classical style?
a. Beethoven
c. Haydn
b. Mozart
d. Bach
ANS: A
MSC: Applied
DIF:
Easy
REF:
180
TOP: Beethoven
2. With which symphony did Beethoven begin to expand the possibilities of the genre?
a. No. 1
c. No. 5
b. No. 3
d. No. 9
ANS: B
MSC: Applied
DIF:
Medium
REF:
181
DIF:
Easy
REF:
DIF:
Medium
REF:
DIF:
Hard
c.
d.
REF:
181
Symphony No. 9.
Missa solemnis.
181
da Ponte.
Rameau.
181
DIF:
Easy
REF:
181
7. Which of the following best describes the opening idea of Beethovens Symphony No. 5?
a. a three-note motive
c. a rocket theme
b. a four-note motive
d. a dancelike theme
ANS: B
MSC: Applied
142
DIF:
Easy
REF:
181
DIF:
Easy
REF:
181
9. Which of the following does NOT describe the final movement of Beethovens Symphony No. 5?
a. The four-note rhythmic motive returns.
b. There is no break preceding the beginning of the movement.
c. The movement ends in despair, just like the first movement.
d. It quotes a portion of the third movement.
ANS: C
MSC: Factual
DIF:
Hard
REF:
181
10. Which Beethoven symphony was selected to celebrate the fall of the Berlin Wall?
a. Symphony No. 3
c. Symphony No. 6
b. Symphony No. 5
d. Symphony No. 9
ANS: D
MSC: Factual
DIF:
Hard
REF:
181
TRUE/FALSE
1. Beethoven abandoned Classical principles in composing his symphonies.
ANS: F
MSC: Applied
DIF:
Medium
REF:
180
2. Beethoven wrote his first two symphonies in a style similar to that of Haydn and Mozart.
ANS: T
MSC: Factual
DIF:
Medium
REF:
181
REF:
181
DIF:
Medium
4. Beethoven set Schillers Ode to Joy in the finale of his Symphony No. 5.
ANS: F
MSC: Factual
DIF:
Medium
REF:
181
5. In spite of numerous innovations, Beethovens Symphony No. 5 has the standard four movements of
the Classical symphony.
ANS: T
MSC: Factual
DIF:
Medium
REF:
181
144 | Chapter 33
6. The four-note rhythmic motive of the first movement of Beethovens Symphony No. 5 can be heard in
other movements as well.
ANS: T
MSC: Applied
DIF:
Medium
REF:
181
7. Following the standard symphonic structure, there is a break after each of the middle movements of
Beethovens Symphony No. 5.
ANS: F
MSC: Factual
DIF:
Medium
REF:
181
DIF:
Medium
REF:
181
9. Beethovens Symphony No. 5 is considered cyclical because the last movement quotes an earlier
movement.
ANS: T
MSC: Factual
DIF:
Medium
REF:
181
DIF:
Medium
REF:
182
ESSAY
1. Give an overview of Beethovens symphonies.
ANS:
Answers will vary.
DIF: 3
MSC: Applied
REF: 180f
2. Describe both the traditional and innovative elements in Beethovens Symphony No. 5.
ANS:
Answers will vary.
DIF: 3
MSC: Applied
REF: 181f
DIF:
Easy
REF:
187
DIF:
Medium
REF:
187
DIF:
Hard
REF:
187
188
DIF:
Medium
REF:
5. Which of the following was NOT a new type of opera intended to reflect simplicity and real human
emotions?
a. opera seria
c. opra comique
b. opera buffa
d. Singspiel
ANS: A
MSC: Conceptual
DIF:
Hard
DIF:
Medium
REF:
c.
d.
REF:
188
145
146 | Chapter 34
7. Which of the following descriptions characterizes the story of Don Giovanni?
a. It is a tragedy.
b. It presents a Greek myth.
c. It mixes elements of opera seria and opera buffa.
d. It is a sacred drama with religious overtones.
ANS: C
MSC: Applied
DIF:
Medium
REF:
188
8. Don Giovanni attempts to console Donna Elvira, who has been betrayed by:
a. Leporello.
c. Don Giovanni himself.
b. Don Ottavio.
d. the Commendatore.
ANS: C
MSC: Applied
DIF:
Easy
REF:
188f
9. The tone of the Catalogue Aria from Mozarts Don Giovanni is:
a. tragic.
c. romantic.
b. sentimental.
d. comic.
ANS: D
MSC: Applied
DIF:
Medium
REF:
189
10. The Catalogue Aria from Mozarts Don Giovanni lists Don Giovannis:
a. conquests.
c. future goals.
b. enemies.
d. debts.
ANS: A
MSC: Factual
DIF:
Easy
REF:
189
TRUE/FALSE
1. Comic opera generally was sung in the language of the audience, or the vernacular.
ANS: T
MSC: Factual
DIF:
Hard
REF:
188
2. In the latter part of the eighteenth century, new opera types were developed that featured naturalness
and simplicity.
ANS: T
MSC: Applied
DIF:
Easy
REF:
188
3. Opera buffa was typically serious in tone, with plots dealing with historical or legendary figures.
ANS: F
MSC: Applied
DIF:
Easy
REF:
188
DIF:
Easy
REF:
188
DIF:
Easy
REF:
188
188
DIF:
Medium
REF:
ESSAY
1. Describe the various types of opera of the Classical era.
ANS:
Answers will vary.
DIF: Medium
MSC: Applied
REF:
187f
2. Discuss the mixture of serious and comic opera in Mozarts Don Giovanni.
ANS:
Answers will vary.
DIF: Easy
MSC: Conceptual
REF:
188f
DIF:
Easy
REF:
193
DIF:
Easy
DIF:
Easy
DIF:
Medium
DIF:
Medium
REF:
c.
d.
REF:
c.
d.
REF:
c.
d.
REF:
193
Beethoven
Sssmayr
194
148
DIF:
Hard
REF:
194
DIF:
Easy
REF:
194
8. The ________ accompanies the baritone voice in the Tuba mirum section of Mozarts Requiem.
a. trombone
c. trumpet
b. tuba
d. oboe
ANS: A
MSC: Factual
DIF:
Medium
REF:
194
9. Which of the following best describes the mood of the Dies irae from Mozarts Requiem?
a. gentle and comforting
c. fearful and then wondering
b. lively and excited
d. humorous and light
ANS: C
MSC: Applied
DIF:
Medium
DIF:
Medium
REF:
c.
d.
REF:
194
German.
English.
194
TRUE/FALSE
1. During the nineteenth century, the Mass was sung only in church.
ANS: F
MSC: Applied
DIF:
Easy
REF:
193f
2. Mozart composed his Requiem out of gratitude for a long life of artistic creativity.
ANS: F
MSC: Factual
DIF:
Easy
REF:
194
DIF:
Medium
REF:
194
4. Mozart died before finishing the Requiem, and one of his students completed the work for him.
ANS: T
MSC: Factual
DIF:
Medium
REF:
194
150 | Chapter 35
5. The Dies irae is a poem in three-line rhymed verses.
ANS: T
MSC: Factual
DIF:
Hard
REF:
194
DIF:
Medium
REF:
194
7. Mozarts Requiem was sung in a worldwide memorial for the victims of the September 11 terrorist
attacks on the United States.
ANS: T
MSC: Factual
DIF:
Medium
REF:
194
8. The predominant texture of the Dies irae from Mozarts Requiem is contrapuntal.
ANS: F
MSC: Factual
DIF:
Medium
REF:
194
ESSAY
1. Discuss the mixture of Baroque and Classical characteristics in Mozarts Requiem.
ANS:
Answers will vary.
DIF: Medium
MSC: Applied
REF:
194
2. Discuss how artists and works of art, including musical compositions, can become enveloped in myth.
Include a modern-day example in your answer.
ANS:
Answers will vary.
DIF:
Medium
REF:
194
TOP: Mozart
MSC: Conceptual
DIF:
Medium
REF:
200
DIF:
Easy
REF:
200
DIF:
Medium
REF:
200
DIF:
Medium
REF:
200
5. The nineteenth century saw the rise of a new social order shaped by:
a. the monarchies of the major political powers.
b. the aristocracies.
c. the technological advances of the Industrial Revolution.
d. the Catholic Church.
ANS: C
MSC: Applied
DIF:
Medium
REF:
200
151
152 | Prelude 5
6. The democratic character of the Romantic movement is illustrated by:
a. sympathy for the oppressed.
b. interest in folk culture.
c. faith in humankind and its destiny.
d. all of the above
ANS: D
MSC: Applied
DIF:
Medium
REF:
200
DIF:
Medium
REF:
200f
DIF:
Medium
REF:
201
DIF:
Hard
REF:
201
10. During the nineteenth century, concert life began to center on the:
a. palace.
c. university.
b. church.
d. public concert hall.
ANS: D
MSC: Applied
DIF:
Medium
REF:
201
11. Which of the following does NOT describe orchestras of the nineteenth century?
a. The conductor emerged as a central figure.
b. The range of dynamics increased.
c. The size of orchestras decreased, making for more compact ensembles.
d. New instruments were added to the ensemble.
ANS: C
MSC: Applied
DIF:
Easy
REF:
202
DIF:
Easy
REF:
202
13. Romantic composers sought to make instruments sing. This statement best describes the element of:
a. rhythm.
c. harmony.
b. melody.
d. texture.
ANS: B
MSC: Conceptual
DIF:
Medium
REF:
202
DIF:
Hard
REF:
202f
15. Which of the following does NOT describe Romantic orchestral music?
a. Classical forms were expanded.
b. Music established connections to paintings and poetry.
c. New genres emerged, some of which incorporated voices.
d. Composers produced more symphonies than their Classical-era counterparts.
ANS: D
MSC: Applied
DIF:
Medium
REF:
203
16. Which of the following does NOT characterize musicians of the Romantic era?
a. They continued to be viewed as servants.
b. Virtuoso soloists became stars.
c. Many musicians became savvy businessmen.
d. Some composers were exploited by their publishers.
ANS: A
MSC: Conceptual
DIF:
Medium
REF:
203
DIF:
Medium
REF:
204
18. Which figure was a prominent performer and composer for piano?
a. Clara Wieck Schumann
c. Nadezhda von Meck
b. George Sand
d. Carolyne Sayn-Wittgenstein
ANS: A
MSC: Factual
DIF:
Medium
REF:
204
154 | Prelude 5
19. Which of the following was the mysterious woman who supported Tchaikovsky?
a. Clara Wieck Schumann
c. Nedezhda von Meck
b. George Sand
d. Carolyne Sayn-Wittgenstein
ANS: C
MSC: Factual
DIF:
Hard
REF:
204
20. The split between light music and art music occurred during the:
a. late eighteenth century.
c. late nineteenth century.
b. early nineteenth century.
d. early twentieth century.
ANS: C
MSC: Factual
DIF:
Hard
REF:
205
TRUE/FALSE
1. Music did not embrace the Romantic movement until the mid-1800s.
ANS: F
MSC: Factual
DIF:
Easy
REF:
200
DIF:
Easy
REF:
200
200
DIF:
Easy
REF:
4. One of the prime traits of Romantic artists was their emphasis on intense emotional expression.
ANS: T
MSC: Applied
DIF:
Easy
REF:
200
5. The Industrial Revolution led to the production of less expensive musical instruments but with no
technical improvements.
ANS: F
MSC: Factual
DIF:
Easy
REF:
200
6. The nineteenth-century novel found its great theme in the conflict between the individual and society.
ANS: T
MSC: Applied
DIF:
Medium
REF:
201
7. The Romantic orchestra was the same size as the Classical orchestra.
ANS: F
MSC: Factual
DIF:
Easy
REF:
201
DIF:
Medium
REF:
202
9. Romantic music is characterized by relatively less expression than music of earlier periods.
ANS: F
MSC: Applied
DIF:
Easy
REF:
202
10. Nineteenth-century composers communicated their desire for increased expressiveness to the
performer through new descriptive terms.
ANS: T
MSC: Factual
DIF:
Medium
REF:
202
11. An interest in folklore and folk music resulted from the rise of nationalism.
ANS: T
MSC: Applied
DIF:
Easy
REF:
202
12. Composers depicted exoticism by incorporating folk music of their own countries in their
compositions.
ANS: F
MSC: Applied
DIF:
Easy
REF:
202
13. A typical Romantic symphony is generally longer than a typical Classical symphony.
ANS: T
MSC: Factual
DIF:
Easy
REF:
203
DIF:
Medium
REF:
204
15. During the Romantic era, solo performers became stars idolized by the public.
ANS: T
MSC: Factual
DIF:
Medium
REF:
204
156 | Prelude 5
ESSAY
1. Compare the Classical and Romantic approaches to the arts.
ANS:
Answers will vary.
DIF: Easy
MSC: Applied
REF:
200f
2. What are the principal ideals underlying Romanticism? How are they reflected in the art and literature
of the period?
ANS:
Answers will vary.
DIF: Medium
MSC: Conceptual
REF:
200f
3. Discuss the rise of the virtuoso performer in the nineteenth century. How did this phenomenon affect
music?
ANS:
Answers will vary.
DIF: Hard
MSC: Conceptual
REF:
204
Chapter 36: Musical Reading: Schubert, Schumann, and the Early Romantic Lied
MULTIPLE CHOICE
1. The German term for the art song is:
a. Gesang.
b. Lied.
ANS: B
MSC: Factual
DIF:
Easy
c.
d.
REF:
durchkomponiert.
chorale.
206
2. A song whose text is a short lyric poem in German with piano accompaniment is called a:
a. sonata.
c. Lied.
b. ballad.
d. chant.
ANS: C
MSC: Factual
DIF:
Easy
REF:
206f
DIF:
Medium
REF:
207
DIF:
Medium
REF:
207
DIF:
Medium
REF:
DIF:
Medium
REF:
207
historical events.
all of the above
207
7. A group of Lieder unified by a narrative thread or by a descriptive or expressive theme is called a(n):
a. song cycle.
c. opera.
b. ballad cycle.
d. cantata.
ANS: A
MSC: Factual
DIF:
Easy
REF:
207
157
158 | Chapter 36
8. A song form in which the same melody is repeated for every stanza of text is called:
a. through composed.
c. rubato.
b. strophic.
d. durchkomponiert.
ANS: B
MSC: Factual
DIF:
Easy
REF:
207
9. A song that is composed from beginning to end without repetition of whole sections is called:
a. strophic.
c. through composed.
b. modified strophic.
d. theme and variations.
ANS: C
MSC: Factual
DIF:
Easy
REF:
207
10. 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. strophic.
c. modified strophic.
b. through composed.
d. ternary.
ANS: C
MSC: Factual
DIF:
Medium
REF:
c.
d.
DIF:
Medium
REF:
207
Vienna.
Leipzig.
208
TOP: Schubert
12. Schubert and his friends organized evening gatherings of artists, writers, and musicians, called:
a. Abendmusiken.
c. Schubertiads.
b. soires.
d. all of the above
ANS: C
MSC: Factual
DIF:
Medium
REF:
208
TOP: Schubert
13. Schubert lived a tragically short life but was a remarkably prolific composer of:
a. Lieder.
c. piano music.
b. chamber music.
d. all of the above
ANS: D
MSC: Factual
DIF:
Hard
REF:
208
TOP: Schubert
DIF:
Easy
REF:
208
Musical Reading: Schubert, Schumann, and the Early Romantic Lied | 159
15. Approximately how many songs did Schubert compose?
a. 300400
c. 500600
b. 400500
d. more than 600
ANS: D
MSC: Factual
DIF:
Medium
REF:
DIF:
Hard
REF:
208
Butterflies.
A Poets Love.
208
DIF:
Hard
REF:
DIF:
Easy
REF:
208
strophic
through-composed
208
DIF:
Hard
REF:
208
20. In Schuberts Elfking, the obsessive triplet rhythm of the piano accompaniment represents:
a. the wind.
c. the galloping of the horse.
b. the terror in the boys mind.
d. all of the above
ANS: C
MSC: Applied
DIF:
Hard
REF:
208
21. Which musical devices does Schubert use to portray the childs terror in Elfking?
a. lilting melody in major mode
c. low range and consonant harmony
b. high range and dissonance
d. medium range in minor mode
ANS: B
MSC: Conceptual
DIF:
Medium
REF:
208
160 | Chapter 36
22. The composer who founded the New Journal of Music was:
a. Franz Schubert.
c. Robert Schumann.
b. Hector Berlioz.
d. Johannes Brahms.
ANS: C
MSC: Factual
DIF:
Hard
DIF:
Medium
REF:
c.
d.
REF:
211
TOP: Schumann
TOP: Schumann
211
TOP: Schumann
210
DIF:
Medium
REF:
DIF:
Easy
REF:
DIF:
Medium
REF:
210
27. Which of the following does NOT describe Schumanns A Poets Love?
a. It tells a detailed story of a lost love.
c. It creates a union of piano and voice.
b. It conveys a mood of despair.
d. It fuses lyric and dramatic elements.
ANS: A
MSC: Applied
DIF:
Medium
REF:
210f
28. Schumanns In the lovely month of May is from which song cycle?
a. A Womans Love and Life
c. A Poets Love
b. Winters Journey
d. The Lovely Maid of the Mill
ANS: C
MSC: Factual
DIF:
Easy
REF:
210
Musical Reading: Schubert, Schumann, and the Early Romantic Lied | 161
29. What is the form of In the lovely month of May?
a. strophic
c.
b. modified strophic
d.
ANS: A
MSC: Applied
DIF:
Medium
REF:
through-composed
rondeau
210
30. Which of the following does NOT describe Schumanns In the lovely month of May?
a. It ends with harmonic resolution.
b. It has an expressive piano accompaniment.
c. It is harmonically meandering.
d. It conveys a sense of longing and desire.
ANS: A
MSC: Applied
DIF:
Hard
REF:
210
TRUE/FALSE
1. The art song can be described as a union of poetry and music.
ANS: T
MSC: Applied
DIF:
Easy
REF:
206f
2. Goethe and Heine were two of the leading nineteenth-century writers whose poetry was set by Lieder
composers.
