The Enjoyment of Music
March 3, 2017 | Author: MichaelJamesChristopherConklin | Category: N/A
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The Enjoyment of Music by Machlis...
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TEST BANK
The Enjoyment of Music TWELFTH EDITION, SHORTER
Roger Hickman CALIFORNIA STATE UNIVERSITY, LONG BEACH
BnW • W • NORTON & COMPANY, INC. • NEW YORK • LONDON
W. W. Norton & Company has been independent since its founding in 1923, when William Warder Norton and Mary D. Herter Norton first published lectures delivered at the People’s Institute, the adult education division of New York City’s Cooper Union. The firm soon expanded its program beyond the Institute, publishing books by celebrated academics from America and abroad. By mid-century, the two major pillars of Norton’s publishing program—trade books and college texts—were firmly established. In the 1950s, the Norton family transferred control of the company to its employees, and today—with a staff of 400 and a comparable number of trade, college, and professional titles published each year—W. W. Norton & Company stands as the largest and oldest publishing house owned wholly by its employees.
Copyright © 2015, 2011, 2007, 2003, 1999, 1995, 1990 by W. W. Norton & Company, Inc. All rights reserved Twelfth Edition, Shorter Production Manager: Jane Searle
W. W. Norton & Company, Inc., 500 Fifth Avenue, New York, NY 10110 wwnorton.com W. W. Norton & Company Ltd., Castle House, 75/76 Wells Street, London W1T 3QT
CONTENTS
Part 1
Materials of Music
Prelude 1 | Listening to Music Today
1
Chapter 1 | Melody: Musical Line
4
Chapter 2 | Rhythm and Meter: Musical Time
8
Chapter 3 | Harmony: Musical Depth
13
Chapter 4 | The Organization of Musical Sounds
17
Chapter 5 | Musical Texture
23
Chapter 6 | Musical Form
27
Chapter 7 | Musical Expression: Tempo and Dynamics
31
Chapter 8 | Music and Words
34
Chapter 9 | Voices and Instrument Families
37
Chapter 10 | Western Musical Instruments
40
Chapter 11 | Musical Ensembles
46
Chapter 12 | Style and Function of Music in Society
50
Part 2 The Middle Ages and Renaissance
Chapter 15 | Symbols and Puzzles: Machaut and the Medieval Mind
64
Chapter 16 | Singing in Friendship: The Renaissance Madrigal
67
Chapter 17 | Remember Me: Personalizing the Motet in the Renaissance
70
Chapter 18 | Glory Be: Music for the Renaissance Mass
73
Chapter 19 | Instrumental Movements: Medieval and Renaissance Dance Music
77
Part 3 The Baroque Era Prelude 3 | Music as Exploration and Drama
80
Chapter 20 | Voicing the Virgin: Cozzolani and Italian Baroque Sacred Music
85
Chapter 21 | Performing Grief: Purcell and Early Opera
88
Chapter 22 | Musical Sermons: Bach and the Lutheran Cantata
92
Chapter 23 | Textures of Worship: Handel and the English Oratorio
96
Prelude 2 | Music as Commodity and Social Activity
53
Chapter 24 | Independent Study: Billings and the North American Sacred Tradition
100
Chapter 13 | Voice and Worship: Tradition and Individuality in Medieval Chant
57
Chapter 25 | Grace and Grandeur: The Baroque Dance Suite
104
Chapter 14 | Layering Lines: Polyphony at Notre Dame
61
Chapter 26 | Sounding Spring: Vivaldi and the Baroque Concerto
108
iii
iv | Contents Chapter 27 | Process as Meaning: Bach and the Fugue
Part 4
112
Eighteenth-Century Classicism
Prelude 4 | Music as Order and Logic Chapter 28 | Musical Conversations: Haydn and Classical Chamber Music Chapter 29 | The Ultimate Instrument: Haydn and the Symphony
116 121 126
Chapter 45 | Total Art: Wagner and German Romantic Opera
198
Chapter 46 | Poetry in Motion: Tchaikovsky and the Ballet
203
Chapter 47 | Exotic Allure: Puccini and the Italian Verismo Tradition
207
Chapter 48 | Accepting Death: Fauré and the Requiem
211
Chapter 49 | Mythical Impressions: Program Music at the End of the Nineteenth Century
214
Chapter 30 | Expanding the Conversation: Mozart, Chamber Music, and Larger Forms
130
Chapter 50 | Jubilees and Jubilation: The African American Spiritual Tradition
220
Chapter 31 | Conversation with a Leader: The Classical Concerto
135
Chapter 51 | A Good Beat: American Vernacular Music at the Close of an Era
224
Chapter 32 | Personalizing the Conversation: Beethoven and the Classical Sonata
138
Chapter 33 | Disrupting the Conversation: Beethoven and the Symphony in Transition 142
Part 6 Twentieth-Century Modernism Prelude 6 | Making Music Modern
228
Chapter 52 | Anything Goes: Schoenberg and Musical Expressionism
234
Chapter 53 | Calculated Shock: Stravinsky and Modernist Multimedia
239
Chapter 54 | Still Sacred: Religious Music in the Twentieth Century
243
151
Chapter 55 | War Is Hell: Berg and Expressionist Opera
246
Chapter 36 | Musical Reading: Schubert, Schumann, and the Early Romantic Lied
157
Chapter 56 | American Intersections: Jazz and Blues Traditions
250
Chapter 37 | Marketing Music: Foster and Early “Popular” Song
164
Chapter 57 | Modern America: Still and Musical Modernism in the United States
256
Chapter 38 | Dancing at the Keyboard: Chopin and Romantic Piano Music
167
Chapter 58 | Folk Opera? Gershwin and Jazz as “Art”
259
Chapter 39 | Musical Diaries: Hensel and Programmatic Piano Music
172
Chapter 59 | Sounds American: Ives, Copland, and Musical Nationalism
263
Chapter 40 | Piano Triumphant: Gottschalk and Romantic Virtuosity
175
Chapter 60 | Also American: Revueltas and Mexican Musical Modernism 268
Chapter 41 | Personal Soundtracks: Berlioz and the Program Symphony
178
Chapter 61 | Classic Rethinking: Bartók and the “Neo-Classical” Turn
Chapter 42 | Sounding a Nation: Grieg and Orchestral Nationalism
183
Chapter 43 | Absolutely Classic: Brahms and the Nineteenth-Century Symphony
188
Chapter 44 | Multimedia Hits: Verdi and Italian Romantic Opera
193
Chapter 34 | Making It Real: Mozart and Classical Opera
145
Chapter 35 | Mourning a Hero: Mozart and the Requiem
148
Part 5 The Nineteenth Century Prelude 5 | Music as Passion and Individualism
272
Part 7 Postmodernism: The Twentieth Century and Beyond Prelude 7 | Beyond Modernism? Chapter 62 | New Sound Palettes: Mid-TwentiethCentury American Experimentalists
277 282
Contents | v Chapter 63 | Staged Sentiment: Bernstein and American Musical Theater
287
Chapter 67 | Underscoring Meaning: Music for Film
301
Chapter 64 | Less Is More: Reich and Minimalist Music
291
Chapter 68 | Icons in Sound: Tavener and Postmodern Orthodoxy
306
Chapter 69 | Reality Shows: Adams and Contemporary Opera
310
Chapter 65 | Returning with Interest: Dylan, Corigliano, and Postmodern Reworkings
295
Chapter 66 | Neo-Romantic Evocations: Higdon and Program Music into the TwentyFirst Century
298
Prelude 1: Listening to Music Today MULTIPLE CHOICE 1. Which of the following are NOT good sources of concert information? a. city and college newspapers c. college music or fine arts departments b. websites of nearby venues d. recently issued CDs ANS: D MSC: Applied
DIF:
Easy
REF: 4
TOP: Concerts
2. What is the best way to prepare in advance to attend an opera? a. practice speaking the language in which it will be performed b. read an overview of the plot c. buy a new outfit to wear d. read biographies of the singers ANS: B MSC: Applied
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
5. During a concert, it is appropriate to leave your seat: a. whenever you are bored. c. only at the end of the program. b. during breaks in the works. d. only during intermission and at the end. ANS: D MSC: Applied
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
1
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.
only at the ends of complete works. only at the close of the concert.
REF: 7
TOP: Concerts
8. Which of the following is NOT an established concert tradition? a. performers wearing dark clothing b. question-and-answer sessions with the audience during the concert c. pianists and singers performing from memory d. orchestras standing when the conductor enters ANS: B MSC: Factual
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
6. Concert artists wear black attire to be dramatic and to attract notice. ANS: F MSC: Conceptual
DIF:
Medium
REF: 7
TOP: Concerts
Listening to Music Today | 3 ESSAY 1. Discuss the role of music in modern life. ANS: Answers will vary. DIF:
Easy
REF: 4
TOP: Concerts
MSC: Conceptual
2. What is the best way to prepare for going to a concert? ANS: Answers will vary. DIF:
Easy
REF: 4
TOP: Concerts
MSC: Conceptual
Chapter 1: Melody: Musical Line MULTIPLE CHOICE 1. In determining pitch, what is meant by frequency? a. how often the pitch is heard b. how fast the pitches are played c. the span between the highest and lowest notes d. the number of vibrations per second ANS: D MSC: Factual
DIF:
Easy
REF: 8
TOP: Melody
2. Musical sounds are represented by symbols called: a. pitches. c. notes. b. cues. d. amplitudes. ANS: C MSC: Factual
DIF:
Easy
REF: 8
TOP: Melody
3. By definition, a musical sound has: a. a perceivable pitch and a measurable frequency. b. a certain volume. c. a distinct timbre. d. all of the above ANS: D MSC: Factual
DIF:
Easy
REF: 8
TOP: Melody
4. A succession of single tones or pitches perceived as a unit is called: a. an interval. c. a harmony. b. a melody. d. a chord. ANS: B MSC: Factual
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
6. The distance between two pitches is called a(n): a. interval. c. b. phrase. d. ANS: A MSC: Factual
4
DIF:
Easy
TOP: Melody
cadence. countermelody.
REF: 9
TOP: Melody
Melody: Musical Line | 5 7. Which term describes a melody that moves by small intervals? a. consonant c. dissonant b. conjunct d. disjunct ANS: B MSC: Factual
DIF:
Medium
REF: 9
8. A melody can be characterized by: a. its range. b. its shape. ANS: D MSC: Conceptual
DIF:
Medium
c. d.
ANS: B MSC: Conceptual
DIF:
Hard
the way it moves. all of the above
REF: 9
9. Why is Beethoven’s Ode to Joy easy to sing? a. It has a wide range. b. It is conjunct.
c. d.
TOP: Melody
TOP: Melody
It has phrases of unequal lengths. It has no cadences.
REF: 9
TOP: Melody
10. A unit of meaning within the larger structure of a melody is called a: a. phrase. c. cadence. b. stanza. d. climax. ANS: A MSC: Factual
DIF:
Medium
REF: 9
TOP: Melody
11. The resting place at the end of a phrase is called a: a. pause. c. cadence. b. period. d. comma. ANS: C MSC: Factual
DIF:
Easy
REF: 9
TOP: Melody
12. Musical punctuation, which is similar to a comma or period in a sentence, is called a: a. cadence. c. chord. b. syncopation. d. scale. ANS: A MSC: Factual
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
3. Tone color is a property of pitch. ANS: T MSC: Factual
DIF:
Medium
4. The overall shape of a melody is called its range. ANS: F MSC: Factual
DIF:
Medium
REF: 9
TOP: Melody
5. Melodies that move principally by small, connected intervals are conjunct. ANS: T MSC: Factual
DIF:
Medium
REF: 9
TOP: Melody
6. Melodies that skip in disjointed intervals are disjunct. ANS: T MSC: Factual
DIF:
Medium
REF: 9
TOP: Melody
REF: 9
TOP: Melody
7. A phrase is a component unit of a melody. ANS: T MSC: Factual
DIF:
Easy
8. The phrases in the tune Amazing Grace are of unequal length. ANS: F MSC: Applied
DIF:
Hard
REF: 9
TOP: Melody
Melody: Musical Line | 7 9. The melody of The Star-Spangled Banner is best described as conjunct. ANS: F MSC: Applied
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
3. Compare the structure of a melody with the form of a sentence. ANS: Answers will vary. DIF:
Hard
REF: 9
TOP: Melody
MSC: Conceptual
Chapter 2: Rhythm and Meter: Musical Time MULTIPLE CHOICE 1. Music is propelled forward in time by: a. harmony. b. rhythm. ANS: B MSC: Factual
DIF:
Easy
c. d.
texture. timbre.
REF: 11
TOP: Rhythm
2. The element of music that organizes movement in time is: a. rhythm. c. harmony. b. melody. d. form. ANS: A MSC: Factual
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
5. Organizing patterns of rhythmic pulses are called: a. offbeats. c. syncopations. b. meters. d. polyrhythms. ANS: B MSC: Factual
DIF:
Easy
6. Meter is marked off in groupings known as: a. phrases. b. measures. ANS: B MSC: Factual
DIF:
Easy
REF:
c. d. REF:
11
TOP: Rhythm
cadences. chords. 11
TOP: Rhythm
7. The first accented beat of a measure is called a(n): a. syncopated beat. c. upbeat. b. simple beat. d. downbeat. ANS: D MSC: Factual
8
DIF:
Easy
REF:
12
TOP: Rhythm
Rhythm and Meter: Musical Time | 9 8. The metric pattern in which a strong beat alternates with a weak one is called: a. triple meter. c. quadruple meter. b. duple meter. d. compound meter. ANS: B MSC: Factual
DIF:
Medium
REF:
12
TOP: Rhythm
9. Which meter would most likely be associated with a march? a. duple c. quadruple b. triple d. compound ANS: A MSC: Applied
DIF:
Medium
REF:
10. In triple meter, the strongest pulse occurs on: a. the first beat. b. the second beat. ANS: A MSC: Applied
DIF:
Easy
c. d.
REF:
12
TOP: Rhythm
the third beat. all beats equally. 12
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
13. In sextuple meter, the principal accents usually fall on: a. beats 1 and 3. c. beats 2 and 4. b. beats 1 and 4. d. beats 3 and 6. ANS: B MSC: Applied
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
16. A weak beat in a measure is called a(n): a. offbeat. b. syncopation. ANS: A MSC: Factual
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
19. The simultaneous use of two or more rhythmic patterns is called: a. polyrhythm. c. additive meter. b. syncopation. d. compound meter. ANS: A MSC: Factual
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
Rhythm and Meter: Musical Time | 11 2. Measures mark off groupings of beats, each with a fixed number that coincides with the meter. ANS: T MSC: Factual
DIF:
Medium
REF:
113
TOP: Rhythm
REF:
11
TOP: Rhythm
3. Meter is the measurement of musical time. ANS: T MSC: Factual
DIF:
Medium
4. Meter is an organizing principle shared by music and poetry. ANS: T MSC: Applied
DIF:
Hard
REF:
11
TOP: Rhythm
5. “Twinkle, Twinkle, Little Star” is an example of triple meter. ANS: F MSC: Applied
DIF:
Hard
REF:
13
TOP: Rhythm
6. Syncopation is a rhythmic characteristic of American jazz. ANS: T MSC: Applied
DIF:
Hard
REF:
12
TOP: Rhythm
7. Syncopation is typical of African American dance music and spirituals. ANS: T MSC: Factual
DIF:
Hard
REF:
12
TOP: Rhythm
8. Polyrhythms are characteristic of musics of many African cultures. ANS: T MSC: Factual
DIF:
Medium
REF:
12
TOP: Rhythm
9. All world musics feature a strong regular pulse or beat. ANS: F MSC: Applied
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
Chapter 3: Harmony: Musical Depth MULTIPLE CHOICE 1. The depth resulting from simultaneous events in music is described by the term: a. texture. c. dissonance. b. harmony. d. melody. ANS: B MSC: Factual
DIF:
Easy
REF:
2. Harmony is to music as ________ is to painting. a. the frame c. b. color d. ANS: C MSC: Conceptual
DIF:
Hard
REF:
14
TOP: Harmony
perspective the brush 14
TOP: Harmony
3. The distance and relationship between two tones is referred to as a(n): a. interval. c. octave. b. scale. d. chord. ANS: A MSC: Factual
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
5. A collection of pitches arranged in ascending or descending order is called a(n): a. scale. c. interval. b. chord. d. octave. ANS: A MSC: Factual
DIF:
Medium
REF:
6. An interval spanning eight notes is called a(n): a. chord. c. b. fifth. d. ANS: D MSC: Factual
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
8. The first note of the scale is called the: a. octave. b. triad. ANS: C MSC: Factual
DIF:
Medium
REF:
c. d. REF:
14
TOP: Harmony
tonic. dominant. 15
TOP: Harmony
9. The principle of organization around a central tone is called: a. chromaticism. c. consonance. b. tonality. d. centralization. ANS: B MSC: Factual
DIF:
Easy
REF:
15
TOP: Harmony
10. Of the following, which does NOT describe a dissonance? a. It is a discordant sound. c. It sustains a sense of stability. b. It creates a need for resolution. d. It creates tension. ANS: C MSC: Factual
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
Harmony: Musical Depth | 15 14. A single, sustained pitch against which melodic and rhythmic complexities unfold is called a: a. drone. c. tonality. b. dissonance. d. tonic. ANS: A MSC: Factual
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
2. A triad is a chord made up of three tones. ANS: T MSC: Factual
DIF:
Easy
3. Three alternate notes of a scale, sounded simultaneously, form a triad. ANS: T MSC: Factual
DIF:
Hard
REF:
14
TOP: Harmony
4. Melody and harmony function independently of each other. ANS: F MSC: Applied
DIF:
Medium
REF:
15
TOP: Harmony
5. The principle of organization around a central tone is called tonality. ANS: T MSC: Factual
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
7. Harmonic movement is generated by motion toward a goal or resolution. ANS: T MSC: Applied
DIF:
Medium
REF:
15
TOP: Harmony
8. Harmonic movement in music receives its maximum tension from consonance. ANS: F MSC: Applied
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
2. Describe the role of dissonance in harmony. ANS: Answers will vary. DIF:
Medium
REF:
15
Chapter 4: The Organization of Musical Sounds MULTIPLE CHOICE 1. How many notes in a scale does an octave span? a. five c. b. six d. ANS: C MSC: Factual
DIF:
Easy
REF:
eight ten 17
TOP: Musical sounds
2. In Western music, the octave is divided into ________ equal intervals. a. six c. twelve b. eight d. fifteen ANS: C MSC: Factual
DIF:
Hard
REF:
17
TOP: Musical sounds
3. The smallest interval in the Western musical system is the: a. half step. c. octave. b. whole step. d. third. ANS: A MSC: Factual
DIF:
Easy
REF:
17
TOP: Musical sounds
4. A twelve-tone scale, including all the semitones of the octave, is called: a. chromatic. c. major. b. diatonic. d. minor. ANS: A MSC: Factual
DIF:
Easy
5. The musical symbol # represents a: a. note. b. sharp. ANS: B MSC: Factual
DIF:
Hard
REF:
c. d. REF:
17
TOP: Musical sounds
flat. pitch. 18
TOP: Musical sounds
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
TOP: Musical sounds
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
TOP: Musical sounds
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
TOP: Musical sounds
9. A group of related tones with a common center, a tonic, is called a(n): a. interval. c. octave. b. key. d. melody. ANS: B MSC: Factual
DIF:
Easy
REF:
18
TOP: Musical sounds
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
TOP: Musical sounds
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
TOP: Musical sounds
12. Which of the following characterizes the minor scale? a. It has a lowered third degree. c. It sounds the same as the major mode. b. It always begins on the note F. d. It is made entirely of half steps. ANS: A MSC: Factual
DIF:
Hard
REF:
19
TOP: Musical sounds
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
TOP: Musical sounds
14. With which era is chromatic music most frequently associated? a. Romantic c. Classical b. Renaissance d. Middle Ages ANS: A MSC: Factual
DIF:
Easy
REF:
20
TOP: Musical sounds
The Organization of Musical Sounds | 19 15. How many notes make up a pentatonic scale? a. eight c. b. five d. ANS: B MSC: Factual
DIF:
Medium
REF:
twelve four 20
TOP: Musical sounds
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
TOP: Musical sounds
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
TOP: Musical sounds
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
TOP: Major-minor system
19. The tonic chord is represented by the symbol ________. a. I c. V b. IV d. VII ANS: A MSC: Factual
DIF:
Medium
REF:
20
TOP: Major-minor system
20. In harmony, the ________ is considered a place of rest and return. a. tonic c. subdominant b. dominant d. leading tone ANS: A MSC: Factual
DIF:
Medium
REF:
20
TOP: Major-minor system
21. The dominant chord is represented by the symbol ________. a. I c. V b. IV d. VII ANS: C MSC: Factual
DIF:
Medium
REF:
20
TOP: Major-minor system
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
TOP: Major-minor system
23. The three most important triads in diatonic harmony are: a. I, III, and V. c. I, IV, and V. b. I, V, and VII. d. I, VI, and VII. ANS: C MSC: Factual
DIF:
Medium
REF:
20
TOP: Major-minor system
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
TOP: Major-minor system
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
TOP: Major-minor system
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
TOP: Musical sounds
2. All musical cultures of the world divide the octave into twelve equal half steps. ANS: F MSC: Factual
DIF:
Hard
REF:
17
TOP: Musical sounds
18
TOP: Musical sounds
3. A sharp lowers a musical tone by a half step. ANS: F MSC: Factual
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
TOP: Musical sounds
The Organization of Musical Sounds | 21 5. Within a key, the central tone is called the semitone. ANS: F MSC: Factual
DIF:
Easy
REF:
18
TOP: Musical sounds
6. A major scale can begin on any of the twelve semitones of the octave. ANS: T MSC: Factual
DIF:
Hard
REF:
18
TOP: Musical sounds
7. Chromatic music is most closely associated with the Classical era. ANS: F MSC: Factual
DIF:
Medium
REF:
20
TOP: Musical sounds
8. A variety of world musics make use of pentatonic scales. ANS: T MSC: Factual
DIF:
Medium
REF:
20
TOP: Musical sounds
9. All pentatonic scales use the same notes and thus sound the same. ANS: F MSC: Factual
DIF:
Hard
REF:
0
TOP: Musical sounds
REF:
20
TOP: Musical sounds
10. A tritonic scale is made up of eight notes. ANS: F MSC: Factual
DIF:
Easy
11. Although common in jazz, inflecting a pitch is unusual in most Western music. ANS: T MSC: Factual
DIF:
Medium
REF:
20
TOP: Major-minor system
12. Active chords seek to resolve to resting chords, imparting a sense of direction or goal. ANS: T MSC: Factual
DIF:
Easy
REF:
20
TOP: Major-minor system
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
TOP: Major-minor system
14. The process of passing from one key to another is known as modulation. ANS: T MSC: Factual
DIF:
Easy
REF:
21
TOP: Major-minor system
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
TOP: Major-minor system
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
TOP: Musical sounds
2. What makes major and minor scales sound different? Describe the character of each. ANS: Answers will vary. DIF: Medium MSC: Conceptual
REF:
18f
TOP: Musical sounds
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
TOP: Musical sounds
Chapter 5: Musical Texture MULTIPLE CHOICE 1. The element that describes the musical fabric, or the relationship of musical lines within a work, is called: a. harmony. c. texture. b. meter. d. timbre. ANS: C MSC: Factual
DIF:
Easy
REF:
22
TOP: Texture
2. A texture featuring a single, unaccompanied line is called: a. monophonic. c. polyphonic. b. homophonic. d. contrapuntal. ANS: A MSC: Factual
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
4. Traditional music of the Far East is largely: a. homophonic. b. contrapuntal. ANS: D MSC: Factual
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
11. A composition with strict imitation throughout is called a(n): a. canon. c. augmentation. b. retrograde. d. sequence. ANS: A MSC: Factual
DIF:
Hard
REF:
12. A simple and familiar type of canon is called a: a. theme. c. b. motive. d. ANS: C MSC: Factual
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
2. Traditional music of the Middle and Far East is typically polyphonic. ANS: F MSC: Factual
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
4. The art of counterpoint is most closely associated with monophonic texture. ANS: F MSC: Applied
DIF:
Medium
REF:
22
TOP: Texture
5. A heterophonic texture frequently occurs in music involving improvisation, such as jazz. ANS: T MSC: Factual
DIF:
Hard
REF:
23
TOP: Texture
6. “Homophonic” describes a single-voiced texture without accompaniment. ANS: F MSC: Factual
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
8. Most compositions have one type of texture exclusively. ANS: F MSC: Applied
DIF:
Medium
REF:
24
TOP: Texture
9. In imitation, a melodic idea in one voice is restated in another. ANS: T MSC: Applied
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
2. Describe what is meant by the terms imitation and canon in music. ANS: Answers will vary. DIF:
Medium
REF:
25
TOP: Texture
MSC: Applied
Chapter 6: Musical Form MULTIPLE CHOICE 1. What quality of a work of art refers to its structure or shape? a. theme c. form b. melody d. harmony ANS: C MSC: Factual
DIF:
Easy
REF:
26
TOP: Form
2. The basic structural concepts in the element of form are: a. repetition and contrast. c. polyphonic and homophonic. b. major and minor. d. duple and triple. ANS: A MSC: Factual
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
8. Ternary form is represented by the pattern: a. A-B. b. A-A-A. ANS: C MSC: Factual
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 theme’s 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
11. A basic technique in thematic development is the fragmentation of themes into: a. melodies. c. rhythms. b. motives. d. notes. ANS: B MSC: Factual
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
15. The separate sections of a large musical work are called: a. songs. c. movements. b. symphonies. d. chapters. ANS: C MSC: Factual
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
3. Improvisation is common in Western music, but not in non-Western music. ANS: F MSC: Factual
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
5. Ternary form is best outlined as A-B-A. ANS: T MSC: Factual
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
10. A movement is a complete, comparatively independent division of a large-scale work. ANS: T MSC: Factual
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
2. Describe the role of a theme in music. ANS: Answers will vary. DIF:
Hard
REF:
27f
Chapter 7: Musical Expression: Tempo and Dynamics MULTIPLE CHOICE 1. The rate of speed at which a piece of music is played is its: a. meter. c. movement. b. tempo. d. mood. ANS: B MSC: Factual
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
4. In what language are tempo markings generally given? a. Italian c. German b. French d. Dutch ANS: A MSC: Factual
DIF:
Easy
REF:
5. Which marking is appropriate for a slow tempo? a. andante c. b. adagio d. ANS: B MSC: Applied
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
7. Which of the following tempo markings is the fastest? a. presto c. moderato b. vivace d. allegro ANS: A MSC: Applied
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:
9. The term accelerando indicates that the tempo is: a. getting slower. c. b. staying the same. d. ANS: C MSC: Factual
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
11. Which of the following dynamic markings is the softest? a. pianissimo (pp) c. mezzo piano (mp) b. piano (p) d. mezzo forte (mf ) ANS: A MSC: Applied
DIF:
Medium
REF:
31
TOP: Tempo/dynamics
12. Which of the following symbols indicates growing louder? a. > c. mp b. < d. mf ANS: B MSC: Factual
DIF:
Medium
REF:
31
TOP: Tempo/dynamics
13. The gradual swelling of the volume of music is called: a. piano. c. accelerando. b. adagio. d. crescendo. ANS: D MSC: Factual
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
Musical Expression: Tempo and Dynamics | 33 TRUE/FALSE 1. A tempo marking indicates the loudness of a piece of music. ANS: F MSC: Factual
DIF:
Easy
REF:
30
TOP: Tempo/dynamics
2. The tempo of a piece affects its mood and character. ANS: T MSC: Factual
DIF:
Easy
REF:
30
TOP: Tempo/dynamics
30
TOP: Tempo/dynamics
3. Allegro is an Italian term for a fast, cheerful tempo. ANS: T MSC: Factual
DIF:
Medium
REF:
4. The degree of loudness and softness in music is called dynamics. ANS: T MSC: Factual
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
Chapter 8: Music and Words MULTIPLE CHOICE 1. The term nonlexical refers to a text that: a. is in a vernacular language. b. consists of nonsense syllables. ANS: B MSC: Factual
DIF:
Medium
2. Scat-singing is common in: a. jazz. b. Asian music. ANS: A MSC: Applied
DIF:
DIF:
REF:
c. d. Easy
3. The term vocalise refers to: a. all vocal music. b. music in jazz. ANS: C MSC: Factual
c. d.
REF:
c. d. Easy
REF:
has no repetitions. features a play on words. 33
TOP: Words and Music
Renaissance madrigals. Christmas carols. 33
TOP: Words and Music
a wordless melody. an elaborate melody with a Latin text. 33
TOP: Words and Music
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:
5. Rhymed units in poetry are called: a. strophes. b. lyrics.
c. d.
ANS: A MSC: Factual
DIF:
DIF:
Hard
6. The term refrain refers to: a. a central idea in the text. b. the avoidance of repetition. ANS: D MSC: Factual
34
DIF:
Easy
REF:
c. d. REF:
33
TOP: Words and Music
choruses. cadences. 34
TOP: Words and Music
the beginning and ending of a poem. words and music that repeat in a poem. 34
TOP: Words and Music
Music and Words | 35 7. The setting of one note per syllable is called: a. melismatic b. syllabic ANS: B MSC: Applied
DIF:
Easy
c. d.