ANS: T
MSC: Applied
DIF:
Hard
REF:
207
3. The rise of the piano as a household instrument influenced the popularity of the Lied.
ANS: T
MSC: Applied
DIF:
Medium
REF:
207
4. A song that is composed from beginning to end without repetitions of whole sections is in modified
strophic form.
ANS: F
MSC: Factual
DIF:
Easy
REF:
207
5. A song in which the same melody is repeated with every stanza of the text is in strophic form.
ANS: T
MSC: Factual
DIF:
Easy
REF:
207
6. The song form that combines features of strophic and through-composed forms is called modified
strophic.
ANS: T
MSC: Factual
DIF:
Easy
REF:
207
162 | Chapter 36
7. Franz Schubert was a thoroughly Romantic composer who abandoned the forms and stylistic
principles of Classicism.
ANS: F
MSC: Applied
DIF:
Medium
REF:
208
TOP: Schubert
DIF:
Easy
REF:
208
TOP: Schubert
REF:
208
208
208
208
DIF:
Medium
DIF:
Medium
REF:
DIF:
Easy
REF:
DIF:
Easy
REF:
13. Robert Schumann was married to the gifted pianist and composer Clara Wieck.
ANS: T
MSC: Factual
DIF:
Easy
REF:
211
TOP: Schumann
14. Schumann was a carefree spirit with a happy disposition who lived a long, productive life as a
composer.
ANS: F
MSC: Factual
DIF:
Medium
REF:
211
TOP: Schumann
15. Schumann concentrated on intimate piano and vocal works and wrote no symphonies.
ANS: F
MSC: Factual
DIF:
Medium
REF:
211
TOP: Schumann
DIF:
Medium
REF:
212
Musical Reading: Schubert, Schumann, and the Early Romantic Lied | 163
17. The mood of Schumanns In the lovely month of May is joyful and exuberant.
ANS: F
MSC: Applied
DIF:
Medium
REF:
211f
ESSAY
1. Compare the texts, forms, and overall character of the Romantic Lied with popular songs of today.
Include examples in your answer.
ANS:
Answers will vary.
DIF: Medium
MSC: Conceptual
REF:
206f
2. Describe how Schubert uses the piano and voice to depict the characters and action of Elfking.
ANS:
Answers will vary.
DIF: Medium
MSC: Applied
REF:
208
3. How does the harmony in Schumanns In the lovely month of May evoke a mood appropriate to
Heines poem?
ANS:
Answers will vary.
DIF: Hard
MSC: Conceptual
REF:
210f
DIF:
Medium
REF:
213
2. Which of the following describes music in America during the early nineteenth century?
a. The difficulty of life in the New World essentially eliminated music making.
b. Music was largely created by American composers.
c. Music was largely imported from Europe.
d. Because of the influence of the Puritans, no dance music was composed.
ANS: C
MSC: Applied
DIF:
Medium
REF:
213
Medium
REF:
c.
d.
ANS: A
MSC: Factual
DIF:
DIF:
Medium
REF:
213f
German
African American
214
5. Which nineteenth-century American composer is best remembered for his parlor songs and minstrel
show tunes?
a. William Billings
c. Charles Griffes
b. Stephen Foster
d. Charles Ives
ANS: B
MSC: Factual
164
DIF:
Medium
REF:
214
DIF:
Medium
REF:
214
DIF:
Medium
DIF:
Hard
REF:
c.
d.
REF:
215
9. The form of Fosters Jeanie with the Light Brown Hair is:
a. A-B-A.
c. strophic.
b. rondeau.
d. through composed.
ANS: C
MSC: Applied
DIF:
Hard
REF:
214
10. Fosters Jeanie with the Light Brown Hair is based on a poem by:
a. a former slave.
c. Edgar Allan Poe.
b. Foster himself.
d. William Wordsworth.
ANS: B
MSC: Factual
DIF:
Medium
REF:
214
TRUE/FALSE
1. For the most part, nineteenth-century Americans rejected the music of European culture.
ANS: F
MSC: Applied
DIF:
Easy
REF:
213
2. There was a clear split between classical and popular music in nineteenth-century America.
ANS: F
MSC: Applied
DIF:
Medium
REF:
214
166 | Chapter 37
3. Stephen Foster made a fortune by writing popular songs.
ANS: F
MSC: Factual
DIF:
Easy
REF:
214
DIF:
Medium
REF:
214
DIF:
Medium
REF:
214
6. Fosters Jeanie with the Light Brown Hair contains a cadenza in every strophe.
ANS: T
MSC: Applied
DIF:
Hard
REF:
214
DIF:
Easy
REF:
214f
8. Fosters Jeanie with the Light Brown Hair was not an immediate success.
ANS: T
MSC: Factual
DIF:
Easy
REF:
215
ESSAY
1. Why do the songs of Stephen Foster have such enduring popular appeal?
ANS:
Answers will vary.
DIF: Hard
MSC: Conceptual
REF:
214f
2. 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: 213f
Chapter 38: Dancing at the Keyboard: Chopin and Romantic Piano Music
MULTIPLE CHOICE
1. The most important keyboard instrument of the Romantic period was the:
a. harpsichord.
c. organ.
b. piano.
d. clavichord.
ANS: B
MSC: Factual
DIF:
Easy
REF:
217
DIF:
Easy
REF:
217
3. Which of the following instruments is capable of playing both melody and harmony?
a. violin
c. trumpet
b. oboe
d. piano
ANS: D
MSC: Factual
DIF:
Medium
REF:
217
4. Which of the following was NOT a technical improvement to the nineteenth-century piano?
a. It was made louder.
c. A second keyboard was added.
b. Its range was expanded.
d. It was given improved mechanical action.
ANS: C
MSC: Factual
DIF:
Medium
REF:
218
DIF:
Medium
REF:
218
6. During the nineteenth century, Prelude, Impromptu, and Intermezzo were common titles for:
a. symphonies.
c. large-scale piano pieces.
b. character pieces.
d. Lieder.
ANS: B
MSC: Applied
DIF:
Easy
REF:
218
167
168 | Chapter 38
7. Nineteenth-century composers of the short, lyric piano piece included:
a. Johannes Brahms.
c. Frdric Chopin.
b. Robert Schumann.
d. all of the above
ANS: D
MSC: Factual
DIF:
Medium
DIF:
Easy
REF:
c.
d.
REF:
218f
overture.
Romantic symphony.
219
DIF:
Easy
DIF:
Easy
DIF:
Easy
REF:
c.
d.
REF:
c.
d.
REF:
219
Prussia.
Poland.
219
TOP: Chopin
Berlin.
Paris.
219
TOP: Chopin
12. With which famous novelist did Chopin become romantically involved?
a. George Sand
c. Gertrude Stein
b. Alexandre Dumas
d. Emily Bront
ANS: A
MSC: Factual
DIF:
Medium
REF:
219
TOP: Chopin
13. Chopin composed works in all of the following genres EXCEPT the:
a. nocturne.
c. ballade.
b. polonaise.
d. symphony.
ANS: D
MSC: Factual
DIF:
Medium
REF:
219
DIF:
Hard
REF:
219
219
DIF:
Hard
REF:
16. Which of the following does NOT characterize Chopins Mazurka in B-flat Minor, Op. 24, No. 4?
a. moderate triple meter
c. rubato
b. simple A-B-A form
d. chromaticism
ANS: B
MSC: Applied
DIF:
Medium
REF:
219
17. In connection with Chopins music, the term rubato means that the performer should:
a. play at a faster tempo.
c. take liberties with the tempo.
b. play at a slower tempo.
d. play in strict time.
ANS: C
MSC: Applied
DIF:
Medium
REF:
219f
DIF:
Easy
REF:
220
TRUE/FALSE
1. During the Romantic era, piano music was intended for professional performers only.
ANS: F
MSC: Applied
DIF:
Easy
REF:
217
2. The rise in popularity of the piano was an important factor in shaping the musical culture of the
Romantic era.
ANS: T
MSC: Applied
DIF:
Easy
REF:
217
170 | Chapter 38
3. As in the eighteenth century, nineteenth-century virtuoso pianists were almost always prominent
composers as well.
ANS: F
MSC: Factual
DIF:
Medium
REF:
218
4. Piano manufacturing remained unchanged until the technical advances of the early twentieth century.
ANS: F
MSC: Factual
DIF:
Easy
REF:
218
DIF:
Easy
REF:
218
DIF:
Medium
REF:
219
7. Chopin had a long relationship with the female writer George Sand.
ANS: T
MSC: Factual
DIF:
Easy
REF:
219
REF:
219
DIF:
Medium
DIF:
Easy
REF:
219
10. Although it is a dance piece, Chopins Mazurka in B-flat minor, Op. 24, No. 4 would have
incorporated rubato.
ANS: T
MSC: Applied
DIF:
Easy
REF:
219f
REF:
217f
2. Explain why Chopin has been called the poet of the piano.
ANS:
Answers will vary.
DIF: Medium
MSC: Conceptual
REF:
219f
DIF:
Hard
REF:
223
2. Which of the following was a noted woman composer of the Romantic era?
a. Carolyne Sayn-Wittgenstein
c. George Sand
b. Clara Schumann
d. Nadezhda von Meck
ANS: B
MSC: Factual
DIF:
Hard
REF:
224
3. Which of the following women organized salons featuring music by her brother?
a. Carolyne Sayn-Wittgenstein
c. Clara Schumann
b. Nadezhda von Meck
d. Fanny Mendelssohn Hensel
ANS: D
MSC: Factual
DIF:
Hard
REF:
224
4. Fanny Mendelssohn Hensel was discouraged from pursuing a career as a composer because:
a. she was a woman.
c. she had no talent.
b. she was primarily a performer.
d. all of the above
ANS: A
MSC: Factual
DIF:
Easy
REF:
225
DIF:
Medium
REF:
225
172
DIF:
Medium
REF:
224
DIF:
Medium
REF:
224
8. The manuscript for Fanny Mendelssohn Hensels September: At the River, from The Year, has poetic
lines by:
a. Wilhelm Hensel.
c. Johann Wolfgang von Goethe.
b. Heinrich Heine.
d. Friedrich Schiller.
ANS: C
MSC: Factual
DIF:
Hard
REF:
224
9. Fanny Mendelssohn Hensels September: At the River, from The Year, is in ________ form.
a. A-B-A'
c. rondo
b. sonata-allegro
d. theme and variations
ANS: A
MSC: Applied
DIF:
Hard
REF:
226
10. How does Fanny Mendelssohn Hensels The Year reach a level of achievement beyond that of her
brother Felix?
a. It develops one theme throughout the twelve pieces.
b. It is a large-scale work unified by musical and extramusical links.
c. It demands greater virtuosity than Felixs works.
d. It achieved great popularity when it was published.
ANS: B
MSC: Conceptual
DIF:
Hard
REF:
224
TRUE/FALSE
1. During the nineteenth century, women became increasingly accepted as piano teachers.
ANS: T
MSC: Factual
DIF:
Easy
REF:
222
DIF:
Easy
REF:
222
3. Despite her gender, Fanny Mendelssohn Hensel was encouraged by her family to pursue a career in
music.
ANS: F
MSC: Factual
DIF:
Easy
REF:
223
174 | Chapter 39
4. Fanny Mendelssohn Hensels cycle The Year is her only symphonic poem.
ANS: F
MSC: Factual
DIF:
Hard
REF:
224
DIF:
Medium
REF:
223
DIF:
Medium
REF:
224
ESSAY
1. Describe the different roles that women played in music during the nineteenth century. Which roles
were socially acceptable? Cite examples of successful women musicians from this era.
ANS:
Answers will vary.
DIF: Medium
MSC: Conceptual
REF:
222f
2. Describe the impact that being a woman had on the musical career of Fanny Mendelssohn Hensel.
ANS:
Answers will vary.
DIF: Medium
MSC: Conceptual
REF: 225
DIF:
Easy
c.
d.
REF:
Poland
Hungary
227
2. Which composer is generally considered the greatest pianist and showman of the Romantic era?
a. Berlioz
c. Liszt
b. Brahms
d. Smetana
ANS: C
MSC: Factual
DIF:
Easy
DIF:
Hard
REF:
c.
d.
REF:
227
Spohr.
Clementi.
227
4. Which of the following was the first internationally acclaimed American composer of classical music?
a. Louis Moreau Gottschalk
c. Stephen Foster
b. Amy Cheney Beach
d. Charles Ives
ANS: A
MSC: Factual
DIF:
Medium
DIF:
Hard
REF:
c.
d.
REF:
228
Berlin.
New Orleans.
228
DIF:
Easy
REF:
228
175
176 | Chapter 40
7. Which of the following statements about Louis Moreau Gottschalk is NOT true?
a. He was a native of New Orleans.
b. He was attracted to Afro-Caribbean music and dances.
c. He set many nationalist tunes in his music.
d. He spent most of his creative life in Europe.
ANS: D
MSC: Factual
DIF:
Hard
REF:
228
DIF:
Medium
REF:
228
DIF:
Medium
REF:
298
10. The familiar tune quoted near the end of Gottschalks work The Banjo is:
a. The Star-Spangled Banner.
c. Camptown Races.
b. Yankee Doodle.
d. Hail, Columbia.
ANS: C
MSC: Factual
DIF:
Hard
REF:
298
TRUE/FALSE
1. Besides being a very popular showman, Franz Liszt was a virtuoso pianist-composer and an innovator
of modern piano technique.
ANS: T
MSC: Applied
DIF:
Easy
REF:
227
2. Liszt became aware of the possibilities of virtuoso solo playing after hearing the sensational violinist
Paganini.
ANS: T
MSC: Factual
DIF:
Medium
REF:
227
3. For his piano recitals, Liszt would always have the music in front of him in order to play as accurately
as possible.
ANS: F
MSC: Factual
DIF:
Medium
REF:
228
DIF:
Easy
REF:
228
5. Gottschalk was a piano virtuoso who concertized throughout Europe, the United States, the
Caribbean, and South America.
ANS: T
MSC: Factual
DIF:
Hard
REF:
228
6. The music of Gottschalk is rooted in the melodies and rhythms of folk music.
ANS: T
MSC: Factual
DIF:
Hard
REF:
229
7. Gottschalks piece The Banjo incorporates strains of Stephen Fosters Camptown Races.
ANS: T
MSC: Factual
DIF:
Hard
REF:
229
229
DIF:
Hard
REF:
ESSAY
1. Discuss Liszts contributions to piano technique and literature.
ANS:
Answers will vary.
DIF: Easy
MSC: Applied
REF: 227f
REF:
228f
DIF:
Easy
REF:
231
DIF:
Hard
REF:
231
DIF:
Hard
REF:
231f
DIF:
Easy
REF:
233
5. Which of the following composers is considered the first great exponent of musical Romanticism in
France?
a. Schubert
c. Liszt
b. Berlioz
d. Wagner
ANS: B
MSC: Factual
DIF:
Hard
REF:
233
TOP: Berlioz
6. Hector Berlioz was born and spent most of his career in:
a. Italy.
c. Germany.
b. France.
d. Hungary.
ANS: B
MSC: Factual
178
DIF:
Easy
REF:
234
TOP: Berlioz
DIF:
Hard
REF:
234
TOP: Berlioz
DIF:
Hard
REF:
234
TOP: Berlioz
DIF:
Easy
REF:
233
TOP: Berlioz
DIF:
Easy
REF:
233
TOP: Berlioz
DIF:
Easy
REF:
233
TOP: Berlioz
DIF:
Hard
REF:
233
TOP: Berlioz
180 | Chapter 41
13. In Berliozs Symphonie fantastique, the ide fixe:
a. symbolizes the beloved.
b. recurs as required by the literary program.
c. unifies the five movements, which are diverse in character and mood.
d. all of the above
ANS: D
MSC: Applied
DIF:
Medium
REF:
233
TOP: Berlioz
DIF:
Hard
REF:
233
TOP: Berlioz
15. The technique of altering a theme to give it a different character is often called:
a. thematic transformation.
c. motivic development.
b. augmentation.
d. sequencing.
ANS: A
MSC: Factual
DIF:
Medium
REF:
233
TOP: Berlioz
16. Which of the following does NOT characterize the March to the Scaffold from Berliozs Symphonie
fantastique?
a. duple meter
c. diabolical mood
b. dominance of the string instruments
d. minor mode
ANS: B
MSC: Applied
DIF:
Medium
REF:
235
TOP: Berlioz
DIF:
Medium
REF:
226
TOP: Berlioz
18. The piano manufacturer in New York that made major improvements to the instrument was:
a. Steinway.
c. Wurlitzer.
b. Stradivarius.
d. Chickering.
ANS: A
MSC: Factual
DIF:
Medium
REF:
232
DIF:
Hard
REF:
232
DIF:
Easy
REF:
232
TRUE/FALSE
1. Music endowed with literary or pictorial associations is called absolute music.
ANS: F
MSC: Factual
DIF:
Easy
REF:
231
DIF:
Hard
REF:
233
3. Berlioz was one of the boldest musical innovators of the nineteenth century.
ANS: T
MSC: Factual
DIF:
Easy
REF:
233
TOP: Berlioz
4. Berlioz was awarded the Prix de Rome in the year that he wrote his Symphonie fantastique.
ANS: T
MSC: Factual
DIF:
Hard
REF:
234
TOP: Berlioz
DIF:
Medium
REF:
234
TOP: Berlioz
6. In his Symphonie fantastique, Berlioz used a recurrent theme that he called the ide fixe, symbolizing
the beloved.
ANS: T
MSC: Factual
DIF:
Easy
REF:
233
TOP: Berlioz
182 | Chapter 41
7. In Berliozs Symphonie fantastique, the ide fixe melody appears only at the very end of the fourth
movement, March to the Scaffold.
ANS: F
MSC: Applied
DIF:
Medium
REF:
233
TOP: Berlioz
8. The fourth movement to the Symphonie fantastique contains two principal themes.
ANS: T
MSC: Factual
DIF:
Medium
REF:
235
TOP: Berlioz
DIF:
Easy
REF:
236
TOP: Berlioz
10. Adolphe Sax was responsible for developing valves for brass instruments.
ANS: T
MSC: Factual
DIF:
Medium
REF:
232
ESSAY
1. Describe the difference between program and absolute music, citing examples of each.
ANS:
Answers will vary.
DIF: Easy
MSC: Applied
REF:
231f
2. What is Romantic about the program and music of Berliozs Symphonie fantastique?
ANS:
Answers will vary.
DIF:
Medium
REF:
233f
TOP: Berlioz
MSC: Conceptual
DIF:
Medium
REF:
237
2. Music written for plays, generally consisting of an overture and a series of pieces to be performed
between acts, is called:
a. incidental music.
c. a program symphony.
b. background music.
d. a symphonic poem.
ANS: A
MSC: Factual
DIF:
Easy
REF:
237f
3. Had movies been invented in the nineteenth century, to which genre of program music would film
soundtracks be most similar?
a. program symphony
c. concert overture
b. incidental music
d. symphonic poem
ANS: B
MSC: Conceptual
DIF:
Medium
REF:
237f
4. A one-movement piece of program music for orchestra that, through several contrasting sections,
develops a poetic idea or suggests a scene or mood is called:
a. a program symphony.
c. a symphonic poem.
b. an overture.
d. incidental music.
ANS: C
MSC: Factual
DIF:
Easy
REF:
238
DIF:
Hard
REF:
238
DIF:
Hard
REF:
238
183
184 | Chapter 42
7. Another name for the symphonic poem is:
a. concerto overture.
b. tone poem.
ANS: B
MSC: Factual
DIF:
Hard
c.
d.
REF:
program symphony.
musical poem.
238
DIF:
Medium
REF:
238
DIF: Hard
REF:
238
TOP: Nationalism
DIF:
Medium
DIF:
Medium
REF:
c.
d.
REF:
238
TOP: Nationalism
Scandinavia.
Germany.
239
TOP: Nationalism
DIF:
Medium
DIF:
Medium
REF:
c.
d.
REF:
239
TOP: Nationalism
Musorgsky
Elgar
239
TOP: Nationalism
DIF:
Easy
c.
d.
REF:
Sweden.
Norway.
239
TOP: Grieg
DIF:
Medium
REF:
DIF:
Easy
c.
d.
REF:
c.
d.
DIF: Hard
REF:
240
TOP: Grieg
TOP: Grieg
incidental music.
an opera.
240
TOP: Smetana
240
TOP: Grieg
DIF:
Medium
REF:
DIF:
Medium
c.
d.
REF:
rondo
A-B-A'
241
TOP: Grieg
20. Which of the following characterizes Griegs In the Hall of the Mountain King?
a. two prominent themes
c. an atmosphere of splendor
b. a huge crescendo and accelerando
d. pastoral instruments
ANS: B
MSC: Applied
DIF:
Medium
REF:
241
TOP: Grieg
186 | Chapter 42
TRUE/FALSE
1. Incidental music for a play is generally considered to be absolute music.
ANS: F
MSC: Applied
DIF:
Medium
REF:
237
DIF:
Medium
REF:
238
3. The growth of nationalism became a decisive force within the Romantic movement.
ANS: T
MSC: Applied
DIF:
Easy
REF:
238
TOP: Nationalism
DIF:
Easy
REF:
238
TOP: Nationalism
DIF:
Medium
REF:
239
TOP: Nationalism
239
TOP: Nationalism
DIF:
Easy
REF:
DIF:
Easy
REF:
239
TOP: Grieg
DIF:
Easy
REF:
240
TOP: Grieg
9. The character Peer Gynt was an innocent young man caught up in a magical world.
ANS: F
MSC: Factual
DIF:
Hard
REF:
240
TOP: Grieg
DIF:
Medium
REF:
240
TOP: Grieg
ESSAY
1. How did nineteenth-century composers express nationalism in their music? Cite several examples in
your response.
ANS:
Answers will vary.
DIF:
Medium
REF:
237f
TOP: Nationalism
MSC: Applied
2. How does the music of Griegs Peer Gynt Suite No. 1 reflect the action of Ibsens play?
ANS:
Answers will vary.
DIF:
Hard
REF:
240f
TOP: Grieg
MSC: Conceptual
DIF:
Easy
REF:
243f
DIF:
Easy
REF:
244
DIF:
Medium
REF:
244
DIF:
Medium
REF:
244
DIF:
Easy
REF:
244f
6. Which movement of a Romantic symphony is most likely to be strongly rhythmic and dancelike?
a. sonata-allegro
c. scherzo
b. theme and variations
d. none of the above
ANS: C
MSC: Conceptual
188
DIF:
Medium
REF:
245
DIF:
Easy
REF:
245
DIF:
Medium
DIF:
Medium
REF:
c.
d.
REF:
244f
Berlin.
London.
244
TOP: Brahms
DIF: Hard
REF:
244
TOP: Brahms
11. Brahms composed his German Requiem after the death of:
a. Robert Schumann.
c. Joseph Joachim.
b. Clara Schumann.
d. his mother.
ANS: D
MSC: Factual
DIF: Hard
REF:
244
TOP: Brahms
12. Which young composer did Robert and Clara Schumann take into their home?
a. Wagner
c. Brahms
b. Liszt
d. Mendelssohn
ANS: C
MSC: Factual
DIF:
Easy
REF:
244
TOP: Brahms
DIF:
Easy
REF:
244
TOP: Brahms
190 | Chapter 43
14. Brahms wrote ________ symphonies.
a. four
b. five
ANS: A
MSC: Factual
DIF:
Easy
c.
d.
REF:
nine
104
244
DIF:
Medium
REF:
244
TOP: Brahms
16. Brahms is often described as a(n) ________ because of his use of the forms established by the
Classical masters.
a. traditionalist
c. nationalist
b. Impressionist
d. Romanticist
ANS: A
MSC: Applied
DIF:
Easy
REF:
245
17. Which of the following does NOT characterize Brahmss Symphony No. 3?
a. classical forms
c. programmatic images
b. shifting moods
d. cyclic unity
ANS: C
MSC: Applied
DIF:
Medium
REF:
245
18. The structure of the third movement of Brahmss Symphony No. 3 is:
a. binary.
c. rondo.
b. ternary.
d. theme and variations.
ANS: B
MSC: Applied
DIF:
Medium
REF:
245
19. Which of the following best describes the style of the third movement of Brahmss Symphony No. 3?
a. a stately minuet
c. a melancholic waltz
b. a fast scherzo
d. a funeral dirge
ANS: C
MSC: Applied
DIF:
Easy
REF:
245
20. The opening theme of the third movement of Brahmss Symphony No. 3 is first played by the:
a. cellos.
c. oboes.
b. French horns.
d. full orchestra.
ANS: A
MSC: Factual
DIF:
Hard
REF:
245
DIF:
Easy
REF:
243
DIF:
Medium
REF:
244
DIF:
Easy
REF:
244
DIF:
Easy
REF:
244
5. The fourth movement of a Romantic symphony has dimension and character designed to balance the
first movement.
ANS: T
MSC: Factual
DIF:
Easy
REF:
245
6. 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
DIF:
Easy
REF:
244
TOP: Brahms
8. Brahms wrote his symphonies in a Romantic harmonic idiom but in Classical form.
ANS: T
MSC: Applied
DIF:
Medium
REF:
246
246
DIF:
Easy
REF:
192 | Chapter 43
10. The third movement of Brahmss Symphony No. 3 in F major is a rollicking scherzo.
ANS: F
MSC: Applied
DIF:
Easy
REF:
246
ESSAY
1. Discuss the Romantic symphony, citing specific examples in your response.
ANS:
Answers will vary.
DIF: Easy
MSC: Applied
REF: 244f
2. Discuss the mixture of Classical and Romantic qualities in the music of Brahms. Include examples in
your answer.
ANS:
Answers will vary.
DIF: Medium
MSC: Applied
REF:
244f
DIF:
Hard
REF:
247
2. The singing star Giuseppina Strepponi helped launch the career of:
a. Gaetano Donizetti.
c. Richard Wagner.
b. Vincenzo Bellini.
d. Giuseppe Verdi.
ANS: D
MSC: Factual
DIF:
Hard
DIF:
REF:
c.
d.
Medium
REF:
247
opera buffa.
Singspiel.
248
DIF:
Medium
REF:
247f
5. Which of the following composed The Barber of Seville and William Tell?
a. Donizetti
c. Bellini
b. Bizet
d. Rossini
ANS: D
MSC: Factual
DIF:
Medium
REF:
248
DIF:
Medium
REF:
248
193
194 | Chapter 44
7. Which of the following was a widely beloved nationalist opera composer?
a. Verdi
c. Brahms
b. Chopin
d. Liszt
ANS: A
MSC: Factual
DIF:
Easy
REF:
248
DIF:
Medium
REF:
DIF:
Easy
REF:
249
Carmen
Aida
249
10. Which Verdi opera was commissioned for a performance in Cairo to mark the opening of the Suez
Canal?
a. Il trovatore
c. Carmen
b. Rigoletto
d. Aida
ANS: D
MSC: Factual
DIF:
Medium
REF:
249
11. ________ was Verdis last opera, which he completed at age eighty.
a. Macbeth
c. Aida
b. Rigoletto
d. Falstaff
ANS: D
MSC: Factual
DIF:
Hard
REF:
249
12. Which of the following wrote the play that was the source of Verdis inspiration for Rigoletto?
a. E. T. A. Hoffmann
c. Victor Hugo
b. Johann Wolfgang von Goethe
d. Arrigo Boito
ANS: C
MSC: Factual
DIF:
Hard
DIF:
Hard
REF:
c.
d.
REF:
249
Metastasio.
Goethe.
250
DIF:
Medium
c.
d.
REF:
Sparafucile
Gilda, Rigolettos daughter
249
15. Which of the following does NOT characterize La donna mobile, from Verdis Rigoletto?
a. It is in strophic form.
b. It is an aria about seduction.
c. It has a triple meter.
d. It has contrapuntal orchestral accompaniment.
ANS: D
MSC: Applied
DIF:
Medium
REF:
250
16. The ensemble that follows La donna mobile in Act III of Rigoletto is a(n):
a. duet.
c. sextet.
b. quartet.
d. octet.
ANS: B
MSC: Factual
DIF:
Medium
REF:
250
17. The leading form of musical theater in China is called ________ opera.
a. Hong Kong
c. Beijing
b. Shanghai
d. Kaohsiung
ANS: C
MSC: Factual
DIF:
Medium
REF:
254
DIF:
Medium
REF:
254
19. Which of the following describes The Story of the Red Lantern?
a. It was considered to be a model play.
b. It was based on the story of Rigoletto.
c. It failed to foster the ideals of communism.
d. all of the above
ANS: A
MSC: Applied
DIF:
Medium
REF:
254
DIF:
Medium
REF:
255
196 | Chapter 44
TRUE/FALSE
1. Women achieved prominence during the Romantic era as opera singers.
ANS: T
MSC: Factual
DIF:
Easy
REF:
247
2. Bellini, the first major composer of Romantic Italian opera, is celebrated for his music for William
Tell.
ANS: F
MSC: Factual
DIF:
Hard
REF:
248
DIF:
Easy
REF:
248
4. Verdis Aida could be viewed as an example of exoticism because of its Egyptian setting.
ANS: T
MSC: Applied
DIF:
Hard
REF:
249
5. The aria La donna mobile, from Verdis Rigoletto, is set in simple, strophic form with a refrain.
ANS: T
MSC: Applied
DIF:
Medium
REF:
249
6. In Rigoletto, Verdi turns away from tuneful melodies to heighten the dramatic action.
ANS: F
MSC: Applied
DIF:
Medium
REF:
249
DIF:
Medium
REF:
254
8. The Cultural Revolution movement in China placed a high priority on Chinese opera.
ANS: F
MSC: Applied
DIF:
Medium
REF:
254
9. The Story of the Red Lantern was considered to be a model play by the Chinese communist
government.
ANS: T
MSC: Factual
DIF:
Hard
REF:
254
DIF:
Hard
REF:
255
ESSAY
1. Discuss the success that women achieved as operatic singers during the nineteenth century. Include
descriptions of the careers of specific singers.
ANS:
Answers will vary.
DIF: Hard
MSC: Conceptual
REF:
247f
2. What are the principal characteristics of nineteenth-century Italian opera? Name the major composers
and several representative works.
ANS:
Answers will vary.
DIF:
Medium
REF:
248
3. Why do Verdis operas have such enduring popular appeal? Cite examples from the textbook.
ANS:
Answers will vary.
DIF:
Medium
REF:
249f
MSC: Conceptual
DIF:
Medium
REF:
256
2. Which composer is considered the single most important figure in the artistic world of the latter half
of the nineteenth century?
a. Berlioz
c. Wagner
b. Schubert
d. Schumann
ANS: C
MSC: Applied
DIF:
Easy
REF:
256
DIF:
Hard
REF:
DIF:
Hard
REF:
257
Mller.
Wagner himself.
257
DIF:
Hard
198
DIF:
Medium
REF:
c.
d.
REF:
257
DIF:
Easy
REF:
8. A special theater was built at ________ for the presentation of Wagners music dramas.
a. Dresden
c. Berlin
b. Munich
d. Bayreuth
ANS: D
MSC: Factual
DIF:
Hard
REF:
257
9. In his Ring of the Nibelung, which characteristic of traditional opera did Wagner eliminate?
a. separate arias
c. the overture
b. the orchestra
d. costumes
ANS: A
MSC: Applied
DIF:
Medium
REF:
257
10. Wagners total artwork, in which all the artsmusic, poetry, drama, visual spectacleare fused
together, is called:
a. the Gesamtkunstwerk.
c. the Ewigemelodie.
b. leitmotifs.
d. cyclic unity.
ANS: A
MSC: Applied
DIF:
Medium
DIF:
REF:
c.
d.
Easy
REF:
257
oratorios.
operettas.
257
12. The principal themes in Wagners operas, which recur throughout and carry specific meanings, are
called:
a. libretti.
c. motives.
b. leitmotifs.
d. fixed ideas.
ANS: B
MSC: Applied
DIF:
Easy
REF:
257
DIF:
Hard
REF:
257
200 | Chapter 45
14. The emotional quality of Wagners music is heightened by his use of:
a. separate arias.
c. chromatic dissonance.
b. exotic instruments.
d. rubato.
ANS: C
MSC: Applied
DIF:
Medium
REF:
DIF:
Medium
REF:
258
Wotan
Brnnhilde
258
DIF:
Easy
REF:
258
17. In Act III, Scene 1 of Die Walkre, what are the Valkyries carrying on their horses?
a. weapons of war
c. armor
b. fallen heroes
d. slain foes
ANS: B
MSC: Factual
DIF:
Hard
REF:
258
18. In the orchestral prelude to Act III of Wagners Die Walkre, the Ride theme primarily is played by:
a. strings.
c. brass.
b. woodwinds.
d. percussion.
ANS: C
MSC: Applied
DIF:
Easy
REF:
258
19. Which of the following does NOT characterize the music of Act III, Scene 1 of Die Walkre?
a. The orchestra plays a subordinate role.
b. The battle cries of the Valkyries can be heard.
c. Major and minor harmonies alternate.
d. The music flows continuously.
ANS: A
MSC: Applied
DIF:
Medium
REF:
259
20. Why does Wotan deprive Brnnhilde of her immortality and leave her sleeping inside a ring of fire?
a. because she drew the sword out of the stone
b. because, overcome with compassion, she attempted to save Siegmunds life in battle
c. because she fell in love with a mastersinger of Nuremburg
d. because she allowed her winged horse, Pegasus, to die in battle
ANS: B
MSC: Applied
DIF:
Hard
REF:
259
DIF:
Easy
REF:
256
2. Because of his dominating personality, Wagner frequently changed librettists while composing his
music dramas.
ANS: F
MSC: Applied
DIF:
Hard
REF:
257
3. Wagners operas employ the supernatural as an element of drama and glorify the German land and
people.
ANS: T
MSC: Applied
DIF:
Medium
REF:
257
4. Wagner did not wish to change the prevailing form of opera in the nineteenth century.
ANS: F
MSC: Applied
DIF:
Easy
REF:
257
5. Wagner strove for a continuous flow of melody, unlike the divisions of aria and recitative in Italian
opera.
ANS: T
MSC: Applied
DIF:
Easy
REF:
257
DIF:
Medium
REF:
257
7. Wagner pushed major-minor tonality to extreme limits with his style of chromatic harmony.
ANS: T
MSC: Applied
DIF:
Medium
REF:
257
8. In Wagners operas, the recurring themes, which represent specific characters, emotions, or ideas, are
called leitmotifs.
ANS: T
MSC: Factual
DIF:
Easy
REF:
257
DIF:
Medium
REF:
258
202 | Chapter 45
10. One of the leitmotifs from Wagners Die Walkre is the magic fire music.
ANS: T
MSC: Factual
DIF:
Easy
REF:
259
ESSAY
1. Describe Wagners innovations in opera and his desire to unite music and drama. Give examples from
works mentioned in the textbook.
ANS:
Answers will vary.
DIF: Hard
MSC: Applied
REF:
256f
2. Describe the background, story, and musical qualities of The Ring of the Nibelung,
ANS:
Answers will vary.
DIF: Hard
MSC: Applied
REF:
257f
DIF: Hard
c.
d.
REF:
Baroque.
Classical era.
262
TOP: Ballet
DIF: Hard
REF:
262
TOP: Ballet
DIF:
Hard
REF:
262
4. Which country rose to prominence in ballet during the late nineteenth century?
a. France.
c. Russia.
b. Italy.
d. England.
ANS: C
MSC: Factual
DIF:
Hard
REF:
262
5. The development of Russian ballet was stimulated by the great choreographer ________.
a. Mikhail Baryshnikov
c. Marius Petipa
b. Vaslav Nijinsky
d. Peter Ilyich Tchaikovsky
ANS: C
MSC: Factual
DIF:
Hard
DIF:
REF:
c.
d.