REF:
neumatic word-painting 35
TOP: Words and Music
8. The extended melodic line on the word “rejoice” in Handel’s Messiah is a(n): a. improvisation. c. refrain. b. melisma. d. example of neumatic music. ANS: B MSC: Factual
DIF:
Medium
REF:
35
9. The use of a few notes for each syllable is called: a. melismatic. c. b. syllabic. d. ANS: C MSC: Factual
DIF:
Hard
REF:
TOP: Words and Music
neumatic. word-painting. 35
TOP: Words and Music
10. The depiction of the meaning of a text in music is called: a. symbolic. c. melismas. b. word-painting. d. textualization. ANS: B MSC: Factual
DIF:
Easy
REF:
35
TOP: Words and Music
TRUE/FALSE 1. The term song technically refers to all music, with or without words. ANS: F MSC: Factual
DIF:
Easy
REF:
33
TOP: Words and Music
2. Plato felt that music without words was lacking in artistic taste. ANS: T MSC: Factual
DIF:
Medium
REF:
33
TOP: Words and Music
REF:
33
TOP: Words and Music
3. Vocal music must use recognizable words. ANS: F MSC: Applied
DIF:
Medium
4. The vernacular is the common language of a people. ANS: T MSC: Factual
DIF:
Medium
REF:
34
TOP: Words and Music
36 | Chapter 8 5. In the composition of songs, the music always comes first. ANS: F MSC: Applied
DIF:
Easy
REF:
34
TOP: Words and Music
ESSAY 1. Describe the variety of treatments of a written text in music. ANS: Answers will vary. DIF: Medium MSC: Applied
REF:
33
TOP: Words and Music
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
TOP: Words and Music
Chapter 9: Voices and Instrument Families MULTIPLE CHOICE 1. Which of the following is NOT a property of musical sound? a. pitch c. duration b. texture d. timbre ANS: B MSC: Factual
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
3. The term timbre refers to the: a. length of a tone. b. pitch of a tone. ANS: C MSC: Factual
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
7. Which of the following voices has the lowest range? a. baritone c. tenor b. bass d. alto ANS: B MSC: Applied
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
9. The human voice: a. is an unnatural musical instrument. b. is limited in character and range. c. possesses lyric beauty and expressiveness that has been a model for instrument builders and players. d. can be made to sound like any instrument. ANS: C MSC: Factual
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
12. Which of the following musical instruments is NOT a chordophone? a. violin c. bagpipes b. guitar d. yangquin ANS: C MSC: Applied
DIF:
Medium
REF:
38
TOP: Timbre
13. How do performers cause idiophones to produce sound? a. by making a string vibrate b. by setting a column of air to vibrating c. by shaking, scraping, or striking the instrument itself d. by striking a tightly stretched membrane ANS: C MSC: Factual
DIF:
Hard
REF:
14. Drum-type instruments fall into the category of: a. aerophones. c. b. chordophones d. ANS: D MSC: Factual
DIF:
Medium
REF:
38
TOP: Timbre
idiophones. membranophones. 38
TOP: Timbre
Voices and Instrument Families | 39 TRUE/FALSE 1. Throughout history, women’s voices have played a central role in the performance of church music. ANS: F MSC: Factual
DIF:
Medium
REF:
36
TOP: Timbre
2. In some cultures, women’s 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
4. Flutes and whistles are classified as idiophones. ANS: F MSC: Applied
DIF:
Medium
5. A guitar is an example of a chordophone. ANS: T MSC: Applied
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
Chapter 10: Western Musical Instruments MULTIPLE CHOICE 1. The instruments of the Western orchestra are categorized in four groups: strings, brass, percussion, and: a. flutes. c. woodwinds. b. chordophones. d. idiophones. ANS: C MSC: Factual
DIF:
Easy
REF:
39
TOP: Western instruments
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:
39–40
TOP: Western instruments
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
TOP: Western instruments
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
TOP: Western instruments
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
TOP: Western instruments
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
TOP: Western instruments
Western Musical Instruments | 41 7. Harmonics are produced on a string instrument by: a. playing two strings simultaneously. b. lightly touching the string at certain points while the bow is being drawn. c. rapidly alternating two tones. d. sliding the hand from one note to the next. ANS: B MSC: Factual
DIF:
Hard
REF:
41
TOP: Western instruments
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
TOP: Western instruments
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
TOP: Western instruments
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
11. Woodwind instruments: a. are all made of wood. b. are all played with a wooden reed. ANS: D MSC: Factual
DIF:
Hard
REF:
c. d. REF:
41
TOP: Western instruments
all have a woody tone quality. all consist of a pipe with holes. 41
TOP: Western instruments
12. The highest-sounding member of the woodwind family is the: a. flute. c. clarinet. b. oboe. d. piccolo. ANS: D MSC: Factual
DIF:
Medium
REF:
42
TOP: Western instruments
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
TOP: Western instruments
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
TOP: Western instruments
15. Which of the following is a double-reed instrument? a. flute c. clarinet b. oboe d. saxophone ANS: B MSC: Factual
DIF:
Medium
REF:
42
TOP: Western instruments
16. Which of the following is true of all brass instruments? a. They are made of metal. b. They are blown into through a metal mouthpiece. c. Their sound is created by the vibration of the lips. d. all of the above ANS: D MSC: Factual
DIF:
Medium
REF:
43
TOP: Western instruments
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
TOP: Western instruments
18. Which of the following brass instruments is sometimes played with the performer’s hand plugging the bell? a. trumpet c. trombone b. French horn d. tuba ANS: B MSC: Factual
DIF:
Medium
REF:
44
TOP: Western instruments
19. Which of the following is NOT a member of the brass family? a. trumpet c. English horn b. French horn d. tuba ANS: C MSC: Factual
DIF:
Easy
REF:
20. The bass instrument in the brass family is the: a. double bass. c. b. trombone. d. ANS: D MSC: Factual
DIF:
Easy
REF:
43f
TOP: Western instruments
bassoon. tuba. 44
TOP: Western instruments
Western Musical Instruments | 43 21. The percussion family comprises a variety of instruments that are made to sound by: a. strumming. c. plucking. b. blowing air. d. striking or shaking. ANS: D MSC: Factual
DIF:
Easy
REF:
45
TOP: Western instruments
22. Timpani are members of the ________ family of instruments. a. string c. percussion b. brass d. woodwind ANS: C MSC: Factual
DIF:
Easy
REF:
45
TOP: Western instruments
23. Which of the following is NOT a percussion instrument? a. timpani c. xylophone b. harp d. snare drum ANS: B MSC: Factual
DIF:
Easy
REF:
45f
TOP: Western instruments
24. Which of the following is a pitched percussion instrument? a. xylophone c. bass drum b. snare drum d. gong ANS: A MSC: Factual
DIF:
Easy
REF:
45
TOP: Western instruments
25. Which of the following is an unpitched percussion instrument? a. bass drum c. glockenspiel b. timpani d. xylophone ANS: A MSC: Factual
DIF:
Hard
REF:
45
TOP: Western instruments
26. The piano got its name, originally fortepiano, from: a. the name of its inventor. c. its wide dynamic range. b. the fact that it could not sustain tones. d. its large size. ANS: C MSC: Factual
DIF:
Medium
REF:
46
TOP: Western instruments
27. Which of the following statements describes the organ? a. Sound is created when air flows through pipes controlled by the organist. b. Some organs have more than one keyboard, including one played by the feet. c. The sound of an organ can be imitated by electric keyboards and synthesizers. d. all of the above ANS: D MSC: Factual
DIF:
Medium
REF:
46
TOP: Western instruments
44 | Chapter 10 TRUE/FALSE 1. String instruments are generally played by either bowing or plucking. ANS: T MSC: Factual
DIF:
Easy
REF:
39
TOP: Western instruments
2. The violin was highly developed by Italian instrument makers between about 1600 and 1750. ANS: T MSC: Factual
DIF:
Hard
REF:
39
TOP: Western instruments
3. The viola is somewhat smaller and higher pitched than the violin. ANS: F MSC: Factual
DIF:
Medium
REF:
39
TOP: Western instruments
4. The term pizzicato means to play in a throbbing manner. ANS: F MSC: Factual
DIF:
Easy
REF:
40
TOP: Western instruments
REF:
41
TOP: Western instruments
41
TOP: Western instruments
5. The guitar is most likely of African origin. ANS: F MSC: Factual
DIF:
Medium
6. All woodwind instruments are made of wood. ANS: F MSC: Factual
DIF:
Medium
REF:
7. The most recently invented member of the woodwind family is the saxophone. ANS: T MSC: Factual
DIF:
Hard
REF:
43
TOP: Western instruments
8. The term embouchure refers to the position of the player’s lips, jaw, and facial muscles. ANS: T MSC: Factual
DIF:
Easy
REF:
43
TOP: Western instruments
9. The trumpet is the lowest-pitched instrument of the brass family. ANS: F MSC: Factual
DIF:
Easy
REF:
43f
TOP: Western instruments
10. The bugle has a wide range of pitches due to its valves. ANS: F MSC: Factual
DIF:
Medium
REF:
44
TOP: Western instruments
Western Musical Instruments | 45 11. The two categories of orchestral percussion instruments are pitched and unpitched. ANS: T MSC: Factual
DIF:
Easy
REF:
45
TOP: Western instruments
12. Most percussion instruments fall into the categories of idiophones and aerophones. ANS: F MSC: Factual
DIF:
Hard
REF:
45
TOP: Western instruments
13. Xylophone-like instruments are used in diverse world musics. ANS: T MSC: Factual
DIF:
Hard
REF:
45
TOP: Western instruments
14. The piano is limited by a narrow range of pitches and dynamics. ANS: F MSC: Factual
DIF:
Medium
REF:
46
TOP: Western instruments
15. The pipe organ is a wind instrument, sounded by air. ANS: T MSC: Factual
DIF:
Medium
REF:
46
TOP: Western instruments
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
TOP: Western instruments
2. Describe the principal types of keyboard instruments and how they produce sound. ANS: Answers will vary. DIF: Medium MSC: Applied
REF:
46
TOP: Western instruments
Chapter 11: Musical Ensembles MULTIPLE CHOICE 1. A fairly large group of singers who perform together is called a(n): a. orchestra. c. chorus. b. chamber ensemble. d. band. ANS: C MSC: Factual
DIF:
Easy
REF:
47
TOP: Musical ensembles
2. The term a cappella refers to choral music performed: a. with organ accompaniment. c. with piano accompaniment. b. with orchestral accompaniment. d. without any accompaniment. ANS: D MSC: Factual
DIF:
Medium
REF:
47
TOP: Musical ensembles
3. What distinguishes chamber music from orchestral music? a. the forms of the movements b. the number of players on each part c. the room in which the music is being performed d. the number of movements in the music being performed ANS: B MSC: Factual
DIF:
Hard
REF:
48
TOP: Musical ensembles
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
TOP: Musical ensembles
5. Approximately two-thirds of a symphony orchestra consists of: a. woodwinds. c. brass. b. strings. d. percussion. ANS: B MSC: Factual
DIF:
Easy
REF:
49
TOP: Musical ensembles
6. Which instruments are traditionally placed in the front of the orchestra? a. strings c. brass b. woodwinds d. percussion ANS: A MSC: Factual
46
DIF:
Medium
REF:
49
TOP: Musical ensembles
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:
8. John Philip Sousa was famous as a composer of: a. symphonies. c. b. string quartets. d. ANS: D MSC: Factual
DIF:
Easy
9. A jazz band is normally made up of: a. woodwind instruments. b. brass instruments. ANS: D MSC: Factual
DIF:
Easy
REF:
c. d. REF:
a marching ensemble. all of the above 49
TOP: Musical ensembles
piano trios. marches. 49
TOP: Musical ensembles
percussion instruments. all of the above 49
TOP: Musical ensembles
10. Which meter would be conducted in a down-right-up pattern? a. duple c. quadruple b. triple d. sextuple ANS: B MSC: Factual
DIF:
Hard
REF:
51
TOP: Musical ensembles
11. Britten’s Young Person’s 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
TOP: Musical ensembles
TRUE/FALSE 1. Specialized choirs that perform with organ are called a cappella ensembles. ANS: F MSC: Factual
DIF:
Medium
REF:
47
TOP: Musical ensembles
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
TOP: Musical ensembles
3. The standard instrumentation of a string quartet is two violins, viola, and cello. ANS: T MSC: Factual
DIF:
Hard
REF:
48
TOP: Musical ensembles
48 | Chapter 11 4. A piano trio is an ensemble of three pianos. ANS: F MSC: Factual
DIF:
Medium
REF:
48
TOP: Musical ensembles
5. The term orchestra may be applied to various musical ensembles around the world. ANS: T MSC: Factual
DIF:
Easy
REF:
48
TOP: Musical ensembles
6. The modern symphony orchestra is typically made up of twenty to thirty players. ANS: F MSC: Factual
DIF:
Hard
REF:
49
TOP: Musical ensembles
7. The earliest wind and percussion groups were created for military purposes. ANS: T MSC: Factual
DIF:
Medium
REF:
49
TOP: Musical ensembles
8. Most large musical ensembles need a conductor in order to perform together. ANS: T MSC: Factual
DIF:
Easy
REF:
50
TOP: Musical ensembles
REF:
50
TOP: Musical ensembles
9. The upbeat is the strongest in any meter. ANS: F MSC: Factual
DIF:
Medium
10. The Young Person’s Guide to the Orchestra by Britten is based on a dance tune by Beethoven. ANS: F MSC: Factual
DIF:
Easy
REF:
50
TOP: Musical ensembles
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
TOP: Musical ensembles
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
TOP: Musical ensembles
Chapter 12: Style and Function of Music in Society MULTIPLE CHOICE 1. Which of the following is a universal function of music in diverse world cultures? a. accompanying religious and civic ceremonies b. helping workers get their jobs done more efficiently c. providing entertainment d. all of the above ANS: D MSC: Factual
DIF:
Easy
REF:
54
TOP: Musical style
2. What general term suggests something of the overall character of a work as well as its function? a. form c. medium b. genre d. opus ANS: B MSC: Factual
DIF:
Medium
REF:
54
TOP: Musical style
3. Titles of musical compositions may be indicated by: a. genre and key. c. descriptive words. b. opus number. d. all of the above ANS: D MSC: Factual
DIF:
Medium
REF:
55
TOP: Musical style
4. The preservation of music without the help of written notation is called: a. crossover. c. oral transmission. b. modulation. d. retrograde inversion. ANS: C MSC: Factual
DIF:
Medium
REF:
55
TOP: Musical style
5. Musical style is best defined as the: a. characteristic manner of presentation of a work. b. succession of dynamics from beginning to end of a work. c. shape of the melody line in a work. d. harmonies of a work. ANS: A MSC: Factual
DIF:
Medium
REF:
56
TOP: Musical style
56
TOP: Musical style
6. The concept of style can be identified with: a. individual artworks. b. a creator’s personal manner of expression. c. the music of an entire culture. d. all of the above ANS: D MSC: Factual
50
DIF:
Hard
REF:
Style and Function of Music in Society | 51 7. The style of a historical period is defined by: a. its leading artist. b. the total language of all its artists. ANS: B MSC: Factual
DIF:
Easy
c. d.
REF:
a single defining work. its dominant musical critic. 56
TOP: Musical style
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
TOP: Musical style
9. The approximate dates for the Renaissance era are: a. 1150–1450. c. 1600–1750. b. 1450–1600. d. 1725–1775. ANS: B MSC: Factual
DIF:
Hard
REF:
57
TOP: Musical style
10. The Classical period: a. followed antiquity and preceded the Middle Ages. b. followed the Renaissance and preceded the Baroque. c. followed the Baroque and preceded the Romantic era. d. followed the Romantic era and preceded the twentieth century. ANS: C MSC: Factual
DIF:
Medium
REF:
57
TOP: Musical style
TRUE/FALSE 1. Secular music is generally intended for religious occasions. ANS: F MSC: Factual
DIF:
Easy
REF:
54
TOP: Musical style
54
TOP: Musical style
2. A genre is a category or type of music repertory. ANS: T MSC: Factual
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
TOP: Musical style
52 | Chapter 12 4. The line between classical and popular music is clearly defined. ANS: F MSC: Applied
DIF:
Medium
REF:
55
TOP: Musical style
5. The dates given for the beginning and end of eras are precise ones. ANS: F MSC: Factual
DIF:
Easy
REF:
56
TOP: Musical style
6. The Renaissance is the earliest musical period in the Western tradition. ANS: F MSC: Factual
DIF:
Medium
REF:
57
TOP: Musical style
ESSAY 1. Discuss the similarities of the functions of music around the world. ANS: Answers will vary. DIF: Medium MSC: Applied
REF:
54
TOP: Musical style
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
TOP: Musical style
Prelude 2: Music as Commodity and Social Activity MULTIPLE CHOICE 1. The history of Western music begins: a. when Europeans first began to sing. b. when Europeans encountered the culture of China. c. when Europeans developed musical notation. d. after the fall of Roman Empire. ANS: C MSC: Applied
DIF:
Hard
REF:
60
TOP: Medieval culture
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
TOP: Medieval culture
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
TOP: Medieval culture
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
5. The late Middle Ages witnessed: a. the building of great cathedrals. b. the founding of universities. ANS: D MSC: Applied
DIF:
Hard
REF:
c. d. REF:
61
TOP: Medieval culture
the rise of the bourgeoisie. all of the above 61
TOP: Medieval culture
6. Which of the following is NOT a major literary landmark of the Middle Ages? a. Chanson de Roland c. Chaucer’s Canterbury Tales b. Dante’s Divine Comedy d. Cervantes’s Don Quixote ANS: D MSC: Factual
DIF:
Hard
REF:
61
TOP: Medieval culture
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
TOP: Medieval culture
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
TOP: Renaissance spirit
9. Which historical event did NOT take place in the Renaissance? a. the discovery of the New World c. the writing of the Magna Carta b. the introduction of printing in the West d. the Protestant Reformation ANS: C MSC: Factual
DIF:
Medium
REF:
62
TOP: Renaissance spirit
10. All of the following were Renaissance artists EXCEPT: a. Michelangelo. c. Leonardo da Vinci. b. Goya. d. Botticelli. ANS: B MSC: Factual
DIF:
Medium
REF:
63
TOP: Renaissance spirit
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
TOP: Renaissance spirit
12. Which of the following institution(s) supported music in Renaissance society? a. the church c. the aristocratic courts b. the city and state d. all of the above ANS: D MSC: Factual
DIF:
Medium
REF:
63
TOP: Renaissance spirit
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
TOP: Renaissance spirit
Music as Commodity and Social Activity | 55 TRUE/FALSE 1. Despite the dominance of sacred music during the Middle Ages, secular music became important for entertainment and personal expression. ANS: T MSC: Factual
DIF:
Easy
REF:
60
TOP: Medieval culture
2. Most of the surviving music from the early Middle Ages is secular. ANS: F MSC: Factual
DIF:
Easy
REF:
60
TOP: Medieval culture
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
TOP: Medieval culture
4. Chivalry helped bring about the first flowering of secular music written in the vernacular. ANS: T MSC: Factual
DIF:
Easy
REF:
61
TOP: Medieval culture
5. The troubadours were essential to the spread of sacred music. ANS: F MSC: Factual
DIF:
Easy
REF:
62
TOP: Medieval culture
6. The Notre Dame Cathedral in Paris was a center for polyphony. ANS: T MSC: Factual
DIF:
Easy
REF:
61
TOP: Medieval culture
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
TOP: Medieval culture
8. The Renaissance was characterized by an increased awareness of the cultures of learned civilizations. ANS: T MSC: Applied
DIF:
Medium
REF:
62
TOP: Renaissance spirit
9. The early exploration of the New World took place during the Renaissance. ANS: T MSC: Factual
DIF:
Easy
REF:
62
TOP: Renaissance spirit
56 | Prelude 2 10. Renaissance painters preferred symbolism to realism. ANS: F MSC: Factual
DIF:
Medium
REF:
63
TOP: Renaissance spirit
63
TOP: Renaissance spirit
11. The Renaissance first came to flower in France. ANS: F MSC: Factual
DIF:
Easy
REF:
12. The Renaissance saw the rise of amateur musicians and home music-making. ANS: T MSC: Factual
DIF:
Easy
REF:
63
TOP: Renaissance spirit
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
TOP: Medieval culture
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
TOP: Renaissance spirit
3. What were the various ways in which early musicians could make a living? ANS: Answers will vary. DIF: Easy MSC: Applied
REF:
63
TOP: Renaissance spirit
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
TOP: Gregorian chant
2. ________ is traditionally associated with collecting and organizing the chants of the church. a. Charlemagne c. Pope Gregory the Great b. Léonin d. Machaut ANS: C MSC: Factual
DIF:
Easy
REF:
65
TOP: Gregorian chant
3. Which of the following does NOT characterize plainchant? a. monophonic texture c. free, unaccented rhythm b. triadic harmonies d. generally conjunct motion ANS: B MSC: Applied
DIF:
Medium
REF:
65
TOP: Gregorian chant
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
TOP: Gregorian chant
5. A setting of Gregorian chant with one note per syllable is called: a. syllabic. c. melismatic. b. neumatic. d. modal. ANS: A MSC: Factual
DIF:
Easy
REF:
65f
TOP: Gregorian chant
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
TOP: Gregorian chant
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
TOP: Gregorian chant
8. Which of the following women was a religious leader and a prominent figure in literature and music? a. Hildegard of Bingen c. Isabella d’Este b. Eleanor of Aquitaine d. Lucrezia Borgia ANS: A MSC: Factual
DIF:
Medium
REF:
66
TOP: Gregorian chant
9. On which liturgical occasion was Hildegard’s Alleluia, O virga mediatrix sung? a. Easter Sunday c. a feast day for the Virgin Mary b. any Sunday d. Christmas Day ANS: C MSC: Factual
DIF:
Hard
REF:
66
TOP: Gregorian chant
10. Which religious figure is praised in the text of Hildegard’s Alleluia, O virga mediatrix? a. Saint Peter c. the Holy Spirit b. Jesus Christ d. the Virgin Mary ANS: D MSC: Factual
Medium
REF:
11. The sacred text of Islam is called the: a. Quran. b. Adhan.
c. d.
ANS: A MSC: Factual
DIF:
DIF:
Medium
REF:
66
TOP: Gregorian chant
maqam. Siyer-I Nebi. 68
TOP: Islamic chant
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
TOP: Islamic chant
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
TOP: Gregorian chant
Voice and Worship: Tradition and Individuality in Medieval Chant | 59 2. The monastic life was reserved for men only. ANS: F MSC: Factual
DIF:
Easy
REF: 64
TOP: Gregorian chant
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
TOP: Gregorian chant
4. A setting of plainchant with many notes per syllable is called syllabic. ANS: F MSC: Factual
DIF:
Easy
REF:
65f
TOP: Gregorian chant
5. The modes were developed from the major and minor scales. ANS: F MSC: Applied
DIF:
Easy
REF:
66
TOP: Gregorian chant
6. Hildegard of Bingen wrote both the poetry and the music for Alleluia, O virga mediatrix. ANS: T MSC: Factual
DIF:
Easy
REF:
66
TOP: Gregorian chant
7. Hildegard’s Alleluia, O virga mediatrix has a neumatic text setting with some melismas. ANS: T MSC: Applied
DIF:
Medium
REF:
67
TOP: Gregorian chant
REF:
66
TOP: Gregorian chant
REF:
68
TOP: Islamic chant
8. The form of Alleluia, O virga mediatrix is A-A-B. ANS: F MSC: Factual
DIF:
Medium
9. The Adhan is the Islamic call to prayer. ANS: T MSC: Factual
DIF:
Medium
10. The Islamic call to prayer is recited in strict rhythmic meters. ANS: F MSC: Factual
DIF:
Medium
REF:
68
TOP: Islamic chant
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
TOP: Gregorian chant
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
TOP: Gregorian chant
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
TOP: Gregorian chant
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
TOP: Gregorian chant
Chapter 14: Layering Lines: Polyphony at Notre Dame MULTIPLE CHOICE 1. Polyphony required the development of: a. new musical instruments. b. new melodic modes. ANS: C MSC: Applied
DIF:
Hard
c. d. REF:
music notation. new performance venues. 71
TOP: Polyphony
2. In what era did the development of polyphony begin to emerge? a. the Renaissance c. the Middle Ages b. the Ars nova d. the Romanesque era ANS: D MSC: Factual
DIF:
Medium
REF:
71
TOP: Polyphony
3. In what era did composers begin to be recognized? a. the Renaissance c. the Middle Ages b. the Gothic era d. the Ars nova ANS: B MSC: Factual
DIF:
Medium
4. The earliest type of polyphony was: a. plainsong. b. organum. ANS: B MSC: Factual
DIF:
Easy
5. The first major center of polyphony was: a. St. Peter’s in Rome. b. Westminster Abbey ANS: C MSC: Factual
DIF:
Medium
REF:
c. d. REF:
c. d. REF:
71f
TOP: Polyphony
the motet. secular. 72
TOP: Polyphony
Notre Dame Cathedral in Paris. St. Mark’s Cathedral in Venice. 71
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. Léonin. b. Pérotin. d. Machaut. ANS: C MSC: Factual
DIF:
Medium
REF:
73
TOP: Polyphony
8. Which of the following does NOT describe Gaude Maria virgo? a. a prayer in praise of the Virgin Mary c. melismatic b. three-part polyphony d. accompaniment with musical instruments ANS: C MSC: Factual
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
2. Organum was freely composed, with no preexisting basis. ANS: F MSC: Applied
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
6. Gaude Maria virgo contains no monophonic passages. ANS: F MSC: Factual
DIF:
Medium
REF:
73
TOP: Polyphony
Layering Lines: Polyphony at Notre Dame | 63 7. Polyphony was initially reserved for worship on the highest feast days. ANS: T MSC: Factual
DIF:
Medium
REF:
73
TOP: Polyphony
8. Polyphony was uniformly welcomed in all religious communities. ANS: F MSC: Factual
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 trouvères developed in: a. France. c. England. b. Italy. d. the Middle East. ANS: A MSC: Factual
DIF:
Medium
REF:
74
TOP: Medieval secular music
2. Which of the following was NOT a subject reflected in the poems of the troubadours and trouvères? 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
TOP: Medieval secular music
3. Which of the following does NOT describe the Crusades? a. They extended over two hundred years. b. Advanced scientific knowledge was brought to the West. c. Contact with the East affected Western concepts of music. d. They fostered religious tolerance in the West. ANS: D MSC: Applied
DIF:
Easy
REF:
75
TOP: Medieval secular music
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
TOP: Ars nova
5. The outstanding composer-poet of the Ars nova was: a. Machaut. c. Chaucer. b. Boccaccio. d. Petrarch. ANS: A MSC: Factual
DIF:
Medium
REF:
76
TOP: Ars nova
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
TOP: Ars nova
Symbols and Puzzles: Machaut and the Medieval Mind | 65 7. Which of the following is NOT a fixed poetic form? a. rondeau c. virelai b. ballade d. motet ANS: D MSC: Applied
DIF:
Hard
REF:
76
TOP: Ars nova
8. Which of the following composed Ma fin est mon commencement? a. Machaut c. Léonin b. Pérotin d. Hildegard of Bingen ANS: A MSC: Factual
DIF:
Easy
REF:
77
TOP: Ars nova
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
10. What is the form of a rondeau? a. ABB b. AbbaA ANS: D MSC: Factual
DIF:
Hard
REF:
c. d. REF:
77
TOP: Ars nova
AAB ABaAabAB 77
TOP: Ars nova
TRUE/FALSE 1. Music and mathematics have been linked since the time of the ancient Greeks. ANS: T MSC: Factual
DIF:
Easy
REF:
74
TOP: Medieval secular music
2. Troubadours and trouvères were medieval musicians often living on the fringes of society. ANS: F MSC: Factual
DIF:
Easy
REF:
74
TOP: Medieval secular music
3. The Crusades had little impact on the development of Western civilization. ANS: F MSC: Conceptual
DIF:
Easy
REF:
75
TOP: Medieval secular music
4. The fourteenth century witnessed a decreased focus on secular music. ANS: F MSC: Applied
DIF:
Hard
REF:
76
TOP: Medieval secular music
66 | Chapter 15 5. The chanson is an example of secular music. ANS: T MSC: Factual
DIF:
Medium
REF:
76
TOP: Ars nova
6. Because Machaut was a cleric in the church, he wrote only sacred music. ANS: F MSC: Applied
DIF:
Medium
REF:
76
TOP: Ars nova
7. Machaut’s chanson Ma fin est mon commencement is a ballade for three voices. ANS: F MSC: Factual
DIF:
Medium
REF:
76
TOP: Ars nova
8. Machaut’s chanson Ma fin est mon commencement reflects his era’s fascination with complexity. ANS: T MSC: Factual
DIF:
Medium
REF:
78
TOP: Ars nova
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
TOP: Medieval secular music
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
TOP: Medieval secular music
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
TOP: Ars nova
MSC: Conceptual
Chapter 16: Singing in Friendship: The Renaissance Madrigal MULTIPLE CHOICE 1. Which of the following does NOT characterize secular music-making in the Renaissance? a. Most prosperous homes had a lute or a keyboard instrument. b. Music was often sung in parts. c. Women were discouraged from performing music in the home. d. Music-making at home became increasingly popular. ANS: C MSC: Applied
DIF:
Medium
REF:
79
TOP: Renaissance secular music
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
TOP: Renaissance secular music
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
4. Where was the madrigal first developed? a. England b. Italy ANS: B MSC: Factual
DIF:
Easy
REF:
c. d. REF:
80
TOP: Renaissance madrigal
France Germany 80
TOP: Renaissance madrigal
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
TOP: Renaissance madrigal
6. Why are the madrigals of Arcadelt so important? a. They were written for full choir. b. They were intended for the papal chapel. c. They brought a new level of expression to the madrigal. d. all of the above ANS: C MSC: Conceptual
DIF:
Easy
REF:
80
TOP: Renaissance madrigal
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
TOP: Renaissance madrigal
8. Which of the following best describes the character of Farmer’s Fair Phyllis? a. devotional and moralizing c. pastoral and light b. courtly and idealized d. bombastic and heavy ANS: C MSC: Conceptual
DIF:
Hard
9. Who invented the printing press? a. Johannes Gutenberg b. Ottaviano Petrucci ANS: A MSC: Factual
DIF:
Medium
REF:
c. d. REF:
83
TOP: Renaissance madrigal
the Chinese Isaac Newton 82
TOP: Renaissance secular music
10. The invention of the printing press allowed: a. books to become available to the middle class. b. people in the middle class to learn how to read music. c. the spread of education and literacy. d. all of the above ANS: A MSC: Factual
DIF:
Medium
REF:
82
TOP: Renaissance secular music
TRUE/FALSE 1. Only professional musicians performed secular music during the Renaissance. ANS: F MSC: Applied
DIF:
Easy
REF:
79
TOP: Renaissance secular music
2. During the Renaissance, the study of a musical instrument was considered improper for ladies. ANS: F MSC: Applied
DIF:
Easy
REF:
79
TOP: Renaissance secular music
3. The two most important genres of Renaissance secular music were the chanson and the madrigal. ANS: T MSC: Applied
DIF:
Easy
REF:
79
TOP: Renaissance secular music
4. Italian madrigalists set words such as weeping, trembling, and dying with great expression. ANS: T MSC: Applied
DIF:
Easy
REF:
80
TOP: Renaissance madrigal
Singing in Friendship: The Renaissance Madrigal | 69 5. The text of Arcadelt’s madrigal Il bianco e dolce cigno has levels of meanings, some of which are erotic. ANS: T MSC: Applied
DIF:
Medium
REF:
81f
TOP: Renaissance madrigal
6. England adopted the Italian madrigal and developed it into a native form. ANS: T MSC: Applied
DIF:
Easy
REF:
83
TOP: Renaissance madrigal
7. Unlike Italian madrigals, Fair Phyllis has no word-painting. ANS: F MSC: Applied
DIF:
Easy
REF:
83
TOP: Renaissance madrigal
8. The printing press had little impact on secular music. ANS: F MSC: Applied
DIF:
Easy
REF:
82
TOP: Renaissance secular music
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
TOP: Renaissance secular music
2. Describe the differences between Italian and English madrigals. Give an example of each. ANS: Answers will vary. DIF: Medium MSC: Applied
REF:
79f
TOP: Renaissance madrigal
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
TOP: Renaissance madrigal
Chapter 17: Remember Me: Personalizing the Motet in the Renaissance MULTIPLE CHOICE 1. Which of the following was a characteristic of medieval art abandoned in the Renaissance? a. profile portraiture c. use of landscape b. space organized in a succession of planes d. the illusion of distance ANS: B MSC: Applied
DIF:
Easy
REF: 86
TOP: Renaissance spirit
2. Which of the following characterizes humanism? a. thinking centered on human issues and individuality b. inspiration from the ancient cultures of Greece and Rome c. independence from tradition and religion d. all of the above ANS: D MSC: Applied
DIF:
Easy
REF: 86
TOP: Renaissance spirit
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
TOP: Renaissance sacred music
4. Why does Renaissance music sound different from medieval music? a. It has fuller harmonies. c. It has smoothly gliding lines. b. It is performed a cappella. d. all of the above ANS: D MSC: Conceptual
DIF:
Medium
REF:
86f
TOP: Renaissance style
5. What best describes the texture of ideal Renaissance sacred music? a. imitative c. monophonic b. homorhythmic d. heterophonic ANS: A MSC: Applied
DIF:
Medium
REF:
86f
TOP: Renaissance style
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
TOP: Renaissance sacred music
Remember Me: Personalizing the Motet in the Renaissance | 71 7. What is a cantus firmus? a. a chant sung daily b. a chanson with religious overtones c. the top line of a motet d. a fragment of Gregorian chant or a secular tune used as the foundation of a polyphonic Mass ANS: D MSC: Factual
DIF:
Medium
REF:
87
TOP: Renaissance sacred music
8. 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 d’Arras ANS: B MSC: Factual
DIF:
Medium
REF: 87
TOP: Renaissance sacred music
9. Josquin’s Ave Maria . . . virgo serena is an example of the: a. Mass. c. chanson. b. motet. d. madrigal. ANS: B MSC: Applied
DIF:
Medium
REF:
88
TOP: Renaissance motet
88
TOP: Renaissance sacred music
10. The text of Ave Maria . . . virgo serena is: a. in praise of the Virgin Mary. b. in praise of the English victory at Agincourt. c. in praise of chivalric love. d. in praise of the Archangel Michael. ANS: A MSC: Factual
DIF:
Easy
REF:
11. What is the musical basis of Josquin’s 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
TOP: Renaissance sacred music
TRUE/FALSE 1. Medieval artists preferred to depict their subjects in profile rather than facing front. ANS: F MSC: Applied
DIF:
Easy
REF:
85
TOP: Renaissance spirit
72 | Chapter 17 2. Humanism was inspired by the ancient cultures of Greece and Rome. ANS: T MSC: Applied
DIF:
Easy
REF:
86
TOP: Renaissance spirit
3. The Renaissance motet is a sacred genre with a single Latin text. ANS: T MSC: Applied
DIF:
Easy
REF:
87
TOP: Renaissance sacred music
4. The preeminent composers of motets in the early Renaissance were from Italy. ANS: T MSC: Applied
DIF:
Easy
REF:
87
TOP: Renaissance sacred music
5. Josquin’s career centered exclusively in his native France. ANS: F MSC: Factual
DIF:
Easy
REF:
87
TOP: Renaissance sacred music
6. Josquin did not use preexisting melodies in his sacred works. ANS: F MSC: Applied
DIF:
Hard
REF:
87
TOP: Renaissance sacred music
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
TOP: Renaissance sacred music
2. What are the distinctive qualities of Renaissance sacred music? Support your answer with examples drawn from Josquin’s motet Ave Maria . . . virgo serena. ANS: Answers will vary. DIF: Medium MSC: Conceptual
REF:
86f
TOP: Renaissance sacred music
Chapter 18: Glory Be: Music for the Renaissance Mass MULTIPLE CHOICE 1. The Roman Catholic Church service that symbolically reenacts the sacrifice of Christ is: a. Vespers. c. the Mass. b. Matins. d. the Office. ANS: C MSC: Factual
DIF:
Easy
REF:
90
TOP: Renaissance Mass
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
TOP: Renaissance Mass
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:
4. What was the primary language of the Mass? a. Hebrew b. Greek ANS: D MSC: Factual
DIF:
Easy
c. d.