Hard
REF:
262
7. The first Russian composer whose music appealed to Western tastes was:
a. Musorgsky.
c. Borodin.
b. Tchaikovsky.
d. Rimsky-Korsakov.
ANS: B
MSC: Applied
DIF:
Hard
REF:
263
203
204 | Chapter 46
8. Which of the following was Tchaikovskys principal patron?
a. Anton Rubinstein
c. Nadezhda von Meck
b. Vaslav Nijinsky
d. Serge Diaghilev
ANS: C
MSC: Factual
DIF:
Hard
REF:
DIF:
Easy
REF:
263
symphonies
all of the above
263
10. Which of the following Russian composers was famous for his ballets?
a. Tchaikovsky
c. Rimsky-Korsakov
b. Cui
d. Musorgsky
ANS: A
MSC: Applied
DIF:
Easy
REF:
263
DIF:
Medium
REF:
263
12. Which great Russian choreographer created the dances for The Nutcracker?
a. Diaghilev
c. Nijinsky
b. Baryshnikov
d. Petipa
ANS: D
MSC: Factual
DIF:
Hard
DIF:
Hard
REF:
c.
d.
REF:
264
E. T. A. Hoffmann.
Prosper Merime.
264
14. Tchaikovskys fanciful ballet about a childs Christmas gift and dreams of exotic people and places is:
a. Swan Lake.
c. Pathtique.
b. Sleeping Beauty.
d. The Nutcracker.
ANS: D
MSC: Factual
DIF:
Easy
REF:
263
DIF:
Medium
DIF:
Medium
REF:
c.
d.
264
Russia.
Bohemia.
REF:
264
REF:
262
262
TRUE/FALSE
1. The first major center of ballet was France.
ANS: T
MSC: Applied
DIF:
Medium
DIF:
Medium
REF:
DIF:
Easy
REF:
263
4. Tchaikovsky was known for his symphonies and operas as well as for his ballets.
ANS: T
MSC: Applied
DIF:
Hard
REF:
263
DIF:
Easy
REF:
263
DIF:
Easy
REF:
263
7. The Arab Dance and the Chinese Dance, from The Nutcracker, are examples of exoticism.
ANS: T
MSC: Applied
DIF:
Medium
REF:
264
206 | Chapter 46
8. The celesta has a bell-like tone.
ANS: T
MSC: Applied
DIF:
Medium
REF:
264
9. The Dance of the Sugar Plum Fairy and the Trepak are both in an A-B-A form..
ANS: T
MSC: Factual
DIF:
Medium
REF:
265
REF:
264
DIF:
Medium
ESSAY
1. Trace the development of ballet from the Renaissance through the late nineteenth century.
ANS:
Answers will vary.
DIF:
Medium
REF:
262f
TOP: Ballet
MSC: Conceptual
REF:
263f
Chapter 47: Exotic Allure: Puccini and the Italian Verismo Tradition
MULTIPLE CHOICE
1. What name is given to the expansion and intensification of late Romantic trends?
a. Impressionist
c. minimalist
b. post-Romantic
d. Expressionist
ANS: B
MSC: Factual
DIF:
Easy
REF: 266
DIF:
Medium
REF:
266
DIF:
Hard
REF:
266
4. The late-Romantic Italian opera tradition was characterized by a movement toward realism, called:
a. bel canto.
c. verismo.
b. opera seria.
d. music drama.
ANS: C
MSC: Applied
DIF:
Medium
REF:
267
DIF:
Easy
REF:
267
6. Which of the following composers did NOT compose in the verismo style?
a. Verdi
c. Mascagni
b. Puccini
d. Leoncavallo
ANS: A
MSC: Applied
DIF:
Medium
REF:
267
207
208 | Chapter 47
7. Verismo was a late-Romantic movement in opera that sought to:
a. return to the classical ideals of form and symmetry.
b. remove chromaticism from German styles.
c. choose subjects from everyday life and treat them realistically.
d. none of the above
ANS: C
MSC: Applied
DIF:
Easy
REF:
267
DIF: Hard
REF:
267
TOP: Puccini
DIF:
Hard
REF:
267
DIF:
Easy
REF:
267f
267
DIF:
Easy
REF:
DIF:
Medium
REF:
268
DIF:
Easy
REF:
268
14. Which of the following exotic elements can be heard in the opera Madame Butterfly?
a. Japanese melodies
b. pentatonic and whole-tone scales
c. instrument combinations that evoke the Japanese gagaku
d. all of the above
ANS: D
MSC: Conceptual
DIF:
Hard
REF:
268
15. In her aria Un bel d, from Madame Butterfly, Cio-Cio-San sings of:
a. her life as a geisha.
c. her wish for her husband to return.
b. her love for her son.
d. her plan to kill herself.
ANS: C
MSC: Factual
DIF:
Medium
DIF:
REF:
c.
d.
Medium
REF:
268
a poetic form.
a plucked string instrument.
271
TRUE/FALSE
1. Post-Romanticism was a movement that rebelled against the late Romantic ideals.
ANS: F
MSC: Applied
DIF:
Medium
REF:
266
REF:
267
DIF:
Hard
DIF:
Easy
REF:
267
4. Puccinis opera Madame Butterfly, with its Japanese melodies and pentatonic and whole-tone scales,
is an example of exoticism.
ANS: T
MSC: Applied
DIF:
Easy
REF:
268
210 | Chapter 47
5. The libretto for Madame Butterfly reflects Western fascination with Japanese culture in the late
nineteenth century.
ANS: T
MSC: Applied
DIF:
Easy
REF:
268
6. The music for Puccinis Madame Butterfly is entirely European in conception, despite the setting in
Japan.
ANS: F
MSC: Applied
DIF:
Easy
REF:
268
DIF:
Medium
REF:
268
8. The joyful mood of Un bel d from Puccinis Madame Butterfly foretells the ending of the opera.
ANS: F
MSC: Factual
DIF:
Medium
REF:
268
9. Kabuki is a type of Japanese play with music, elaborate costumes and makeup.
ANS: T
MSC: Factual
DIF:
Medium
REF:
271
DIF:
Medium
REF:
271
ESSAY
1. Describe the verismo movement. Who were the major composers? What are some of their operas?
ANS:
Answers will vary.
DIF: Medium
MSC: Conceptual
REF:
267
REF:
267f
DIF:
Easy
REF:
272
DIF:
Medium
REF:
272
DIF:
Hard
REF:
273
4. Which of the following was NOT one of Faurs major musical activities?
a. conducting
c. teaching
b. composing religious music
d. playing the organ
ANS: A
MSC: Factual
DIF:
Medium
DIF:
Medium
REF:
c.
d.
REF:
273
TOP: Faur
Nicole Niedermeyer
Camille Saint-Sans
273
TOP: Faur
DIF:
Medium
DIF:
Easy
REF:
c.
d.
REF:
273
TOP: Faur
a cappella performance.
organ accompaniment.
273
TOP: Faur
211
212 | Chapter 48
8. The Libera me from Faurs Requiem features which vocal soloist?
a. soprano
c. tenor
b. contralto
d. baritone
ANS: D
MSC: Factual
DIF:
Medium
REF:
273
TOP: Faur
DIF:
Medium
REF:
274
TOP: Faur
10. The mood at the end of Libera me from Faurs Requiem is:
a. ecstatic.
c. serene.
b. mournful.
d. dramatic.
ANS: C
MSC: Applied
DIF:
Easy
REF:
275
TOP: Faur
TRUE/FALSE
1. The mlodie accommodated the unique features of the French language, yet drew inspiration from
Schubert.
ANS: T
MSC: Applied
DIF:
Medium
REF:
272
DIF:
Medium
REF:
273
DIF:
Easy
REF:
273
TOP: Faur
DIF:
Easy
REF:
273
TOP: Faur
Medium
REF:
273
TOP: Faur
DIF:
DIF:
Medium
REF:
273
TOP: Faur
DIF:
Medium
REF:
273
TOP: Faur
275
TOP: Faur
DIF:
Easy
REF:
9. The Pie Jesu from Faurs Requiem was originally sung by a boy soprano.
ANS: T
MSC: Factual
DIF:
Hard
REF:
275
TOP: Faur
10. The dynamics in the Libera me from Faurs Requiem remain subdued throughout the movement.
ANS: F
MSC: Applied
DIF:
Easy
REF:
275
TOP: Faur
ESSAY
1. How does French Romanticism differ from German Romanticism? Include examples in your answer.
ANS:
Answers will vary.
DIF: Hard
MSC: Conceptual
REF:
272f
2. Describe how Faurs Requiem embodies the general music style of the composer.
ANS:
Answers will vary.
DIF:
Medium
REF:
273f
TOP: Faur
MSC: Conceptual
Chapter 49: Mythical Impressions: Program Music at the End of the Nineteenth
Century
MULTIPLE CHOICE
1. The earliest practitioners of modernism were artists and writers from:
a. Russia.
c. France.
b. Spain.
d. Germany.
ANS: C
MSC: Applied
DIF: Easy
REF:
276
TOP: Impressionism
2. Impressionism: Sun Rising, the painting that sparked the Impressionist art movement, was created by:
a. Auguste Renoir.
c. Claude Monet.
b. Edgar Degas.
d. Paul Verlaine.
ANS: C
MSC: Applied
DIF:
Easy
REF:
276f
TOP: Impressionism
DIF: Easy
REF:
277
TOP: Impressionism
4. Which of the following painters was NOT associated with the Impressionist school?
a. Monet
c. Renoir
b. Degas
d. Goya
ANS: D
MSC: Factual
DIF:
Medium
REF:
277
TOP: Impressionism
5. Which of the following best describes the work of the Impressionist painters?
a. They adhered firmly to academic traditions.
b. They preferred to do their painting indoors.
c. They attempted to capture the freshness of first impressions.
d. all of the above
ANS: C
MSC: Applied
DIF: Easy
REF:
277
TOP: Impressionism
6. Which of the following best describes the effect achieved by Impressionist painting?
a. bold, brilliant colors
c. luminous, shimmering colors
b. drab, dark colors
d. consistent use of a single color
ANS: C
MSC: Applied
214
DIF: Easy
REF:
277
TOP: Impressionism
Mythical Impressions: Program Music at the End of the Nineteenth Century | 215
7. The French movement in poetry that rebelled against traditional modes of expression is called:
a. Imagism.
c. Expressionism.
b. Symbolism.
d. Impressionism.
ANS: B
MSC: Applied
DIF:
Medium
DIF:
Medium
REF:
c.
d.
REF:
277
TOP: Symbolism
Impressionist composers.
none of the above
277
TOP: Symbolism
DIF:
Medium
REF:
277
TOP: Symbolism
DIF:
Medium
REF:
277
TOP: Impressionism
DIF: Easy
REF:
277
TOP: Impressionism
DIF: Easy
REF:
277
TOP: Impressionism
13. The Impressionist painters interest in color is paralleled by Impressionist composers interest in:
a. rhythm.
c. timbre.
b. melody.
d. texture.
ANS: C
MSC: Applied
DIF:
Medium
REF:
277
TOP: Impressionism
216 | Chapter 49
14. Debussy was highly influenced by the sounds of a gamelan from:
a. Japan.
c. Turkey.
b. Algeria.
d. Java.
ANS: D
MSC: Applied
DIF:
Medium
REF:
278
15. The Spanish dance style performed at the World Exhibition of 1889 was:
a. the habanera.
c. the tango.
b. flamenco.
d. the rumba.
ANS: B
MSC: Factual
DIF:
Medium
DIF:
Easy
REF:
c.
d.
REF:
278
Italian
Austrian
279
TOP: Debussy
17. Debussys opera Pellas and Mlisande is based on a Symbolist drama by:
a. Giraud.
c. Maeterlinck.
b. Ibsen.
d. Mallarm.
ANS: C
MSC: Factual
DIF:
Hard
REF:
279
TOP: Debussy
DIF:
Easy
REF:
279
TOP: Debussy
DIF:
Easy
REF:
279
TOP: Debussy
20. The overall form of Debussys Prelude to The Afternoon of a Faun is best described as:
a. binary.
c. sonata-allegro.
b. A-B-A'.
d. rondo.
ANS: B
MSC: Applied
DIF:
Medium
REF:
279
TOP: Debussy
Mythical Impressions: Program Music at the End of the Nineteenth Century | 217
21. What is unusual about the opening of Debussys Prelude to The Afternoon of a Faun?
a. It opens with solo bassoon in the high register.
b. It opens with a drum roll and fanfare.
c. It opens with a flute solo in the velvety lower register.
d. It opens with unison strings.
ANS: C
MSC: Applied
DIF:
Hard
REF:
279
TOP: Debussy
22. Which of the following does NOT characterize the choreography for the Ballets Russes production of
Debussys Prelude to The Afternoon of a Faun?
a. It caused a scandal in Paris.
b. It was a turning point in modern dance.
c. It continued the traditions of classical ballet.
d. It featured one of the great male dancers of the time.
ANS: C
MSC: Applied
DIF:
Medium
REF:
281
TOP: Debussy
TRUE/FALSE
1. Impressionist artists abandoned the grandiose subjects of Romanticism.
ANS: T
MSC: Applied
DIF:
Easy
REF:
276
TOP: Impressionism
DIF:
Easy
REF:
276f
TOP: Impressionism
3. Impressionist painters slowly recreated an idealized impression of an object under perfect lighting.
ANS: F
MSC: Applied
DIF:
Medium
REF:
277
TOP: Impressionism
277
TOP: Symbolism
DIF:
Medium
REF:
5. Impressionist composers felt, even more strongly than their predecessors, the need to resolve all
chords back to the tonic.
ANS: F
MSC: Applied
DIF:
Medium
REF:
277
TOP: Impressionism
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. Debussys music reflects a strong adherence to the traditional forms and scales of Western music.
ANS: F
MSC: Applied
DIF:
Medium
REF:
279
TOP: Debussy
DIF:
Medium
REF:
279
TOP: Debussy
12. Debussys 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 Debussys
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
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
DIF:
Easy
REF:
282
TOP: Spirituals
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
DIF:
Hard
REF:
220
DIF:
Hard
REF:
282f
TOP: Spirituals
TOP: Spirituals
DIF:
Medium
REF:
283
TOP: Spirituals
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
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
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
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
Chapter 51: A Good Beat: American Vernacular Music at the Close of an Era
MULTIPLE CHOICE
1. An important American instrumental ensemble of the nineteenth century was the:
a. symphony orchestra.
c. brass band.
b. minstrel show.
d. jazz band.
ANS: C
MSC: Factual
DIF:
Medium
REF:
287
TOP: Bands
DIF:
Medium
REF:
287
TOP: Bands
3. Players of brass and woodwind instruments were able to march in the late nineteenth century thanks to
instrument designers such as:
a. Adolphe Sax.
c. George Gemnder.
b. Heinrich Steinweg.
d. all of these
ANS: A
MSC: Factual
DIF:
Hard
REF:
288
TOP: Bands
4. Which of the following does NOT describe the career of Patrick S. Gilmore?
a. led the Union Army band in concerts
b. composed When Johnny Comes Marching Hone
c. was a virtuoso cornet player
d. earned title as March King
ANS: D
MSC: Factual
DIF:
Easy
DIF:
Easy
224
DIF:
Medium
REF:
c.
d.
REF:
c.
d.
REF:
288
TOP: Bands
Charles Ives.
Scott Joplin.
288
TOP: Bands
TOP: Bands
DIF:
Medium
c.
d.
REF:
TOP: Bands
DIF:
Easy
REF:
288
TOP: Joplin
289
TOP: Joplin
DIF:
Hard
REF:
10. Scott Joplin was awarded the Pulitzer Prize for his opera
a. Treemonisha.
c. The Maple Leaf Rag.
b. A Guest of Honor.
d. The Sting.
ANS: A
MSC: Factual
DIF:
Hard
REF:
289
TOP: Joplin
DIF:
Medium
REF:
DIF:
Hard
REF:
288
TOP: Joplin
TOP: Joplin
TRUE/FALSE
1. Prior to the nineteenth century, the United States had no band tradition.
ANS: F
MSC: Factual
DIF:
Hard
REF:
287
TOP: Bands
226 | Chapter 51
2. After the Civil War, the Union Army band was directed by Patrick S. Gilmore.
ANS: T
MSC: Factual
DIF:
Medium
REF:
288
TOP: Bands
3. Patrick S. Gilmore composed the popular march The Stars and Stripes Forever.
ANS: F
MSC: Factual
DIF:
Easy
REF:
288
TOP: Bands
4. John Philip Sousa created a sensation in both the United States and Europe.
ANS: T
MSC: Applied
DIF:
Medium
REF:
288
TOP: Bands
DIF:
Hard
REF:
288
TOP: Bands
6. Scott Joplin introduced the Maple Leaf Rag on a concert tour of Canada.
ANS: F
MSC: Factual
DIF:
Hard
REF:
289
TOP: Joplin
7. Scott Joplin received a Pulitzer Prize immediately after the premiere of his opera Treemonisha.
ANS: F
MSC: Factual
DIF:
Hard
REF:
289
TOP: Joplin
8. Ragtime was named for its ragged, highly syncopated rhythms and melodies.
ANS: T
MSC: Factual
DIF:
Easy
REF:
288
TOP: Joplin
DIF:
Medium
REF:
288
TOP: Joplin
10. Some actual performances of Scott Joplin are preserved on piano rolls.
ANS: T
MSC: Factual
DIF:
Medium
REF:
288
TOP: Joplin
Hard
REF:
287f
TOP: Bands
MSC: Conceptual
2. Describe the essence of the musical rag. What is the typical structure of Joplins piano rags?
ANS:
Answers will vary.
DIF:
Hard
REF:
288f
TOP: Joplin
MSC: Applied
DIF:
Easy
REF:
294
TOP: Modernism
DIF:
Medium
DIF:
Medium
REF:
c.
d.
REF:
295
TOP: Modernism
Dadaism.
surrealism.
295
TOP: Modernism
DIF:
Medium
REF:
DIF: Hard
REF:
295
TOP: Modernism
Dadaism.
surrealism.
295
TOP: Modernism
228
DIF:
Medium
REF:
295
TOP: Modernism
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
DIF:
Easy
DIF:
Hard
REF:
c.
d.
REF:
296
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
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
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:
DIF:
Easy
REF:
297
bebop
third stream
297
DIF:
Medium
REF:
298
TOP: Modernism
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
DIF:
Medium
REF:
299
TOP: Modernism
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
DIF:
Medium
DIF:
Medium
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
DIF:
Easy
REF:
296
DIF:
Medium
REF:
297
DIF:
Easy
REF:
297
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
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
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
Medium
REF:
299
TOP: Modernism
MSC: Conceptual
DIF: Hard
REF:
300
TOP: Modernism
DIF: Hard
REF:
300
TOP: Modernism
3. Which early twentieth-century style dealt with the realm of the psyche?
a. Neoclassicism
c. Impressionism
b. Expressionism
d. post-Romanticism
ANS: B
MSC: Applied
DIF:
Medium
REF:
301
TOP: Modernism
DIF:
Medium
REF:
301
TOP: Modernism
5. Which of the following does NOT characterize the musical language of Expressionism?
a. hyper-expressive harmonies
c. extraordinarily wide leaps in the melody
b. extended passages of consonance
d. instruments in their extreme registers
ANS: B
MSC: Applied
DIF:
Medium
REF:
301
TOP: Modernism
234
DIF:
Medium
REF:
301
TOP: Modernism
DIF:
Medium
REF:
301
TOP: Schoenberg
8. Which Viennese composer invented the twelve-tone method after writing in both post-Romantic and
atonal styles?
a. Schoenberg
c. Berg
b. Webern
d. Stravinsky
ANS: A
MSC: Factual
DIF:
Easy
REF:
DIF: Hard
REF:
301
TOP: Schoenberg
Gustav Mahler.
Arnold Schoenberg.
301
TOP: Schoenberg
DIF: Hard
REF:
301
TOP: Schoenberg
DIF:
Medium
REF:
303
TOP: Schoenberg
12. Schoenberg created a new style in which vocal melodies were spoken rather than sung with exact
pitches and rhythms. This was known as:
a. Singspiel.
c. Sprechstimme.
b. recitative.
d. Klangfarbenmelodie.
ANS: C
MSC: Factual
DIF:
Medium
REF:
303
TOP: Schoenberg
DIF:
Medium
REF:
303
TOP: Schoenberg
236 | Chapter 52
14. How many songs are in Pierrot lunaire?
a. twelve
b. twenty-one
ANS: B
MSC: Factual
DIF: Hard
c.
d.
REF:
twenty-four
thirty-two
303
TOP: Schoenberg
DIF: Hard
REF:
DIF:
Medium
REF:
303
TOP: Schoenberg
a chamber group
a choir
303
TOP: Schoenberg
17. Schoenberg experimented with tone-color melody, or shifting each note of a melody to a different
instrument. He called this:
a. Sprechstimme.
c. Singspiel.
b. polymelody.
d. Klangfarbenmelodie.
ANS: D
MSC: Factual
DIF:
Easy
REF:
303
TOP: Schoenberg
DIF:
Medium
REF:
303
TOP: Schoenberg
DIF: Hard
REF:
303
TOP: Schoenberg
20. Which of the following does NOT characterize The Moonfleck from Schoenbergs Pierrot lunaire?
a. a smooth, lyric melody
c. dissonance
b. a three-voice fugue
d. a musical refrain
ANS: A
MSC: Applied
DIF:
Medium
REF:
303
TOP: Schoenberg
DIF:
Medium
REF:
300
TOP: Schoenberg
301
TOP: Schoenberg
DIF:
Medium
REF:
DIF:
Easy
REF:
301
TOP: Schoenberg
301
TOP: Schoenberg
DIF:
Medium
REF:
DIF:
Medium
REF:
301
TOP: Schoenberg
6. Schoenbergs Pierrot lunaire is a series of miniatures for voice and piano only.
ANS: F
MSC: Factual
DIF:
Easy
REF:
303
TOP: Schoenberg
7. In Schoenbergs Pierrot lunaire, the principal character is obsessed with the sunrise.
ANS: F
MSC: Factual
DIF:
Easy
REF:
303
TOP: Schoenberg
8. Schoenberg developed the new vocal style of Sprechstimme in an attempt to bring together the spoken
word and music.
ANS: T
MSC: Applied
DIF:
Medium
REF:
303
TOP: Schoenberg
DIF:
Medium
REF:
303
TOP: Schoenberg
238 | Chapter 52
10. In Schoenbergs Pierrot lunaire, no two songs have the same combination of instruments.
ANS: T
MSC: Factual
DIF:
Medium
REF:
303
TOP: Schoenberg
ESSAY
1. Discuss the history of dissonance and consonance in music.
ANS:
Answers will vary.
DIF:
Medium
REF:
300f
TOP: Schoenberg
MSC: Applied
Medium
REF:
301f
TOP: Schoenberg
MSC: Conceptual
DIF:
Hard
REF:
304
TOP: Stravinsky
2. Which of the following was the Paris-based Russian ballet company that commissioned Stravinsky to
write several ballets?
a. the Kirov
c. the Ballets Russes
b. the Bolshoi
d. the Paris Ballet
ANS: C
MSC: Factual
DIF:
Medium
REF:
304
TOP: Stravinsky
3. Which of the following figures was NOT associated with the Ballets Russes?
a. Monet
c. Nijinsky
b. Picasso
d. Braque
ANS: A
MSC: Factual
DIF:
Hard
REF:
304
TOP: Stravinsky
DIF:
Medium
REF:
DIF:
Easy
REF:
304
TOP: Stravinsky
a near riot.
an empty theater.
305
TOP: Stravinsky
6. Which of the following was the Russian-born composer who wrote music in post-Impressionist,
primitivist, Neoclassical, and twelve-tone styles?
a. Bartk
c. Prokofiev
b. Schoenberg
d. Stravinsky
ANS: D
MSC: Factual
DIF:
Easy
REF:
306
TOP: Stravinsky
239
240 | Chapter 53
7. Which of the following is NOT a Stravinsky ballet?
a. Daphnis and Chlo
c. Petrushka
b. The Firebird
d. The Rite of Spring
ANS: A
MSC: Factual
DIF:
Medium
REF:
306
TOP: Stravinsky
DIF:
Medium
REF:
306
TOP: Stravinsky
DIF:
Easy
DIF:
Medium
REF:
c.
d.
REF:
306
TOP: Stravinsky
polytonality.
all of the above
305f
TOP: Stravinsky
11. The somewhat static quality of Stravinskys melodies and harmonies can be attributed in part to the
use of:
a. atonality.
c. ostinatos.
b. mixed meters.
d. loose forms.
ANS: C
MSC: Applied
DIF:
Hard
REF:
305
TOP: Stravinsky
12. Which of the following musical elements in The Rite of Spring could be considered the most
innovative?
a. lush harmonies
c. folklike melodies
b. unpredictable rhythms and meters
d. harsh orchestration
ANS: B
MSC: Applied
DIF:
Medium
REF:
306
TOP: Stravinsky
13. The Introduction to Stravinskys The Rite of Spring begins with a melody played on the:
a. flute.
c. French horn.
b. clarinet.
d. bassoon.
ANS: D
MSC: Factual
DIF:
Hard
REF:
306
TOP: Stravinsky
DIF:
Medium
REF:
306
TOP: Stravinsky
REF:
304
TOP: Stravinsky
TRUE/FALSE
1. The home of the Ballets Russes was Russia.
ANS: F
MSC: Factual
DIF:
Medium
DIF:
Medium
REF:
304
TOP: Stravinsky
DIF:
Easy
REF:
304
TOP: Stravinsky
4. The opening-night audience of The Rite of Spring was undoubtedly startled and repelled by the pagan
rites being depicted.
ANS: T
MSC: Factual
DIF:
Easy
REF:
305
TOP: Stravinsky
5. Stravinskys ballet The Rite of Spring had a revolutionary impact on music of the twentieth century.
ANS: T
MSC: Applied
DIF:
Medium
REF:
305
TOP: Stravinsky
6. In The Rite of Spring, Stravinsky quotes and imitates Russian folk melodies.
ANS: T
MSC: Applied
DIF:
Medium
REF:
305
TOP: Stravinsky
7. After living in France for many years, the Russian composer Igor Stravinsky eventually became a U.S.
citizen.
ANS: T
MSC: Factual
DIF:
Easy
REF:
306
TOP: Stravinsky
242 | Chapter 53
8. Stravinsky tried his hand at many compositional styles throughout his career.
ANS: T
MSC: Factual
DIF:
Easy
REF:
306
TOP: Stravinsky
9. Stravinskys 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
10. Because the music of The Rite of Spring was tied to unpopular choreography, it has been seldom
played since the ballets premiere.
ANS: F
MSC: Applied
DIF:
Medium
REF:
306
TOP: Stravinsky
ESSAY
1. In what ways does The Rite of Spring exemplify collaborative multimedia?
ANS:
Answers will vary.
DIF:
Medium
REF:
304f
TOP: Stravinsky
MSC: Conceptual
2. Discuss the creative life and music of Stravinsky, citing specific examples.
ANS:
Answers will vary.
DIF:
Medium
REF:
304f
TOP: Stravinsky
MSC: Applied
DIF: Hard
REF:
310
TOP: Boulanger
2. Which of the following composers did NOT win the Prix de Rome?
a. Debussy
c. Stravinsky
b. Berlioz
d. Lili Boulanger
ANS: C
MSC: Factual
DIF:
Medium
DIF:
Easy
REF:
c.
d.
REF:
DIF:
Medium
REF:
311
TOP: Boulanger
New York
London
311
TOP: Boulanger
TOP: Boulanger
DIF:
Easy
DIF:
Easy
REF:
c.
d.
REF:
311
TOP: Boulanger
fugue
rondeau
312
TOP: Boulanger
DIF:
Medium
REF:
311f
TOP: Boulanger
243
244 | Chapter 54
8. Nadia Boulanger was an extraordinarily gifted:
a. pianist.
c.
b. composer.
d.
ANS: C
MSC: Factual
DIF:
Medium
REF:
DIF:
Easy
c.
d.
REF:
teacher.
violinist.
314
TOP: Boulanger
Berg.
Stravinsky.
314
TOP: Boulanger
DIF:
Medium
REF:
314
TOP: Boulanger
TRUE/FALSE
1. Lili Boulanger followed in the footsteps of Clara Schumann and became the second woman to win the
Prix de Rome.
ANS: F
MSC: Factual
DIF:
Medium
REF:
311
TOP: Boulanger
DIF:
Medium
REF:
311
TOP: Boulanger
REF:
310
TOP: Boulanger
311
TOP: Boulanger
DIF:
Easy
DIF:
Medium
REF:
DIF:
Medium
REF:
311
TOP: Boulanger
DIF:
Hard
REF:
311
TOP: Boulanger
311
TOP: Boulanger
DIF:
Easy
REF:
DIF:
Medium
REF:
313
TOP: Boulanger
DIF:
Medium
REF:
314
TOP: Boulanger
DIF:
Medium
REF:
314
TOP: Boulanger
ESSAY
1. Describe the musical style of Lili Boulanger, using Psalm 24 as an example.
ANS:
Answers will vary.
DIF:
Hard
REF:
310f
TOP: Boulanger
MSC: Conceptual
Medium
REF:
314
TOP: Boulanger
MSC: Conceptual
DIF:
Easy
DIF:
Medium
REF:
c.
d.
REF:
315
TOP: Berg
serialism.
Expressionism.
315
TOP: Berg
3. In the twelve-tone method, the arrangement of the twelve tones is called a(n):
a. chromatic scale.
c. octatonic scale.
b. diatonic scale.
d. tone row.
ANS: D
MSC: Factual
DIF:
Medium
REF:
315
TOP: Berg
4. In the twelve-tone method, which term refers to playing the pitches in reverse order?
a. transposed
c. inversion
b. retrograde
d. retrograde inversion
ANS: B
MSC: Factual
DIF:
Hard
REF:
316
TOP: Berg
DIF:
Hard
REF:
316
TOP: Berg
6. Which of the following was NOT a member of the so-called Second Viennese School of composition?
a. Arnold Schoenberg
c. Alban Berg
b. Anton Webern
d. Eric Satie
ANS: D
MSC: Factual
246
DIF:
Easy
REF:
316
TOP: Berg
DIF:
Easy
REF:
317
TOP: Berg
DIF:
Medium
REF:
317
TOP: Berg
DIF:
Hard
REF:
DIF:
Hard
c.
d.
REF:
317
TOP: Berg
Bchner.
Ibsen.
316
TOP: Berg
DIF:
Medium
REF:
DIF:
Medium
c.
d.
REF:
316
TOP: Berg
TOP: Berg
DIF:
Medium
REF:
317
TOP: Berg
248 | Chapter 55
14. How many scenes are there in each act of Bergs Wozzeck?
a. three
c. five
b. four
d. seven
ANS: C
MSC: Factual
DIF:
Hard
REF:
317
TOP: Berg
DIF:
Medium
REF:
318
TOP: Berg
REF:
315
TOP: Berg
TRUE/FALSE
1. Berg developed the twelve-tone method.
ANS: F
MSC: Factual
DIF:
Easy
DIF:
Medium
REF:
315
TOP: Berg
DIF:
Medium
REF:
315
TOP: Berg
DIF:
Medium
REF:
316
TOP: Berg
DIF:
Easy
REF:
316
TOP: Berg
6. Berg incorporated into his music formal patterns from the past, such as the fugue.
ANS: T
MSC: Applied
DIF:
Hard
REF:
316
TOP: Berg
DIF:
Medium
REF:
317
TOP: Berg
DIF:
Easy
REF:
316
TOP: Berg
317
TOP: Berg
DIF:
Medium
REF:
10. In Bergs opera, Wozzeck drowns because he was following moonbeams into the lake.
ANS: F
MSC: Factual
DIF:
Easy
REF:
317
TOP: Berg
ESSAY
1. Describe the twelve-tone method of composition.
ANS:
Answers will vary.
DIF:
Medium
REF:
315f
TOP: Berg
MSC: Applied
Medium
REF:
316f
TOP: Berg
MSC: Applied
DIF:
Easy
REF:
321f
TOP: Jazz
2. 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. jazz
c. rock and roll
b. country and western
d. bebop
ANS: A
MSC: Factual
DIF:
Easy
REF:
321
TOP: Jazz
Medium
REF:
c.
d.
ANS: A
MSC: Factual
DIF:
DIF:
Easy
REF:
322
TOP: Jazz
five
variable
322
TOP: Blues
DIF:
Easy
REF:
322
TOP: Blues
6. Which region of the United States was the birthplace of a unique style of blues primarily sung by
males?
a. Mississippi Delta
c. New York
b. Chicago
d. New Orleans
ANS: A
MSC: Factual
250
DIF:
Medium
REF:
322
TOP: Blues
DIF:
Medium
c.
d.
REF:
TOP: Blues
DIF: Hard
REF:
322
TOP: Blues
DIF:
Medium
REF:
322
TOP: Jazz
Medium
REF:
c.
d.
ANS: B
MSC: Factual
DIF:
DIF:
Easy
REF:
DIF:
Easy
REF:
322
TOP: Jazz
King Armstrong.
Hot Lips.
322
TOP: Jazz
clarinet
piano
322
TOP: Jazz
DIF:
Easy
REF:
322
TOP: Jazz
252 | Chapter 56
14. Billie Holiday was one of the first African American singers to:
a. sing and record the blues.
b. break the color barrier by recording and performing with white musicians.
c. perform in Carnegie Hall.
d. lead her own band.
ANS: B
MSC: Factual
DIF:
Medium
REF:
323
TOP: Jazz
DIF:
Medium
REF:
323
TOP: Jazz
16. Which American jazz composer was also a pianist and a master of big-band orchestration?
a. Louis Armstrong
c. Jelly Roll Morton
b. Earl Fatha Hines
d. Duke Ellington
ANS: D
MSC: Factual
DIF:
Medium
REF:
DIF:
Easy
REF:
323f
TOP: Jazz
bebop
third stream
323
TOP: Jazz
DIF:
Medium
REF:
324
TOP: Jazz
DIF:
Easy
DIF:
Easy
REF:
c.
d.
REF:
325
TOP: Jazz
Billy Strayhorn.
Lil Hardin.
325
TOP: Jazz
DIF:
Medium
c.
d.
REF:
dissonant counterpoint
a two-note phrase
326
TOP: Jazz
22. Which of the following was NOT a contributor to the 1940s style known as bebop?
a. Dizzy Gillespie
c. Louis Armstrong
b. Charlie Parker
d. Thelonious Monk
ANS: C
MSC: Applied
DIF:
Hard
REF:
326
TOP: Jazz
23. During the 1940s, Dizzy Gillespie, Charlie Parker, and Thelonious Monk developed:
a. New Orleans jazz.
c. bebop.
b. ragtime.
d. third-stream jazz.
ANS: C
MSC: Factual
DIF:
Hard
REF:
326
TOP: Jazz
DIF:
Medium
REF:
326
TOP: Jazz
DIF:
Medium
REF:
326
TOP: Jazz
TRUE/FALSE
1. 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.
ANS: T
MSC: Applied
DIF:
Easy
REF:
322
TOP: Jazz
322
TOP: Blues
322
TOP: Blues
DIF:
Easy
REF:
DIF:
Easy
REF:
254 | Chapter 56
4. The blues from the Mississippi Delta usually was sung by black women.
ANS: F
MSC: Factual
DIF:
Easy
REF:
322
TOP: Blues
5. New Orleans jazz depended on simultaneous improvisations by the players, which resulted in a
polyphonic texture.
ANS: T
MSC: Applied
DIF:
Medium
REF:
322
TOP: Jazz
6. Louis Armstrong was an important force in the development of early jazz styles.
ANS: T
MSC: Applied
DIF:
Easy
REF:
322
TOP: Jazz
7. Because she was an African American, Billie Holiday never had a chance to record with white jazz
musicians.