REF:
90
TOP: Renaissance Mass
Italian Latin 90f
TOP: Renaissance Mass
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
TOP: Renaissance Mass
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
TOP: Renaissance Mass
7. Which section of the Ordinary of the Mass is a confession of faith? a. the Credo c. the Kyrie b. the Gloria d. the Sanctus ANS: A MSC: Factual
DIF:
Hard
REF:
91
TOP: Renaissance Mass
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
Glory Be: Music for the Renaissance Mass | 75 14. Which of the following best describes the texture of the Pope Marcellus Mass? a. monophony c. four-voice polyphony b. three-voice polyphony d. six-voice polyphony ANS: D MSC: Applied
DIF:
Medium
REF:
94
TOP: Counter-Reformation
TRUE/FALSE 1. The texts of the Mass that change for each service make up the Ordinary. ANS: F MSC: Factual
DIF:
Medium
REF:
90
TOP: Renaissance Mass
2. The Introit is the first movement of the Ordinary of the Mass. ANS: F MSC: Factual
DIF:
Medium
REF:
91
TOP: Renaissance Mass
3. The text for the final portion of the Ordinary, the Agnus Dei, is divided into three parts. ANS: T MSC: Factual
DIF:
Easy
REF:
91
TOP: Renaissance Mass
4. Martin Luther launched the Reformation movement. ANS: T MSC: Factual
DIF:
Medium
REF:
91
TOP: Reformation
5. The reform movement in the Catholic church brought about by the Protestant Reformation was called the Counter-Reformation. ANS: T MSC: Factual
DIF:
Easy
REF:
92
TOP: Counter-Reformation
6. The Council of Trent took place in the mid-sixteenth century. ANS: T MSC: Factual
DIF:
Easy
REF:
92
TOP: Counter-Reformation
7. The dense counterpoint in the Pope Marcellus Mass obscures the words. ANS: F MSC: Applied
DIF:
Medium
REF:
94
TOP: Counter-Reformation
8. The upper voice parts of the Pope Marcellus Mass were sung by boy sopranos or adult males with high voices. ANS: T MSC: Factual
DIF:
Medium
REF:
94
TOP: Counter-Reformation
76 | Chapter 18 ESSAY 1. Describe the structure of the Catholic Mass. ANS: Answers will vary. DIF: Hard MSC: Factual
REF:
90f
TOP: Renaissance Mass
2. Discuss how the Reformation and the Counter-Reformation affected music. Provide an example for each. ANS: Answers will vary. DIF: Medium MSC: Conceptual
REF:
91f
TOP: Counter-Reformation
Chapter 19: Instrumental Movements: Medieval and Renaissance Dance Music MULTIPLE CHOICE 1. Medieval instruments can be classified as bas or haut, meaning: a. high or low. c. soft or loud. b. string or wind. d. folk or aristocratic. ANS: C MSC: Factual
DIF:
Medium
REF:
95
TOP: Instrumental music
2. The ________ is an end-blown flute with a breathy tone. a. crumhorn c. shawm b. recorder d. psaltery ANS: B MSC: Applied
DIF:
Easy
REF:
95
TOP: Instrumental music
3. Early instruments used for outdoor performances, such as the shawm and the sackbut, were categorized as: a. soft. c. small. b. loud. d. large. ANS: B MSC: Factual
DIF:
Easy
REF:
96
TOP: Instrumental music
4. Which of the following would be considered an appropriate outdoor instrument? a. the flute c. the rebec b. the recorder d. the shawm ANS: D MSC: Applied
DIF:
Medium
REF:
96
TOP: Instrumental music
5. The medieval ancestor of the modern trombone is the: a. sackbut. c. shawm. b. cornetto. d. nakers. ANS: A MSC: Applied
DIF:
Easy
REF:
96
TOP: Instrumental music
6. Which of the following was a lively circle or line dance, often performed outdoors? a. pavane c. allemande b. ronde d. galliard ANS: B MSC: Factual
DIF:
Medium
REF:
96
TOP: Instrumental music
77
78 | Chapter 19 7. Tielman Susato published music in which major European center? a. Paris c. Rome b. London d. Antwerp ANS: D MSC: Factual
DIF:
Easy
REF:
96
TOP: Instrumental music
8. Which of the following does NOT characterize the dances that Susato published? a. binary forms c. lively rhythms b. irregular phrase lengths d. occasional embellishments ANS: B MSC: Applied
DIF:
Medium
REF:
97
TOP: Instrumental music
TRUE/FALSE 1. Early instrumental music largely depended on improvisation. ANS: T MSC: Applied
DIF:
Easy
REF:
95
TOP: Instrumental music
2. Bas instruments were used frequently for outdoor occasions during the Middle Ages. ANS: F MSC: Applied
DIF:
Medium
REF:
95
TOP: Instrumental music
REF:
96
TOP: Instrumental music
3. The rebec was a type of wind instrument. ANS: F MSC: Factual
DIF:
Easy
4. The sixteenth century saw a blossoming of instrumental dance music. ANS: T MSC: Factual
DIF:
Easy
REF:
96
TOP: Instrumental music
5. Instrumental music of the sixteenth century often did not specify its instrumentation. ANS: T MSC: Factual
DIF:
Medium
REF:
96
TOP: Instrumental music
6. Stately indoor occasions most often called for soft instruments, such as recorders and strings. ANS: T MSC: Applied
DIF:
Easy
REF:
96
TOP: Instrumental music
7. The dance music that Susato published is monophonic. ANS: F MSC: Applied
DIF:
Easy
REF:
97
TOP: Instrumental music
Instrumental Movements: Medieval and Renaissance Dance Music | 79 8. The dance music of Susato appeared in print and hence was not suitable for improvisation. ANS: F MSC: Applied
DIF:
Easy
REF:
97
TOP: Instrumental music
ESSAY 1. How are musical instruments from the Middle Ages categorized? Give some examples. ANS: Answers will vary. DIF: Medium MSC: Applied
REF:
95f
TOP: Instrumental music
2. Describe the growth of instrumental music in the sixteenth century. Include some examples in your answer. ANS: Answers will vary. DIF: Medium MSC: Applied
REF:
96f
TOP: Instrumental music
Prelude 3: Music as Exploration and Drama MULTIPLE CHOICE 1. Which of the following does NOT characterize music after 1600? a. Music performers developed virtuosic skills. b. Instrumental music was neglected. c. Musicians explored intense emotions. d. Opera was developed. ANS: B MSC: Factual
DIF:
Easy
REF:
2. The approximate dates of the Baroque period are: a. 1600–1750. c. b. 1700–1800. d. ANS: A MSC: Factual
DIF:
Easy
REF:
102
TOP: Baroque era
1550–1600. 1800–1900. 103
TOP: Baroque era
3. Which of the following does NOT characterize the Baroque era? a. an age of reason c. an era of absolute monarchy b. an age of peace and tranquility d. an era of intense religion ANS: B MSC: Applied
DIF:
Medium
REF:
103
TOP: Baroque era
4. Which of the following was NOT an important scientist of the Baroque era? a. Newton c. Curie b. Galileo d. Copernicus ANS: C MSC: Factual
DIF:
Hard
REF:
103
TOP: Baroque era
5. Which of the following best describes Bernini’s sculpture of David? a. calm and reflective c. dramatic and active b. static and poised d. all of the above ANS: C MSC: Factual
DIF:
Hard
REF:
103
TOP: Baroque era
6. Which of the following was/were NOT created to satisfy the tastes of the middle class during the Baroque? a. serious opera c. the novel b. comic opera d. paintings of the Dutch School ANS: A MSC: Applied
80
DIF:
Hard
REF:
104
TOP: Baroque era
Music as Exploration and Drama | 81 7. The Baroque period witnessed a shift in musical texture to: a. monophony. c. homophony. b. polyphony. d. heterophony. ANS: C MSC: Factual
DIF:
Medium
REF:
104
TOP: Baroque music
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
TOP: Baroque music
105
TOP: Baroque music
9. What is figured bass? a. a bass line with a repeating pattern b. a string bass with decorations on the scroll c. a new kind of notation d. a bass line that is part of a canon ANS: C MSC: Factual
DIF:
Hard
REF:
10. Which of the following is NOT a characteristic of Baroque musical style? a. driving, energetic rhythms b. continuously expanding melodies c. dramatic shifts in levels of dynamics d. harmonies built on the early church modes ANS: D MSC: Applied
DIF:
Medium
REF:
105
TOP: Baroque music
11. The ideas and music of the Florentine Camerata led directly to the development of: a. opera. c. the symphony. b. the Mass. d. the concerto. ANS: A MSC: Applied
DIF:
Medium
REF:
106
TOP: Baroque music
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
TOP: Baroque music
82 | Prelude 3 13. Women’s 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
TOP: Baroque music
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
TOP: Baroque music
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
TOP: Baroque music
TRUE/FALSE 1. The term baroque originally meant serenity and balance. ANS: F MSC: Factual
DIF:
Easy
REF:
103
TOP: Baroque era
2. The Baroque era was an age of political freedom and democracy. ANS: F MSC: Factual
DIF:
Easy
REF:
103f
TOP: Baroque era
3. Amateur music-making at home was popular during the Baroque era. ANS: T MSC: Factual
DIF:
Medium
REF:
104
TOP: Baroque era
4. Religion remained a driving force behind power struggles in the Baroque era. ANS: T MSC: Applied
DIF:
Medium
REF:
104
TOP: Baroque era
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
TOP: Baroque music
Music as Exploration and Drama | 83 6. One of the most significant changes in music history occurred during the Baroque era: the transition from medieval church modes to major-minor tonality. ANS: T MSC: Conceptual
DIF:
Medium
REF:
105
TOP: Baroque music
7. Baroque music often features a steady, vigorous beat throughout. ANS: T MSC: Applied
DIF:
Medium
REF:
106
TOP: Baroque music
8. Baroque composers used dissonance for emotional intensity and color. ANS: T MSC: Applied
DIF:
Hard
REF:
106
TOP: Baroque music
9. Dramatic contrasts of forte and piano are typical of the Baroque era. ANS: T MSC: Applied
DIF:
Easy
REF:
106
TOP: Baroque music
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
TOP: Baroque music
11. Improvisation played little or no part in Baroque musical practice. ANS: F MSC: Conceptual
DIF:
Easy
REF:
107
TOP: Baroque music
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
TOP: Baroque music
13. Barbara Strozzi was an international sensation as an opera singer. ANS: F MSC: Factual
DIF:
Easy
REF:
107
TOP: Baroque music
14. Exoticism can be detected in a number of Baroque operas. ANS: T MSC: Conceptual
DIF:
Easy
REF:
107
TOP: Baroque music
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
TOP: Baroque era
MSC: Conceptual
2. Discuss the main currents of early Baroque musical style. ANS: Answers will vary. DIF: Medium MSC: Conceptual
REF:
104f
TOP: Baroque music
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
TOP: Women’s voices
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:
3. The canticle of Mary is generally known as the: a. doxology. c. b. Magnificat. d. ANS: B MSC: Factual
DIF:
Medium
REF:
4. During which service does the Magnificat occur? a. Requiem. c. b. Mass. d. ANS: C MSC: Factual
DIF:
Hard
REF:
110
TOP: Women’s voices
Gradual. antiphon. 109
TOP: Women’s voices
Vespers. all of the above 109
TOP: Women’s voices
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
TOP: Women’s voices
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
TOP: Women’s voices
85
86 | Chapter 20 7. The dramatic and mystical qualities of Cozzolani’s setting of the Magnificat are similar to those of what other significant artwork? a. Bernini’s Ecstasy of St. Teresa c. Michelangelo’s David b. Leonardo’s Last Supper d. Raphael’s Alba Madonna ANS: A MSC: Applied
DIF:
Easy
REF:
109
TOP: Women’s voices
8. Of the following, which characterizes Cozzolani’s music for the Magnificat? a. imitative polyphony throughout c. expressive and rich in word-painting b. an A-B-A structure d. all of the above ANS: C MSC: Applied
DIF:
Medium
REF:
109
TOP: Women’s voices
9. What are the performing forces for Cozzolani’s Magnificat? a. a cappella choir b. two choirs and violins c. two choirs, two soprano soloists, and organ and strings d. vocal choir and instrumental ensemble ANS: C MSC: Factual
DIF:
Medium
REF:
111
TOP: Women’s voices
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
TOP: Women’s voices
TRUE/FALSE 1. Creative voices from groups excluded from equal opportunity seldom have any emotional impact. ANS: F MSC: Applied
DIF:
Easy
REF:
108
TOP: Women’s voices
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
TOP: Women’s voices
3. The convent of St. Radegonda in Milan was famous for its music-making. ANS: T MSC: Applied
DIF:
Medium
REF:
109
TOP: Women’s voices
Voicing the Virgin: Cozzolani and Italian Baroque Sacred Music | 87 4. The Catholic Church supported the performances of nuns in public and their use of polyphony. ANS: F MSC: Factual
DIF:
Easy
REF:
110
TOP: Women’s voices
5. In convents, men frequently joined the nuns’ choir in order to perform the bass parts. ANS: F MSC: Factual
DIF:
Medium
REF:
109
TOP: Women’s voices
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
TOP: Women’s voices
7. In Cozzolani’s Magnificat, the choirs often sing in homophony. ANS: T MSC: Applied
DIF:
Medium
REF:
109
TOP: Women’s voices
REF:
111
TOP: Women’s voices
8. Cozzolani wrote the text of her Magnificat. ANS: F MSC: Factual
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
TOP: Women’s voices
2. Describe the life of women in a seventeenth-century convent. ANS: Answers will vary. DIF: Medium MSC: Applied
REF:
109f
TOP: Women’s voices
3. Describe the expressive qualities of Cozzolani’s Magnificat. Give some examples. ANS: Answers will vary. DIF: Hard MSC: Conceptual
REF:
109f
TOP: Women’s voices
Chapter 21: Performing Grief: Purcell and Early Opera MULTIPLE CHOICE 1. A drama that is sung is called a(n): a. madrigal. b. opera. ANS: B MSC: Factual
DIF:
Easy
c. d. REF:
cantata. motet. 113
TOP: Baroque opera
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
TOP: Baroque opera
3. A highly emotional song in an opera is called a(n): a. aria. c. ensemble. b. chorus. d. recitative. ANS: A MSC: Factual
DIF:
Easy
REF:
113
TOP: Baroque opera
4. The orchestral introduction at the beginning of an opera is called the: a. overture. c. ensemble. b. ritornello. d. recitative. ANS: A MSC: Factual
Easy
REF:
5. The text of an opera is called the: a. lyrics. b. script.
c. d.
ANS: C MSC: Factual
DIF:
DIF:
Medium
REF:
114
TOP: Baroque opera
libretto. book. 114
TOP: Baroque opera
6. Which of the following composers is regarded as the first master of opera? a. Monteverdi c. Handel b. Purcell d. Puccini ANS: A MSC: Factual
DIF:
Easy
REF:
7. Which cultural center rejected Italian opera? a. Germany b. England ANS: D MSC: Applied
88
DIF:
Medium
c. d.
REF:
114
TOP: Baroque opera
Austria France 114
TOP: Baroque opera
Performing Grief: Purcell and Early Opera | 89 8. A type of English entertainment combining music, poetry, and dance was called the: a. tragédie lyrique. c. monody. b. masque. d. oratorio. ANS: B MSC: Factual
DIF:
Medium
REF:
114
TOP: Baroque opera
9. The greatest native-born English composer of the Baroque was: a. George Frideric Handel. c. Henry Purcell. b. Thomas Morley. d. Oliver Cromwell. ANS: C MSC: Applied
DIF:
Easy
REF:
115
TOP: Baroque opera
10. Purcell’s opera Dido and Aeneas was composed for: a. the Royal Opera in London. c. a production at a girls’ school. b. King James II. d. La Scala in Milan. ANS: C MSC: Factual
DIF:
Easy
REF:
115
TOP: Baroque opera
11. Who was the librettist of Purcell’s Dido and Aeneas? a. Josias Priest c. John Milton b. Nahum Tate d. John Donne ANS: B MSC: Factual
DIF:
Hard
REF:
115
TOP: Baroque opera
12. Which epic poem was the basis for Purcell’s opera Dido and Aeneas? a. Milton’s Paradise Lost c. Homer’s Iliad b. Homer’s Odyssey d. Virgil’s Aeneid ANS: D MSC: Factual
DIF:
Hard
REF:
115
TOP: Baroque opera
13. Dido sings her famous lament in Purcell’s 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
TOP: Baroque opera
14. Dido’s Lament from Purcell’s 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
TOP: Baroque opera
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
TOP: Baroque opera
2. Early operas, such as Monteverdi’s Orfeo, were simple productions for intimate gatherings. ANS: F MSC: Applied
DIF:
Easy
REF:
114
TOP: Baroque opera
114
TOP: Baroque opera
3. The first public opera houses opened in Venice. ANS: T MSC: Factual
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
TOP: Baroque opera
5. Purcell’s Dido and Aeneas was first performed in a public opera house. ANS: F MSC: Factual
DIF:
Medium
REF:
115
TOP: Baroque opera
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
TOP: Baroque opera
7. The aria “When I am laid in earth” is accompanied by continuo only. ANS: F MSC: Applied
DIF:
Medium
REF:
116
TOP: Baroque opera
ESSAY 1. 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
TOP: Baroque opera
Performing Grief: Purcell and Early Opera | 91 2. Compare the operatic traditions of Italy and England. Be sure to include the names of composers and works. ANS: Answers will vary. DIF: Medium MSC: Applied
REF: 114f
TOP: Baroque opera
Chapter 22: Musical Sermons: Bach and the Lutheran Cantata MULTIPLE CHOICE 1. Luther believed that music belonged to the: a. clergy. b. choir. ANS: D MSC: Applied
DIF:
Medium
c. d. REF:
cantor. congregation. 118
TOP: Baroque cantata
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
TOP: Baroque cantata
3. Which of the following does NOT describe the chorale? a. Chorales were intended to be sung by the congregation. b. The congregation sang chorales in four-part harmony. c. Chorale texts are in German. d. Chorales generally have simple and memorable melodies. ANS: B MSC: Applied
DIF:
Hard
REF:
4. The sacred cantata was an integral part of the: a. Catholic church service. c. b. Anglican church service. d. ANS: C MSC: Applied
DIF:
Easy
REF:
118
TOP: Baroque cantata
Lutheran church service. Pilgrims’ church service in America. 118
TOP: Baroque cantata
5. The expansion of the chorale with new poetry resulted in the: a. bar form. c. cantata. b. motet. d. anthem. ANS: C MSC: Factual
DIF:
Medium
REF:
119
TOP: Baroque cantata
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-Cöthen. d. all of the above ANS: D MSC: Factual
92
DIF:
Medium
REF:
119
TOP: Baroque cantata
Musical Sermons: Bach and the Lutheran Cantata | 93 7. Johann Sebastian Bach was most famous in his day as a performer on the: a. harpsichord. c. piano. b. organ. d. clavichord. ANS: B MSC: Factual
DIF:
Easy
REF:
119
TOP: Baroque cantata
8. What would listeners hear in a typical Bach chorale? a. intricate choral movements c. solo arias b. simple, hymnlike settings d. all of the above ANS: D MSC: Factual
DIF:
Hard
REF:
9. What is the form of the chorale tune Wachet auf? a. A-B-B c. b. A-B-B-A d. ANS: D MSC: Applied
DIF:
Hard
REF:
119f
TOP: Baroque cantata
da capo (A-B-A) bar form (A-A-B) 120
TOP: Baroque cantata
10. Bach’s Cantata No. 140, Wachet auf, has ________ movements. a. eight c. six b. seven d. five ANS: B MSC: Factual
DIF:
Medium
REF:
120f
TOP: Baroque cantata
11. The opening movement of Bach’s 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
TOP: Baroque cantata
12. The fourth movement of Bach’s 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
TOP: Baroque cantata
TRUE/FALSE 1. Luther believed that professional musicians had no place in a church service. ANS: F MSC: Factual
DIF:
Medium
REF:
118
TOP: Baroque cantata
94 | Chapter 22 2. A chorale is a hymn tune associated with German Protestantism. ANS: T MSC: Factual
DIF:
Easy
REF:
118
TOP: Baroque cantata
3. Chorales were intended to be sung by a trained choir. ANS: F MSC: Factual
DIF:
Easy
REF:
118
TOP: Baroque cantata
4. The texts for chorales were always taken directly from the Bible. ANS: F MSC: Factual
DIF:
Medium
REF:
119
TOP: Baroque cantata
REF:
119
TOP: Baroque cantata
5. Bach completed over two hundred cantatas. ANS: T MSC: Factual
DIF:
Medium
6. Johann Sebastian Bach lived a short, unhappy life and had no children. ANS: F MSC: Factual
DIF:
Easy
REF:
119
TOP: Baroque cantata
7. During his lifetime, Johann Sebastian Bach was known primarily as a great organist. ANS: T MSC: Factual
DIF:
Medium
REF:
119
TOP: Baroque cantata
8. All the movements of Bach’s Cantata No. 140 make use of the chorale tune Wachet auf. ANS: F MSC: Applied
DIF:
Medium
REF:
120
TOP: Baroque cantata
9. In Wachet auf, Bach avoids mirroring the form of the chorale in his chorale movements. ANS: F MSC: Applied
DIF:
Medium
REF:
121
TOP: Baroque cantata
REF:
120
TOP: Baroque cantata
10. A bar form has the structure of A-A-B. ANS: T MSC: Facutal
DIF:
Medium
Musical Sermons: Bach and the Lutheran Cantata | 95 ESSAY 1. What is the role of the chorale in the Lutheran service and specifically in the Lutheran cantata? ANS: Answers will vary. DIF: Medium MSC: Conceptual
REF: 118f
TOP: Baroque cantata
2. Describe Bach’s typical cantatas, using examples from Wachet auf. ANS: Answers will vary. DIF: Hard MSC: Applied
REF: 119f
TOP: Baroque cantata
Chapter 23: Textures of Worship: Handel and the English Oratorio MULTIPLE CHOICE 1. Handel’s Messiah is a(n): a. opera. b. cantata. ANS: C MSC: Factual
DIF:
c. d. Easy
REF:
oratorio. masque. 123
TOP: Baroque oratorio
2. Which of the following is Handel’s 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
TOP: Baroque oratorio
3. Why is Messiah so popular in Britain and America today? a. It is sung in English. b. The first part is appropriate for the Christmas season. c. It combines vocal soloists, chorus, and orchestra. d. all of the above ANS: D MSC: Conceptual
DIF:
Easy
REF:
123
TOP: Baroque oratorio
4. Which of the following does NOT characterize the oratorio? a. elaborate scenery c. arias b. recitatives d. choruses ANS: A MSC: Factual
DIF:
Easy
REF:
123f
TOP: Baroque oratorio
5. The stories for oratorios are generally drawn from: a. Greek mythology. c. medieval history. b. the Bible. d. contemporary life. ANS: B MSC: Factual
DIF:
Easy
REF:
123f
TOP: Baroque oratorio
6. George Frideric Handel is considered a master of the: a. oratorio. c. cantata. b. symphony. d. chorale. ANS: A MSC: Applied
96
DIF:
Easy
REF:
124
TOP: Baroque oratorio
Textures of Worship: Handel and the English Oratorio | 97 7. ________ was born in Germany and studied in Italy, but spent much of his creative life in England. a. Bach c. Vivaldi b. Handel d. Scarlatti ANS: B MSC: Factual
DIF:
Easy
REF:
124
TOP: Baroque oratorio
8. When Handel arrived in London, he established his fame by composing: a. secular cantatas. c. concertos. b. oratorios. d. operas. ANS: D MSC: Factual
DIF:
Medium
REF:
124
TOP: Baroque oratorio
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:
10. The subject of the second part of Messiah is: a. the birth of Christ. b. the death of Christ. ANS: B MSC: Factual
DIF:
Hard
c. d.
REF:
11. The orchestra for Messiah relies primarily on the: a. strings. c. b. oboes. d. ANS: A MSC: Applied
DIF:
Easy
REF:
124
TOP: Baroque oratorio
the redemption of the world. all of the above 125
TOP: Baroque oratorio
trumpets. drums. 125
TOP: Baroque oratorio
12. “Rejoice greatly, O daughter of Zion” from Messiah is an example of: a. a da capo aria. c. accompagnato recitative. b. secco recitative. d. four-part choral writing. ANS: A MSC: Applied
DIF:
Medium
REF:
125
TOP: Baroque oratorio
125
TOP: Baroque oratorio
13. What is a ritornello? a. a repeated figure in the bass line b. the repetition of the A section in a da capo aria c. a recurring motive in an aria d. an instrumental refrain in an aria ANS: D MSC: Applied
DIF:
Medium
REF:
98 | Chapter 23 14. The famous choral climax of Handel’s 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
TOP: Baroque oratorio
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
TOP: Baroque oratorio
TRUE/FALSE 1. An oratorio is a dramatic, staged work with elaborate scenery and costumes. ANS: F MSC: Factual
DIF:
Easy
REF:
123f
TOP: Baroque oratorio
2. The role of the chorus is especially important in the oratorio. ANS: T MSC: Applied
DIF:
Medium
REF:
124
TOP: Baroque oratorio
3. Handel wrote his oratorio Messiah over a period of four years. ANS: F MSC: Factual
DIF:
Medium
REF:
125
TOP: Baroque oratorio
4. The libretto for Handel’s oratorio Messiah is a compilation of verses from the Old and New Testaments. ANS: T MSC: Factual
DIF:
Easy
REF:
125
TOP: Baroque oratorio
125
TOP: Baroque oratorio
5. Handel’s Messiah is divided into three parts. ANS: T MSC: Factual
DIF:
Easy
REF:
6. “Rejoice greatly, O daughter of Zion” is in bar form. ANS: F MSC: Factual
DIF:
Medium
REF:
125
TOP: Baroque oratorio
7. The “Hallelujah Chorus” is the climax of the Christmas section of Messiah. ANS: F MSC: Applied
DIF:
Medium
REF:
125
TOP: Baroque oratorio
Textures of Worship: Handel and the English Oratorio | 99 8. Handel’s “Hallelujah Chorus” includes a variety of textures. ANS: T MSC: Factual
DIF:
Medium
REF:
127
TOP: Baroque oratorio
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
TOP: Baroque oratorio
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
TOP: Baroque oratorio
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
TOP: American music
2. What is the basic texture of the practice of lining-out? a. monophonic c. polyphonic b. homophonic d. all of the above ANS: A MSC: Applied
DIF:
Easy
REF:
128
TOP: American music
3. Why was lining-out developed? a. Most people could not read music. b. Most people could not afford to buy a psalm book. c. The church wanted everyone to participate equally in services. d. all of the above ANS: D MSC: Conceptual
DIF:
Hard
REF:
128
TOP: American music
4. What is heterophonic texture? a. a unison choral statement b. the simultaneous performance of slight variants of the same melody c. a texture undergoing constant change d. a texture based on non-imitative polyphony ANS: B MSC: Factual
DIF:
Medium
REF:
128
TOP: American music
5. Which of the following was NOT a musical development in seventeenth-century America? a. Polyphonic settings of sacred music began to appear. b. Singing schools began teaching music. c. American composers were discouraged from writing new music. d. Shape-note singing was developed. ANS: C MSC: Conceptual
100
DIF:
Hard
REF:
129
TOP: American music
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 solfège, syllables used to memorize music. c. The shape of a note denoted its solfège syllable. d. It was first applied to tutorials for piano playing. ANS: D MSC: Applied
DIF:
Medium
REF:
129
TOP: American music
7. Which of the following describes the career of William Billings? a. He knew several leaders of the American Revolution. b. He studied music in Germany. c. His music publications were not very successful. d. He died a wealthy man. ANS: A MSC: Factual
DIF:
Hard
8. Billings’s best-known publication is: a. Music in Miniature. b. The New England Psalm-Singer. ANS: B MSC: Factual
DIF:
Hard
REF:
c. d. REF:
9. The form of Billings’s David’s Lamentation is: a. strophic. c. b. bar form (A-A-B). d. ANS: D MSC: Factual
DIF:
Hard
REF:
130
TOP: American music
The Psalm-Singer’s Amusement. The Singing Master’s Assistant. 130
TOP: American music
A-B-A. A-B-B. 130
TOP: American music
10. What is the texture of Billings’s David’s Lamentation? a. monophonic c. polyphonic b. homophonic with solos and duets d. heterophonic ANS: B MSC: Applied
DIF:
Hard
REF:
130
TOP: American music
11. Of the following, what contributes to the simplicity of Billings’s David’s 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
TOP: American music
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
TOP: American music
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
TOP: American music
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
TOP: American music
TRUE/FALSE 1. Lining-out was a system designed to promote polyphony in America. ANS: F MSC: Applied
DIF:
Easy
REF:
128
TOP: American music
REF:
128
TOP: American music
2. Lining-out often involved heterophony. ANS: T MSC: Applied
DIF:
Medium
3. Shape-note notation was designed to help the general public read music. ANS: T MSC: Applied
DIF:
Easy
REF:
129
TOP: American music
4. William Billings was the first highly trained composer active in America. ANS: F MSC: Factual
DIF:
Easy
REF:
130
TOP: American music
Independent Study: Billings and the North American Sacred Tradition | 103 5. Billings’s four-part compositions generally placed the main melody in the soprano. ANS: F MSC: Applied
DIF:
Hard
REF:
130
TOP: American music
6. The text for Billings’s David’s Lamentation is derived from the Bible. ANS: T MSC: Factual
DIF:
Easy
REF:
130
TOP: American music
7. Missionaries taught American natives plainchant exclusively in Latin. ANS: F MSC: Factual
DIF:
Medium
REF:
132
TOP: American music
8. The incorporation of percussion instruments in Fernandes’s villancico is not indicated in the score but suggested by various historical documents. ANS: T MSC: Applied
DIF:
Medium
REF:
133
TOP: American music
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
TOP: American music
2. Why was William Billings important in colonial American music? ANS: Answers will vary. DIF: Medium MSC: Applied
REF:
130f
TOP: American music
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
TOP: American music
Chapter 25: Grace and Grandeur: The Baroque Dance Suite MULTIPLE CHOICE 1. The first era of Western music history in which instrumental music was a major focus for composers was the: a. Middle Ages. c. Baroque. b. Renaissance. d. Classical. ANS: C MSC: Factual
DIF:
Easy
REF:
134
TOP: Baroque instruments
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
TOP: Baroque instruments
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
TOP: Baroque instruments
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
TOP: Baroque instruments
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
TOP: Baroque instruments
6. Which of the following does NOT characterize the Baroque suite? a. It consists of a series of dance movements. b. The movements are in contrasting keys. c. Each movement is a dance type from a different country. d. The movements have contrasts of tempo and character. ANS: B MSC: Applied
104
DIF:
Medium
REF:
135
TOP: Baroque suite
Grace and Grandeur: The Baroque Dance Suite | 105 7. Which of the following dance types was NOT standard in a Baroque suite? a. allemande c. courante b. sarabande d. tarantella ANS: D MSC: Applied
DIF:
Hard
REF:
135
TOP: Baroque suite
8. What is the most common form of the individual movement in a suite? a. binary c. sonata b. variations d. rondo ANS: A MSC: Factual
DIF:
Medium
REF:
135
TOP: Baroque suite
9. Baroque composers applied the concept of the suite to: a. solo instrumental music. c. orchestral music. b. keyboard music. d. all of the above ANS: D MSC: Applied
DIF:
Medium
REF:
10. Handel’s Water Music is best described as a: a. sonata da camera. b. concerto grosso. ANS: C MSC: Factual
DIF:
Easy
c. d.