ANS: F
MSC: Applied
DIF:
Hard
REF:
323
TOP: Jazz
8. Billie Hollidays Billies Blues retains the standard twelve-bar blues structure.
ANS: T
MSC: Applied
DIF:
Hard
REF:
323
TOP: Jazz
9. Big-band swing was the dominant form of American popular music in the 1930s and 1940s.
ANS: T
MSC: Applied
DIF:
Medium
REF:
323
TOP: Jazz
DIF:
Easy
REF:
323f
TOP: Jazz
11. 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:
326
TOP: Jazz
12. The Gerry Mulligan Quartet is associated with West Coast jazz.
ANS: T
MSC: Applied
DIF:
Medium
REF:
326
TOP: Jazz
Medium
REF:
322
TOP: Jazz
MSC: Conceptual
TOP: Blues
MSC: Applied
Hard
REF:
322
Medium
REF:
323f
TOP: Jazz
MSC: Conceptual
Chapter 57: Modern America: Still and Musical Modernism in the United States
MULTIPLE CHOICE
1. During which decade did the Harlem Renaissance begin?
a. 1900s
c. 1920s
b. 1910s
d. 1930s
ANS: C
MSC: Factual
DIF:
Easy
REF:
328f
2. Which of the following was referred to as the greatest Negro city in the world during the 1920s?
a. New Orleans
c. Chicago
b. Harlem
d. Los Angeles
ANS: B
MSC: Applied
DIF:
Medium
REF:
328f
DIF:
Easy
REF:
330
4. The most important literary figure associated with the Harlem Renaissance was:
a. Langston Hughes.
c. Alain Locke.
b. Ralph Ellison.
d. George Schuyler.
ANS: A
MSC: Factual
DIF:
Hard
REF:
329
DIF:
Easy
REF:
329
6. In his early years, William Grant Still was associated with which artistic movement?
a. the Harlem Renaissance
c. Impressionism
b. abstract expressionism
d. imagism
ANS: A
MSC: Factual
DIF:
Easy
REF:
330
TOP: Still
7. William Grant Still composed music in all of the following genres EXCEPT:
a. opera.
c. jazz arrangements.
b. film and television scores.
d. avant-garde electronic music.
ANS: D
MSC: Applied
256
DIF:
Medium
REF:
330
TOP: Still
Modern America: Still and Musical Modernism in the United States | 257
8. How many movements make up Stills Suite for Violin and Piano?
a. one
c. three
b. two
d. four
ANS: C
MSC: Applied
DIF:
Medium
REF:
330
TOP: Still
9. The third movement of William Grant Stills Suite for Violin and Piano was inspired by:
a. a poem by Langston Hughes.
c. a sculpture by Augusta Savage.
b. a painting by Sargent Johnson.
d. a novel by Ralph Ellison.
ANS: C
MSC: Factual
DIF:
Hard
REF:
331
TOP: Still
10. The third movement of William Grant Stills Suite for Violin and Piano can best be described as:
a. experimental.
c. serial.
b. bluesy.
d. post-Romantic.
ANS: B
MSC: Applied
DIF:
Medium
REF:
331
TOP: Still
TRUE/FALSE
1. The authors of The New Negro encouraged black artists to look to New York for inspiration.
ANS: F
MSC: Factual
DIF:
Medium
REF:
329
2. The Harlem Renaissance highlighted African American intellectual life in the 1920s and 1930s.
ANS: T
MSC: Factual
DIF:
Easy
REF:
329
3. William Grant Still had an extensive background in jazz but no training in the European tradition.
ANS: F
MSC: Factual
DIF:
Medium
REF:
330
TOP: Still
4. William Grant Still composed the first symphony by an African American to be performed by a major
American orchestra.
ANS: T
MSC: Factual
DIF:
Easy
REF:
330
TOP: Still
5. William Grant Still composed only instrumental works and avoided opera.
ANS: F
MSC: Factual
DIF:
Easy
REF:
330
TOP: Still
258 | Chapter 57
6. William Grant Still moved to Los Angeles and composed music for television.
ANS: T
MSC: Factual
DIF:
Easy
REF:
330
TOP: Still
7. William Grant Stills Suite for Violin and Piano reflects his ties to the Harlem Renaissance.
ANS: T
MSC: Applied
DIF:
Easy
REF:
330
TOP: Still
8. The third movement of William Grant Stills Suite for Violin and Piano is based on Sargent Johnsons
Mother and Child.
ANS: F
MSC: Factual
DIF:
Hard
REF:
330
TOP: Still
ESSAY
1. Discuss the breadth and variety of William Grant Stills music and his relationship with the Harlem
Renaissance.
ANS:
Answers will vary.
DIF:
Medium
REF:
330f
TOP: Still
MSC: Conceptual
2. How does the music of William Grant Still reflect the traditions of European and African American
music? Include examples in your answer.
ANS:
Answers will vary.
DIF:
Medium
REF:
330f
TOP: Still
MSC: Conceptual
DIF:
Medium
REF:
333
TOP: Gershwin
DIF:
Easy
REF:
334
TOP: Gershwin
DIF:
Medium
DIF: Hard
REF:
c.
d.
REF:
334
TOP: Gershwin
TOP: Gershwin
DIF:
Easy
REF:
334
TOP: Gershwin
6. Which of the following did NOT characterize the career of George Gershwin?
a. He won acclaim for Rhapsody in Blue.
b. He was a successful composer for Tin Pan Alley.
c. He lived a long life and was a mentor to other young composers.
d. He unified popular and classical styles.
ANS: C
MSC: Factual
DIF:
Medium
REF:
334
TOP: Gershwin
259
260 | Chapter 58
7. The premiere of Gershwins Rhapsody in Blue was conducted by:
a. Arturo Toscanini.
c. Duke Ellington.
b. Paul Whiteman.
d. Elmer Bernstein.
ANS: B
MSC: Factual
DIF: Hard
REF:
DIF:
Easy
REF:
334
TOP: Gershwin
TOP: Gershwin
9. George Gershwins folk opera ________ was far ahead of its time.
a. Porgy and Bess
c. Show Boat
b. My Fair Lady
d. Guys and Dolls
ANS: A
MSC: Factual
DIF:
Easy
REF:
335
TOP: Gershwin
10. Which of the following does NOT describe Gershwins Porgy and Bess?
a. The plot deals with the life of African Americans.
b. The music merges jazz with classical traditions.
c. The music combines jazz with the modern techniques of Schoenberg.
d. It combines elements of opera and the musical.
ANS: C
MSC: Applied
DIF:
Medium
DIF:
Medium
REF:
c.
d.
REF:
DIF:
Medium
REF:
335
TOP: Gershwin
an operatic recitative.
an African American spiritual.
335
TOP: Gershwin
da capo
verse-chorus
335
TOP: Gershwin
TRUE/FALSE
1. Although American popular songs from the early twentieth century capitalized on ragtime and jazz,
they followed the conventions of Fosters parlor ballads.
ANS: T
MSC: Applied
DIF:
Hard
REF:
333
TOP: Gershwin
DIF:
Medium
REF:
334
TOP: Gershwin
DIF:
Easy
REF:
334
TOP: Gershwin
DIF:
Medium
REF:
334
TOP: Gershwin
5. Gershwins orchestral work An American in Paris became the impetus for a Hollywood film.
ANS: T
MSC: Factual
DIF:
Medium
REF:
334
TOP: Gershwin
DIF:
Easy
REF:
334
TOP: Gershwin
7. Rhapsody in Blue had its premiere in a concert entitled An Experiment in Modern Music.
ANS: T
MSC: Factual
DIF:
Easy
REF:
334
TOP: Gershwin
DIF:
Easy
REF:
335
TOP: Gershwin
DIF:
Easy
REF:
335
TOP: Gershwin
DIF:
Easy
REF:
335
TOP: Gershwin
262 | Chapter 58
ESSAY
1. Describe the variety of works that George Gershwin composed.
ANS:
Answers will vary.
DIF:
Hard
REF:
333f
TOP: Gershwin
MSC: Applied
2. How does Gershwin blend classical and popular styles in Porgy and Bess? Include examples in
your answer.
ANS:
Answers will vary.
DIF:
Hard
REF:
335
TOP: Gershwin
MSC: Conceptual
DIF:
Medium
REF:
338
TOP: Ives
DIF:
Easy
REF:
338
TOP: Ives
3. While composing in his spare time, Charles Ives made a living as a(n):
a. church organist.
c. insurance executive.
b. conductor.
d. college professor.
ANS: C
MSC: Factual
DIF:
Easy
REF:
338
TOP: Ives
DIF:
Medium
REF:
338
TOP: Ives
DIF:
Hard
REF:
338
TOP: Ives
DIF:
REF:
338
TOP: Ives
263
264 | Chapter 59
7. Which of the following does NOT characterize Ivess Country Band March?
a. quotations of popular tunes
c. mostly duple meter
b. standard march form
d. dissonance
ANS: B
MSC: Applied
DIF:
Medium
REF:
340
TOP: Ives
8. Which of the following tunes is NOT included in Ivess Country Band March?
a. Yankee Doodle
c. Jeanie with the Light Brown Hair
b. My Old Kentucky Home
d. London Bridge
ANS: C
MSC: Factual
DIF:
Medium
DIF:
Medium
REF:
c.
d.
REF:
340
TOP: Ives
Arnold Schoenberg.
Charles Tomlinson Griffes.
341
TOP: Copland
DIF:
Medium
DIF: Hard
REF:
c.
d.
REF:
DIF:
Medium
DIF: Hard
REF:
c.
d.
REF:
341
TOP: Copland
film score.
ballet.
341
TOP: Copland
neo-Classical
all of the above
341
TOP: Copland
George Balanchine.
Merce Cunningham.
341f
TOP: Copland
DIF:
Medium
REF:
344
TOP: Copland
15. Which of the following best describes the mood at the beginning of Coplands Appalachian Spring?
a. energetic
c. calm
b. religious
d. volatile
ANS: C
MSC: Applied
DIF:
Easy
REF:
344
TOP: Copland
DIF:
Medium
REF:
344
TOP: Copland
Medium
REF:
c.
d.
ANS: A
MSC: Factual
DIF:
DIF:
Medium
DIF:
Hard
DIF:
Easy
REF:
c.
d.
REF:
c.
d.
REF:
345
TOP: Copland
Maine.
Connecticut.
342
266 | Chapter 59
TRUE/FALSE
1. The music of Charles Ives was very popular and was performed frequently during his lifetime.
ANS: F
MSC: Applied
DIF:
Easy
REF:
338
TOP: Ives
2. Charles Ivess music reflects his roots in New England through his use of popular songs and American
historical themes.
ANS: T
MSC: Applied
DIF:
Hard
REF:
338
TOP: Ives
DIF:
Easy
REF:
340
TOP: Ives
DIF:
Medium
REF:
340
TOP: Ives
5. During his composing career, Copland employed jazz, neo-Classical elements, and twelve-tone
techniques.
ANS: T
MSC: Factual
DIF:
Easy
REF:
341
TOP: Copland
6. Copland composed music for the theater, but not for film.
ANS: F
MSC: Factual
DIF:
Easy
REF:
341
TOP: Copland
DIF:
Easy
REF:
341
TOP: Copland
DIF:
Easy
REF:
344
TOP: Copland
REF:
344
TOP: Copland
DIF:
Easy
DIF:
Easy
REF:
342
ESSAY
1. Why is Charles Ives considered one of the most original musicians of his time?
ANS:
Answers will vary.
DIF:
Hard
REF:
337f
TOP: Ives
MSC: Conceptual
2. What are the American qualities of Coplands music? Cite examples from works described in the
textbook.
ANS:
Answers will vary.
DIF:
Hard
REF:
340f
TOP: Copland
MSC: Conceptual
DIF:
Easy
REF:
347
TOP: Mexico
DIF: Hard
DIF:
REF:
c.
d.
Medium
REF:
347f
TOP: Mexico
TOP: Mexico
DIF:
Medium
REF:
348
TOP: Revueltas
5. During his career, Silvestre Revueltas was active in all of the following countries EXCEPT:
a. the United States.
c. Spain.
b. Brazil.
d. Mexico.
ANS: B
MSC: Factual
DIF:
Medium
REF:
348
TOP: Revueltas
268
DIF: Hard
REF:
348
TOP: Revueltas
DIF: Hard
REF:
DIF:
Medium
c.
d.
REF:
348
TOP: Revueltas
writer.
filmmaker.
348
TOP: Revueltas
9. Which of the following does NOT characterize Homage to Federico Garca Lorca?
a. It is scored for full symphony orchestra.
b. It incorporates traditions of Mexican vernacular music.
c. It features elements of European modernist music.
d. The orchestration favors the winds.
ANS: A
MSC: Applied
DIF:
Medium
REF:
DIF:
Medium
c.
d.
REF:
348
TOP: Revueltas
song.
a familial relationship.
352
TOP: Revueltas
DIF:
Medium
REF:
352
TOP: Revueltas
12. Which of the following best describes the meter of Revueltass Son?
a. simple duple meter
b. simple triple meter
c. shifting between triple and compound meters
d. irregular accents
ANS: C
MSC: Applied
DIF:
Medium
REF:
352
TOP: Revueltas
13. Carlos Chvezs music attracted the attention of the American composer:
a. Aaron Copland.
c. William Grant Still.
b. Leonard Bernstein.
d. George Gershwin.
ANS: A
MSC: Factual
DIF:
Medium
REF:
350
TOP: Mexico
270 | Chapter 60
14. The mariachi tradition originated in:
a. Cuba.
b. Brazil.
ANS: C
MSC: Factual
DIF:
Easy
c.
d.
REF:
Mexico.
Argentina.
350
15. Which of the following instruments would you NOT find in a standard mariachi band?
a. violin
c. trumpet
b. guitar
d. clarinet
ANS: D
MSC: Factual
DIF:
Medium
REF:
350
TRUE/FALSE
1. The modern music of Mexico is based on the music of indigenous Amerindian cultures and of Spain.
ANS: T
MSC: Applied
DIF:
Medium
REF:
347
TOP: Mexico
2. The Mexican composer Silvestre Revueltas lived a long and productive artistic life.
ANS: F
MSC: Factual
DIF:
Easy
REF:
348
TOP: Revueltas
348
TOP: Revueltas
DIF:
Medium
REF:
DIF:
Medium
REF:
348
TOP: Revueltas
5. The dedicatee of Revueltass Homenaje a Federico Garca Lorca was a famous Mexican poet.
ANS: F
MSC: Factual
DIF:
Easy
REF:
348
TOP: Revueltas
6. The string section of Revueltass Homenaje a Federico Garca Lorca consists of two violins and one
bass only.
ANS: T
MSC: Factual
DIF:
Easy
REF:
348
TOP: Revueltas
DIF:
Easy
REF:
348
TOP: Revueltas
DIF:
Medium
REF:
350
9. Mariachi performers often wear the costumes of Mexican cowboys, known as charros.
ANS: T
MSC: Factual
DIF:
Hard
REF:
350
ESSAY
1. Discuss the nationalist and modernist aspects of the music of Silvestre Revueltas.
ANS:
Answers will vary.
DIF:
Medium
REF:
348f
TOP: Revueltas
MSC: Applied
REF:
350f
DIF:
Easy
REF:
353
TOP: Neo-Classicism
2. Which of the following composers would NOT have been emulated during the neo-Classical era?
a. Vivaldi
c. Wagner
b. Bach
d. Handel
ANS: C
MSC: Applied
DIF:
Easy
REF:
353
TOP: Neo-Classicism
3. Which of the following genres was NOT favored by the neo-Classicists of the early twentieth century?
a. the symphonic poem
c. the opera
b. the symphony
d. the concerto
ANS: A
MSC: Applied
DIF:
Medium
REF:
354
TOP: Neo-Classicism
DIF:
Medium
REF:
354
TOP: Nationalism
DIF: Easy
REF:
354
TOP: Nationalism
6. Which of the following was a critical new technology that aided the study of folk music in the early
twentieth century?
a. music notation
c. radio
b. the phonograph
d. electricity
ANS: B
MSC: Factual
272
DIF: Easy
REF:
354
TOP: Nationalism
DIF:
Medium
REF:
354
TOP: Nationalism
DIF: Hard
REF:
354
TOP: Nationalism
9. Which Hungarian composer combined native folk music characteristics with main currents of
European music?
a. Bartk.
c. Sibelius.
b. Bloch.
d. Albeniz.
ANS: A
MSC: Factual
DIF:
Easy
REF:
354
TOP: Bartk
10. Bla Bartk traveled around Hungary collecting peasant songs with the composer:
a. Zoltn Kodly.
c. Jean Sibelius.
b. Ernest Bloch.
d. Erik Satie.
ANS: A
MSC: Factual
DIF:
Hard
REF:
354
TOP: Bartk
11. Bartk immigrated to ________ during World War II and remained there for the last few years of his
life.
a. Paris
c. New York City
b. Zurich
d. Los Angeles
ANS: C
MSC: Factual
DIF:
Easy
REF:
356
TOP: Bartk
12. Bartk found that eastern European folk music was based on:
a. ancient modes.
c. nonsymmetrical rhythms.
b. unfamiliar scales.
d. all of the above
ANS: D
MSC: Factual
DIF:
Hard
REF:
356
TOP: Bartk
13. Bartks compositions show the influence of eastern European folk music in:
a. reintroducing the major-minor system.
b. new concepts of melody, harmony, and rhythm.
c. the continued influence of Wagners music dramas.
d. all of the above
ANS: B
MSC: Applied
DIF:
Medium
REF:
356
TOP: Bartk
274 | Chapter 61
14. The model for Bartks melodies can be found in:
a. Wagnerian operas.
c. Hungarian folk songs.
b. the works of Beethoven.
d. Elizabethan dances.
ANS: C
MSC: Applied
DIF:
Easy
REF:
356
TOP: Bartk
DIF:
Hard
DIF:
Medium
REF:
c.
d.