REF:
135f
TOP: Baroque suite
suite. passacaglia. 136
TOP: Baroque suite
11. Why is the music for Handel’s 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
TOP: Baroque suite
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
TOP: Baroque suite
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
TOP: Baroque instruments
2. Stradivarius, Guarneri, and Amati were famous makers of violins during the Baroque era. ANS: F MSC: Factual
DIF:
Easy
REF:
134
TOP: Baroque instruments
3. The invention of valves enabled Baroque trumpet players to become virtuosos. ANS: F MSC: Applied
DIF:
Easy
REF:
135
TOP: Baroque instruments
4. Today, Baroque music is played exclusively on modern instruments. ANS: F MSC: Applied
DIF:
Medium
REF:
135
TOP: Baroque instruments
5. The standard Baroque suite consists of a variety of international dance types. ANS: T MSC: Factual
DIF:
Medium
REF:
135
TOP: Baroque suite
135
TOP: Baroque suite
6. Baroque suites were composed for orchestra only. ANS: F MSC: Factual
DIF:
Medium
REF:
7. Handel’s Water Music received its name because of the depiction of waves in the Alla hornpipe. ANS: F MSC: Factual
DIF:
Easy
REF:
136
TOP: Baroque suite
8. The Alla hornpipe from Handel’s Water Music is in ternary form. ANS: T MSC: Factual
DIF:
Medium
REF:
135
TOP: Baroque suite
Grace and Grandeur: The Baroque Dance Suite | 107 ESSAY 1. Why do modern instruments sound different from their Baroque counterparts? Include some examples in your answer. ANS: Answers will vary. DIF: Hard MSC: Conceptual
REF:
134f
TOP: Baroque instruments
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
TOP: Baroque suite
Chapter 26: Sounding Spring: Vivaldi and the Baroque Concerto MULTIPLE CHOICE 1. The instrumental form based on the contrast of two dissimilar bodies of sound is called a: a. symphony. c. suite. b. sonata. d. concerto. ANS: D MSC: Factual
DIF:
Easy
REF:
138
TOP: Baroque concerto
2. The typical solo concerto has ________ movements. a. two c. four b. three d. six ANS: B MSC: Factual
DIF:
Medium
REF:
138
TOP: Baroque concerto
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
TOP: Baroque concerto
4. A ritornello form in a concerto is typically found in: a. the first movement only. c. the first and third movements. b. the second movement. d. all of the movements. ANS: C MSC: Applied
DIF:
Easy
REF:
138
TOP: Baroque concerto
5. Which of the following was the greatest and most prolific Italian composer of concertos? a. Vivaldi c. Handel b. Purcell d. Bach ANS: A MSC: Factual
DIF:
Easy
REF:
139
TOP: Baroque concerto
6. Antonio Vivaldi was known as the “red priest” for: a. his political affiliations. c. the color of his hair. b. his violent temper. d. his red house. ANS: C MSC: Factual
108
DIF:
Easy
REF:
139
TOP: Baroque concerto
Sounding Spring: Vivaldi and the Baroque Concerto | 109 7. Vivaldi lived and worked in: a. Florence. b. Venice. ANS: B MSC: Factual
DIF:
c. d. Medium
REF:
Rome. Bologna. 139
TOP: Baroque concerto
8. Which of the following is Vivaldi’s best-known set of concertos? a. The Four Seasons c. Water Music b. the Brandenburg Concertos d. Music for the Royal Fireworks ANS: A MSC: Factual
DIF:
Easy
REF:
139
TOP: Baroque concerto
9. The solo instrument in Spring, from The Four Seasons, is the: a. violin. c. cello. b. viola. d. harpsichord. ANS: A MSC: Factual
DIF:
Easy
REF:
140
TOP: Baroque concerto
10. Which of the following does NOT characterize Vivaldi’s 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
TOP: Baroque concerto
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
TOP: Baroque concerto
12. In the slow movement of Spring, from The Four Seasons, Vivaldi evokes a dog’s 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
TOP: Baroque concerto
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
TOP: Baroque concerto
110 | Chapter 26 2. The concerto lends itself to virtuoso playing. ANS: T MSC: Applied
DIF:
Easy
REF:
138
TOP: Baroque concerto
3. The tempos in a three-movement concerto are Adagio-Allegro-Andante. ANS: F MSC: Applied
DIF:
Easy
REF:
138
TOP: Baroque concerto
4. Antonio Vivaldi composed over two hundred concertos for solo violin. ANS: T MSC: Factual
DIF:
Medium
REF:
139
TOP: Baroque concerto
5. Vivaldi lived in Rome, where he taught music at a girls’ school. ANS: F MSC: Factual
DIF:
Easy
REF:
139
TOP: Baroque concerto
6. Bach composed the famous set of works known as the Brandenburg Concertos. ANS: T MSC: Factual
DIF:
Hard
REF:
139
TOP: Baroque concerto
7. The Four Seasons is considered to be program music. ANS: T MSC: Applied
DIF:
Medium
REF:
140
TOP: Baroque concerto
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
TOP: Baroque concerto
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
TOP: Baroque concerto
Sounding Spring: Vivaldi and the Baroque Concerto | 111 2. Describe the specific images that Vivaldi created in Spring from The Four Seasons. ANS: Answers will vary. DIF: Medium MSC: Conceptual
REF:
139f
TOP: Baroque concerto
Chapter 27: Process as Meaning: Bach and the Fugue MULTIPLE CHOICE 1. Which of the following was NOT an important keyboard instrument during the Baroque? a. the harpsichord c. the organ b. the piano d. the clavichord ANS: B DIF: Easy TOP: Baroque keyboard instruments
REF: 142 MSC: Applied
2. The ________ is a keyboard instrument whose strings are plucked by quills. a. organ c. harpsichord b. piano d. clavichord ANS: C DIF: Easy TOP: Baroque keyboard instruments
REF: 142 MSC: Factual
3. The harpsichord is different from the piano because: a. it sometimes has two keyboards, rather than one. b. its strings are plucked, rather than struck. c. it is not capable of a wide dynamic range. d. all of the above ANS: D DIF: Easy TOP: Baroque keyboard instruments
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
TOP: Baroque keyboard forms
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
TOP: Baroque fugue
Process as Meaning: Bach and the Fugue | 113 7. What is the principal element of a fugue? a. a beautiful melody b. counterpoint ANS: B MSC: Applied
DIF:
Medium
c. d. REF:
a chorale tune arpeggios 143
TOP: Baroque fugue
8. After the first statement of the fugue subject, the second entrance of the subject is called the: a. episode. c. fugato. b. answer. d. stretto. ANS: B MSC: Factual
DIF:
Medium
REF:
143
TOP: Baroque fugue
9. The opening section of a fugue, in which all voices successively introduce the subject, is called the: a. episode. c. exposition. b. answer. d. closing section. ANS: C MSC: Factual
DIF:
Medium
REF:
143
TOP: Baroque fugue
10. In a fugue, the areas of relaxation where the subject is not heard are called: a. answers. c. episodes. b. countersubjects. d. strettos. ANS: C MSC: Factual
DIF:
Medium
REF:
143
TOP: Baroque fugue
11. Which of the following is NOT a contrapuntal device that alters the original theme of a fugue? a. augmentation c. prelude b. retrograde d. diminution ANS: C MSC: Applied
DIF:
Hard
REF:
144
TOP: Baroque fugue
12. In a fugue, the technique of stating the theme in shorter time values that go faster is called: a. augmentation. c. stretto. b. retrograde. d. diminution. ANS: D MSC: Factual
DIF:
Medium
REF:
144
TOP: Baroque fugue
13. In the field of keyboard music, Johann Sebastian Bach’s most important collection was: a. the Brandenburg Concertos. c. The Well-Tempered Clavier. b. The Art of Fugue. d. A Musical Offering. ANS: C MSC: Conceptual
DIF:
Medium
REF:
144
TOP: Baroque fugue
114 | Chapter 27 14. Which of the following is the title of a set of forty-eight preludes and fugues by Bach? a. the Brandenburg Concertos c. The Well-Tempered Clavier b. A Musical Offering d. The Art of Fugue ANS: C MSC: Factual
DIF:
Easy
REF:
144
TOP: Baroque fugue
15. How many preludes and fugues are contained in the two Well-Tempered Clavier volumes? a. twelve c. forty-eight b. twenty-four d. sixty-four ANS: C MSC: Factual
DIF:
Hard
REF: 144
TOP: Baroque fugue
16. Bach’s last demonstration of contrapuntal mastery was: a. The Art of Fugue. c. The Well-Tempered Clavier. b. A Musical Offering. d. the Brandenburg Concertos. ANS: A MSC: Factual
DIF:
Medium
REF:
145
TOP: Baroque fugue
17. How many voices, or individual lines, are there in Bach’s Contrapunctus I, from The Art of Fugue? a. two c. four b. three d. five ANS: C MSC: Factual
DIF:
Medium
REF:
145
TOP: Baroque fugue
18. By which voice is the subject first stated in Contrapunctus I, from The Art of Fugue? a. the top voice, or soprano b. the second voice from the top, or alto c. the second voice from the bottom, or tenor d. the bottom voice, or bass ANS: B MSC: Factual
DIF:
Hard
REF:
145
TOP: Baroque fugue
TRUE/FALSE 1. The most important keyboard instruments of the Baroque were the harpsichord, organ, and piano. ANS: F DIF: Easy TOP: Baroque keyboard instruments
REF: 142 MSC: Factual
2. The strings of a harpsichord are plucked by quills. ANS: T DIF: Easy TOP: Baroque keyboard instruments
REF: 142 MSC: Factual
Process as Meaning: Bach and the Fugue | 115 3. The advantage of the harpsichord was its ability to produce crescendos and diminuendos. ANS: F DIF: Medium TOP: Baroque keyboard instruments
REF: 142 MSC: Applied
4. The organ has multiple keyboards. ANS: T DIF: Medium TOP: Baroque keyboard instruments
REF: 143 MSC: Factual
5. A fugue is a contrapuntal composition in which a single subject is the focal point that unifies the work. ANS: T MSC: Applied
DIF:
Easy
REF:
143
TOP: Baroque fugue
6. A fugue is a form intended exclusively for solo keyboard performance. ANS: F MSC: Applied
DIF:
Medium
REF:
143
TOP: Baroque fugue
7. At the beginning of a fugue, the countersubject is stated alone. ANS: F MSC: Factual
DIF:
Medium
REF:
143
TOP: Baroque fugue
8. Johann Sebastian Bach’s Art of Fugue is now generally considered to be a keyboard work. ANS: T MSC: Factual
DIF:
Easy
REF:
145
TOP: Baroque fugue
ESSAY 1. Discuss the two most important keyboard instruments of the Baroque. How do they differ from the piano? ANS: Answers will vary. DIF: Medium MSC: Applied
REF:
142f
TOP: Baroque keyboard instruments
2. Discuss the fugue, its structure, and its polyphonic devices. ANS: Answers will vary. DIF: Medium MSC: Applied
REF:
143f
TOP: Baroque fugue
Prelude 4: Music as Order and Logic MULTIPLE CHOICE 1. How did Classical artists differ from their Romantic counterparts? a. Classical artists were more subjective. b. Classical artists emphasized clarity and beauty of form. c. Classical artists used art for self-expression. d. all of the above ANS: B MSC: Conceptual
DIF:
Medium
REF:
150
TOP: Classicism in arts
2. Interest in Greek and Roman antiquity during the eighteenth century greatly influenced: a. painting. c. literature. b. architecture. d. all of the above ANS: D MSC: Applied
DIF:
Hard
REF:
150
TOP: Classicism in arts
3. Which of the following was NOT an eighteenth-century ruler? a. Frederick the Great of Prussia c. Louis XV of France b. Maria Theresa of Austria d. Elizabeth I of England ANS: D MSC: Factual
DIF:
Hard
REF:
150
TOP: Classicism in arts
4. Which of the following historical events did NOT have an impact on the Classical era? a. the American Revolution c. the French Revolution b. the Industrial Revolution d. the Russian Revolution ANS: D MSC: Applied
DIF:
Easy
REF:
151
TOP: Classicism in arts
5. Which American president was a leading figure during the Classical period? a. Abraham Lincoln c. Andrew Jackson b. Thomas Jefferson d. James Polk ANS: B MSC: Factual
DIF:
Hard
REF:
151
TOP: Classicism in arts
6. Who was the French philosopher called the “father of Romanticism”? a. Schiller c. Rousseau b. Goethe d. David ANS: C MSC: Factual
116
DIF:
Medium
REF:
151
TOP: Classicism in arts
Music as Order and Logic | 117 7. The Sturm und Drang movement came about largely because of two works, written by Schiller and: a. Burns. c. Kant. b. Blake. d. Goethe. ANS: D MSC: Factual
DIF:
Hard
REF:
152
TOP: Classicism in arts
8. The Classical period in music ranged from approximately: a. 1600 to 1650. c. 1700 to 1750. b. 1650 to 1700. d. 1750 to 1825. ANS: D MSC: Factual
DIF:
Easy
REF:
150
TOP: Classicism in music
9. Which of the following composers was NOT a master of the Viennese school? a. Beethoven c. Chopin b. Haydn d. Mozart ANS: C MSC: Factual
DIF:
Easy
REF:
153
TOP: Classicism in music
10. Which of the following does NOT characterize the Classical style? a. singable, elegant melodies c. strong, regular rhythms b. highly chromatic harmony d. use of folk and popular elements ANS: B MSC: Applied
DIF:
Medium
REF:
153
TOP: Classical style
11. Which of the following best describes the lyrical melodies of the Classical period? a. disjunct and leaping in shape b. based on the chromatic scale c. constructed with an irregular phrase structure d. conjunct, diatonic, and singable ANS: D MSC: Applied
DIF:
Medium
REF:
153
TOP: Classical style
12. A melody composed with a symmetrical four-bar phrase structure delineated by cadences is characteristic of the ________ period. a. medieval c. Baroque b. Renaissance d. Classical ANS: D MSC: Factual
DIF:
Easy
REF:
153
TOP: Classical style
13. The concept of rhythmic regularity suggests: a. strong rhythms moving at a steady tempo. b. meters that frequently change within a piece or movement. c. irregular rhythms. d. the regular use of syncopated rhythms. ANS: A MSC: Conceptual
DIF:
Medium
REF:
153
TOP: Classical style
118 | Prelude 4 14. The system in which the aristocracy sponsored musicians is called: a. patronage. c. sponsorship. b. scholarship. d. apprenticeship. ANS: A MSC: Factual
DIF:
Easy
REF:
154
TOP: Classical style
15. Which role in musical life was socially acceptable for eighteenth-century women? a. performer c. church musician b. composer d. all of the above ANS: A MSC: Applied
DIF: Easy
REF:
154
TOP: Patronage
16. Which of the following best describe(s) musical life in the Classical era? a. Music was performed only by professionals and aristocrats. b. The rise of public performances gave composers new venues where their works could be heard. c. Audiences preferred performances of old music rather than new. d. all of the above ANS: B MSC: Applied
DIF:
Medium
REF:
154
TOP: Patronage
TRUE/FALSE 1. The Classical attitude toward art was considerably more objective than the Romantic. ANS: T MSC: Applied
DIF:
Easy
REF:
150
TOP: Classicism in arts
2. The Classical era saw the publication of important new encyclopedias. ANS: T MSC: Factual
DIF:
Easy
REF:
151
TOP: Classicism in arts
3. Despite intellectual attitudes in the Classical era, few significant advances were made in the sciences. ANS: F MSC: Applied
DIF:
Easy
REF:
151
TOP: Classicism in arts
4. The American Declaration of Independence reflects the intellectual climate of the Classical era. ANS: T MSC: Applied
DIF:
Easy
REF:
151
TOP: Classicism in arts
5. The Classical period also has been called the Enlightenment. ANS: T MSC: Factual
DIF:
Easy
REF:
151
TOP: Classicism in arts
Music as Order and Logic | 119 6. Eighteenth-century thinkers and artists turned away from the idealized civilization of the Greeks and Romans and embraced the realism of the Middle Ages. ANS: F MSC: Applied
DIF:
Medium
REF:
151
TOP: Classicism in arts
7. Romantic elements can be found in the late works of Mozart, Haydn, and Beethoven. ANS: T MSC: Applied
DIF:
Hard
REF:
152
TOP: Classical style
8. Music of the Classical era is characterized by lyrical, singable melodies. ANS: T MSC: Applied
DIF:
Easy
REF:
153
TOP: Classical style
9. The harmony employed by the Classical-era composers was largely chromatic. ANS: F MSC: Applied
DIF:
Easy
REF:
153
TOP: Classical style
10. Classical-era composers rarely performed their own works in concerts. ANS: F MSC: Applied
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
14. Public performances were rare in the Classical era. ANS: F MSC: Factual
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
TOP: Classicism in arts
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
TOP: Classicism in arts
3. How do Classical and Romantic arts differ? Include examples in your answer. ANS: Answers will vary. DIF: Medium MSC: Applied
REF:
152
TOP: Classical style
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
Chapter 28: Musical Conversations: Haydn and Classical Chamber Music MULTIPLE CHOICE 1. In musical compositions, a theme is: a. the composition’s underlying meaning. b. the composition’s overall mood. c. a musical idea that is used as a building block. d. a literary story that is associated with the work. ANS: C MSC: Applied
DIF:
Easy
REF:
156
TOP: Expanding musical ideas
2. A composer can fragment a theme by dividing it into smaller units called: a. motives. c. sequences. b. codas. d. modulations. ANS: A MSC: Factual
DIF:
Easy
REF:
157
TOP: Expanding musical ideas
3. Which of the following is NOT a type of thematic development? a. breaking up a theme into motives b. expanding a motive into a long melody c. literally repeating a melody at the same pitch level d. treating a motive in sequence ANS: C MSC: Applied
DIF:
Hard
REF:
157
TOP: Expanding musical ideas
4. The repetition of a motive at a higher or lower pitch level is called a: a. scale. c. coda. b. theme. d. sequence. ANS: D MSC: Factual
DIF:
Medium
REF:
157
TOP: Expanding musical ideas
5. Which of the following descriptions is most characteristic of a jazz performance? a. improvisations on preestablished harmonic patterns b. emphasis on strict contrapuntal devices c. meandering improvisations without formal concerns d. avoidance of extension, contraction, and repetition ANS: A MSC: Applied
DIF:
Medium
REF:
157
TOP: Expanding musical ideas
6. Which of the following best describes absolute music? a. music without a story or text c. all instrumental music b. music without form d. the finest music from the past ANS: A MSC: Factual
DIF:
Easy
REF:
157
TOP: Classical forms
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
TOP: Classical forms
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
TOP: Classical forms
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
TOP: Classical forms
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
TOP: Classical forms
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
TOP: Classical forms
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
TOP: Classical forms
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
TOP: Classical forms
Musical Conversations: Haydn and Classical Chamber Music | 123 14. A string quartet consists of: a. violin, viola, cello, and bass. b. three violins and cello. ANS: D MSC: Factual
DIF:
Medium
c. d. REF:
violin, two violas, and cello. two violins, viola, and cello. 159
TOP: Classical chamber music
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
TOP: Classical chamber music
16. Haydn’s 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
TOP: Haydn chamber music
17. The form of the slow movement of Haydn’s 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
TOP: Haydn chamber music
18. The melody of the slow movement of Haydn’s 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
19. Haydn served as a choirboy in: a. Venice. b. Bonn. ANS: D MSC: Factual
DIF:
Medium
20. Who was Haydn’s principal patron? a. Emperor Frederick the Great b. Emperor Joseph II ANS: C MSC: Factual
DIF:
Medium
REF:
c. d. REF:
c. d. REF:
161
TOP: Haydn chamber music
Salzburg. Vienna. 159
TOP: Haydn
Prince Esterházy 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
TOP: Expanding musical ideas
2. In the Classical style, musical “conversations” depended on predictable musical forms. ANS: T MSC: Factual
DIF:
Easy
REF:
156
TOP: Expanding musical ideas
3. The expansion and reworking of a theme within a composition is called thematic development. ANS: T MSC: Factual
DIF:
Easy
REF:
156f
TOP: Expanding musical ideas
4. Thematic development provides clarity, coherence, and logic to larger musical forms. ANS: T MSC: Conceptual
DIF:
Hard
REF:
157
TOP: Expanding musical ideas
5. Thematic development is necessary in smaller musical forms. ANS: F MSC: Applied
DIF:
Medium
REF:
157
TOP: Expanding musical ideas
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
TOP: Classical forms
7. The slow movement of a multimovement cycle is most frequently the third movement. ANS: F MSC: Factual
DIF:
Medium
REF:
158
TOP: Classical forms
8. In the Classical multimovement cycle, the third movement is typically a minuet and trio. ANS: T MSC: Factual
DIF:
Easy
REF:
158
TOP: Classical forms
Musical Conversations: Haydn and Classical Chamber Music | 125 9. The only basic rule of theme and variations form is that the theme must always be easy to hear. ANS: F MSC: Conceptual
DIF:
Medium
REF:
158
TOP: Classical forms
10. The melody of the slow movement of Haydn’s String Quartet, Op. 76, No. 3 is taken from an obscure folk tune. ANS: F MSC: Factual
DIF:
Easy
REF:
159
TOP: Haydn chamber music
11. In the slow movement of Haydn’s Emperor string quartet, each instrument gets a turn at playing the theme. ANS: T MSC: Factual
DIF:
Easy
REF:
161
TOP: Haydn chamber music
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
TOP: Expanding musical ideas
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
TOP: Classical forms
Chapter 29: The Ultimate Instrument: Haydn and the Symphony MULTIPLE CHOICE 1. The Classical symphony had its roots in the: a. concerto. b. sonata. ANS: C MSC: Factual
DIF:
Hard
c. d.
REF:
opera overture. ballet. 162
TOP: Classical symphony
2. How many movements are typical of pre-Classical symphonies? a. two c. four b. three d. eight ANS: B MSC: Factual
DIF:
Hard
REF:
162
TOP: Classical symphony
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
TOP: Classical symphony
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
TOP: Classical symphony
5. Which group of instruments was the nucleus of the Classical orchestra? a. woodwinds c. brass b. strings d. percussion ANS: B MSC: Applied
DIF:
Easy
REF:
163
TOP: Classical symphony
6. The typical Classical orchestra consisted of ________ players. a. ten to fifteen c. forty to sixty b. thirty to forty d. seventy to ninety ANS: B MSC: Factual
126
DIF:
Medium
REF:
163
TOP: Classical symphony
The Ultimate Instrument: Haydn and the Symphony | 127 7. How many symphonies did Haydn compose? a. nine b. fifteen ANS: D MSC: Factual
DIF:
Medium
c. d.
REF:
forty-one over 100 163
TOP: Haydn symphony
8. How many movements make up a typical Haydn symphony? a. three c. five b. four d. over six ANS: B MSC: Factual
DIF:
Easy
REF:
163
TOP: Haydn symphony
9. The nickname “father of the symphony” was earned by: a. Mozart. c. Beethoven. b. Haydn. d. Bach. ANS: B MSC: Factual
DIF:
Easy
REF:
163
TOP: Haydn symphony
10. Haydn composed ________ symphonies for his visits to London. a. one c. nine b. six d. twelve ANS: D MSC: Factual
DIF:
Easy
REF:
163
TOP: Haydn symphony
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
TOP: Haydn symphony
12. How did Haydn’s Military Symphony earn its nickname? a. It was written for a military band. b. It opens with trumpet fanfares. c. It includes percussion instruments associated with Turkish military music. d. It was written during a time of war. ANS: C MSC: Applied
DIF:
Easy
13. Janissary bands were associated with: a. Egypt. b. Turkey. ANS: B MSC: Applied
DIF:
Hard
REF:
c. d. REF:
165
TOP: Haydn symphony
China. India. 165
TOP: Haydn symphony
128 | Chapter 29 14. What is the form of the second movement of Haydn’s Military Symphony? a. sonata-allegro c. A-B-A' b. theme and variations d. rondo ANS: C MSC: Applied
DIF:
Medium
REF:
165
TOP: Haydn symphony
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
TOP: Classical symphony
2. The Classical symphony had its origins in the Baroque concerto. ANS: F MSC: Factual
DIF:
Hard
REF:
162
TOP: Classical symphony
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
TOP: Classical symphony
4. The terms “rocket theme” and “steamroller” were applied to early symphonies from Germany. ANS: T MSC: Applied
DIF:
Hard
REF:
163
TOP: Classical symphony
5. Haydn died shortly after writing his ninth symphony. ANS: F MSC: Applied
DIF:
Hard
REF:
163
TOP: Classical symphony
6. The late symphonies of Haydn abound in expressive effects. ANS: T MSC: Applied
DIF:
Medium
REF:
165
TOP: Haydn symphony
7. The second movement of Haydn’s Military Symphony contains few dynamic contrasts. ANS: F MSC: Applied
DIF:
Easy
REF:
164
TOP: Haydn symphony
8. The triangle, cymbals, bass drum and bell tree are associated with Turkish military music. ANS: T MSC: Applied
DIF:
Easy
REF:
165
TOP: Haydn symphony
The Ultimate Instrument: Haydn and the Symphony | 129 ESSAY 1. Describe the development and structure of the Classical symphony. ANS: Answers will vary. DIF: Medium MSC: Applied
REF:
162f
TOP: Classical symphony
2. Why is Haydn considered to be the “father of the symphony”? ANS: Answers will vary. DIF: Hard MSC: Conceptual
REF:
163f
TOP: Haydn symphony
Chapter 30: Expanding the Conversation: Mozart, Chamber Music, and Larger Forms MULTIPLE CHOICE 1. Mozart’s Eine kleine Nachtmusik is an example of a: a. symphony. c. sonata. b. serenade. d. concerto. ANS: B MSC: Factual
Medium
REF:
2. Eine kleine Nachtmusik is: a. German for A Little Night Music. b. an example of program music.
c. d.
ANS: A MSC: Factual
DIF:
DIF:
Easy
REF:
167
TOP: Mozart chamber music
a symphony for full orchestra. all of the above 167
TOP: Mozart chamber music
3. We can best regard sonata-allegro form as a drama between: a. two groups of instruments. c. two forms. b. two key areas. d. two dynamic levels. ANS: B MSC: Applied
DIF:
Hard
REF:
167
TOP: Classical forms
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
TOP: Classical forms
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
TOP: Classical forms
6. What is the function of the bridge in sonata-allegro form? a. to establish the tonic c. to develop the themes b. to modulate to a new key d. to restate the themes ANS: B MSC: Conceptual
DIF:
Medium
REF:
167
TOP: Classical forms
7. In sonata-allegro form, the contrasting key is established by the statement of the: a. development. c. second theme. b. bridge. d. codetta. ANS: C MSC: Applied
130
DIF:
Hard
REF:
167
TOP: Classical forms
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
TOP: Classical forms
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
TOP: Classical forms
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
TOP: Classical forms
11. Mozart is remembered today as: a. the leading patron of Classical church music. b. the inventor of the Classical symphony. c. the most gifted child prodigy in the history of music. d. a slow starter who later achieved fame as a composer. ANS: C MSC: Applied
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
13. Mozart died while writing his: a. Requiem. b. last symphony. ANS: A MSC: Factual
DIF:
Medium
REF:
c. d. REF:
169
TOP: Mozart
opera The Magic Flute. opera The Marriage of Figaro. 169
TOP: Mozart
132 | Chapter 30 14. Mozart’s 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
TOP: Mozart chamber music
15. Which of the following best describes the form of the first movement of Mozart’s Eine kleine Nachtmusik? a. sonata-allegro c. rondo b. theme and variations d. minuet ANS: A MSC: Applied
DIF:
Medium
REF:
168
TOP: Mozart chamber music
16. Which of the following best describes the opening of the first movement of Mozart’s 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
17. What is the standard meter of the minuet? a. triple b. duple ANS: A MSC: Applied
DIF:
Medium
REF:
c. d. REF:
168
TOP: Mozart chamber music
quadruple irregular 168
TOP: Classical forms
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
TOP: Classical forms
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
TOP: Classical forms
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
TOP: Classical forms
172
TOP: Music of India
21. What is a raga in North Indian classical music? a. a passage centering on a central pitch b. a passaged with ragged rhythms c. a series of pitches project a mood d. all of the above ANS: C MSC: Conceptual
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
TOP: Music of India
TRUE/FALSE 1. The Classical divertimento and serenade were light genres intended for social functions. ANS: T MSC: Applied
DIF:
Easy
REF:
167
TOP: Classical forms
2. The finale of a multimovement cycle is generally the longest and most developed. ANS: F MSC: Applied
DIF:
Easy
REF:
167
TOP: Classical forms
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
TOP: Classical forms
4. In sonata-allegro form, the recapitulation is essentially identical to the exposition. ANS: F MSC: Applied
DIF:
Easy
REF:
167
TOP: Classical forms
5. In sonata-allegro form, the bridge is the transition between the development and the recapitulation. ANS: F MSC: Applied
DIF:
Medium
REF:
167
TOP: Classical forms
134 | Chapter 30 6. The minuet was originally a Baroque court dance. ANS: T MSC: Applied
DIF:
Easy
REF:
168
TOP: Classical forms
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
TOP: Music of India
9. The complexity of North Indian classical music is passed down through musical treatises. ANS: F MSC: Applied
DIF:
Easy
REF:
172
TOP: Music of India
10. Harmony, often using just a drone, is not important in North Indian classical music. ANS: T MSC: Applied
DIF:
Easy
REF:
172
TOP: Music of India
ESSAY 1. Describe the basic parts of sonata-allegro form. Use the first movement of Mozart’s Eine kleine Nachtmusik as a model. ANS: Answers will vary. DIF: Medium MSC: Applied
REF:
167f
TOP: Classical chamber music
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
TOP: Classical forms
Chapter 31: Conversation with a Leader: The Classical Concerto MULTIPLE CHOICE 1. How many movements are in a Classical concerto? a. two c. four b. three d. six ANS: B MSC: Factual
DIF:
Easy
REF:
173
TOP: Classical concerto
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
TOP: Classical concerto
3. The first movement of a Classical concerto is in sonata-allegro form with a: a. double exposition. c. slow introduction. b. double coda. d. fugal recapitulation. ANS: A MSC: Applied
DIF:
Easy
REF:
173
TOP: Classical concerto
4. The typical first movement of a Classical concerto begins with: a. the soloist. b. the orchestra. c. a dialogue between soloist and orchestra. d. a cadenza. ANS: B MSC: Factual
DIF:
Medium
REF:
5. The cadenza in the Classical concerto appears: a. at the beginning of the work. c. b. near the end of the first movement. d. ANS: B MSC: Factual
DIF:
Easy
REF:
173
TOP: Classical concerto
in the last movement. any of the above 174
TOP: Mozart concerto
6. Which of the following does NOT describe Mozart’s piano concertos? a. He wrote twenty-seven piano concertos. b. The concertos often contain graceful writing for the woodwinds. c. They abound in brilliant flourishes of technique. d. He rarely performed his own works, preferring to spotlight his students. ANS: D MSC: Factual
DIF:
Easy
REF:
174
TOP: Mozart concerto
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
TOP: Mozart concerto
8. What is the form of the first movement of Mozart’s 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
TOP: Mozart concerto
9. How does the orchestral exposition of the first movement of Mozart’s 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
TOP: Mozart concerto
10. What is the form of the second movement of Mozart’s 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
TOP: Mozart concerto
TRUE/FALSE 1. The Classical concerto emphasized the combination of a solo group and orchestra. ANS: F MSC: Factual
DIF:
Easy
REF:
173
TOP: Classical concerto
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
TOP: Classical concerto
3. The first movement of a Classical concerto usually has a double exposition. ANS: T MSC: Applied
DIF:
Easy
REF:
173
TOP: Classical concerto
4. The Piano Concerto in G Major, K. 453 is Mozart’s only concerto. ANS: F MSC: Factual
DIF:
Easy
REF:
174
TOP: Mozart concerto
Conversation with a Leader: The Classical Concerto | 137 5. The solo exposition of Mozart’s Piano Concerto in G, K. 453 introduces a theme not heard in the orchestral exposition. ANS: T MSC: Factual
DIF:
Hard
REF:
174
TOP: Mozart concerto
6. Mozart’s 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
TOP: Mozart concerto
ESSAY 1. Describe the form of a typical Classical concerto. ANS: Answers will vary. DIF: Medium MSC: Applied
REF:
173f
TOP: Classical concerto
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
TOP: Classical concerto
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
TOP: Classical sonata
2. How many piano sonatas did Beethoven compose? a. nine c. twenty-four b. eighteen d. thirty-two ANS: D MSC: Factual
DIF:
Hard
3. Beethoven supported himself through: a. teaching music lessons. b. publishing his music. ANS: D MSC: Factual
DIF:
Medium
REF:
c. d. REF:
177
TOP: Beethoven sonata
giving public concerts. all of the above 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
5. Beethoven’s career is often divided into ________ compositional periods. a. two c. four b. three d. five ANS: B MSC: Factual
DIF:
Medium
REF: 177
TOP: Beethoven
6. In his third compositional period, Beethoven: a. returned to the simple Classicism of his first period. b. used more chromatic harmonies. c. composed few works because of his deafness. d. all of the above ANS: B MSC: Applied
138
DIF:
Hard
REF:
177
TOP: Beethoven
Personalizing the Conversation: Beethoven and the Classical Sonata | 139 7. How many symphonies did Beethoven write? a. 5 c. b. 9 d. ANS: B MSC: Factual
DIF:
Easy
REF:
32 104 177
TOP: Beethoven
8. Beethoven’s 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 composer’s death. d. modern publishers. ANS: C MSC: Factual
DIF:
Hard
REF:
177
TOP: Beethoven sonata
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 amabilità. ANS: B MSC: Factual
DIF:
Hard
REF:
177
TOP: Beethoven sonata
10. Beethoven’s famous Moonlight Sonata has ________ movements. a. two c. four b. three d. five ANS: B MSC: Factual
DIF:
Easy
REF:
177f
TOP: Beethoven sonata
11. The dreamy first movement of the Moonlight Sonata features: a. a singing melody. c. a modified strophic form. b. an accompaniment with arpeggios. d. all of the above ANS: D MSC: Applied
DIF:
Medium
REF:
164
TOP: Beethoven sonata
12. The first movement of Beethoven’s 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
TOP: Beethoven sonata
13. The second movement of Beethoven’s 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
TOP: Beethoven sonata
140 | Chapter 32 14. The third movement of Beethoven’s 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
TOP: Beethoven sonata
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
TOP: Classical sonata
2. During the Classical era, the sonata was intended for professional musicians only. ANS: F MSC: Applied
DIF:
Easy
REF:
177
TOP: Classical sonata
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
4. Beethoven was unable to compose music after he became deaf. ANS: F MSC: Factual
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
6. Beethoven is considered by some to be the supreme architect in music. ANS: T MSC: Applied
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
TOP: Beethoven sonata
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
TOP: Beethoven sonata
Personalizing the Conversation: Beethoven and the Classical Sonata | 141 9. The first movement of Beethoven’s Moonlight Sonata is full of stormy virtuosity. ANS: F MSC: Applied
DIF:
Medium
REF:
178
TOP: Beethoven sonata
10. The outer movements of Beethoven’s 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
TOP: Beethoven sonata
ESSAY 1. How does Beethoven’s 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
TOP: Classical sonata
2. Describe the musical characteristics of each of Beethoven’s three creative periods. ANS: Answers will vary. DIF:
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
TOP: Beethoven symphony
3. Which work by Beethoven is called the Choral Symphony? a. the First Symphony c. the Seventh Symphony b. the Fifth Symphony d. the Ninth Symphony ANS: D MSC: Factual
DIF:
Easy
REF:
4. The “Ode to Joy” is the finale of Beethoven’s: a. Symphony No. 1. c. b. Symphony No. 5. d. ANS: C MSC: Factual
DIF:
Medium
REF:
5. The text of the “Ode to Joy” was written by: a. Goethe. b. Schiller. ANS: B MSC: Factual
DIF:
Hard
c. d.
REF:
181
TOP: Beethoven symphony
Symphony No. 9. Missa solemnis. 181
TOP: Beethoven symphony
da Ponte. Rameau. 181
TOP: Beethoven symphony
6. How many movements does Beethoven’s Symphony No. 5 have? a. one c. four b. three d. five ANS: C MSC: Applied
DIF:
Easy
REF:
181
TOP: Beethoven symphony
7. Which of the following best describes the opening idea of Beethoven’s 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
TOP: Beethoven symphony
Disrupting the Conversation: Beethoven and the Symphony in Transition | 143 8. What is the form of the second movement of Beethoven’s Symphony No. 5? a. theme and variations c. A-B-A b. sonata d. rondo ANS: A MSC: Applied
DIF:
Easy
REF:
181
TOP: Beethoven symphony
9. Which of the following does NOT describe the final movement of Beethoven’s 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
TOP: Beethoven symphony
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
TOP: Beethoven symphony
TRUE/FALSE 1. Beethoven abandoned Classical principles in composing his symphonies. ANS: F MSC: Applied
DIF:
Medium
REF:
180
TOP: Beethoven symphony
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
TOP: Beethoven symphony
REF:
181
TOP: Beethoven symphony
3. Beethoven composed twelve symphonies. ANS: F MSC: Factual
DIF:
Medium
4. Beethoven set Schiller’s “Ode to Joy” in the finale of his Symphony No. 5. ANS: F MSC: Factual
DIF:
Medium
REF:
181
TOP: Beethoven symphony
5. In spite of numerous innovations, Beethoven’s Symphony No. 5 has the standard four movements of the Classical symphony. ANS: T MSC: Factual
DIF:
Medium
REF:
181
TOP: Beethoven symphony
144 | Chapter 33 6. The four-note rhythmic motive of the first movement of Beethoven’s Symphony No. 5 can be heard in other movements as well. ANS: T MSC: Applied
DIF:
Medium
REF:
181
TOP: Beethoven symphony
7. Following the standard symphonic structure, there is a break after each of the middle movements of Beethoven’s Symphony No. 5. ANS: F MSC: Factual
DIF:
Medium
REF:
181
TOP: Beethoven symphony
8. The third movement of Beethoven’s Symphony No. 5 is a scherzo. ANS: T MSC: Factual
DIF:
Medium
REF:
181
TOP: Beethoven symphony
9. Beethoven’s Symphony No. 5 is considered cyclical because the last movement quotes an earlier movement. ANS: T MSC: Factual
DIF:
Medium
REF:
181
TOP: Beethoven symphony
10. Beethoven opposed democracy in favor of the rule of a strong leader. ANS: F MSC: Factual
DIF:
Medium
REF:
182
TOP: Beethoven symphony
ESSAY 1. Give an overview of Beethoven’s symphonies. ANS: Answers will vary. DIF: 3 MSC: Applied
REF: 180f
TOP: Beethoven symphony
2. Describe both the traditional and innovative elements in Beethoven’s Symphony No. 5. ANS: Answers will vary. DIF: 3 MSC: Applied
REF: 181f
TOP: Beethoven symphony
Chapter 34: Making It Real: Mozart and Classical Opera MULTIPLE CHOICE 1. During the Classical era, the prevalent form of opera, which contained many recitatives and arias designed to display virtuosity, was called: a. opera seria. c. opéra comique. b. opera buffa. d. Singspiel. ANS: A MSC: Factual
DIF:
Easy
REF:
187
TOP: Classical opera
2. Which of the following is NOT a characteristic of opera seria? a. plots drawn from Greek antiquity b. designed to appeal to the middle class c. rigid conventions and highly formalized presentation d. virtuoso display by soloists ANS: B MSC: Factual
DIF:
Medium
REF:
187
TOP: Classical opera
3. The rigid conventions of opera seria were shaped largely by: a. Gluck. c. da Ponte. b. Metastasio. d. Gay. ANS: B MSC: Factual
DIF:
Hard
REF:
187
TOP: Classical opera
188
TOP: Classical opera
4. How did comic opera differ from opera seria? a. It was sung in the vernacular. b. It presented down-to-earth plots. c. It featured ensemble as well as solo singing. d. all of the above ANS: D MSC: Applied
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. opéra comique b. opera buffa d. Singspiel ANS: A MSC: Conceptual
DIF:
Hard
6. Mozart’s librettist for Don Giovanni was: a. Count Almaviva. b. Lorenzo da Ponte. ANS: B MSC: Factual
DIF:
Medium
REF:
c. d. REF:
188
TOP: Classical opera
Pierre-Augustin Caron de Beaumarchais. Pietro Metastasio. 188
TOP: Mozart opera
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
TOP: Mozart opera
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
TOP: Mozart opera
9. The tone of the Catalogue Aria from Mozart’s Don Giovanni is: a. tragic. c. romantic. b. sentimental. d. comic. ANS: D MSC: Applied
DIF:
Medium
REF:
189
TOP: Mozart opera
10. The Catalogue Aria from Mozart’s Don Giovanni lists Don Giovanni’s: a. conquests. c. future goals. b. enemies. d. debts. ANS: A MSC: Factual
DIF:
Easy
REF:
189
TOP: Mozart opera
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
TOP: Classical opera
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
TOP: Classical opera
3. Opera buffa was typically serious in tone, with plots dealing with historical or legendary figures. ANS: F MSC: Applied
DIF:
Easy
REF:
188
TOP: Classical opera
4. Mozart’s Don Giovanni is a comic opera about a legendary lover. ANS: T MSC: Factual
DIF:
Easy
REF:
188
TOP: Mozart opera
Making It Real: Mozart and Classical Opera | 147 5. Mozart’s Don Giovanni is an example of pure opera seria. ANS: F MSC: Applied
DIF:
Easy
REF:
188
TOP: Mozart opera
188
TOP: Mozart opera
6. Don Giovanni is Mozart’s only major opera. ANS: F MSC: Applied
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
TOP: Classical opera
2. Discuss the mixture of serious and comic opera in Mozart’s Don Giovanni. ANS: Answers will vary. DIF: Easy MSC: Conceptual
REF:
188f
TOP: Mozart opera
Chapter 35: Mourning a Hero: Mozart and the Requiem MULTIPLE CHOICE 1. Which of the following choral genres was NOT developed during the Baroque? a. oratorio c. Requiem b. Mass d. part song ANS: D MSC: Factual
DIF:
Easy
REF:
193
TOP: Classical choral music
2. A musical setting of the Mass for the Dead is called: a. an oratorio. c. a Requiem. b. an opera. d. a cantata. ANS: C MSC: Factual
DIF:
Easy
3. Oratorios primarily drew their stories from: a. the Bible. b. Greek myths. ANS: A MSC: Factual
DIF:
Easy
4. Mozart’s Requiem was: a. his first work. b. performed on the death of his father. ANS: C MSC: Factual
DIF:
Medium
5. Who completed Mozart’s Requiem? a. Mozart himself b. Salieri ANS: D MSC: Factual
DIF:
Medium
REF:
c. d. REF:
c. d. REF:
c. d. REF:
193
TOP: Classical choral music
Milton’s Paradise Lost. newly created stories. 193
TOP: Classical choral music
his last work, incomplete at his death. dedicated to Haydn. 194
TOP: Mozart choral music
Beethoven Süssmayr 194
TOP: Mozart choral music
6. The Dies irae text from the Requiem Mass describes: a. the Resurrection of Christ. c. devotion to the Virgin Mary. b. the birth of Christ. d. Judgment Day. ANS: D MSC: Factual
148
DIF:
Hard
REF:
194
TOP: Classical choral music
Mourning a Hero: Mozart and the Requiem | 149 7. Which of the following correctly describes the musical forces for Mozart’s Requiem? a. winds, strings, and choir b. strings, choir, and four soloists c. strings, choir, and four soloists d. winds, brass, strings, timpani, choir, and four soloists ANS: D MSC: Factual
DIF:
Easy
REF:
194
TOP: Mozart choral music
8. The ________ accompanies the baritone voice in the Tuba mirum section of Mozart’s Requiem. a. trombone c. trumpet b. tuba d. oboe ANS: A MSC: Factual
DIF:
Medium
REF:
194
TOP: Mozart choral music
9. Which of the following best describes the mood of the Dies irae from Mozart’s Requiem? a. gentle and comforting c. fearful and then wondering b. lively and excited d. humorous and light ANS: C MSC: Applied
DIF:
Medium
10. The text of Mozart’s Requiem is sung in: a. Italian. b. Latin. ANS: B MSC: Factual
DIF:
Medium
REF:
c. d. REF:
194
TOP: Mozart choral music
German. English. 194
TOP: Mozart choral music
TRUE/FALSE 1. During the nineteenth century, the Mass was sung only in church. ANS: F MSC: Applied
DIF:
Easy
REF:
193f
TOP: Classical choral music
2. Mozart composed his Requiem out of gratitude for a long life of artistic creativity. ANS: F MSC: Factual
DIF:
Easy
REF:
194
TOP: Mozart choral music
3. The Requiem was Mozart’s first major composition in Vienna. ANS: F MSC: Factual
DIF:
Medium
REF:
194
TOP: Mozart choral music
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
TOP: Mozart choral music
150 | Chapter 35 5. The Dies irae is a poem in three-line rhymed verses. ANS: T MSC: Factual
DIF:
Hard
REF:
194
TOP: Classical choral music
6. The Dies irae from Mozart’s Requiem includes solo voices. ANS: T MSC: Factual
DIF:
Medium
REF:
194
TOP: Mozart choral music
7. Mozart’s 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
TOP: Mozart choral music
8. The predominant texture of the Dies irae from Mozart’s Requiem is contrapuntal. ANS: F MSC: Factual
DIF:
Medium
REF:
194
TOP: Mozart choral music
ESSAY 1. Discuss the mixture of Baroque and Classical characteristics in Mozart’s Requiem. ANS: Answers will vary. DIF: Medium MSC: Applied
REF:
194
TOP: Mozart choral music
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
Prelude 5: Music as Passion and Individualism MULTIPLE CHOICE 1. When did Romanticism in music come into its own? a. the middle of the eighteenth century b. the last few decades of the eighteenth century c. the first few decades of the nineteenth century d. the middle of the nineteenth century ANS: C MSC: Factual
DIF:
Medium
REF:
200
TOP: Romantic era
2. Which of the following is identified as the first great creative Romantic? a. Goya c. Schiller b. Beethoven d. Wagner ANS: B MSC: Applied
DIF:
Easy
REF:
200
TOP: Romantic era
3. Which of the following does NOT describe Romanticism? a. The artist is a servant of the aristocracy. b. Artworks display their creators’ originality. c. Struggling artists are working against society and conventions. d. Art should unsettle rather than soothe. ANS: A MSC: Applied
DIF:
Medium
REF:
200
TOP: Romantic era
4. The French Revolution signaled: a. the end of Classicism. b. the transfer of power from the aristocracy to the middle class. c. the beginning of the Enlightenment. d. the end of Romanticism. ANS: B MSC: Applied
DIF:
Medium
REF:
200
TOP: Romantic era
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
TOP: Romantic era
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
TOP: Romantic era
7. Which of the following is true of Romantic poets? a. They rebelled against conventional forms and subjects. b. They leaned toward the fanciful and picturesque. c. They expressed their new spirit of individualism with passion. d. all of the above ANS: D MSC: Applied
DIF:
Medium
REF:
200f
TOP: Romantic era
8. Which of the following was NOT a major theme of Romantic writers? a. a glamorized past c. idealized heroes of Greece and Rome b. far-off lands d. all of the above ANS: C MSC: Applied
DIF:
Medium
REF:
201
TOP: Romantic era
9. Which of the following was NOT an English lyric poet? a. Victor Hugo c. John Keats b. Lord Byron d. Percy Bysshe Shelley ANS: A MSC: Factual
DIF:
Hard
REF:
201
TOP: Romantic era
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
TOP: Romantic music
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
TOP: Romantic music
Music as Passion and Individualism | 153 12. What trend inspired composers to write music evoking scenes or sounds of far-off lands? a. exoticism c. chromaticism b. nationalism d. virtuosity ANS: A MSC: Applied
DIF:
Easy
REF:
202
TOP: Romantic music
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
TOP: Romantic music
14. Which of the following does NOT characterize Romantic music? a. singable melodies c. expanded forms b. expressive harmonies d. reserved emotions ANS: D MSC: Applied
DIF:
Hard
REF:
202f
TOP: Romantic music
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
TOP: Romantic music
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
TOP: Romantic music
17. Which of the following gained prominence as a virtuoso violinist? a. Liszt c. Paganini b. Mendelssohn d. Schumann ANS: C MSC: Factual
DIF:
Medium
REF:
204
TOP: Romantic music
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
TOP: Romantic music
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
TOP: Romantic music
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
TOP: Romantic music
TRUE/FALSE 1. Music did not embrace the Romantic movement until the mid-1800s. ANS: F MSC: Factual
DIF:
Easy
REF:
200
TOP: Romantic era
2. The French Revolution had little impact on the Romantic movement. ANS: F MSC: Applied
DIF:
Easy
REF:
200
TOP: Romantic era
200
TOP: Romantic era
3. The Romantics embraced conventional forms. ANS: F MSC: Conceptual
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
TOP: Romantic era
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
TOP: Romantic music
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
TOP: Romantic era
7. The Romantic orchestra was the same size as the Classical orchestra. ANS: F MSC: Factual
DIF:
Easy
REF:
201
TOP: Romantic music
Music as Passion and Individualism | 155 8. The dynamic range of nineteenth-century orchestras was far greater than that of orchestras of the previous century. ANS: T MSC: Factual
DIF:
Medium
REF:
202
TOP: Romantic music
9. Romantic music is characterized by relatively less expression than music of earlier periods. ANS: F MSC: Applied
DIF:
Easy
REF:
202
TOP: Romantic music
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
TOP: Romantic music
11. An interest in folklore and folk music resulted from the rise of nationalism. ANS: T MSC: Applied
DIF:
Easy
REF:
202
TOP: Romantic music
12. Composers depicted exoticism by incorporating folk music of their own countries in their compositions. ANS: F MSC: Applied
DIF:
Easy
REF:
202
TOP: Romantic music
13. A typical Romantic symphony is generally longer than a typical Classical symphony. ANS: T MSC: Factual
DIF:
Easy
REF:
203
TOP: Romantic music
14. Nineteenth-century society continued to view musicians as glorified servants. ANS: F MSC: Factual
DIF:
Medium
REF:
204
TOP: Romantic music
15. During the Romantic era, solo performers became stars idolized by the public. ANS: T MSC: Factual
DIF:
Medium
REF:
204
TOP: Romantic music
156 | Prelude 5 ESSAY 1. Compare the Classical and Romantic approaches to the arts. ANS: Answers will vary. DIF: Easy MSC: Applied
REF:
200f
TOP: Romantic era
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
TOP: Romantic era
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
TOP: Romantic music
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
TOP: Romantic song
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
TOP: Romantic song
3. ________ was NOT an important composer of nineteenth-century Lieder. a. Heinrich Heine c. Fanny Mendelssohn Hensel b. Robert Schumann d. Franz Schubert ANS: A MSC: Factual
DIF:
Medium
REF:
207
TOP: Romantic song
4. The favorite Romantic poets of the composers of Lieder were: a. Goethe and Heine. c. Shelley and Twain. b. Wordsworth and Shakespeare. d. Hugo and Marlowe. ANS: A MSC: Applied
DIF:
Medium
REF:
207
TOP: Romantic song
5. Which of the following was NOT a typical theme of Romantic poetry? a. the beauty of nature c. praise of the Virgin Mary b. love and longing d. the fleeting nature of human happiness ANS: C MSC: Applied
DIF:
Medium
REF:
6. The favorite subjects of the Romantic poets were: a. comedy and farce. c. b. love, longing, and nature. d. ANS: B MSC: Applied
DIF:
Medium
REF:
207
TOP: Romantic song
historical events. all of the above 207
TOP: Romantic song
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
TOP: Romantic song
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
TOP: Romantic song
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
TOP: Romantic song
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
11. Schubert was born in: a. Bonn. b. Salzburg. ANS: C MSC: Factual
REF:
c. d. DIF:
Medium
REF:
207
TOP: Romantic song
Vienna. Leipzig. 208
TOP: Schubert
12. Schubert and his friends organized evening gatherings of artists, writers, and musicians, called: a. Abendmusiken. c. Schubertiads. b. soirées. 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
14. In which genre was Schubert NOT indebted to Classical traditions? a. Lied c. piano sonata b. chamber music d. symphony ANS: A MSC: Applied
DIF:
Easy
REF:
208
TOP: Schubert song
Musical Reading: Schubert, Schumann, and the Early Romantic Lied | 159 15. Approximately how many songs did Schubert compose? a. 300–400 c. 500–600 b. 400–500 d. more than 600 ANS: D MSC: Factual
DIF:
Medium
REF:
16. Schubert wrote several song cycles, including: a. Winter’s Journey. c. b. Futile Serenade. d. ANS: A MSC: Factual
DIF:
Hard
REF:
208
TOP: Schubert song
Butterflies. A Poet’s Love. 208
TOP: Schubert song
17. Schubert’s song Elfking is a setting of a ballad written by: a. Müller. c. Heine. b. Schiller. d. Goethe. ANS: D MSC: Factual
DIF:
Hard
REF:
18. Schubert’s Lied Elfking is in ________ form. a. binary c. b. ternary d. ANS: D MSC: Applied
DIF:
Easy
REF:
208
TOP: Schubert song
strophic through-composed 208
TOP: Schubert song
19. Which of the following is true of Schubert’s Elfking? a. It is the masterpiece of his youth. b. It is based on a legend that whoever is touched by the king of the elves must die. c. It presents four characters who are differentiated in the music. d. all of the above ANS: D MSC: Applied
DIF:
Hard
REF:
208
TOP: Schubert song
20. In Schubert’s Elfking, the obsessive triplet rhythm of the piano accompaniment represents: a. the wind. c. the galloping of the horse. b. the terror in the boy’s mind. d. all of the above ANS: C MSC: Applied
DIF:
Hard
REF:
208
TOP: Schubert song
21. Which musical devices does Schubert use to portray the child’s 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
TOP: Schubert song
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
23. Robert Schumann’s wife, Clara, was: a. the daughter of his piano teacher. b. one of the foremost pianists of her day. ANS: D MSC: Factual
DIF:
Medium
REF:
c. d. REF:
211
TOP: Schumann
the inspiration for A Poet’s Love. all of the above 211
TOP: Schumann
211
TOP: Schumann
210
TOP: Schumann song
24. Robert Schumann ended his career and life: a. a beloved and honored pianist. b. in an asylum, the result of mental illness. c. happy in his old age. d. by drowning himself in a river near his house. ANS: B MSC: Factual
DIF:
Medium
REF:
25. Robert Schumann’s A Poet’s Love is a: a. song cycle. b. literary publication dedicated to Clara. c. set of piano works. d. symphonic poem based on a work by Goethe. ANS: A MSC: Factual
DIF:
Easy
REF:
26. Robert Schumann’s A Poet’s Love is set to texts by: a. Heinrich Heine. c. Friedrich von Schlegel. b. Johann Wolfgang von Goethe. d. Hugo Wolf. ANS: A MSC: Factual
DIF:
Medium
REF:
210
TOP: Schumann song
27. Which of the following does NOT describe Schumann’s A Poet’s 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
TOP: Schumann song
28. Schumann’s In the lovely month of May is from which song cycle? a. A Woman’s Love and Life c. A Poet’s Love b. Winter’s Journey d. The Lovely Maid of the Mill ANS: C MSC: Factual
DIF:
Easy
REF:
210
TOP: Schumann song
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
TOP: Schumann song
30. Which of the following does NOT describe Schumann’s 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
TOP: Schumann song
TRUE/FALSE 1. The art song can be described as a union of poetry and music. ANS: T MSC: Applied
DIF:
Easy
REF:
206f
TOP: Romantic song
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
TOP: Romantic song
3. The rise of the piano as a household instrument influenced the popularity of the Lied. ANS: T MSC: Applied
DIF:
Medium
REF:
207
TOP: Romantic song
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
TOP: Romantic song
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
TOP: Romantic song
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
TOP: Romantic song
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
8. Schubert’s prolific output includes works in every major genre. ANS: T MSC: Factual
DIF:
Easy
REF:
208
TOP: Schubert
REF:
208
TOP: Schubert song
208
TOP: Schubert song
208
TOP: Schubert song
208
TOP: Schubert song
9. Schubert composed over 600 Lieder. ANS: T MSC: Factual
DIF:
Medium
10. The poem Elfking was written by Heinrich Heine. ANS: F MSC: Factual
DIF:
Medium
REF:
11. Schubert’s Lied Elfking is through composed. ANS: T MSC: Applied
DIF:
Easy
REF:
12. Schubert composed Elfking just before he died. ANS: F MSC: Applied
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
16. Schumann’s In the lovely month of May is in strophic form. ANS: T MSC: Factual
DIF:
Medium
REF:
212
TOP: Schumann song
Musical Reading: Schubert, Schumann, and the Early Romantic Lied | 163 17. The mood of Schumann’s In the lovely month of May is joyful and exuberant. ANS: F MSC: Applied
DIF:
Medium
REF:
211f
TOP: Schumann song
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
TOP: Romantic song
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
TOP: Schubert song
3. How does the harmony in Schumann’s In the lovely month of May evoke a mood appropriate to Heine’s poem? ANS: Answers will vary. DIF: Hard MSC: Conceptual
REF:
210f
TOP: Schumann song
Chapter 37: Marketing Music: Foster and Early “Popular” Song MULTIPLE CHOICE 1. Which of the following does NOT describe American popular music of the nineteenth century? a. The music often brought financial profit to the composers. b. The composers were always well known. c. The music had enormous influence on the next century. d. The music seems to belong to “the people.” ANS: B MSC: Applied
DIF:
Medium
REF:
213
TOP: American music
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
TOP: American music
3. What is vernacular music? a. opera sung in English b. popular songs sung in a country’s native language c. music in traditional European genres and forms d. lighter music, such as for dancing and singing ANS: B MSC: Factual
Medium
REF:
4. What nationality was Stephen Foster? a. American b. English
c. d.