REF:
356
TOP: Bartk
TOP: Bartk
17. One of Bartks most popular works is his Music for Strings, Percussion, and:
a. Cello.
c. Clavichord.
b. Celesta.
d. Clarinet.
ANS: B
MSC: Applied
DIF:
Hard
REF:
356
TOP: Bartk
18. Why did Bartk name his last work Concerto for Orchestra?
a. because of the prominent violin solo
b. because it had three movements
c. because he treated single instruments in a soloistic manner
d. all of the above
ANS: C
MSC: Applied
DIF:
Medium
REF:
354
TOP: Bartk
19. Which of the following does NOT characterize the Interrupted Intermezzo from Bartks Concerto for
Orchestra?
a. unchanging metric patterns
c. quotation of a theme by Shostakovich
b. folklike melodies
d. a broad lyric melody
ANS: A
MSC: Applied
DIF:
Medium
REF:
354f
TOP: Bartk
DIF:
Medium
REF:
355
TOP: Bartk
DIF:
Easy
REF:
353
TOP: Neo-Classicism
DIF:
Medium
REF:
354
TOP: Nationalism
DIF:
Medium
REF:
354
TOP: Bartk
4. Unlike Bartks work with Hungarian folk music, there was no similar study for the music of
American Indians.
ANS: F
MSC: Applied
DIF:
Medium
REF:
355
TOP: Bartk
5. Bartks six string quartets rank among the finest achievements of twentieth-century chamber music.
ANS: T
MSC: Applied
DIF:
Medium
REF:
356
TOP: Bartk
356
TOP: Bartk
DIF:
Medium
REF:
7. Bartk attempted to imitate the vocal styles and rhythms of certain eastern European traditional
musics.
ANS: T
MSC: Applied
DIF:
Medium
REF:
356
TOP: Bartk
8. Bartk composed his Concerto for Orchestra while he was terminally ill.
ANS: T
MSC: Factual
DIF:
Medium
REF:
356
TOP: Bartk
9. Bartks Concerto for Orchestra is set in the standard symphonic format of four movements.
ANS: F
MSC: Factual
DIF:
Medium
REF:
357
TOP: Bartk
276 | Chapter 61
10. Few Hungarian folk elements are heard in Interrupted Intermezzo, from Bartks Concerto for
Orchestra.
ANS: F
MSC: Conceptual
DIF:
Easy
REF:
354
TOP: Bartk
ESSAY
1. What neo-Classical elements can be found in the music of European nationalist composers of the
twentieth century? Include examples in your answer.
ANS:
Answers will vary.
DIF: Medium
MSC: Applied
REF:
353f
TOP: Neo-Classicism
Medium
REF:
354f
TOP: Nationalism
MSC: Applied
DIF:
Hard
REF:
360
2. Which architect designed the Walt Disney Concert Hall in Los Angeles?
a. Ludwig Mies van der Rohe
c. Frank Lloyd Wright
b. Robert Venturi
d. Frank Gehry
ANS: D
MSC: Factual
DIF:
Hard
REF:
360
DIF:
Hard
REF:
360
4. Which art movement drew themes from modern urban life, including machines, comic strips, and
commercial advertisements?
a. abstract expressionism
c. pop art
b. Dadaism
d. postmodernism
ANS: C
MSC: Applied
DIF:
Medium
REF:
DIF:
Medium
REF:
360
pop art.
surrealism.
361
DIF:
Medium
REF:
361
277
278 | Prelude 7
7. Environmental art is most closely associated with:
a. minimalism.
c. abstract expressionism.
b. pop art.
d. new wave.
ANS: A
MSC: Conceptual
DIF:
Hard
REF:
361
DIF:
Hard
REF:
361
DIF:
Medium
REF:
362
10. Which of the following films is a nonnarrative visual collage with music by Philip Glass?
a. Kill Bill
c. Pulp Fiction
b. Inception
d. Koyaanisqatsi
ANS: D
MSC: Factual
DIF:
Easy
REF:
362
DIF:
Hard
REF:
DIF:
Easy
REF:
362
MTV
YouTube
363
13. Which of the following musicals was NOT produced after 1950?
a. My Fair Lady
c. West Side Story
b. The Sound of Music
d. Oklahoma!
ANS: D
MSC: Factual
DIF:
Medium
REF:
363
DIF:
Hard
REF:
363
DIF:
Medium
REF:
363
DIF:
Medium
DIF:
DIF:
Medium
REF:
c.
d.
REF:
c.
d.
REF:
364
Mannheim.
Vienna.
364
Karl Stockhausen.
Donald Buchla.
364
365
DIF:
Easy
REF:
20. A technique developed by Lukas Foss in which composers incorporate music from the past is called:
a. open form.
c. total serialism.
b. collage.
d. microtonality.
ANS: B
MSC: Factual
DIF:
Medium
REF:
365
280 | Prelude 7
TRUE/FALSE
1. Postmodern architecture strove for greater simplicity.
ANS: F
MSC: Applied
DIF:
Easy
REF:
360
DIF:
Medium
REF:
360
3. Jasper Johns and Robert Rauschenberg owe some of their inspiration to the Dadaists.
ANS: T
MSC: Applied
DIF:
Medium
REF:
360
362
DIF:
Easy
REF:
DIF:
Easy
REF:
362
REF:
362
DIF:
Easy
DIF:
Easy
REF:
363
DIF:
Easy
REF:
364
DIF:
Medium
REF:
365
DIF:
Hard
REF:
366
ESSAY
1. Discuss some of the postWorld War II trends in the arts. Include examples from the textbook in your
answer.
ANS:
Answers will vary.
DIF: Medium
MSC: Applied
REF:
360f
2. How is postmodernism manifested in music? Include examples from the textbook in your answer.
ANS:
Answers will vary.
DIF: Hard
MSC: Conceptual
REF:
362f
DIF:
Medium
REF:
368f
DIF:
Hard
REF:
368
3. Which of the following composers combined Asian instruments with traditional Western ensembles
and experimented with exotic scales?
a. Aaron Copland
c. Henry Cowell
b. Harry Partch
d. John Cage
ANS: B
MSC: Factual
DIF:
Medium
REF:
369
4. Which innovative composer constructed a scale of forty-three microtones to the octave and built
instruments with this tuning?
a. Aaron Copland
c. Henry Cowell
b. Harry Partch
d. John Cage
ANS: B
MSC: Factual
DIF:
Hard
REF:
369
DIF:
Hard
REF:
369
6. Which of the following musical concepts is NOT associated with John Cage?
a. noise as music
c. chance music
b. serial music
d. gamelan-type ensembles
ANS: B
MSC: Factual
282
DIF:
Medium
REF:
369
TOP: Cage
DIF:
Medium
REF:
369
TOP: Cage
DIF:
Medium
REF:
369
TOP: Cage
DIF:
Easy
REF:
369
TOP: Cage
DIF:
Easy
REF:
369
TOP: Cage
11. Which of the following does NOT characterize John Cages Sonatas and Interludes?
a. percussive effects
c. gamelan-like timbres
b. irregular meters
d. lyrical melodies
ANS: D
MSC: Applied
DIF:
Medium
REF:
369f
TOP: Cage
12. Sonata V, from John Cages Sonatas and Interludes, is in ________ form.
a. binary
c. rondo
b. ternary
d. sonata-allegro
ANS: A
MSC: Factual
DIF:
Easy
REF:
371
TOP: Cage
13. Which of the following does NOT characterize the music of George Crumb?
a. unusual effects, including Sprechstimme c. quarter tones
b. emotional detachment
d. new sonorities
ANS: B
MSC: Applied
DIF: Hard
REF:
372
TOP: Crumb
284 | Chapter 62
14. Which of the following was NOT composed by George Crumb?
a. Black Angels
c. Echoes of Time and the River
b. Ancient Voices of Children
d. Fontana Mix
ANS: D
MSC: Factual
DIF: Hard
REF:
372
TOP: Crumb
15. The music of George Crumb includes many settings of the poetry of:
a. Robert Frost.
c. Rod McKuen.
b. Federico Garca Lorca.
d. Emily Dickinson.
ANS: B
MSC: Factual
DIF:
Easy
REF:
372
TOP: Crumb
DIF: Hard
REF:
371
TOP: Crumb
17. The performing forces of Crumbs Caballito negro include all of the following EXCEPT:
a. soprano.
c. piccolo.
b. piano.
d. marimba.
ANS: B
MSC: Factual
DIF: Hard
REF:
DIF: Hard
REF:
c.
d.
ANS: B
MSC: Factual
DIF: Hard
REF:
DIF: Hard
REF:
373
TOP: Crumb
Korea.
Java.
374
TOP: Crumb
glass.
oil cans.
374
TOP: Crumb
Harrison.
all of the above
374
TOP: Crumb
DIF:
Easy
REF:
368f
2. Harry Partch was the first composer to experiment with tone clusters on the piano..
ANS: F
MSC: Applied
DIF:
Easy
REF:
368
DIF:
Easy
REF:
369
4. Prior to each performance of music for prepared piano, materials are inserted between the strings
entirely at random.
ANS: F
MSC: Applied
DIF:
Easy
REF:
369
TOP: Cage
5. John Cages 4'33" questions the distinction between music and noise.
ANS: T
MSC: Conceptual
DIF:
Medium
REF:
369
TOP: Cage
6. Cages Sonatas and Interludes are traditional works for the standard grand piano.
ANS: F
MSC: Applied
DIF:
Easy
REF:
369
TOP: Cage
7. The overall form of Cages Sonatas and Interludes is four groups of four sonatas each, with interludes
between the groups.
ANS: T
MSC: Factual
DIF:
Hard
REF:
369
TOP: Cage
8. George Crumb spent most of his teaching career at the University of Illinois.
ANS: F
MSC: Factual
DIF:
Hard
REF:
372
TOP: Cage
DIF:
Medium
REF:
373
TOP: Crumb
286 | Chapter 62
10. Gamelan music traditionally accompanied shadow-puppet plays.
ANS: T
MSC: Factual
DIF:
Hard
REF:
374f
TOP: Cage
ESSAY
1. Describe the influence of non-Western culture on twentieth-century composers of Western music.
Include examples from the textbook in your answer.
ANS:
Answers will vary.
DIF: Hard
MSC: Conceptual
REF:
368
2. Discuss the prepared piano. How is it created, who developed it, and what sound does it mimic?
ANS:
Answers will vary.
DIF:
Medium
REF: 369f
TOP: Crumb
MSC: Conceptual
3. What makes the music of George Crumb so imaginative? Include examples from the textbook in your
answer.
ANS:
Answers will vary.
DIF:
Medium
REF: 371f
TOP: Crumb
MSC: Conceptual
DIF:
Easy
REF:
376
DIF:
Medium
REF:
377
3. Victor Herbert revamped operetta to suit American tastes with works such as:
a. Babes in Toyland
c. Finians Rainbow
b. Show Boat
d. My Fair Lady
ANS: A
MSC: Factual
DIF:
Hard
REF:
377
DIF:
Hard
REF:
377
5. Which of the following musicals was NOT a collaboration by Rodgers and Hammerstein?
a. The Phantom of the Opera
c. Carousel
b. Oklahoma!
d. South Pacific
ANS: A
MSC: Factual
DIF:
Easy
REF:
377
DIF:
Medium
REF:
377
7. Which of the following is a musical by the British composer Andrew Lloyd Webber?
a. Sweeney Todd
c. Wicked
b. Les Misrables
d. The Phantom of the Opera
ANS: D
MSC: Factual
DIF:
Easy
REF:
377
287
288 | Chapter 63
8. Which of the following is an example of a rock musical?
a. Sweeney Todd
c. Rent
b. Evita
d. Sunday in the Park with George
ANS: C
MSC: Factual
DIF:
Medium
REF:
377
9. Which of the following operas was the inspiration for Jonathan Larsons rock opera Rent?
a. Le nozze di Figaro
c. Carmen
b. La bohme
d. Pagliacci
ANS: B
MSC: Factual
DIF:
Hard
DIF: Easy
REF:
c.
d.
REF:
377
a composer.
all of the above.
379
TOP: Bernstein
11. Leonard Bernstein was the first American-born conductor to be appointed director of the:
a. New York Philharmonic.
c. Chicago Symphony.
b. Boston Pops Orchestra.
d. Los Angeles Philharmonic.
ANS: A
MSC: Factual
DIF:
Medium
REF:
379
TOP: Bernstein
DIF: Hard
REF:
379
TOP: Bernstein
DIF: Easy
REF:
377
TOP: Bernstein
14. Which of the following wrote the lyrics for West Side Story?
a. Leonard Bernstein
c. Stephen Sondheim
b. Oscar Hammerstein
d. Andrew Lloyd Webber
ANS: C
MSC: Factual
DIF:
Medium
REF:
377
TOP: Bernstein
DIF:
Medium
REF:
377f
TOP: Bernstein
16. Which of the following is NOT true of Bernsteins West Side Story?
a. It incorporates jazz and Latin American rhythms.
b. It has a number of elaborate dance segments.
c. It has a happy ending.
d. It has memorable songs that recur in the musical.
ANS: C
MSC: Factual
DIF:
Medium
DIF: Hard
REF:
c.
d.
REF:
378
TOP: Bernstein
Mexican
Brazilian
380
TOP: Bernstein
DIF:
Medium
REF:
378
TOP: Bernstein
TRUE/FALSE
1. American musical theater developed out of the European comic opera or operetta tradition.
ANS: T
MSC: Applied
DIF:
Easy
REF:
377
DIF:
Easy
REF:
377
3. The musical has remained exclusively an American art form, not attempted by composers from other
countries.
ANS: F
MSC: Factual
DIF:
Easy
REF:
377
DIF:
Easy
REF:
377
290 | Chapter 63
5. Because most musicals now seem dated, revivals have been largely unsuccessful.
ANS: F
MSC: Factual
DIF:
Easy
REF:
377
6. Leonard Bernstein was the first American-born musician to be appointed music director of the New
York Philharmonic.
ANS: T
MSC: Factual
DIF:
Easy
REF:
379
TOP: Bernstein
DIF:
Easy
REF:
379
TOP: Bernstein
REF:
379
TOP: Bernstein
DIF:
Easy
9. Bernsteins West Side Story deals with rival youth gangs in Los Angeles.
ANS: F
MSC: Factual
DIF:
Easy
REF:
377
TOP: Bernstein
DIF:
Easy
REF:
380
TOP: Bernstein
ESSAY
1. Describe how the plots of musicals changed throughout the twentieth century. Cite examples
whenever possible.
ANS:
Answers will vary.
DIF: Medium
MSC: Applied
REF:
376f
2. Why did Leonard Bernstein employ vernacular musical styles in West Side Story? Describe how he
combined these qualities with the traditions of musical theater.
ANS:
Answers will vary.
DIF:
Hard
REF:
377f
TOP: Bernstein
MSC: Conceptual
DIF: Easy
c.
d.
REF:
TOP: Minimalism
DIF:
Medium
REF:
385
TOP: Minimalism
3. The process whereby several copies of a recorded musical idea are looped but at different speeds is
called:
a. process music.
c. phase music.
b. looping music.
d. musique concrte.
ANS: C
MSC: Applied
DIF:
Medium
REF:
385
TOP: Minimalism
DIF:
Medium
REF:
385
TOP: Reich
DIF:
Medium
REF:
DIF:
Medium
REF:
385
TOP: Reich
Java.
Mexico.
386
TOP: Reich
291
292 | Chapter 64
7. Steve Reich eventually embraced a more developed process-influenced style called:
a. process music.
c. polyrhythm.
b. chance music
d. minimalism.
ANS: D
MSC: Factual
DIF:
Medium
DIF:
Easy
REF:
c.
d.
REF:
386
TOP: Reich
synthesizer.
jazz violin.
386
TOP: Reich
DIF:
Medium
REF:
386
TOP: Reich
DIF:
Medium
REF:
386
TOP: Reich
11. Electric Counterpoint is intended for a live performer and ________ prerecorded tracks.
a. two
c. eight
b. four
d. fourteen
ANS: D
MSC: Factual
DIF:
Medium
REF:
386
TOP: Reich
12. The melody drums of a royal drum ensemble from Uganda are tuned to a ________ scale.
a. octatonic
c. pentatonic
b. diatonic
d. chromatic
ANS: C
MSC: Factual
DIF:
Medium
REF:
388
TOP: Reich
TRUE/FALSE
1. One reason for the success of serialism was its sense of scientific rigor.
ANS: T
MSC: Conceptual
DIF:
Medium
REF:
384
TOP: Minimalism
DIF: Hard
REF:
385
TOP: Minimalism
REF:
385
TOP: Minimalism
DIF:
Medium
4. Steve Reich was influenced by both African drumming and gamelan music.
ANS: T
MSC: Applied
DIF:
Easy
REF:
385
TOP: Reich
386
TOP: Minimalism
386
TOP: Minimalism
DIF:
Easy
REF:
DIF:
Easy
REF:
DIF:
Medium
REF:
386
TOP: Reich
DIF:
Hard
REF:
387
TOP: Reich
DIF:
Medium
REF:
386
TOP: Reich
DIF:
Medium
REF:
339
TOP: Reich
294 | Chapter 64
ESSAY
1. Describe the musical stages that brought Reich to minimalism. Include examples from the textbook in
your answer.
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.
ANS:
Answers will vary.
DIF:
Hard
REF:
385f
TOP: Reich
MSC: Conceptual
Chapter 65: Returning with Interest: Dylan, Corigliano, and Postmodern Reworkings
MULTIPLE CHOICE
1. Which of the following does NOT characterize the songs of Bob Dylan?
a. predictable form and melody
c. settings of his own poetry
b. texts full of imagery
d. complicated textures
ANS: A
MSC: Applied
DIF:
Medium
REF:
390f
TOP: Dylan
2. Which of the following composers is considered one of Americas greatest poets as well?
a. Aaron Copland
c. John Cage
b. Bob Dylan
d. George Crumb
ANS: B
MSC: Factual
DIF:
Medium
REF:
391
TOP: Dylan
DIF:
Hard
REF:
391
TOP: Dylan
4. Who had the greatest success with a recording of Dylans Mr. Tambourine Man?
a. Bob Dylan
c. the Byrds
b. Peter, Paul, and Mary
d. the Monkees
ANS: C
MSC: Factual
DIF:
Hard
REF:
391
TOP: Dylan
DIF:
Easy
REF:
392
TOP: Corigliano
DIF:
Hard
REF:
393
TOP: Corigliano
7. Which of the following does NOT characterize Coriglianos Mr. Tambourine Man?
a. disjunct melody
c. chromatic and dissonant harmony
b. predominantly contrapuntal texture
d. jazz qualities
ANS: B
MSC: Applied
DIF:
Hard
REF:
395
TOP: Corigliano
295
296 | Chapter 65
8. How many songs are included in Coriglianos Mr. Tambourine Man?
a. 3
c. 7
b. 6
d. 9
ANS: C
MSC: Factual
DIF:
Hard
REF:
395
TOP: Corigliano
DIF:
Hard
REF:
395
TOP: Corigliano
DIF:
Hard
REF:
394
TOP: Corigliano
TRUE/FALSE
1. Bob Dylan writes poems, composes songs, and performs his own music.
ANS: T
MSC: Factual
DIF:
Easy
REF:
390f
TOP: Dylan
2. Bob Dylan has performed his songs only with guitar accompaniment throughout his career to pay
homage to the tradition of folk music.
ANS: F
MSC: Factual
DIF:
Medium
REF:
390
TOP: Dylan
391
TOP: Dylan
DIF:
Hard
REF:
4. The text and music of Mr. Tambourine Man were written by Joan Baez.
ANS: F
MSC: Factual
DIF:
Easy
REF:
391
TOP: Dylan
DIF:
Medium
REF:
391
TOP: Dylan
DIF:
Medium
REF:
391f
TOP: Dylan
7. John Corigliano is known primarily as an opera composer and has written few orchestral works.
ANS: F
MSC: Applied
DIF:
Medium
REF:
394
TOP: Corigliano
DIF:
Hard
REF:
393
TOP: Corigliano
DIF:
Medium
REF:
393
TOP: Corigliano
10. Corigliano makes extensive us of the tambourine in Prelude: Mr. Tambourine Man.
ANS: T
MSC: Applied
DIF:
Easy
REF:
393
TOP: Corigliano
ESSAY
1. 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:
390f
MSC: Conceptual
2. Which aspects of Bob Dylans original song did John Corigliano retain in his Prelude from
Mr. Tambourine Man? What did he change? Include examples in your answer.
ANS:
Answers will vary.
DIF:
Hard
REF:
391f
TOP: Corigliano
MSC: Applied
Chapter 66: Neo-Romantic Evocations: Higdon and Program Music into the
Twenty-First Century
MULTIPLE CHOICE
1. The postmodern approach that mixes styles from the nineteenth century with contemporary ones is
called:
a. minimalism.
c. post-Romanticism.
b. post-minimalism.
d. neo-Romanticism.
ANS: D
MSC: Applied
DIF:
Medium
REF:
397
TOP: Neo-Romanticism
DIF: Hard
REF:
398
TOP: Higdon
DIF:
Hard
REF:
398
TOP: Neo-Romanticism
DIF:
Medium
REF:
398
TOP: Neo-Romanticism
5. Which of the following does NOT characterize the career of Jennifer Higdon?
a. She was a child prodigy on the piano.
c. She was awarded the Pulitzer Prize.
b. She studied with George Crumb.
d. She was influenced by the Beatles.
ANS: A
MSC: Factual
DIF:
Medium
REF:
398
TOP: Higdon
298
DIF: Hard
REF:
398
TOP: Higdon
Neo-Romantic Evocations: Higdon and Program Music into the Twenty-First Century | 299
7. Which of the following works is NOT by Higdon?
a. Fanfare Ritmico
c. Adagio for Strings
b. Concerto for Orchestra
d. Dooryard Bloom
ANS: C
MSC: Factual
DIF: Hard
REF:
398
TOP: Higdon
DIF:
Medium
DIF:
REF:
c.
d.
Medium
REF:
398
TOP: Higdon
concerto.
film score.
398
TOP: Higdon
DIF:
Easy
REF:
398
TOP: Higdon
TRUE/FALSE
1. Program music has continued to be prominent in recent music composition.
ANS: T
MSC: Applied
DIF:
Easy
REF:
397
TOP: Neo-Romanticism
397
TOP: Neo-Romanticism
DIF:
Easy
REF:
3. The nineteenth-century musical styles disappeared from concert halls during the twentieth century.
ANS: F
MSC: Applied
DIF:
Easy
REF:
397
TOP: Neo-Romanticism
DIF:
Easy
REF:
398
TOP: Neo-Romanticism
300 | Chapter 66
5. Neo-Romanticism absorbed some of the complexities of modernism.
ANS: T
MSC: Applied
DIF:
Easy
REF:
398
TOP: Neo-Romanticism
DIF:
Easy
REF:
398
TOP: Neo-Romanticism
DIF:
Medium
REF:
398
TOP: Higdon
8. Jennifer Higdons blue cathedral contains major triads but no strong sense of a key center.
ANS: T
MSC: Applied
DIF:
Hard
REF:
399
TOP: Higdon
DIF:
Easy
REF:
399
TOP: Higdon
399
TOP: Higdon
DIF:
Medium
REF:
ESSAY
1. Describe the basic tenants of neo-Romanticism.
ANS:
Answers will vary.
DIF: Hard
MSC: Conceptual
REF:
397f
TOP: Neo-Romanticism
2. Discuss how Jennifer Higdon creates a Romantic character within a modern musical style. Include
examples from the textbook in your answer.
ANS:
Answers will vary.
DIF:
Hard
REF:
398f
TOP: Higdon
MSC: Applied
DIF:
Easy
REF:
401f
2. Which of the following best describes the music at the climax of The Godfather?
a. The mood reflects the action.
b. The mood runs counter to the action.
c. No music is heard until the last moment.
d. The lack of music creates a sense of realism.
ANS: B
MSC: Applied
DIF:
Medium
REF:
402
3. Who composed the music for The Lord of the Rings trilogy?
a. John Williams
c. Howard Shore
b. James Horner
d. Tan Dun
ANS: C
MSC: Factual
DIF:
Medium
REF:
402
4. Which movie director has frequently used lighthearted rock music for scenes of graphic violence?
a. Steven Spielberg
c. Alfred Hitchcock
b. Quentin Tarantino
d. Ang Lee
ANS: B
MSC: Applied
DIF:
Hard
REF:
402
5. Music that is performed on screen and is part of the drama itself is called:
a. underscoring.
c. counter to the action.
b. leitmotifs.
d. source music.
ANS: D
MSC: Factual
DIF:
Medium
REF:
402
6. Which nineteenth-century composer was the inspiration for unity in film music through the use of
leitmotifs ?
a. Beethoven
c. Wagner
b. Brahms
d. Tchaikovsky
ANS: C
MSC: Factual
DIF:
Medium
REF:
402
301
302 | Chapter 67
7. Which of the following characterizes the career of John Williams?
a. He was a composer for the TV series Gilligans Island.
b. He was the composer for films such as Jaws and Star Wars.
c. He is a composer and conductor of concert music.
d. all of the above
ANS: D
MSC: Factual
DIF:
Easy
REF:
403
TOP: Williams
8. John Williams was the music director and principal conductor of the:
a. Los Angeles Philharmonic.
c. Boston Pops.
b. New York Philharmonic.
d. Vienna Philharmonic.
ANS: C
MSC: Factual
DIF:
Hard
REF:
403
TOP: Williams
9. Which of the following film scores was NOT composed by John Williams?
a. Schindlers List
c. Superman
b. Titanic
d. Harry Potter and the Sorcerers Stone
ANS: B
MSC: Factual
DIF:
Medium
REF:
403
TOP: Williams
10. Which of the following does NOT characterize the Imperial March?
a. It features brass instruments.
c. It is a theme and variations.
b. It creates a dark, menacing mood.
d. It uses simple march harmonies.
ANS: D
MSC: Applied
DIF:
Medium
REF:
404
TOP: Williams
DIF:
Hard
REF:
403
TOP: Williams
12. Tan Dun combines Western musical styles with those of:
a. China
c. Korea
b. Japan
d. Java
ANS: A
MSC: Applied
DIF:
Easy
REF:
405
DIF:
Hard
REF:
405
DIF:
Medium
REF:
405
15. The Chinese melodic instrument prominent in Farewell from Crouching Tiger, Hidden Dragon is the:
a. erhu.
c. tao.
b. pipa.
d. yueqin.
ANS: A
MSC: Factual
DIF:
REF:
405
DIF:
Hard
REF:
DIF:
Hard
c.
d.
REF:
DIF:
Hard
REF:
DIF:
Hard
c.
d.
c.
d.
REF:
406
multimedia ensemble
video game
408
Nobuo Uematsu
Ge Wang
409
20. Which of the following does NOT characterize Aeriths Theme from Final Fantasy VII?
a. large orchestra
c. two primary themes
b. unpredictable form
d. distinctive use of dynamics
ANS: B
MSC: Applied
DIF:
Hard
REF:
409
304 | Chapter 67
TRUE/FALSE
1. Most Hollywood films use music to establish an overall mood, not to reflect the emotional content of
a given scene.
ANS: F
MSC: Conceptual
DIF:
Easy
REF:
401
2. Film music that contradicts the mood of a scene is referred to as running counter to the action.
ANS: T
MSC: Factual
DIF:
Easy
REF:
402
DIF:
Easy
REF:
402
4. In films, music that can be heard by a character on the screen is called underscoring.
ANS: F
MSC: Factual
DIF:
Easy
REF:
402
5. The use of leitmotifs in the Star Wars films mirrors that in Wagners Ring cycle.
ANS: T
MSC: Applied
DIF:
Medium
REF:
402
TOP: Williams
DIF:
Medium
REF:
404
TOP: Williams
7. Unlike Tan Dun, John Williams devotes his compositional activities strictly to films.
ANS: F
MSC: Factual
DIF:
Easy
REF:
403
TOP: Williams
8. One of the highlights of John Williamss career is his Internet Symphony No. 1.
ANS: F
MSC: Factual
DIF:
Hard
REF:
405
DIF:
Medium
REF:
405
DIF:
Medium
REF:
405
ESSAY
1. Describe the roles that music plays in film. What do you think are the advantages and disadvantages
of using music in films? Include examples from films you have seen.
ANS:
Answers will vary.
DIF:
Medium
REF:
401f
MSC: Conceptual
2. What are some of the film scores composed by John Williams? What makes his music so successful?
ANS:
Answers will vary.
DIF:
Medium
REF:
402f
TOP: Williams
MSC: Conceptual
3. Describe the mixture of East and West in the music and film scores of Tan Dun. Include examples
from the textbook in your answer.
ANS:
Answers will vary.
DIF:
Medium
REF:
405f
MSC: Conceptual
DIF:
Medium
REF:
410
TOP: Minimalism
DIF:
Medium
REF:
410f
TOP: Minimalism
3. Which composer fused Russian Orthodox rituals with folk music and Gregorian chant?
a. Arvo Prt
c. Steve Reich
b. Henryk Grecki
d. Jennifer Higdon
ANS: A
MSC: Applied
DIF:
Medium
REF:
DIF:
Easy
c.
d.
REF:
DIF:
Medium
c.
d.
REF:
411
TOP: Minimalism
German
Polish
411
TOP: Tavener
Judaism
Greek Orthodoxy
411
TOP: Tavener
6. Taveners Song for Athene was performed at the funeral service for:
a. John Lennon.
c. Princess Diana.
b. John F. Kennedy.
d. Michael Jackson.
ANS: C
MSC: Factual
306
DIF:
Hard
REF:
411
TOP: Tavener
DIF:
Hard
REF:
411
TOP: Tavener
8. How does Greek Orthodox chant differ from Western Christian chant?
a. It includes microtones.
b. It incorporates irregular rhythmic patterns.
c. It is not sung in Latin.
d. all of the above
ANS: D
MSC: Applied
DIF:
Hard
REF:
411
TOP: Tavener
9. Taveners Hymn to the Mother of God is sung several times a year, most notably:
a. at Christmas.
c. during Lent.
b. at Easter.
d. during Advent.
ANS: C
MSC: Factual
DIF:
Hard
REF:
412
TOP: Tavener
10. Which of the following does NOT characterize Taveners Hymn to the Mother of God?
a. major and minor harmonic progressions c. procedures of minimalism
b. drones that create dissonances
d. slow-moving counterpoint
ANS: A
MSC: Applied
DIF:
Medium
REF:
412
TOP: Tavener
11. Which of the following describes the accompaniment for Taveners Hymn to the Mother of God?
a. It is written for four pianos.
c. It is written for percussion ensemble.
b. It is written for full orchestra.
d. There is no instrumental accompaniment.
ANS: D
MSC: Applied
DIF:
Easy
REF:
412
TOP: Tavener
DIF:
Medium
REF:
413
TOP: Tavener
TRUE/FALSE
1. Despite the secularization of the world as a whole, a number of composers still write music with
spiritual goals.
ANS: T
MSC: Applied
DIF:
Medium
REF:
410
TOP: Minimalism
308 | Chapter 68
2. Spiritual minimalism is characterized by a strong rhythmic pulse.
ANS: F
MSC: Applied
DIF:
Medium
REF:
410
TOP: Minimalism
DIF:
Hard
REF:
410
TOP: Minimalism
4. The Estonian composer Arvo Prt incorporates the fervent mysticism of Russian Orthodox rituals
into his works.
ANS: T
MSC: Applied
DIF:
Hard
REF:
410f
TOP: Minimalism
DIF:
Easy
REF:
411
TOP: Tavener
6. The chants for the Greek Orthodox and Western Christian churches retained similar melodies and
compositional procedures.
ANS: F
MSC: Applied
DIF:
Easy
REF:
411
TOP: Tavener
DIF:
Medium
REF:
411
TOP: Tavener
8. The text of Taveners Hymn to the Mother of God is attributed to Saint John Damascene.
ANS: T
MSC: Applied
DIF:
Hard
REF:
412
TOP: Tavener
9. Taveners Hymn to the Mother of God contains no links to medieval and Renaissance polyphony.
ANS: F
MSC: Applied
DIF:
Easy
REF:
412
TOP: Tavener
10. In keeping with non-Western musical tradition, Tavener avoids triads in his music.
ANS: F
MSC: Applied
DIF:
Medium
REF:
413
TOP: Tavener
Hard
REF:
410f
TOP: Minimalism
MSC: Applied
2. How is John Taveners religious background reflected in his music? Include examples from the
textbook in your answer.
ANS:
Answers will vary.
DIF:
Hard
REF:
411f
TOP: Tavener
MSC: Conceptual
DIF:
Medium
REF:
414
TOP: Opera
DIF:
Medium
REF:
414
TOP: Adams
3. Although educated at Harvard, John Adams has spent most of his career in:
a. Paris, France.
c. El Paso, Texas.
b. Vienna, Austria.
d. San Francisco, California.
ANS: D
MSC: Factual
DIF:
Hard
REF:
415
TOP: Adams
DIF:
Medium
REF:
415
TOP: Adams
DIF:
Medium
REF:
415
TOP: Adams
310
DIF:
Easy
REF:
415
TOP: Adams
DIF:
Hard
c.
d.
REF:
Bob Dylan.
Alice Goodman.
415
TOP: Adams
8. Which of the following was NOT a source for the libretto of Doctor Atomic?
a. John Donnes poetry
c. William Shakespeares sonnets
b. sacred Hindu scripture
d. Charles Baudelaires poetry
ANS: C
MSC: Factual
DIF:
Easy
REF:
415
TOP: Adams
9. Which of the following is NOT among the performing forces for At the sight of this, from Doctor
Atomic?
a. chorus
c. orchestra
b. piano
d. electronic sounds
ANS: B
MSC: Factual
DIF:
Medium
REF:
417
TOP: Adams
10. Which of the following does NOT describe At the sight of this from Adamss Doctor Atomic?
a. It avoids dissonance.
c. The mood is fiery.
b. It is syncopated with offbeat accents.
d. It has a verse-refrain structure.
ANS: A
MSC: Applied
DIF:
Medium
REF:
417
TOP: Adams
TRUE/FALSE
1. John Adams can be considered a post-minimalist composer.
ANS: T
MSC: Applied
DIF:
Easy
REF:
414
TOP: Adams
DIF:
Medium
REF:
414
TOP: Adams
REF:
415
TOP: Adams
DIF:
Medium
DIF:
Medium
REF:
415
TOP: Adams
312 | Chapter 69
5. John Adams won a Pulitzer Prize for On the Transmigration of Souls.
ANS: T
MSC: Factual
DIF:
Medium
REF:
415
TOP: Adams
6. Doctor Atomic tells of the events leading to the initial test of the first atomic bomb.
ANS: T
MSC: Factual
DIF:
Medium
REF:
415
TOP: Adams
7. The libretto of Doctor Atomic includes excerpts from the Hindu Bhagavad Gita, even though
Oppenheimer was unfamiliar with that text.
ANS: F
MSC: Factual
DIF:
Medium
REF:
415
TOP: Adams
DIF:
Medium
REF:
417
TOP: Adams
9. At the sight of this from Doctor Atomic is highlighted by long, lyric melodies sung by
Oppenheimer.
ANS: F
MSC: Applied
DIF:
Medium
REF:
417
TOP: Adams
DIF:
Medium
REF:
416
TOP: Adams
ESSAY
1. How do minimalism and post-minimalism differ? Cite specific examples from the music of John
Adams.
ANS:
Answers will vary.
DIF:
Hard
REF:
414f
TOP: Adams
MSC: Conceptual
2. Discuss the variety of sources for the libretto and music of Dr. Atomic.
ANS:
Answers will vary.
DIF:
Hard
REF:
415f
TOP: Adams
MSC: Applied