ANS: A MSC: Factual
DIF:
DIF:
Medium
REF:
213f
TOP: American music
German African American 214
TOP: Stephen Foster
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
TOP: Stephen Foster
Marketing Music: Foster and Early “Popular” Song | 165 6. Which of the following best describes minstrelsy? a. wandering musicians who played at small social gatherings b. shows that featured performers in blackface c. entertainments that copied European models d. all of the above ANS: B MSC: Factual
DIF:
Medium
REF:
214
TOP: American music
7. Stephen Foster composed all of the following songs EXCEPT: a. Oh! Susanna. c. When Johnny Comes Marching Home. b. Camptown Races. d. Old Folks at Home. ANS: C MSC: Factual
DIF:
Medium
8. Jeanie with the Light Brown Hair is: a. a parlor song. b. a minstrel song. ANS: A MSC: Applied
DIF:
Hard
REF:
c. d. REF:
215
TOP: Stephen Foster
a song from a light opera. part of a song cycle. 214
TOP: Stephen Foster
9. The form of Foster’s 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
TOP: Stephen Foster
10. Foster’s 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
TOP: Stephen Foster
TRUE/FALSE 1. For the most part, nineteenth-century Americans rejected the music of European culture. ANS: F MSC: Applied
DIF:
Easy
REF:
213
TOP: American music
2. There was a clear split between “classical” and “popular” music in nineteenth-century America. ANS: F MSC: Applied
DIF:
Medium
REF:
214
TOP: American music
166 | Chapter 37 3. Stephen Foster made a fortune by writing popular songs. ANS: F MSC: Factual
DIF:
Easy
REF:
214
TOP: Stephen Foster
4. Stephen Foster composed both parlor and minstrel songs. ANS: T MSC: Factual
DIF:
Medium
REF:
214
TOP: Stephen Foster
5. Minstrelsy created stereotypes of African American culture. ANS: T MSC: Applied
DIF:
Medium
REF:
214
TOP: American music
6. Foster’s Jeanie with the Light Brown Hair contains a cadenza in every strophe. ANS: T MSC: Applied
DIF:
Hard
REF:
214
TOP: Stephen Foster
7. Foster intended his songs to be performed by professional singers. ANS: F MSC: Factual
DIF:
Easy
REF:
214f
TOP: Stephen Foster
8. Foster’s Jeanie with the Light Brown Hair was not an immediate success. ANS: T MSC: Factual
DIF:
Easy
REF:
215
TOP: Stephen Foster
ESSAY 1. Why do the songs of Stephen Foster have such enduring popular appeal? ANS: Answers will vary. DIF: Hard MSC: Conceptual
REF:
214f
TOP: Stephen Foster
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
TOP: American music
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
TOP: Romantic piano music
2. Which of the following does NOT characterize the piano? a. It is capable of only one dynamic level. b. It is suitable for both polyphonic and homophonic textures. c. It is an expressive instrument. d. It is a staple of refined education. ANS: A MSC: Factual
DIF:
Easy
REF:
217
TOP: Romantic piano music
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
TOP: Romantic piano music
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
TOP: Romantic piano music
5. The short, lyric piano piece is the instrumental equivalent of: a. the symphony. c. the concerto. b. the song. d. the opera. ANS: B MSC: Applied
DIF:
Medium
REF:
218
TOP: Romantic piano music
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
TOP: Romantic piano music
167
168 | Chapter 38 7. Nineteenth-century composers of the short, lyric piano piece included: a. Johannes Brahms. c. Frédéric Chopin. b. Robert Schumann. d. all of the above ANS: D MSC: Factual
DIF:
Medium
8. Chopin is credited with developing the: a. modern piano style. b. symphonic poem. ANS: A MSC: Applied
DIF:
Easy
REF:
c. d. REF:
218f
TOP: Romantic piano music
overture. Romantic symphony. 219
TOP: Chopin piano music
9. Which nineteenth-century composer’s entire output centered around the piano? a. Brahms c. Chopin b. Liszt d. Berlioz ANS: C MSC: Factual
DIF:
Easy
10. Chopin spent his early years in: a. England. b. Belgium. ANS: D MSC: Factual
DIF:
Easy
11. Chopin spent most of his productive life in: a. Warsaw. b. Vienna. ANS: D MSC: Factual
DIF:
Easy
REF:
c. d. REF:
c. d. REF:
219
TOP: Chopin piano music
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 Brontë 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
TOP: Chopin piano music
Dancing at the Keyboard: Chopin and Romantic Piano Music | 169 14. Which of the following does NOT characterize the music of Chopin? a. rubato c. reserved emotions b. virtuosity d. lyricism ANS: C MSC: Applied
DIF:
Hard
REF:
219
TOP: Chopin piano music
219
TOP: Chopin piano music
15. What is the origin of the mazurka? a. a Polish peasant dance b. brilliant salon music c. Hungarian folk melodies d. a stately processional dance for the nobility ANS: A MSC: Factual
DIF:
Hard
REF:
16. Which of the following does NOT characterize Chopin’s 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
TOP: Chopin piano music
17. In connection with Chopin’s 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
TOP: Chopin piano music
18. Which composer is known as the “poet of the piano”? a. Robert Schumann c. Hector Berlioz b. Frédéric Chopin d. Johannes Brahms ANS: B MSC: Factual
DIF:
Easy
REF:
220
TOP: Chopin piano music
TRUE/FALSE 1. During the Romantic era, piano music was intended for professional performers only. ANS: F MSC: Applied
DIF:
Easy
REF:
217
TOP: Romantic piano music
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
TOP: Romantic piano music
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
TOP: Romantic piano music
4. Piano manufacturing remained unchanged until the technical advances of the early twentieth century. ANS: F MSC: Factual
DIF:
Easy
REF:
218
TOP: Romantic piano music
5. Many Romantic piano works are in short, free forms. ANS: T MSC: Applied
DIF:
Easy
REF:
218
TOP: Romantic piano music
6. Chopin wrote in all genres of music, including opera and symphony. ANS: F MSC: Factual
DIF:
Medium
REF:
219
TOP: Chopin piano music
7. Chopin had a long relationship with the female writer George Sand. ANS: T MSC: Factual
DIF:
Easy
REF:
219
TOP: Chopin piano music
REF:
219
TOP: Chopin piano music
8. The mazurka is a Hungarian folk dance. ANS: F MSC: Factual
DIF:
Medium
9. Chopin’s Mazurka in B-flat minor, Op. 24, No. 4 is in duple meter. ANS: F MSC: Applied
DIF:
Easy
REF:
219
TOP: Chopin piano music
10. Although it is a dance piece, Chopin’s Mazurka in B-flat minor, Op. 24, No. 4 would have incorporated rubato. ANS: T MSC: Applied
DIF:
Easy
REF:
219f
TOP: Chopin piano music
Dancing at the Keyboard: Chopin and Romantic Piano Music | 171 ESSAY 1. Describe the role of the piano in nineteenth-century life. What new types of works were developed to support this role? ANS: Answers will vary. DIF: Medium MSC: Conceptual
REF:
217f
TOP: Romantic piano music
2. Explain why Chopin has been called the “poet of the piano.” ANS: Answers will vary. DIF: Medium MSC: Conceptual
REF:
219f
TOP: Chopin piano music
Chapter 39: Musical Diaries: Hensel and Programmatic Piano Music MULTIPLE CHOICE 1. Which of the following best describes the role of women in nineteenth-century music? a. None pursued careers in music. b. Women were leaders in innovative changes of style. c. The piano provided women with a socially acceptable performance outlet. d. all of the above ANS: C MSC: Applied
DIF:
Hard
REF:
223
TOP: Romantic era
2. Which of the following was a noted woman composer of the Romantic era? a. Carolyne Sayn-Wittgenstein c. George Sand b. Clara Schumann d. Nadezhda von Meck ANS: B MSC: Factual
DIF:
Hard
REF:
224
TOP: Romantic era
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
TOP: Romantic era
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
TOP: Fanny Mendelssohn Hensel
5. Fanny Mendelssohn Hensel’s output is dominated by: a. piano music and chamber music. c. Lieder and orchestra music. b. Lieder and chamber music. d. Lieder and piano music. ANS: D MSC: Factual
DIF:
Medium
REF:
225
TOP: Fanny Mendelssohn Hensel
6. Which of the following composed the piano cycle The Year? a. Frédéric Chopin c. Clara Schumann b. Fanny Mendelssohn Hensel d. Franz Liszt ANS: B MSC: Factual
172
DIF:
Medium
REF:
224
TOP: Fanny Mendelssohn Hensel
Musical Diaries: Hensel and Programmatic Piano Music | 173 7. Fanny Mendelssohn Hensel wrote her cycle The Year for: a. voice. c. piano. b. orchestra. d. choir. ANS: C MSC: Factual
DIF:
Medium
REF:
224
TOP: Fanny Mendelssohn Hensel
8. The manuscript for Fanny Mendelssohn Hensel’s 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
TOP: Fanny Mendelssohn Hensel
9. Fanny Mendelssohn Hensel’s 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
TOP: Fanny Mendelssohn Hensel
10. How does Fanny Mendelssohn Hensel’s 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 Felix’s works. d. It achieved great popularity when it was published. ANS: B MSC: Conceptual
DIF:
Hard
REF:
224
TOP: Fanny Mendelssohn Hensel
TRUE/FALSE 1. During the nineteenth century, women became increasingly accepted as piano teachers. ANS: T MSC: Factual
DIF:
Easy
REF:
222
TOP: Romantic era
2. Nineteenth-century society saw a few women make careers as professional musicians. ANS: T MSC: Factual
DIF:
Easy
REF:
222
TOP: Romantic era
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
TOP: Fanny Mendelssohn Hensel
174 | Chapter 39 4. Fanny Mendelssohn Hensel’s cycle The Year is her only symphonic poem. ANS: F MSC: Factual
DIF:
Hard
REF:
224
TOP: Fanny Mendelssohn Hensel
5. Fanny Mendelssohn Hensel is known for her large-scale orchestral compositions. ANS: F MSC: Applied
DIF:
Medium
REF:
223
TOP: Fanny Mendelssohn Hensel
6. Fanny Mendelssohn Hensel’s cycle The Year has extramusical connections. ANS: T MSC: Applied
DIF:
Medium
REF:
224
TOP: Fanny Mendelssohn Hensel
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
TOP: Romantic era
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
TOP: Fanny Mendelssohn Hensel
Chapter 40: Piano Triumphant: Gottschalk and Romantic Virtuosity MULTIPLE CHOICE 1. In which country was Franz Liszt born? a. Austria b. France ANS: D MSC: Factual
DIF:
Easy
c. d. REF:
Poland Hungary 227
TOP: Liszt piano music
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
3. Liszt was inspired by the virtuoso violinist: a. Paganini. b. Czerny. ANS: A MSC: Factual
DIF:
Hard
REF:
c. d. REF:
227
TOP: Liszt piano music
Spohr. Clementi. 227
TOP: Liszt piano music
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
5. Louis Moreau Gottschalk was born in: a. Boston. b. San Francisco. ANS: D MSC: Factual
DIF:
Hard
REF:
c. d. REF:
228
TOP: Louis Moreau Gottschalk
Berlin. New Orleans. 228
TOP: Louis Moreau Gottschalk
6. Louis Moreau Gottschalk is best known for his ________. a. concertos c. operas b. solo piano music d. songs ANS: B MSC: Factual
DIF:
Easy
REF:
228
TOP: Louis Moreau Gottschalk
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
TOP: Louis Moreau Gottschalk
8. Louis Moreau Gottschalk based many of his works on: a. German folk songs. c. symphonic transcriptions. b. South American and Caribbean songs. d. Native American songs. ANS: B MSC: Factual
DIF:
Medium
REF:
228
TOP: Louis Moreau Gottschalk
9. Which of the following does NOT characterize Gottschalk’s The Banjo? a. syncopations c. limited range b. banjo imitations d. embellished melodies ANS: C MSC: Applied
DIF:
Medium
REF:
298
TOP: Louis Moreau Gottschalk
10. The familiar tune quoted near the end of Gottschalk’s 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
TOP: Louis Moreau Gottschalk
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
TOP: Liszt piano music
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
TOP: Liszt piano music
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
TOP: Liszt piano music
Piano Triumphant: Gottschalk and Romantic Virtuosity | 177 4. Louis Moreau Gottschalk is primarily remembered for composing parlor songs in the style of spirituals. ANS: F MSC: Factual
DIF:
Easy
REF:
228
TOP: Louis Moreau Gottschalk
5. 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
TOP: Louis Moreau Gottschalk
6. The music of Gottschalk is rooted in the melodies and rhythms of folk music. ANS: T MSC: Factual
DIF:
Hard
REF:
229
TOP: Louis Moreau Gottschalk
7. Gottschalk’s piece The Banjo incorporates strains of Stephen Foster’s Camptown Races. ANS: T MSC: Factual
DIF:
Hard
REF:
229
TOP: Louis Moreau Gottschalk
229
TOP: Louis Moreau Gottschalk
8. Gottschalk’s The Banjo is in a simple A-B-A form. ANS: F MSC: Applied
DIF:
Hard
REF:
ESSAY 1. Discuss Liszt’s contributions to piano technique and literature. ANS: Answers will vary. DIF: Easy MSC: Applied
REF: 227f
TOP: Liszt piano music
2. Describe the distinctive qualities of Gottschalk’s piano music. ANS: Answers will vary. DIF: Medium MSC: Applied
REF:
228f
TOP: Louis Moreau Gottschalk
Chapter 41: Personal Soundtracks: Berlioz and the Program Symphony MULTIPLE CHOICE 1. Instrumental music endowed with literary, philosophical, or pictorial associations is called: a. absolute music. c. background music. b. program music. d. pure music. ANS: B MSC: Factual
DIF:
Easy
REF:
231
TOP: Program music
2. Which of the following compositions is LEAST likely to be an example of program music? a. 1812 Overture c. Harold in Italy b. Romeo and Juliet d. String Quartet in B-flat Major ANS: D MSC: Applied
DIF:
Hard
REF:
231
TOP: Program music
3. Music composed without literary or pictorial meanings is called: a. absolute music. c. incidental music. b. program music. d. background music. ANS: A MSC: Applied
DIF:
Hard
REF:
231f
TOP: Program music
4. A multimovement, programmatic work for orchestra is called a: a. symphonic poem. c. concert overture. b. program symphony. d. sonata. ANS: B MSC: Factual
DIF:
Easy
REF:
233
TOP: Program music
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
Personal Soundtracks: Berlioz and the Program Symphony | 179 7. Which of the following is NOT characteristic of the music of Berlioz? a. As is typical of French music, the emotions are restrained. b. It features brilliant orchestration. c. It has programmatic implications. d. It calls for huge orchestral and choral forces. ANS: A MSC: Applied
DIF:
Hard
REF:
234
TOP: Berlioz
8. Which of the following is NOT a work by Berlioz? a. Les Troyens c. Italian Symphony b. Roméo et Juliette d. Symphonie fantastique ANS: C MSC: Factual
DIF:
Hard
REF:
234
TOP: Berlioz
9. Berlioz’s Symphonie fantastique is an example of a: a. tone poem. c. program symphony. b. symphonic poem. d. concert overture. ANS: C MSC: Applied
DIF:
Easy
REF:
233
TOP: Berlioz
10. How many movements are in Berlioz’s Symphonie fantastique? a. one c. three b. four d. five ANS: D MSC: Factual
DIF:
Easy
REF:
233
TOP: Berlioz
11. Which of the following inspired Berlioz’s Symphonie fantastique? a. Goethe’s poems c. Beethoven’s Ninth Symphony b. the actress Harriet Smithson d. Bach’s music ANS: B MSC: Factual
DIF:
Easy
REF:
233
TOP: Berlioz
12. Which of the following is NOT true of Berlioz’s Symphonie fantastique? a. The program deals entirely with nature. b. The program was inspired by the composer’s infatuation with an actress. c. The program presents a morbid artist in lovesick despair. d. The program is thought to be autobiographical. ANS: A MSC: Applied
DIF:
Hard
REF:
233
TOP: Berlioz
180 | Chapter 41 13. In Berlioz’s Symphonie fantastique, the idée 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
14. In Berlioz’s Symphonie fantastique, what is the idée fixe? a. a chant from the Mass for the Dead appearing in the finale b. a shepherd song in the third movement c. the basic theme of the symphony, heard in every movement d. a theme and variations, heard in the march movement ANS: C MSC: Factual
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 Berlioz’s 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
17. The Dies irae is: a. the idée fixe in Berlioz’s Symphonie fantastique. b. a Lied by Schubert. c. a chant from the Mass for the Dead. d. an opera by Berlioz. ANS: C MSC: Factual
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
TOP: Musical instruments
Personal Soundtracks: Berlioz and the Program Symphony | 181 19. Through which innovation did Theobald Boehm improve musical instruments? a. valves for brass instruments c. a stronger violin bow b. key mechanism for woodwinds d. the cast-iron frame for pianos ANS: B MSC: Factual
DIF:
Hard
REF:
232
TOP: Musical instruments
20. What new instrument was developed in the nineteenth century? a. bassoon c. bugle b. English horn d. saxophone ANS: D MSC: Factual
DIF:
Easy
REF:
232
TOP: Musical instruments
TRUE/FALSE 1. Music endowed with literary or pictorial associations is called absolute music. ANS: F MSC: Factual
DIF:
Easy
REF:
231
TOP: Program music
2. Beethoven’s Symphony No. 5 is a good example of a program symphony. ANS: F MSC: Applied
DIF:
Hard
REF:
233
TOP: Program music
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
5. Berlioz, who excelled in composing orchestral works, wrote no operas. ANS: F MSC: Factual
DIF:
Medium
REF:
234
TOP: Berlioz
6. In his Symphonie fantastique, Berlioz used a recurrent theme that he called the idée fixe, symbolizing the beloved. ANS: T MSC: Factual
DIF:
Easy
REF:
233
TOP: Berlioz
182 | Chapter 41 7. In Berlioz’s Symphonie fantastique, the idée 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
9. The finale to the Symphonie fantastique projects a satanic character. ANS: T MSC: Applied
DIF:
Easy
REF:
236
TOP: Berlioz
10. Adolphe Sax was responsible for developing valves for brass instruments. ANS: T MSC: Factual
DIF:
Medium
REF:
232
TOP: Musical instruments
ESSAY 1. Describe the difference between program and absolute music, citing examples of each. ANS: Answers will vary. DIF: Easy MSC: Applied
REF:
231f
TOP: Program music
2. What is “Romantic” about the program and music of Berlioz’s Symphonie fantastique? ANS: Answers will vary. DIF:
Medium
REF:
233f
TOP: Berlioz
MSC: Conceptual
Chapter 42: Sounding a Nation: Grieg and Orchestral Nationalism MULTIPLE CHOICE 1. The concept of a program overture had its origin in the: a. program symphony. c. symphonies of Beethoven. b. concert overture. d. opera overture. ANS: D MSC: Factual
DIF:
Medium
REF:
237
TOP: Program music
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
TOP: Program music
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
TOP: Program music
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
TOP: Program music
5. Which of the following composers created the symphonic poem? a. Berlioz c. Mendelssohn b. Liszt d. Tchaikovsky ANS: B MSC: Factual
DIF:
Hard
REF:
238
TOP: Program music
6. Which of the following does NOT characterize a symphonic poem? a. It has one movement. b. It can suggest a scene. c. It consistently retains traditional Classical forms. d. It can create a mood. ANS: C MSC: Applied
DIF:
Hard
REF:
238
TOP: Program music
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
TOP: Program music
8. Which of the following is NOT a type of orchestral program music? a. concerto c. incidental music b. symphonic poem d. program symphony ANS: A MSC: Applied
DIF:
Medium
REF:
238
TOP: Program music
9. Nationalistic composers expressed their nationalism by: a. employing songs and dances from their home countries in their works. b. borrowing exotic styles from other countries. c. writing absolute music. d. all of the above ANS: A MSC: Factual
DIF: Hard
REF:
238
TOP: Nationalism
10. Nationalism is characteristic of all of the following EXCEPT: a. Liszt’s Hungarian Rhapsodies. c. Tchaikovsky’s 1812 Overture. b. Chopin’s sonatas. d. DvoĜák’s Slavonic Dances. ANS: B MSC: Applied
DIF:
Medium
11. The “Mighty Five” were composers from: a. Russia. b. Bohemia. ANS: A MSC: Factual
DIF:
Medium
REF:
c. d. REF:
238
TOP: Nationalism
Scandinavia. Germany. 239
TOP: Nationalism
12. Which of the following was NOT a Russian composer? a. Borodin c. Smetana b. Rimsky-Korsakov d. Tchaikovsky ANS: A MSC: Factual
DIF:
Medium
13. Which composer is from Finland? a. Grieg b. Sibelius ANS: B MSC: Factual
DIF:
Medium
REF:
c. d. REF:
239
TOP: Nationalism
Musorgsky Elgar 239
TOP: Nationalism
Sounding a Nation: Grieg and Orchestral Nationalism | 185 14. Edvard Grieg was a composer from: a. Spain. b. England. ANS: D MSC: Factual
DIF:
Easy
c. d. REF:
Sweden. Norway. 239
TOP: Grieg
15. Which of the following describes the music of Grieg? a. It is lyrical. b. Grieg was influenced by folk music and dances. c. Grieg excelled at composing piano miniatures. d. all of the above ANS: D MSC: Applied
DIF:
Medium
REF:
16. Grieg collaborated with the playwright: a. Henrik Ibsen. b. Anton Chekhov. ANS: A MSC: Factual
DIF:
Easy
c. d. REF:
17. Grieg’s Peer Gynt is: a. a symphonic poem. b. a program symphony. ANS: C MSC: Factual
c. d.
DIF: Hard
REF:
240
TOP: Grieg
George Bernard Shaw. Oscar Wilde. 240
TOP: Grieg
incidental music. an opera. 240
TOP: Smetana
240
TOP: Grieg
18. Morning Mood from Grieg’s Peer Gynt depicts:: a. the sunrise. b. the romantic love of Peer Gynt and Ingrid. c. a troll. d. Peer Gynt’s love for his mother. ANS: A MSC: Factual
DIF:
Medium
REF:
19. What is the form of Grieg’s Morning Mood? a. sonata form b. variations ANS: D MSC: Applied
DIF:
Medium
c. d.
REF:
rondo A-B-A' 241
TOP: Grieg
20. Which of the following characterizes Grieg’s 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
TOP: Program music
2. The symphonic poem was developed during the nineteenth century. ANS: T MSC: Factual
DIF:
Medium
REF:
238
TOP: Program music
3. The growth of nationalism became a decisive force within the Romantic movement. ANS: T MSC: Applied
DIF:
Easy
REF:
238
TOP: Nationalism
4. Nationalism found natural expression in music, among other arts. ANS: T MSC: Applied
DIF:
Easy
REF:
238
TOP: Nationalism
5. Smetana was a leading figure of the “Mighty Five” in Russia. ANS: F MSC: Factual
DIF:
Medium
REF:
239
TOP: Nationalism
239
TOP: Nationalism
6. Nikolai Rimsky-Korsakov was a Russian composer. ANS: T MSC: Factual
DIF:
Easy
REF:
7. Edvard Grieg was a prominent composer from Norway. ANS: T MSC: Factual
DIF:
Easy
REF:
239
TOP: Grieg
8. Grieg composed no large-scale works in the Classical tradition. ANS: F MSC: Factual
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
Sounding a Nation: Grieg and Orchestral Nationalism | 187 10. The music for Grieg’s Peer Gynt Suite No. 1 is drawn from incidental music for a play. ANS: T MSC: Factual
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 Grieg’s Peer Gynt Suite No. 1 reflect the action of Ibsen’s play? ANS: Answers will vary. DIF:
Hard
REF:
240f
TOP: Grieg
MSC: Conceptual
Chapter 43: Absolutely Classic: Brahms and the Nineteenth-Century Symphony MULTIPLE CHOICE 1. Which of the following is NOT a type of absolute music? a. the concerto c. the piano trio b. the symphony d. the symphonic poem ANS: D MSC: Applied
DIF:
Easy
REF:
243f
TOP: Absolute music
2. The most important organizing element in absolute music is: a. form. c. programmatic images. b. thematic transformation. d. improvisation. ANS: A MSC: Applied
DIF:
Easy
REF:
244
TOP: Absolute music
3. By the Romantic era, concerts had moved from: a. the opera house to the church. b. the aristocratic palace to the church. c. the aristocratic palace to the public concert hall. d. the public concert hall to the aristocratic palace. ANS: C MSC: Applied
DIF:
Medium
REF:
244
TOP: Romantic symphony
4. The first movement of a symphony is usually in ________ form. a. theme and variations c. minuet or scherzo b. sonata-allegro d. rondo ANS: B MSC: Applied
DIF:
Medium
REF:
244
TOP: Romantic symphony
5. Which movement of a symphony is traditionally the slowest? a. the first movement c. the third movement b. the second movement d. the fourth movement ANS: B MSC: Applied
DIF:
Easy
REF:
244f
TOP: Romantic symphony
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
TOP: Romantic symphony
Absolutely Classic: Brahms and the Nineteenth-Century Symphony | 189 7. How many movements does a typical Romantic symphony contain? a. one c. three b. two d. four ANS: D MSC: Factual
DIF:
Easy
REF:
245
TOP: Romantic symphony
8. The standard four-movement structure of a Romantic symphony is: a. slow-fast-slow-dance. c. fast-slow-dance-fast. b. fast-fast-slow-fast. d. slow-dance-fast-fast. ANS: C MSC: Applied
DIF:
Medium
9. Brahms spent his later years in: a. Vienna. b. Paris. ANS: A MSC: Factual
DIF:
Medium
REF:
c. d. REF:
244f
TOP: Romantic symphony
Berlin. London. 244
TOP: Brahms
10. Brahms was recognized as a future leader in music by: a. Hector Berlioz. c. Joseph Joachim. b. Robert Schumann. d. Franz Liszt. ANS: B MSC: Factual
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
13. Brahms maintained a lifelong, close relationship with: a. Fanny Mendelssohn. c. George Sand. b. Clara Schumann. d. Amy Beach. ANS: B MSC: Factual
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
TOP: Brahms symphony
15. Which of the following was a major composer of Lieder? a. Berlioz c. Brahms b. Chopin d. all of the above ANS: C MSC: Factual
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
TOP: Brahms symphony
17. Which of the following does NOT characterize Brahms’s Symphony No. 3? a. classical forms c. programmatic images b. shifting moods d. cyclic unity ANS: C MSC: Applied
DIF:
Medium
REF:
245
TOP: Brahms symphony
18. The structure of the third movement of Brahms’s Symphony No. 3 is: a. binary. c. rondo. b. ternary. d. theme and variations. ANS: B MSC: Applied
DIF:
Medium
REF:
245
TOP: Brahms symphony
19. Which of the following best describes the style of the third movement of Brahms’s 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
TOP: Brahms symphony
20. The opening theme of the third movement of Brahms’s 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
TOP: Brahms symphony
Absolutely Classic: Brahms and the Nineteenth-Century Symphony | 191 TRUE/FALSE 1. In absolute music, musical ideas are organized without the aid of external images provided by a program. ANS: T MSC: Factual
DIF:
Easy
REF:
243
TOP: Absolute music
2. Classical forms were abandoned during the Romantic era. ANS: F MSC: Applied
DIF:
Medium
REF:
244
TOP: Absolute music
3. The symphony was a new genre in the Romantic era. ANS: F MSC: Factual
DIF:
Easy
REF:
244
TOP: Romantic symphony
4. The typical Romantic symphony has four movements. ANS: T MSC: Factual
DIF:
Easy
REF:
244
TOP: Romantic symphony
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
TOP: Romantic symphony
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
7. The great love of Brahms’s life was Clara Schumann. ANS: T MSC: Applied
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
TOP: Brahms symphony
246
TOP: Brahms symphony
9. Brahms’s Symphony No. 3 is a program symphony. ANS: F MSC: Applied
DIF:
Easy
REF:
192 | Chapter 43 10. The third movement of Brahms’s Symphony No. 3 in F major is a rollicking scherzo. ANS: F MSC: Applied
DIF:
Easy
REF:
246
TOP: Brahms symphony
ESSAY 1. Discuss the Romantic symphony, citing specific examples in your response. ANS: Answers will vary. DIF: Easy MSC: Applied
REF: 244f
TOP: Romantic symphony
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
TOP: Brahms symphony
Chapter 44: Multimedia Hits: Verdi and Italian Romantic Opera MULTIPLE CHOICE 1. Which nineteenth-century opera singer made a great impression in America by performing both opera excerpts and parlor songs? a. Louise Bertin c. Giuseppina Strepponi b. Jenny Lind d. Clara Schumann ANS: B MSC: Factual
DIF:
Hard
REF:
247
TOP: Women in opera
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
3. Italian comic opera is called: a. opera seria. b. opéra comique. ANS: C MSC: Factual
DIF:
REF:
c. d. Medium
REF:
247
TOP: Women in opera
opera buffa. Singspiel. 248
TOP: Italian opera
4. Which of the following was NOT a leading composer of Italian opera? a. Donizetti c. Bellini b. Bizet d. Rossini ANS: B MSC: Applied
DIF:
Medium
REF:
247f
TOP: Italian opera
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
TOP: Italian opera
6. The term bel canto refers to: a. a female singer who performs male roles. b. the standard form of nineteenth-century Italian arias. c. a style of singing that features agility and purity of tone. d. the new melodic recitative of the nineteenth century. ANS: C MSC: Applied
DIF:
Medium
REF:
248
TOP: Italian opera
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
TOP: Verdi opera
8. Verdi’s opera Nabucco was hugely popular in Italy because it: a. was interpreted as a symbol of Italian independence. b. had raunchy dance scenes. c. contained popular tunes. d. was based on Roman history. ANS: A MSC: Applied
DIF:
Medium
REF:
9. Which of the following operas is NOT by Verdi? a. Il trovatore c. b. Rigoletto d. ANS: C MSC: Factual
DIF:
Easy
REF:
249
TOP: Verdi opera
Carmen Aida 249
TOP: Verdi opera
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
TOP: Verdi opera
11. ________ was Verdi’s last opera, which he completed at age eighty. a. Macbeth c. Aida b. Rigoletto d. Falstaff ANS: D MSC: Factual
DIF:
Hard
REF:
249
TOP: Verdi opera
12. Which of the following wrote the play that was the source of Verdi’s 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
13. The librettist for Verdi’s Rigoletto was: a. Boito. b. Piave. ANS: B MSC: Factual
DIF:
Hard
REF:
c. d. REF:
249
TOP: Verdi opera
Metastasio. Goethe. 250
TOP: Verdi opera
Multimedia Hits: Verdi and Italian Romantic Opera | 195 14. Who dies at the end of Rigoletto? a. Rigoletto b. the duke of Mantua ANS: D MSC: Factual
DIF:
Medium
c. d. REF:
Sparafucile Gilda, Rigoletto’s daughter 249
TOP: Verdi opera
15. Which of the following does NOT characterize “La donna è mobile,” from Verdi’s 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
TOP: Verdi opera
16. The ensemble that follows “La donna è 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
TOP: Verdi opera
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
TOP: Chinese opera
18. Which of the following are characteristic of Beijing opera? a. stylized gestures c. colorful costumes b. dance d. all of the above ANS: D MSC: Applied
DIF:
Medium
REF:
254
TOP: Chinese opera
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
TOP: Chinese opera
20. Which of the following is NOT a Chinese instrument? a. pipa c. shakuhachi b. erhu d. yang qin ANS: C MSC: Factual
DIF:
Medium
REF:
255
TOP: Chinese opera
196 | Chapter 44 TRUE/FALSE 1. Women achieved prominence during the Romantic era as opera singers. ANS: T MSC: Factual
DIF:
Easy
REF:
247
TOP: Women in opera
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
TOP: Italian opera
3. Verdi’s operas stirred a revolutionary spirit within the Italian people. ANS: T MSC: Factual
DIF:
Easy
REF:
248
TOP: Verdi opera
4. Verdi’s Aida could be viewed as an example of exoticism because of its Egyptian setting. ANS: T MSC: Applied
DIF:
Hard
REF:
249
TOP: Verdi opera
5. The aria “La donna è mobile,” from Verdi’s Rigoletto, is set in simple, strophic form with a refrain. ANS: T MSC: Applied
DIF:
Medium
REF:
249
TOP: Verdi opera
6. In Rigoletto, Verdi turns away from tuneful melodies to heighten the dramatic action. ANS: F MSC: Applied
DIF:
Medium
REF:
249
TOP: Verdi opera
7. Opera has been a leading form of entertainment in China for centuries. ANS: T MSC: Applied
DIF:
Medium
REF:
254
TOP: Chinese opera
8. The Cultural Revolution movement in China placed a high priority on Chinese opera. ANS: F MSC: Applied
DIF:
Medium
REF:
254
TOP: Chinese opera
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
TOP: Chinese opera
Multimedia Hits: Verdi and Italian Romantic Opera | 197 10. The Chinese plucked lute is called the erhu. ANS: F MSC: Factual
DIF:
Hard
REF:
255
TOP: Chinese opera
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
TOP: Women in opera
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
TOP: Italian opera MSC: Applied
3. Why do Verdi’s operas have such enduring popular appeal? Cite examples from the textbook. ANS: Answers will vary. DIF:
Medium
REF:
249f
TOP: Verdi opera
MSC: Conceptual
Chapter 45: Total Art: Wagner and German Romantic Opera MULTIPLE CHOICE 1. Which of the following does NOT characterize Singspiel? a. It was the immediate predecessor of German Romantic opera. b. It featured elaborate recitatives and arias. c. The plots were generally light or comic. d. Mozart’s opera The Magic Flute is an example of this genre. ANS: B MSC: Applied
DIF:
Medium
REF:
256
TOP: Romantic opera
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
TOP: Wagner opera
3. Wagner’s first operatic success was a grand opera entitled: a. The Flying Dutchman. c. Rienzi. b. Tristan and Isolde. d. Faust. ANS: C MSC: Factual
DIF:
Hard
REF:
4. The librettist for Wagner’s music dramas was: a. Goethe. c. b. Heine. d. ANS: D MSC: Factual
DIF:
Hard
REF:
257
TOP: Wagner opera
Müller. Wagner himself. 257
TOP: Wagner opera
5. Which of the following is NOT an opera from the Ring cycle? a. Siegfried c. Das Rheingold b. Die Meistersinger von Nürnberg d. Götterdämmerung ANS: B MSC: Applied
DIF:
Hard
6. Wagner chose to base his early operas on: a. dramas of historical intrigue. b. medieval German epics. ANS: B MSC: Applied
198
DIF:
Medium
REF:
c. d. REF:
257
TOP: Wagner opera
ancient Greek tragedies. biblical stories. 257
TOP: Wagner opera
Total Art: Wagner and German Romantic Opera | 199 7. Wagner’s cycle of four music dramas is called: a. Lohengrin. c. b. Tristan and Isolde. d. ANS: C MSC: Factual
DIF:
Easy
REF:
The Ring of the Nibelung. Die Meistersinger von Nürnberg. 257
TOP: Wagner opera
8. A special theater was built at ________ for the presentation of Wagner’s music dramas. a. Dresden c. Berlin b. Munich d. Bayreuth ANS: D MSC: Factual
DIF:
Hard
REF:
257
TOP: Wagner opera
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
TOP: Wagner opera
10. Wagner’s total artwork, in which all the arts—music, poetry, drama, visual spectacle—are fused together, is called: a. the Gesamtkunstwerk. c. the Ewigemelodie. b. leitmotifs. d. cyclic unity. ANS: A MSC: Applied
DIF:
Medium
11. Wagner called his operas: a. tone poems. b. music dramas. ANS: B MSC: Factual
DIF:
REF:
c. d. Easy
REF:
257
TOP: Wagner opera
oratorios. operettas. 257
TOP: Wagner opera
12. The principal themes in Wagner’s 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
TOP: Wagner opera
13. Which composer’s musical language was based on chromatic harmony? a. Mendelssohn c. Verdi b. Brahms d. Wagner ANS: D MSC: Applied
DIF:
Hard
REF:
257
TOP: Wagner opera
200 | Chapter 45 14. The emotional quality of Wagner’s 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:
15. In the Ring cycle, who is the father of the gods? a. Siegfried c. b. Loge d. ANS: C MSC: Factual
DIF:
Medium
REF:
258
TOP: Wagner opera
Wotan Brünnhilde 258
TOP: Wagner opera
16. In Wagner’s Ring of the Nibelung, who are the Valkyries? a. the nine daughters of Wotan c. the Rhine maidens b. the Nibelung dwarfs d. the enemies of Wotan ANS: A MSC: Applied
DIF:
Easy
REF:
258
TOP: Wagner opera
17. In Act III, Scene 1 of Die Walküre, 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
TOP: Wagner opera
18. In the orchestral prelude to Act III of Wagner’s Die Walküre, the Ride theme primarily is played by: a. strings. c. brass. b. woodwinds. d. percussion. ANS: C MSC: Applied
DIF:
Easy
REF:
258
TOP: Wagner opera
19. Which of the following does NOT characterize the music of Act III, Scene 1 of Die Walküre? 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
TOP: Wagner opera
20. Why does Wotan deprive Brünnhilde 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 Siegmund’s 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
TOP: Wagner opera
Total Art: Wagner and German Romantic Opera | 201 TRUE/FALSE 1. Richard Wagner composed the first Singspiel. ANS: F MSC: Factual
DIF:
Easy
REF:
256
TOP: Romantic opera
2. Because of his dominating personality, Wagner frequently changed librettists while composing his music dramas. ANS: F MSC: Applied
DIF:
Hard
REF:
257
TOP: Wagner opera
3. Wagner’s operas employ the supernatural as an element of drama and glorify the German land and people. ANS: T MSC: Applied
DIF:
Medium
REF:
257
TOP: Wagner opera
4. Wagner did not wish to change the prevailing form of opera in the nineteenth century. ANS: F MSC: Applied
DIF:
Easy
REF:
257
TOP: Wagner opera
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
TOP: Wagner opera
6. The focal point of Wagnerian music drama is the voice. ANS: F MSC: Applied
DIF:
Medium
REF:
257
TOP: Wagner opera
7. Wagner pushed major-minor tonality to extreme limits with his style of chromatic harmony. ANS: T MSC: Applied
DIF:
Medium
REF:
257
TOP: Wagner opera
8. In Wagner’s operas, the recurring themes, which represent specific characters, emotions, or ideas, are called leitmotifs. ANS: T MSC: Factual
DIF:
Easy
REF:
257
TOP: Wagner opera
9. In Wagner’s Ring operas, Brünnhilde is the wife of Wotan. ANS: F MSC: Factual
DIF:
Medium
REF:
258
TOP: Romantic opera
202 | Chapter 45 10. One of the leitmotifs from Wagner’s Die Walküre is the “magic fire” music. ANS: T MSC: Factual
DIF:
Easy
REF:
259
TOP: Wagner opera
ESSAY 1. Describe Wagner’s 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
TOP: Wagner opera
2. Describe the background, story, and musical qualities of The Ring of the Nibelung, ANS: Answers will vary. DIF: Hard MSC: Applied
REF:
257f
TOP: Wagner opera
Chapter 46: Poetry in Motion: Tchaikovsky and the Ballet MULTIPLE CHOICE 1. The concept of ballet dates back to the: a. Middle Ages. b. Renaissance. ANS: B MSC: Applied
DIF: Hard
c. d. REF:
Baroque. Classical era. 262
TOP: Ballet
2. The masque was a spectacle incorporating dance in: a. France. c. Russia. b. Italy. d. England. ANS: D MSC: Factual
DIF: Hard
REF:
262
TOP: Ballet
3. The dominant center of ballet in the early nineteenth century was: a. France. c. Russia. b. Italy. d. England. ANS: A MSC: Factual
DIF:
Hard
REF:
262
TOP: Romantic ballet
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
TOP: Romantic ballet
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
6. In ballet, the pas de deux is: a. a dance for two. b. the break after Act I. ANS: A MSC: Factual
DIF:
REF:
c. d. Hard
REF:
262
TOP: Romantic ballet
the denouement of the narrative. a large climactic dance by the corps. 262
TOP: Romantic ballet
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
TOP: Tchaikovsky ballet
203
204 | Chapter 46 8. Which of the following was Tchaikovsky’s principal patron? a. Anton Rubinstein c. Nadezhda von Meck b. Vaslav Nijinsky d. Serge Diaghilev ANS: C MSC: Factual
DIF:
Hard
REF:
9. What type of works did Tchaikovsky compose? a. ballets c. b. operas d. ANS: D MSC: Factual
DIF:
Easy
REF:
263
TOP: Tchaikovsky ballet
symphonies all of the above 263
TOP: Tchaikovsky ballet
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
TOP: Tchaikovsky ballet
11. Which of the following is NOT a ballet by Tchaikovsky? a. Eugene Onegin c. Sleeping Beauty b. Swan Lake d. The Nutcracker ANS: A MSC: Factual
DIF:
Medium
REF:
263
TOP: Tchaikovsky ballet
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
13. The Nutcracker is based on a story by: a. Marius Petipa. b. Victor Hugo. ANS: D MSC: Factual
DIF:
Hard
REF:
c. d. REF:
264
TOP: Tchaikovsky ballet
E. T. A. Hoffmann. Prosper Merimée. 264
TOP: Tchaikovsky ballet
14. Tchaikovsky’s fanciful ballet about a child’s Christmas gift and dreams of exotic people and places is: a. Swan Lake. c. Pathétique. b. Sleeping Beauty. d. The Nutcracker. ANS: D MSC: Factual
DIF:
Easy
REF:
263
TOP: Tchaikovsky ballet
Poetry in Motion: Tchaikovsky and the Ballet | 205 15. The keyboard instrument featured in the Dance of the Sugar Plum Fairy, from The Nutcracker, is the: a. piano. c. harpsichord. b. celesta. d. organ. ANS: B MSC: Factual
DIF:
Medium
16. The trepak is a folk dance from: a. Arabia. b. China. ANS: C MSC: Factual
DIF:
Medium
REF:
c. d.
264
TOP: Tchaikovsky ballet
Russia. Bohemia.
REF:
264
TOP: Tchaikovsky ballet
REF:
262
TOP: Romantic ballet
262
TOP: Romantic ballet
TRUE/FALSE 1. The first major center of ballet was France. ANS: T MSC: Applied
DIF:
Medium
2. The pas de deux is a Western-style two-step dance. ANS: F MSC: Factual
DIF:
Medium
REF:
3. Tchaikovsky suffered from depression and guilt over his homosexuality. ANS: T MSC: Factual
DIF:
Easy
REF:
263
TOP: Tchaikovsky ballet
4. Tchaikovsky was known for his symphonies and operas as well as for his ballets. ANS: T MSC: Applied
DIF:
Hard
REF:
263
TOP: Tchaikovsky ballet
5. The Nutcracker is based on a story by E. T. A. Hoffmann. ANS: T MSC: Factual
DIF:
Easy
REF:
263
TOP: Tchaikovsky ballet
6. The Nutcracker is a real-life story set at Christmastime. ANS: F MSC: Factual
DIF:
Easy
REF:
263
TOP: Tchaikovsky ballet
7. The Arab Dance and the Chinese Dance, from The Nutcracker, are examples of exoticism. ANS: T MSC: Applied
DIF:
Medium
REF:
264
TOP: Tchaikovsky ballet
206 | Chapter 46 8. The celesta has a bell-like tone. ANS: T MSC: Applied
DIF:
Medium
REF:
264
TOP: Tchaikovsky ballet
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
TOP: Tchaikovsky ballet
REF:
264
TOP: Tchaikovsky ballet
10. The trepak is a folk dance from Arabia. ANS: F MSC: Factual
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
2. What is exotic about Tchaikovsky’s ballet The Nutcracker? ANS: Answers will vary. DIF: Medium MSC: Conceptual
REF:
263f
TOP: Tchaikovsky ballet
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
TOP: Post-Romantic music
2. Which of the following is NOT a major figure in post-Romanticism? a. Puccini c. Richard Strauss b. Mahler d. Brahms ANS: D MSC: Applied
DIF:
Medium
REF:
266
TOP: Post-Romantic music
3. Which of the following operas is an example of exoticism? a. Madame Butterfly c. Tristan und Isolde b. La Traviata d. all of the above ANS: A MSC: Applied
DIF:
Hard
REF:
266
TOP: Post-Romantic music
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
TOP: Post-Romantic opera
5. With which operatic movement is realism is associated? a. surrealism c. impressionism b. exoticism d. verismo ANS: C MSC: Applied
DIF:
Easy
REF:
267
TOP: Post-Romantic music
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
TOP: Post-Romantic opera
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
TOP: Post-Romantic opera
8. The leading composer of Italian opera in the late-Romantic era was: a. Rossini c. Puccini b. Leoncavallo d. Mascagni ANS: C MSC: Factual
DIF: Hard
REF:
267
TOP: Puccini
9. Which of the following operas is NOT by Puccini? a. Madame Butterfly c. Pagliacci b. La bohème d. Tosca ANS: C MSC: Factual
DIF:
Hard
REF:
267
TOP: Puccini opera
10. Puccini’s Madame Butterfly is: a. a tragic tale of a Japanese geisha and a U.S. naval officer. b. a comedy about the head of a Japanese brothel. c. a Chinese fairy tale about a beautiful but cruel princess. d. a Japanese folk tale about an orphan who grows up to be a princess. ANS: A MSC: Applied
DIF:
Easy
REF:
267f
TOP: Puccini opera
267
TOP: Puccini opera
11. Puccini’s Madame Butterfly ends: a. happily. b. tragically. c. triumphantly. d. inconclusively, so that a sequel could follow. ANS: B MSC: Factual
DIF:
Easy
REF:
12. A Japanese geisha is best compared in Western culture with: a. a courtesan. c. a wife. b. a prostitute. d. a warrior. ANS: A MSC: Applied
DIF:
Medium
REF:
268
TOP: Puccini opera
Exotic Allure: Puccini and the Italian Verismo Tradition | 209 13. At the close of the opera Madame Butterfly, the title character: a. kills herself. c. goes to the United States with Pinkerton. b. returns to her life as a geisha. d. marries Prince Yamadori. ANS: A MSC: Factual
DIF:
Easy
REF:
268
TOP: Puccini opera
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
TOP: Puccini opera
15. In her aria “Un bel dì,” 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
16. The Japanese shamisen is: a. a hand drum. b. a kind of flute. ANS: D MSC: Factual
DIF:
REF:
c. d. Medium
REF:
268
TOP: Puccini opera
a poetic form. a plucked string instrument. 271
TOP: Puccini opera
TRUE/FALSE 1. Post-Romanticism was a movement that rebelled against the late Romantic ideals. ANS: F MSC: Applied
DIF:
Medium
REF:
266
TOP: Post-Romantic opera
REF:
267
TOP: Puccini opera
2. Madama Butterfly was Puccini’s last opera. ANS: F MSC: Factual
DIF:
Hard
3. Puccini’s operas are associated with the verismo movement. ANS: T MSC: Applied
DIF:
Easy
REF:
267
TOP: Puccini opera
4. Puccini’s 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
TOP: Puccini opera
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
TOP: Puccini opera
6. The music for Puccini’s Madame Butterfly is entirely European in conception, despite the setting in Japan. ANS: F MSC: Applied
DIF:
Easy
REF:
268
TOP: Puccini opera
7. Cio-Cio-San, in Puccini’s Madame Butterfly, worked as a geisha prior to her marriage. ANS: T MSC: Factual
DIF:
Medium
REF:
268
TOP: Puccini opera
8. The joyful mood of “Un bel dì” from Puccini’s Madame Butterfly foretells the ending of the opera. ANS: F MSC: Factual
DIF:
Medium
REF:
268
TOP: Puccini opera
9. Kabuki is a type of Japanese play with music, elaborate costumes and makeup. ANS: T MSC: Factual
DIF:
Medium
REF:
271
TOP: Japanese music
10. Japanese folk music often has complicated supporting harmonies. ANS: F MSC: Applied
DIF:
Medium
REF:
271
TOP: Japanese music
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
TOP: Romantic opera
2. What are the exotic elements in Puccini’s Madame Butterfly? ANS: Answers will vary. DIF: Medium MSC: Conceptual
REF:
267f
TOP: Puccini Opera
Chapter 48: Accepting Death: Fauré and the Requiem MULTIPLE CHOICE 1. Which of the following was NOT a major musical stream in French romantic music? a. Wagner’s music dramas c. grand operatic productions b. ballet d. salon piano music ANS: A MSC: Applied
DIF:
Easy
REF:
272
TOP: French Romantic music
2. French composers developed a type of art song called the: a. Lied. c. mélodie. b. parlor song. d. minstrel song. ANS: C MSC: Factual
DIF:
Medium
REF:
272
TOP: French Romantic music
3. Which of the following was NOT a French symbolist poet? a. Charles Baudelaire c. Stéphane Mallarmé b. Paul Verlaine d. Victor Hugo ANS: D MSC: Factual
DIF:
Hard
REF:
273
TOP: French Romantic music
4. Which of the following was NOT one of Fauré’s major musical activities? a. conducting c. teaching b. composing religious music d. playing the organ ANS: A MSC: Factual
DIF:
Medium
5. ________ was one of Fauré’s students. a. Claude Debussy b. Nadia Boulanger ANS: B MSC: Factual
DIF:
Medium
REF:
c. d. REF:
273
TOP: Fauré
Nicole Niedermeyer Camille Saint-Saëns 273
TOP: Fauré
6. Of which genre is Fauré is considered to be a master? a. opera c. string quartet b. symphony d. song ANS: D MSC: Applied
DIF:
Medium
7. Fauré’s Requiem was originally scored for: a. a chamber orchestra. b. a full orchestra. ANS: A MSC: Factual
DIF:
Easy
REF:
c. d. REF:
273
TOP: Fauré
a cappella performance. organ accompaniment. 273
TOP: Fauré
211
212 | Chapter 48 8. The Libera me from Fauré’s Requiem features which vocal soloist? a. soprano c. tenor b. contralto d. baritone ANS: D MSC: Factual
DIF:
Medium
REF:
273
TOP: Fauré
9. The form of the Libera me from Fauré’s Requiem is: a. strophic. c. A-B-A'. b. rondo. d. through composed. ANS: C MSC: Applied
DIF:
Medium
REF:
274
TOP: Fauré
10. The mood at the end of Libera me from Fauré’s Requiem is: a. ecstatic. c. serene. b. mournful. d. dramatic. ANS: C MSC: Applied
DIF:
Easy
REF:
275
TOP: Fauré
TRUE/FALSE 1. The mélodie accommodated the unique features of the French language, yet drew inspiration from Schubert. ANS: T MSC: Applied
DIF:
Medium
REF:
272
TOP: French Romantic music
2. Sacred music was of little importance in French romantic music. ANS: F MSC: Applied
DIF:
Medium
REF:
273
TOP: French Romantic music
3. As shown in his Requiem, Fauré preferred larger musical forms. ANS: F MSC: Applied
DIF:
Easy
REF:
273
TOP: Fauré
4. Fauré became director of the Paris Conservatory. ANS: T MSC: Factual
DIF:
Easy
REF:
273
TOP: Fauré
Medium
REF:
273
TOP: Fauré
5. Fauré composed no operas. ANS: F MSC: Factual
DIF:
Accepting Death: Fauré and the Requiem | 213 6. Fauré’s musical style was in direct contrast to German Romanticism. ANS: T MSC: Applied
DIF:
Medium
REF:
273
TOP: Fauré
7. Fauré altered the texts in his setting of the Requiem Mass. ANS: T MSC: Factual
DIF:
Medium
REF:
273
TOP: Fauré
275
TOP: Fauré
8. Fauré’s Requiem is in the standard five movements. ANS: F MSC: Factual
DIF:
Easy
REF:
9. The Pie Jesu from Fauré’s Requiem was originally sung by a boy soprano. ANS: T MSC: Factual
DIF:
Hard
REF:
275
TOP: Fauré
10. The dynamics in the Libera me from Fauré’s Requiem remain subdued throughout the movement. ANS: F MSC: Applied
DIF:
Easy
REF:
275
TOP: Fauré
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
TOP: French Romantic music
2. Describe how Fauré’s Requiem embodies the general music style of the composer. ANS: Answers will vary. DIF:
Medium
REF:
273f
TOP: Fauré
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
3. Impressionism was a style of painting that was cultivated principally in: a. Paris. c. Berlin. b. London. d. Rome. ANS: A MSC: Factual
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
8. Mallarmé and Verlaine were: a. Symbolist poets. b. Impressionist painters. ANS: A MSC: Factual
DIF:
Medium
REF:
c. d. REF:
277
TOP: Symbolism
Impressionist composers. none of the above 277
TOP: Symbolism
9. The Symbolist poets were strongly influenced by the works of: a. George Sand. c. Robert Frost. b. Emily Brontë. d. Edgar Allan Poe. ANS: D MSC: Applied
DIF:
Medium
REF:
277
TOP: Symbolism
10. The whole-tone scale used by Impressionist composers derives from: a. the post-Romantic music of Mahler. c. medieval church music. b. non-Western music. d. the Classical-Romantic tradition. ANS: B MSC: Applied
DIF:
Medium
REF:
277
TOP: Impressionism
11. Impressionism in music is best exemplified by the works of: a. Claude Debussy. c. Hector Berlioz. b. Gustav Mahler. d. Frédéric Chopin. ANS: A MSC: Applied
DIF: Easy
REF:
277
TOP: Impressionism
12. Which of the following was NOT characteristic of Impressionist music? a. whole-tone scales b. parallel chords c. ninth chords d. strong accents on the first beat of each measure ANS: D MSC: Applied
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
TOP: World music
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
16. What nationality was Claude Debussy? a. German b. French ANS: B MSC: Factual
DIF:
Easy
REF:
c. d. REF:
278
TOP: World music
Italian Austrian 279
TOP: Debussy
17. Debussy’s opera Pelléas and Mélisande is based on a Symbolist drama by: a. Giraud. c. Maeterlinck. b. Ibsen. d. Mallarmé. ANS: C MSC: Factual
DIF:
Hard
REF:
279
TOP: Debussy
18. Which of the following was NOT composed by Debussy? a. Clair de lune c. Boléro b. La mer d. Prelude to “The Afternoon of a Faun” ANS: C MSC: Factual
DIF:
Easy
REF:
279
TOP: Debussy
19. The program of Debussy’s Prelude to “The Afternoon of a Faun” evokes: a. a nationalistic folk dance. c. a child’s view of heaven. b. a river flowing through France. d. a landscape with a mythological creature. ANS: D MSC: Applied
DIF:
Easy
REF:
279
TOP: Debussy
20. The overall form of Debussy’s 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 Debussy’s 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 Debussy’s 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
2. Impressionism takes its name from a painting by Claude Monet. ANS: T MSC: Factual
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
4. The Symbolist movement began in England. ANS: F MSC: Applied
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. Debussy’s music reflects a strong adherence to the traditional forms and scales of Western music. ANS: F MSC: Applied
DIF:
Medium
REF:
279
TOP: Debussy
11. Debussy was important in establishing the French art song. ANS: T MSC: Factual
DIF:
Medium
REF:
279
TOP: Debussy
12. Debussy’s Prelude to “The Afternoon of a Faun” was inspired by a poem by Maurice Maeterlinck. ANS: F MSC: Factual
DIF:
Easy
REF:
279
TOP: Debussy
ESSAY 1. Describe the musical characteristics of Impressionism. Which of these do we hear in Debussy’s Prelude to “The Afternoon of a Faun”? ANS: Answers will vary. DIF:
Medium
REF:
276f
TOP: Debussy
MSC: Applied
Mythical Impressions: Program Music at the End of the Nineteenth Century | 219 2. What effects did non-Western music have on Impressionist and early-twentieth-century composers? Cite examples. ANS: Answers will vary. DIF: Hard MSC: Conceptual
REF:
278
TOP: World music
Chapter 50: Jubilees and Jubilation: The African American Spiritual Tradition MULTIPLE CHOICE 1. What was the Second Great Awakening? a. a political movement seeking to free slaves b. a musical movement that turned to European influences c. a Christian movement at the turn of the 1800s d. the national recognition that America had become a world power ANS: C MSC: Factual
DIF:
Medium
REF:
282
TOP: Spirituals
2. Which of the following does NOT describe camp meetings? a. They were Christian gatherings that could last for weeks. b. African Americans did not participate in any such gatherings. c. Songs of praise were common. d. Praise songs were often based on popular or folk tunes. ANS: B MSC: Factual
DIF:
Easy
REF:
282
TOP: Spirituals
3. The tradition of the ring shout was brought to America from: a. Africa. c. Spain. b. Mexico. d. Hungary. ANS: A MSC: Factual
DIF:
Easy
REF:
282
TOP: Spirituals
4. African slaves in the nineteenth century created a genre of religious song called: a. soul. c. the blues. b. the minstrel song. d. the spiritual. ANS: D MSC: Factual
DIF:
Medium
REF:
282
TOP: Spirituals
5. Which of the following describes spirituals? a. They had contrapuntal accompaniment. b. They contained coded messages about earthly escape. c. They won immediate cultural acceptance by Europeans. d. all of the above ANS: B MSC: Applied
DIF:
Hard
REF:
6. The Fisk Jubilee Singers took their name from: a. their founder. c. b. the arranger of their spirituals. d. ANS: D MSC: Factual
220
DIF:
Hard
REF:
282f
TOP: Spirituals
their signature spiritual. their college. 283
TOP: Spirituals
Jubilees and Jubilation: The African American Spiritual Tradition | 221 7. Which European composer felt that an American school of music should be built around “Negro melodies”? a. DvoĜák c. Brahms b. Tchaikovsky d. Liszt ANS: A MSC: Factual
DIF:
Medium
REF:
283
TOP: Spirituals
8. Which of the following describes the activities of Harry T. Burleigh? a. He studied with DvoĜák. b. He arranged spirituals for voice and piano. c. He became a music publisher. d. all of the above ANS: D MSC: Factual
DIF:
Medium
REF:
283f
TOP: Spirituals
9. The spiritual Swing Low, Sweet Chariot reflects qualities of which tradition(s)? a. Native American c. European American b. African American d. all of the above ANS: D MSC: Conceptual
DIF:
Hard
REF:
284
TOP: Spirituals
10. The melody of Swing Low, Sweet Chariot is based on the ________ scale. a. pentatonic c. chromatic b. diatonic d. whole-tone ANS: A MSC: Applied
DIF:
Hard
REF:
284
TOP: Spirituals
11. Which of the following is the source of the text of Swing Low, Sweet Chariot? a. folk poems c. Harry T. Burleigh b. the Bible d. the Harlem Renaissance ANS: B MSC: Factual
DIF:
Easy
REF:
284
TOP: Spirituals
12. Which of the following distinguishes the Fisk Jubilee Singers’ arrangement of Swing Low, Sweet Chariot from that of Harry T. Burleigh? a. The Fisk Jubilee Singers perform a cappella. b. The Fisk Jubilee Singers arrangement has more complicated harmonies. c. The Fisk Jubilee Singers incorporate polyphony. d. all of these ANS: A MSC: Applied
DIF:
Hard
REF:
284
TOP: Spirituals
222 | Chapter 50 TRUE/FALSE 1. Camp meetings were attended by African Americans and European Americans alike. ANS: T MSC: Factual
DIF:
Medium
REF:
282
TOP: Spirituals
2. The tradition of the ring shout is related to the African tradition of call and response. ANS: T MSC: Applied
DIF:
Medium
REF:
282
TOP: Spirituals
3. The texts of spirituals deal exclusively with religion. ANS: F MSC: Applied
DIF:
Medium
REF:
282
TOP: Spirituals
4. The rhythmic and melodic traits of spirituals fitted easily into European norms. ANS: F MSC: Conceptual
DIF:
Hard
REF:
283
TOP: Spirituals
5. Fisk University was originally founded as a college for freed slaves in Nashville, Tennessee. ANS: T MSC: Factual
DIF:
Easy
REF:
283
TOP: Spirituals
6. The fame of the Fisk Jubilee Singers rested on their renditions of European choral masterworks. ANS: F MSC: Applied
DIF:
Medium
REF:
283
TOP: Spirituals
7. Harry T. Burleigh created art-song arrangements of spirituals. ANS: T MSC: Factual
DIF:
Easy
REF:
283f
TOP: Spirituals
8. The Fisk Jubilee Singers’ recording of Sweet Low, Sweet Chariot is monophonic. ANS: F MSC: Applied
DIF:
Medium
REF:
284
TOP: Spirituals
9. Harry T. Burleigh incorporated blues-related harmony in his arrangement of Sweet Low, Sweet Chariot. ANS: T MSC: Applied
DIF:
Hard
REF:
284
TOP: Spirituals
Jubilees and Jubilation: The African American Spiritual Tradition | 223 10. The Fisk Jubilee Singers’ arrangement of Sweet Low, Sweet Chariot is in strophic form. ANS: T MSC: Applied
DIF:
Medium
REF:
285
TOP: Spirituals
ESSAY 1. Describe the transition of the spiritual from its roots in camp meetings to its status as an art-song genre. ANS: Answers will vary. DIF:
Medium
REF:
282f
TOP: Spirituals
MSC: Conceptual
2. What contributions to the spiritual were made by the Fisk Jubilee Singers and by Harry T. Burleigh? ANS: Answers will vary. DIF:
Hard
REF:
283f
TOP: Spirituals
MSC: Conceptual
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
2. The most famous eighteenth-century American band was the: a. Washington Posts. c. New York Civic Band. b. U.S. Marine Band. d. Boston Pops Band. ANS: B MSC: Applied
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 Gemünder. 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
5. America’s most famous bandmaster was: a. Stephen Foster. b. John Philip Sousa. ANS: B MSC: Applied
DIF:
Easy
6. John Philip Sousa conducted the: a. Washington Posts. b. U.S. Marine Band. ANS: B MSC: Factual
224
DIF:
Medium
REF:
c. d. REF:
c. d. REF:
288
TOP: Bands
Charles Ives. Scott Joplin. 288
TOP: Bands
New York Civic Band. Boston Pops Band. 288
TOP: Bands
A Good Beat: American Vernacular Music at the Close of an Era | 225 7. John Philip Sousa composed: a. The Washington Post. b. Semper Fidelis. ANS: D MSC: Factual
DIF:
Medium
c. d. REF:
The Stars and Stripes Forever. all of the above 288
TOP: Bands
8. Which American composer became known as the “King of Ragtime”? a. Sousa c. Strauss b. Joplin d. Armstrong ANS: B MSC: Factual
DIF:
Easy
REF:
288
TOP: Joplin
289
TOP: Joplin
9. Scott Joplin became famous when: a. Treemonisha was premiered. b. he moved to New York. c. his Maple Leaf Rag sold a million copies. d. he performed in Missouri. ANS: C MSC: Factual
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
11. What is the principal musical characteristic of ragtime? a. imitation c. syncopation b. improvisation d. use of American tunes ANS: C MSC: Applied
DIF:
Medium
REF:
12. In Joplin’s rags, what is a strain? a. the most difficult passage c. b. a section usually having sixteen measures d. ANS: B MSC: Factual
DIF:
Hard
REF:
288
TOP: Joplin
the trio of a rag the complicated rhythm in a rag 288
TOP: Joplin
TRUE/FALSE 1. 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
5. John Philip Sousa conducted arrangements of ragtime. ANS: T MSC: Factual
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
9. In piano rags, the left hand plays the syncopated melody. ANS: F MSC: Applied
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
A Good Beat: American Vernacular Music at the Close of an Era | 227 ESSAY 1. What is impact of the band and band music on American culture? Include examples in your answer. ANS: Answers will vary. DIF:
Hard
REF:
287f
TOP: Bands
MSC: Conceptual
2. Describe the essence of the musical rag. What is the typical structure of Joplin’s piano rags? ANS: Answers will vary. DIF:
Hard
REF:
288f
TOP: Joplin
MSC: Applied
Prelude 6: Making Music Modern MULTIPLE CHOICE 1. The artistic trends of the early twentieth century can best be characterized as: a. a reaction against Romanticism. c. influenced by Romanticism. b. influenced by an earlier era. d. an extension of Romantic ideals. ANS: A MSC: Applied
DIF:
Easy
REF:
294
TOP: Modernism
2. How did non-Western arts influence twentieth-century Western arts? a. Western artists sought the spontaneity of primitive art. b. The abstraction of African sculpture influenced Western painters. c. Western composers adopted non-Western rhythms in their music. d. all of the above ANS: D MSC: Conceptual
DIF:
Medium
3. The concept of art was rejected by: a. Impressionism. b. Expressionism. ANS: C MSC: Applied
DIF:
Medium
REF:
c. d. REF:
295
TOP: Modernism
Dadaism. surrealism. 295
TOP: Modernism
4. Which composer was most closely associated with Dadaism? a. Stravinsky c. Debussy b. Satie d. Schoenberg ANS: B MSC: Applied
DIF:
Medium
REF:
5. Salvador Dali and Joan Miró are associated with: a. Impressionism. c. b. Expressionism. d. ANS: D MSC: Factual
DIF: Hard
REF:
295
TOP: Modernism
Dadaism. surrealism. 295
TOP: Modernism
6. Which early twentieth-century movement focused on the dynamism of twentieth-century life? a. Dadaism c. surrealism b. Futurism d. Expressionism ANS: B MSC: Applied
228
DIF:
Medium
REF:
295
TOP: Modernism
Making Music Modern | 229 7. In which cultural center did Cubism develop? a. London c. b. New York d. ANS: D MSC: Factual
DIF:
Easy
REF:
Rome Paris 295
TOP: Modernism
8. The movement whose artists explored creativity by breaking from social and artistic conventions was called: a. surrealism c. Impressionism. b. post-Romanticism. d. the avant-garde. ANS: D MSC: Factual
DIF:
Easy
REF:
295
TOP: Modernism
9. What is vaudeville? a. a type of operetta set in small villages b. musicals based on romance and comedy c. a type of comedic musical sketch, many of them written by immigrant composers d. a ballad opera ANS: C MSC: Factual
DIF:
Easy
REF:
296
TOP: American popular styles
10. The center of music publishing in New York was called: a. Broadway. c. Washington Square. b. Tin Pan Alley. d. Times Square. ANS: B MSC: Factual
DIF:
Easy
11. Irving Berlin’s first hit song was: a. Hinky Dinky Parlez Vous. b. Summertime. ANS: D MSC: Factual
DIF:
Hard
REF:
c. d. REF:
296
TOP: American popular styles
When Johnny Comes Marching Home. Alexander’s Ragtime Band. 296
TOP: American popular styles
12. Which early twentieth-century songwriter composed the wartime hit Over There? a. Irving Berlin c. Victor Herbert b. George M. Cohan d. John Philip Sousa ANS: B MSC: Factual
DIF:
Hard
REF:
296
TOP: American popular styles
13. Which American musician introduced ragtime and early jazz styles to France during World War I? a. James Reese Europe c. Irving Berlin b. Scott Joplin d. John Philip Sousa ANS: A MSC: Factual
DIF:
Hard
REF:
296f
TOP: American popular styles
230 | Prelude 6 14. Which of the following statements does NOT characterize America during the 1920s? a. Women gained the right to vote. b. Alcohol was banned. c. Jazz flourished. d. The country endured a decade-long economic depression. ANS: D MSC: Applied
DIF:
Medium
REF:
15. What kind of jazz is Duke Ellington known for? a. big band c. b. New Orleans d. ANS: A MSC: Factual
DIF:
Easy
REF:
297
TOP: American popular styles
bebop third stream 297
TOP: American popular styles
16. The element of rhythm in twentieth-century music is best characterized as: a. adhering to the basic metrical patterns of the past. b. disregarding the basic metrical patterns of the past. c. adopting dance rhythms borrowed from the folk idiom. d. returning to the patterns of the Baroque era. ANS: B MSC: Applied
DIF:
Medium
REF:
298
TOP: Modernism
17. The element of melody in twentieth-century music is best characterized by: a. a singing vocal style. b. balanced phrases. c. wide leaps and dissonant intervals. d. a consideration of melody as the primary element in music. ANS: C MSC: Applied
DIF:
Medium
REF:
298
TOP: Modernism
18. The element that most decisively separated twentieth-century music from that of the past was: a. melody. c. rhythm. b. harmony. d. texture. ANS: B MSC: Applied
DIF:
Medium
REF:
299
TOP: Modernism
19. What type of harmony is implied by stacked chords? a. atonal c. twelve-tone b. polyharmony d. diatonic ANS: B MSC: Applied
DIF:
Medium
REF:
299
TOP: Modernism
Making Music Modern | 231 20. The emphasis on rhythm brought the ________ section of the orchestra to greater prominence. a. brass c. string b. woodwind d. percussion ANS: D MSC: Applied
DIF:
Easy
REF:
299
TOP: Modernism
TRUE/FALSE 1. During the early twentieth century, the arts were marked by artists’ desire to throw off the oppressive style of the nineteenth century and to capture the spontaneity of primitive life. ANS: T MSC: Applied
DIF:
Easy
REF:
295
TOP: Modernism
REF:
295
TOP: Modernism
REF:
295
TOP: Modernism
295
TOP: Modernism
2. Dadaism embraced the complexity of Western art. ANS: F MSC: Applied
DIF:
Medium
3. Pablo Picasso is associated with Cubism. ANS: T MSC: Applied
DIF:
Medium
4. Surrealism was based on geometric patterns. ANS: F MSC: Applied
DIF:
Easy
REF:
5. Avant-garde artists sought to distinguish themselves from traditional “high culture” and from mass-market tastes. ANS: T MSC: Applied
DIF:
Easy
REF:
295
TOP: Modernism
6. Irving Berlin was a successful Tin Pan Alley composer. ANS: T MSC: Applied
DIF:
Easy
REF:
296
TOP: American popular styles
7. Radio underwent enormous growth during the 1920s. ANS: T MSC: Applied
DIF:
Medium
REF:
297
TOP: American popular styles
8. The Depression had little impact on the performing arts. ANS: F MSC: Applied
DIF:
Easy
REF:
297
TOP: American popular styles
232 | Prelude 6 9. Big-band swing was the dominant form of American popular music in the 1930s and 1940s. ANS: T MSC: Applied
DIF:
Medium
REF:
297
TOP: American popular styles
10. The complexity of rhythm in modern Western music far exceeds that in Asian and African music. ANS: F MSC: Applied
DIF:
Easy
REF:
298
TOP: Modernism
11. Composers of modern music enlivened their music with the rhythms of popular music. ANS: T MSC: Applied
DIF:
Easy
REF:
298
TOP: Modernism
12. Melody in early twentieth-century music is characterized by wide leaps and dissonant intervals. ANS: T MSC: Applied
DIF:
Easy
REF:
298
TOP: Modernism
13. Although polyharmony features chords with six to seven notes, it still sounds consonant. ANS: F MSC: Applied
DIF:
Easy
REF:
299
TOP: Modernism
14. Percussion instruments came into prominence in modern music. ANS: T MSC: Applied
DIF:
Easy
REF:
299
TOP: Modernism
ESSAY 1. Describe the major artistic trends of the early twentieth century, and note how they were a reaction against earlier styles. Include examples in your answer. ANS: Answers will vary. DIF:
Medium
REF:
294f
TOP: Modernism
MSC: Conceptual
2. Describe the role that musical theater has played in the emergence of American popular music. ANS: Answers will vary. DIF: Hard MSC: Applied
REF:
296f
TOP: American popular styles
Making Music Modern | 233 3. Describe the changing role of harmony in twentieth-century music. ANS: Answers will vary. DIF:
Medium
REF:
299
TOP: Modernism
MSC: Conceptual
Chapter 52: Anything Goes: Schoenberg and Musical Expressionism MULTIPLE CHOICE 1. Which of the following describes dissonance? a. It is the element of rest in music. b. It was a normal sound for most audiences. c. It played a large role in twentieth-century music. d. all of the above ANS: C MSC: Conceptual
DIF: Hard
REF:
300
TOP: Modernism
2. The “emancipation of dissonance” refers to freeing: a. harmony from the necessity of moving from tension to rest. b. melody from periodic phrase structure. c. rhythm from moving from dissonance to consonance. d. the orchestra from dissonant sounds. ANS: A MSC: Applied
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
4. Which painter associated with Expressionism influenced Schoenberg? a. Kandinsky c. Picasso b. Klee d. Munch ANS: D MSC: Factual
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
6. Music that rejects the framework of key is described as: a. atonal. c. hypertonal. b. polytonal. d. anti-tonal. ANS: A MSC: Factual
234
DIF:
Medium
REF:
301
TOP: Modernism
Anything Goes: Schoenberg and Musical Expressionism | 235 7. Which of the following early-twentieth-century composers moved to the United States and taught composition at the University of California, Los Angeles? a. Stravinsky c. Berg b. Schoenberg d. Bartók ANS: B MSC: Factual
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:
9. Alban Berg and Anton Webern were students of: a. Igor Stravinsky. c. b. Claude Debussy. d. ANS: D MSC: Factual
DIF: Hard
REF:
301
TOP: Schoenberg
Gustav Mahler. Arnold Schoenberg. 301
TOP: Schoenberg
10. Which of the following works was NOT composed by Schoenberg? a. Pierrot lunaire c. A Survivor from Warsaw b. Wozzeck d. Variations for Orchestra ANS: B MSC: Factual
DIF: Hard
REF:
301
TOP: Schoenberg
11. With which period in Schoenberg’s career is Pierrot lunaire associated? a. the post-Romantic phase c. the twelve-tone or serial phase b. the atonal-Expressionist phase d. the American phase ANS: B MSC: Factual
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
13. Pierrot lunaire is based on a cycle of poems written by: a. Giraud. c. Mallarmé. b. Verlaine. d. Rimbaud. ANS: A MSC: Factual
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
15. Each poem in Pierrot lunaire is in ________ form. a. sonnet c. villanelle b. ballad d. rondeau ANS: D MSC: Factual
DIF: Hard
REF:
16. What accompanies the voice in Pierrot lunaire? a. an orchestra c. b. a piano d. ANS: C MSC: Factual
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
18. Klangfarbenmelodie refers to: a. a form of a tone row. b. a style that gives each note of a melody to a different instrument. c. a style in which a vocal part is spoken rather than sung on exact pitches. d. a French poetic form of thirteen lines. ANS: B MSC: Applied
DIF:
Medium
REF:
303
TOP: Schoenberg
19. Which of the following is NOT true of Schoenberg’s Pierrot lunaire? a. It employs Sprechstimme. b. It employs Klangfarbenmelodie, or tone-color melody. c. It is concerned with pagan rituals. d. It expresses mood changes, such as from guilt and depression to playfulness. ANS: C MSC: Applied
DIF: Hard
REF:
303
TOP: Schoenberg
20. Which of the following does NOT characterize The Moonfleck from Schoenberg’s 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
Anything Goes: Schoenberg and Musical Expressionism | 237 TRUE/FALSE 1. Schoenberg was a leading figure in the “emancipation of dissonance.” ANS: T MSC: Applied
DIF:
Medium
REF:
300
TOP: Schoenberg
301
TOP: Schoenberg
2. Expressionism was inspired by French painters. ANS: F MSC: Applied
DIF:
Medium
REF:
3. The melodies in Expressionistic music usually were conjunct. ANS: F MSC: Applied
DIF:
Easy
REF:
301
TOP: Schoenberg
301
TOP: Schoenberg
4. Atonality gives all twelve tones equal importance. ANS: T MSC: Applied
DIF:
Medium
REF:
5. Schoenberg’s early works exemplify post-Wagnerian Romanticism. ANS: T MSC: Applied
DIF:
Medium
REF:
301
TOP: Schoenberg
6. Schoenberg’s Pierrot lunaire is a series of miniatures for voice and piano only. ANS: F MSC: Factual
DIF:
Easy
REF:
303
TOP: Schoenberg
7. In Schoenberg’s 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
9. Each of the poems in Schoenberg’s Pierrot lunaire has a different structure. ANS: F MSC: Factual
DIF:
Medium
REF:
303
TOP: Schoenberg
238 | Chapter 52 10. In Schoenberg’s 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
2. Describe how Schoenberg’s Pierrot lunaire is typical of the Expressionist style. ANS: Answers will vary. DIF:
Medium
REF:
301f
TOP: Schoenberg
MSC: Conceptual
Chapter 53: Calculated Shock: Stravinsky and Modernist Multimedia MULTIPLE CHOICE 1. Which Russian figure played a crucial role in the development of twentieth-century ballet? a. Marius Petipa c. Mily Balakirev b. Serge Diaghilev d. Modest Musorgsky ANS: B MSC: Factual
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
4. Who was the choreographer for The Rite of Spring? a. Nijinsky c. Roerich b. Diaghilev d. Stravinsky ANS: A MSC: Factual
DIF:
Medium
REF:
5. The Rite of Spring opened in Paris in 1913 to: a. great critical acclaim. c. b. audience indifference. d. ANS: C MSC: Factual
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. Bartók 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 Chloé c. Petrushka b. The Firebird d. The Rite of Spring ANS: A MSC: Factual
DIF:
Medium
REF:
306
TOP: Stravinsky
8. Which of the following Stravinsky works is from his primitivist period? a. Symphony of Psalms c. The Rite of Spring b. Agon d. Oedipus Rex ANS: C MSC: Factual
DIF:
Medium
REF:
306
TOP: Stravinsky
9. Stravinsky immigrated to ________ at the onset of World War II. a. the United States c. France b. the Soviet Union d. England ANS: A MSC: Factual
DIF:
Easy
10. The Rite of Spring is characterized by: a. the percussive use of dissonance. b. polyrhythms. ANS: D MSC: Applied
DIF:
Medium
REF:
c. d. REF:
306
TOP: Stravinsky
polytonality. all of the above 305f
TOP: Stravinsky
11. The somewhat static quality of Stravinsky’s 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 Stravinsky’s 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
Calculated Shock: Stravinsky and Modernist Multimedia | 241 14. Which of the following best describes the meter in Stravinsky’s Dance of the Youths and Maidens, from The Rite of Spring? a. unpredictable accents set against a duple meter b. a clear triple meter c. unpredictable accents with no sense of regular meter d. a floating quality with no accents ANS: A MSC: Applied
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
2. Nijinsky’s choreography for The Rite of Spring was considered groundbreaking. ANS: T MSC: Factual
DIF:
Medium
REF:
304
TOP: Stravinsky
3. Stravinsky’s ballets all achieved immediate popularity with their audiences. ANS: F MSC: Applied
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. Stravinsky’s 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. Stravinsky’s greatest contribution to the art music of the twentieth century is thought to be his development of the twelve-tone method. ANS: F MSC: Applied
DIF:
Medium
REF:
306
TOP: Stravinsky
10. Because the music of The Rite of Spring was tied to unpopular choreography, it has been seldom played since the ballet’s 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
Chapter 54: Still Sacred: Religious Music in the Twentieth Century MULTIPLE CHOICE 1. One composer in Paris who explored post-Impressionist trends was: a. Schoenberg. c. Berg. b. Ravel. d. Satie. ANS: B MSC: Factual
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
3. Lili Boulanger lived in which music center? a. Paris b. Rome ANS: A MSC: Factual
DIF:
Easy
REF:
c. d. REF:
4. In her compositions, Lili Boulanger focused on: a. stage works. c. b. symphonies and concertos. d. ANS: C MSC: Applied
DIF:
Medium
REF:
311
TOP: Boulanger
New York London 311
TOP: Boulanger
choral and chamber music. all of these 311
TOP: Boulanger
5. Which of the following is NOT included in Boulanger’s Psalm 24? a. organ c. harp b. brass d. strings ANS: D MSC: Factual
DIF:
Easy
6. What is the form of Boulanger’s Psalm 24? a. strophic b. A-B-A ANS: B MSC: Factual
DIF:
Easy
REF:
c. d. REF:
311
TOP: Boulanger
fugue rondeau 312
TOP: Boulanger
7. What mood opens and closes Boulanger’s Psalm 24? a. triumph c. turmoil b. meditativeness d. resignation ANS: A MSC: Conceptual
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:
9. Nadia Boulanger was a close friend of: a. Debussy. b. Schoenberg. ANS: D MSC: Factual
DIF:
Easy
c. d. REF:
teacher. violinist. 314
TOP: Boulanger
Berg. Stravinsky. 314
TOP: Boulanger
10. Which of the following was a prominent student of Nadia Boulanger? a. Copland c. Satie b. Gershwin d. all of the above ANS: A MSC: Applied
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
2. Lili Boulanger was a talented composer but died at an early age. ANS: T MSC: Factual
DIF:
Medium
REF:
311
TOP: Boulanger
REF:
310
TOP: Boulanger
311
TOP: Boulanger
3. Lili Boulanger embraced Impressionism. ANS: T MSC: Applied
DIF:
Easy
4. Lili Boulanger was the older sister of Nadia. ANS: F MSC: Factual
DIF:
Medium
REF:
5. Lili Boulanger focused on choral music and never attempted an opera. ANS: F MSC: Applied
DIF:
Medium
REF:
311
TOP: Boulanger
Still Sacred: Religious Music in the Twentieth Century | 245 6. Psalm 24 is one of three psalm settings by Lili Boulanger. ANS: T MSC: Factual
DIF:
Hard
REF:
311
TOP: Boulanger
311
TOP: Boulanger
7. Lili Boulanger’s Psalm 24 is sung a cappella. ANS: F MSC: Factual
DIF:
Easy
REF:
8. Lili Boulanger’s Psalm 24 was intended for use in a Catholic service. ANS: F MSC: Applied
DIF:
Medium
REF:
313
TOP: Boulanger
9. Nadia Boulanger eventually taught at the Paris Conservatory. ANS: T MSC: Factual
DIF:
Medium
REF:
314
TOP: Boulanger
10. Nadia Boulanger was knowledgeable about music before Bach. ANS: T MSC: Factual
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
2. Discuss the musical importance of Nadia Boulanger. ANS: Answers will vary. DIF:
Medium
REF:
314
TOP: Boulanger
MSC: Conceptual
Chapter 55: War Is Hell: Berg and Expressionist Opera MULTIPLE CHOICE 1. The twelve-tone method: a. revolutionized composition in the twentieth century. b. was a dead-end style that influenced few other styles. c. reestablished tonality in twentieth-century music. d. was a Neoclassical movement that returned to traditional harmonies. ANS: A MSC: Applied
DIF:
Easy
2. The twelve-tone method is also known as: a. chromaticism. b. polytonalism. ANS: C MSC: Factual
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
5. In the twelve-tone method, what is an inversion? a. playing the row at a different pitch b. playing the row backward c. playing the row with the intervals in the opposite direction d. all of these ANS: C MSC: Factual
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
War Is Hell: Berg and Expressionist Opera | 247 7. Which composer was a disciple of Schoenberg and is best known for his operas Wozzeck and Lulu? a. Berg c. Stravinsky b. Webern d. Bartók ANS: A MSC: Factual
DIF:
Easy
REF:
317
TOP: Berg
8. Which of the following is NOT a work by Alban Berg? a. A Survivor from Warsaw c. Lulu b. Violin Concerto d. Lyric Suite ANS: A MSC: Factual
DIF:
Medium
REF:
317
TOP: Berg
9. Berg spent the last years of his life trying to complete: a. his Lyric Suite. c. Wozzeck. b. his Three Orchestral Pieces. d. Lulu. ANS: D MSC: Factual
DIF:
Hard
REF:
10. Berg’s opera Wozzeck is based on a play by: a. Wedekind. b. Strindberg. ANS: C MSC: Factual
DIF:
Hard
c. d. REF:
317
TOP: Berg
Büchner. Ibsen. 316
TOP: Berg
11. Berg’s opera Wozzeck is best described as an example of: a. Impressionism. c. Expressionism. b. post-Romanticism. d. New Classicism. ANS: C MSC: Applied
DIF:
Medium
REF:
12. Berg’s opera Wozzeck centers on: a. a clown’s obsession with the moon. b. a soldier’s obsession with unhappy love. ANS: B MSC: Factual
DIF:
Medium
c. d.
REF:
316
TOP: Berg
a steadfast expression of religious faith. a battle in medieval Russia. 316
TOP: Berg
13. Which of the following best characterizes Berg’s Wozzeck? a. atonal-Expressionist idiom c. tonal passages b. leitmotifs d. all of the above ANS: D MSC: Applied
DIF:
Medium
REF:
317
TOP: Berg
248 | Chapter 55 14. How many scenes are there in each act of Berg’s Wozzeck? a. three c. five b. four d. seven ANS: C MSC: Factual
DIF:
Hard
REF:
317
TOP: Berg
15. The final, heartbreaking scene of Berg’s Wozzeck concludes with: a. the son of Marie and Wozzeck, alone. b. the death of Marie. c. the death of Wozzeck. d. more experiments performed on Wozzeck. ANS: A MSC: Factual
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
2. Serialism is another term for the twelve-tone method. ANS: T MSC: Factual
DIF:
Medium
REF:
315
TOP: Berg
3. The transposition of pitches in a twelve-tone composition is called the tone row. ANS: F MSC: Factual
DIF:
Medium
REF:
315
TOP: Berg
4. In retrograde inversion, the row is turned upside down and backward. ANS: T MSC: Factual
DIF:
Medium
REF:
316
TOP: Berg
5. Berg’s music owes much to the influence of Arnold Schoenberg. ANS: T MSC: Applied
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
War Is Hell: Berg and Expressionist Opera | 249 7. Berg’s most widely known composition is the Violin Concerto. ANS: F MSC: Applied
DIF:
Medium
REF:
317
TOP: Berg
8. Berg’s Wozzeck reflects the ideals of Expressionism. ANS: T MSC: Applied
DIF:
Easy
REF:
316
TOP: Berg
317
TOP: Berg
9. Wozzeck is based on a single twelve-tone row. ANS: F MSC: Applied
DIF:
Medium
REF:
10. In Berg’s 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
2. Discuss Berg’s opera Wozzeck as an example of Expressionism in music. ANS: Answers will vary. DIF:
Medium
REF:
316f
TOP: Berg
MSC: Applied
Chapter 56: American Intersections: Jazz and Blues Traditions MULTIPLE CHOICE 1. Which of the following popular American musical styles has its roots in African American music? a. ragtime c. jazz b. blues d. all of the above ANS: D 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
3. Which of the following is NOT a musical trait of African origin? a. vocal glides and inflection c. storytelling techniques b. call and response d. major-minor tonality ANS: D MSC: Applied
Medium
REF:
4. How many lines are in a blues verse? a. three b. four
c. d.
ANS: A MSC: Factual
DIF:
DIF:
Easy
REF:
322
TOP: Jazz
five variable 322
TOP: Blues
5. Which of the following best describes the form of a blues text? a. A-B-A c. A-B-C b. A-A-B d. none of the above ANS: B MSC: Applied
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
American Intersections: Jazz and Blues Traditions | 251 7. What is a bent, or “blue,” note? a. a note that is not heard b. a note that is sustained ANS: D MSC: Factual
DIF:
Medium
c. d. REF:
a note whose pitch rises slightly a note whose pitch drops slightly 322
TOP: Blues
8. Which of the following does NOT characterize the blues? a. It is a form of African folk music. b. It has three-line text stanzas; the first two lines of each stanza are identical. c. The harmonic progression is usually twelve measures long. d. It uses “blue” notes, slight drops on certain pitches. ANS: A MSC: Applied
DIF: Hard
REF:
322
TOP: Blues
9. Which American city is considered the birthplace of jazz? a. New York c. New Orleans b. Chicago d. Los Angeles ANS: C MSC: Factual
DIF:
Medium
REF:
322
TOP: Jazz
10. Which of the following is NOT true of New Orleans jazz? a. It combined elements of ragtime and blues. b. Improvisation was a basic element. c. It had no set forms or harmonic progressions. d. Its texture was largely polyphonic, each instrument having its own part. ANS: C MSC: Applied
Medium
REF:
11. Louis Armstrong was also known as: a. Jelly Roll. b. Satchmo.
c. d.
ANS: B MSC: Factual
DIF:
DIF:
Easy
REF:
12. Which instrument did Louis Armstrong play? a. trumpet c. b. trombone d. ANS: A MSC: Factual
DIF:
Easy
REF:
322
TOP: Jazz
“King” Armstrong. Hot Lips. 322
TOP: Jazz
clarinet piano 322
TOP: Jazz
13. Louis Armstrong’s instrument-like approach to singing is called: a. Singspiel. c. scat-singing. b. Sprechstimme. d. holler. ANS: C MSC: Factual
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
15. Billie Holiday’s song Billie’s Blues is in ________ form. a. twelve-bar blues c. thirty-two-bar popular song b. sixteen-bar blues d. ritornello ANS: A MSC: Applied
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:
17. What kind of jazz is Duke Ellington known for? a. big band c. b. New Orleans d. ANS: A MSC: Factual
DIF:
Easy
REF:
323f
TOP: Jazz
bebop third stream 323
TOP: Jazz
18. Duke Ellington’s great musical collaborator in the 1940s was: a. Louis Armstrong. c. Billy Strayhorn. b. Count Basie. d. Charlie Parker. ANS: C MSC: Factual
DIF:
Medium
REF:
324
TOP: Jazz
19. Take the A Train is a song that refers to: a. a New York City subway line. b. the jazz saxophonist John Coltrane. c. the underground railroad of the nineteenth century. d. none of the above ANS: A MSC: Factual
DIF:
Easy
20. Take the A Train was composed by: a. Count Basie. b. Duke Ellington. ANS: C MSC: Factual
DIF:
Easy
REF:
c. d. REF:
325
TOP: Jazz
Billy Strayhorn. Lil Hardin. 325
TOP: Jazz
American Intersections: Jazz and Blues Traditions | 253 21. What was the trademark of bebop? a. a twelve-bar progression b. use of minor keys ANS: D MSC: Applied
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
24. The principal exponent of cool jazz was the trumpeter: a. Duke Ellington. c. Raphael Méndez. b. Miles Davis. d. Herbert L. Clarke. ANS: B MSC: Factual
DIF:
Medium
REF:
326
TOP: Jazz
25. What element did Xavier Cugat bring to the mainstream? a. Latin dance music c. improvisation b. African syncopation d. avant garde approaches ANS: A MSC: Factual
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
2. A typical blues text voiced the difficulties of life. ANS: T MSC: Factual
DIF:
Easy
REF:
3. A stanza of blues is typically four phrases long. ANS: F MSC: Factual
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 Holliday’s Billie’s 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
10. Duke Ellington is associated with New Orleans–style jazz. ANS: F MSC: Applied
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
American Intersections: Jazz and Blues Traditions | 255 ESSAY 1. Describe the African antecedents to jazz. ANS: Answers will vary. DIF:
Medium
REF:
322
TOP: Jazz
MSC: Conceptual
TOP: Blues
MSC: Applied
2. What is a blues text? How is it constructed? ANS: Answers will vary. DIF:
Hard
REF:
322
3. Why is Duke Ellington considered to be a seminal figure in the history of jazz? ANS: Answers will vary. DIF:
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
TOP: Harlem Renaissance
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
TOP: Harlem Renaissance
3. The Harlem Renaissance was inspired by a book of essays entitled: a. The Harlem Renaissance. c. The New Negro. b. Invisible Man. d. Weary Blues. ANS: C MSC: Factual
DIF:
Easy
REF:
330
TOP: Harlem Renaissance
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
TOP: Harlem Renaissance
5. Duke Ellington and Billie Holiday performed in Harlem at the: a. Cotton Club. c. Cocoanut Grove. b. Club DeLux. d. Ambassador Hotel. ANS: A MSC: Applied
DIF:
Easy
REF:
329
TOP: Harlem Renaissance
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 Still’s 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 Still’s 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 Still’s 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
TOP: Harlem Renaissance
2. The Harlem Renaissance highlighted African American intellectual life in the 1920s and 1930s. ANS: T MSC: Factual
DIF:
Easy
REF:
329
TOP: Harlem Renaissance
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 Still’s 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 Still’s Suite for Violin and Piano is based on Sargent Johnson’s Mother and Child. ANS: F MSC: Factual
DIF:
Hard
REF:
330
TOP: Still
ESSAY 1. Discuss the breadth and variety of William Grant Still’s 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
Chapter 58: Folk Opera? George Gershwin and Jazz as “Art” MULTIPLE CHOICE 1. George Gershwin first broke into the music business as a: a. band leader. c. song plugger. b. film composer. d. composer of chamber music. ANS: C MSC: Factual
DIF:
Medium
REF:
333
TOP: Gershwin
2. George Gershwin is recognized as one of the first American composers to: a. incorporate African American blues and jazz styles into his compositions. b. lead an integrated big band. c. write music for Duke Ellington’s band. d. write for the musical theater. ANS: A MSC: Applied
DIF:
Easy
REF:
334
TOP: Gershwin
3. Which of the following is NOT by George Gershwin? a. Rhapsody in Blue c. Concerto in F b. Afro-American Symphony d. An American in Paris ANS: B MSC: Factual
DIF:
Medium
4. Which song is NOT by George Gershwin? a. Swanee b. They Can’t Take That Away From Me ANS: C MSC: Factual
DIF: Hard
REF:
c. d. REF:
334
TOP: Gershwin
Alexander’s Ragtime Band Embraceable You 334
TOP: Gershwin
5. Which types of works did George Gershwin compose? a. film scores c. musicals b. songs d. all of the above ANS: D MSC: Factual
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 Gershwin’s 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:
8. Which work did Gershwin compose in France? a. Rhapsody in Blue c. b. Concerto in F d. ANS: D MSC: Factual
DIF:
Easy
REF:
334
TOP: Gershwin
Porgy and Bess An American in Paris 334
TOP: Gershwin
9. George Gershwin’s 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 Gershwin’s 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
11. Gershwin’s Summertime suggests: a. an Italian aria. b. a ragtime song. ANS: D MSC: Applied
DIF:
Medium
REF:
c. d. REF:
12. Gershwin’s Summertime is in ________ form. a. strophic c. b. A-B-B d. ANS: A MSC: Applied
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 Foster’s parlor ballads. ANS: T MSC: Applied
DIF:
Hard
REF:
333
TOP: Gershwin
Folk Opera? Gershwin and Jazz as “Art” | 261 2. One reason for Gershwin’s success is the harmonic simplicity of his music. ANS: F MSC: Applied
DIF:
Medium
REF:
334
TOP: Gershwin
3. Gershwin wrote songs for both Broadway and Hollywood. ANS: T MSC: Factual
DIF:
Easy
REF:
334
TOP: Gershwin
4. George Gershwin wrote all of the lyrics for his songs. ANS: F MSC: Factual
DIF:
Medium
REF:
334
TOP: Gershwin
5. Gershwin’s orchestral work An American in Paris became the impetus for a Hollywood film. ANS: T MSC: Factual
DIF:
Medium
REF:
334
TOP: Gershwin
6. Rhapsody in Blue is scored for orchestra and solo violin. ANS: F MSC: Factual
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
8. The folk opera Porgy and Bess takes place in Chicago. ANS: F MSC: Factual
DIF:
Easy
REF:
335
TOP: Gershwin
9. Summertime is a lively song that suggests the excitement of summer. ANS: F MSC: Applied
DIF:
Easy
REF:
335
TOP: Gershwin
10. Summertime is sung several times during Porgy and Bess. ANS: T MSC: Factual
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
Chapter 59: Sounds American: Ives, Copland, and Musical Nationalism MULTIPLE CHOICE 1. The first great American composer of the twentieth century was: a. Stephen Foster. c. Charles Tomlinson Griffes. b. Louis Moreau Gottschalk. d. Charles Ives. ANS: D MSC: Applied
DIF:
Medium
REF:
338
TOP: Ives
2. Ives’s compositional style was: a. very innovative for its time. b. heavily influenced by Debussy and Impressionism. c. not influenced by American popular music. d. all of the above ANS: A MSC: Applied
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
4. Which of the following statements about Charles Ives is NOT correct? a. He was born in New England. b. He was the head of a large insurance company. c. His music was very popular. d. He rarely heard his music performed. ANS: C MSC: Applied
DIF:
Medium
REF:
338
TOP: Ives
5. For which work was Ives awarded the Pulitzer Prize? a. the Concord Sonata c. Three Places in New England b. Symphony No. 3 d. Symphony No. 2 ANS: B MSC: Factual
DIF:
Hard
REF:
338
TOP: Ives
6. Which of the following does NOT characterize the music of Ives? a. polyrhythms c. use of American tunes b. dissonant cluster chords d. consistent use of traditional forms ANS: D MSC: Applied
DIF:
2
REF:
338
TOP: Ives
263
264 | Chapter 59 7. Which of the following does NOT characterize Ives’s 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 Ives’s 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
9. Aaron Copland studied composition with: a. Charles Ives. b. Nadia Boulanger. ANS: B MSC: Factual
DIF:
Medium
REF:
c. d. REF:
340
TOP: Ives
Arnold Schoenberg. Charles Tomlinson Griffes. 341
TOP: Copland
10. Which of the following is NOT a ballet by Copland? a. Our Town c. Appalachian Spring b. Rodeo d. Billy the Kid ANS: A MSC: Factual
DIF:
Medium
11. Copland’s Billy the Kid is a(n): a. cantata. b. opera. ANS: D MSC: Factual
DIF: Hard
REF:
c. d. REF:
12. In which musical style did Copland compose? a. twelve-tone technique c. b. jazz d. ANS: D MSC: Applied
DIF:
Medium
13. Copland composed Appalachian Spring for: a. Sergei Diaghilev. b. Martha Graham. ANS: B MSC: Factual
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
Sounds American: Ives, Copland, and Musical Nationalism | 265 14. Copland’s Appalachian Spring depicts: a. a wedding in the Appalachians. b. a river in the Appalachians. c. the change of seasons in the Appalachians. d. an evening dance in the Appalachians. ANS: A MSC: Factual
DIF:
Medium
REF:
344
TOP: Copland
15. Which of the following best describes the mood at the beginning of Copland’s Appalachian Spring? a. energetic c. calm b. religious d. volatile ANS: C MSC: Applied
DIF:
Easy
REF:
344
TOP: Copland
16. Copland’s Appalachian Spring quotes the early American tune: a. Simple Gifts. c. Dixie. b. Yankee Doodle. d. Amazing Grace. ANS: A MSC: Factual
DIF:
Medium
REF:
344
TOP: Copland
17. Section 7 of Copland’s Appalachian Spring is in ________ form. a. A-B-A' c. rondo b. variation d. minuet ANS: B MSC: Applied
Medium
REF:
18. When was Yankee Doodle composed? a. before the Revolutionary War b. during the Revolutionary War
c. d.
ANS: A MSC: Factual
DIF:
DIF:
Medium
19. Yankee Doodle remains the state song of: a. Georgia. b. Massachusetts. ANS: D MSC: Factual
DIF:
Hard
20. How was Yankee Doodle used? a. to poke fun at the American army b. to symbolize New England ANS: D MSC: Applied
DIF:
Easy
REF:
c. d. REF:
c. d. REF:
345
TOP: Copland
just after the Revolutionary War during the Civil War 342
TOP: American Music
Maine. Connecticut. 342
TOP: American Music
to include in patriotic compositions all of the above 342f
TOP: American Music
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 Ives’s 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
3. Ives’s Country Band March is strictly in duple meter with no syncopation. ANS: F MSC: Applied
DIF:
Easy
REF:
340
TOP: Ives
4. Ives’s Country Band March quotes several marches by Sousa. ANS: T MSC: Factual
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
7. Martha Graham was a leading figure in modern dance. ANS: T MSC: Factual
DIF:
Easy
REF:
341
TOP: Copland
8. Appalachian Spring contains no borrowed melodies. ANS: F MSC: Factual
DIF:
Easy
REF:
344
TOP: Copland
REF:
344
TOP: Copland
9. Simple Gifts was originally a spiritual. ANS: F MSC: Factual
DIF:
Easy
Sounds American: Ives, Copland, and Musical Nationalism | 267 10. Yankee Doodle was sung by the British to mock the American army. ANS: T MSC: Applied
DIF:
Easy
REF:
342
TOP: American Music
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 Copland’s music? Cite examples from works described in the textbook. ANS: Answers will vary. DIF:
Hard
REF:
340f
TOP: Copland
MSC: Conceptual
Chapter 60: Also American: Revueltas and Mexican Musical Modernism MULTIPLE CHOICE 1. The music scene in early twentieth-century Mexico was strongly influenced by: a. Spanish music. c. Amerindian culture. b. Hispanic culture. d. all of the above ANS: D MSC: Applied
DIF:
Easy
REF:
347
TOP: Mexico
2. During the “Aztec Renaissance,” composers sought to: a. quote authentic Aztec melodies. c. suggest the character of native music. b. discard Western forms and genres. d. all of the above ANS: C MSC: Applied
DIF: Hard
3. Carlos Chávez was a noted: a. mariachi band leader. b. singer of cowboy songs. ANS: C MSC: Factual
DIF:
REF:
c. d. Medium
REF:
347f
TOP: Mexico
Mexican art-music composer. folk song collector. 348
TOP: Mexico
4. Silvestre Revueltas’s compositional style is considered representative of: a. atonal Expressionism. c. dissonant counterpoint. b. Neoclassicism. d. mestizo realism. ANS: D MSC: Applied
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
6. Revueltas’s mature compositional style features: a. complex rhythms, including polyrhythms and ostinatos. b. twelve-tone harmonies. c. actual Mexican folk melodies. d. Impressionist harmonies. ANS: A MSC: Applied
268
DIF: Hard
REF:
348
TOP: Revueltas
Also American: Revueltas and Mexican Musical Modernism | 269 7. Which of the following is NOT a work by Silvestre Revueltas? a. El Salón México c. Sensemayá b. Homenaje a Federico García Lorca d. La noche de los mayas ANS: A MSC: Factual
DIF: Hard
REF:
8. Federico García Lorca was a well known: a. composer. b. painter. ANS: C MSC: Factual
DIF:
Medium
c. d. REF:
348
TOP: Revueltas
writer. filmmaker. 348
TOP: Revueltas
9. Which of the following does NOT characterize Homage to Federico García 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:
10. Son is a Spanish-language term that refers to: a. sound. b. a traditional song/dance of Mexico. ANS: B MSC: Factual
DIF:
Medium
c. d.
REF:
348
TOP: Revueltas
song. a familial relationship. 352
TOP: Revueltas
11. Revueltas’s orchestration for Son is similar to that of: a. Stravinsky’s Rite of Spring. c. a Western dance band. b. a mariachi ensemble. d. a Hollywood film score. ANS: B MSC: Applied
DIF:
Medium
REF:
352
TOP: Revueltas
12. Which of the following best describes the meter of Revueltas’s 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 Chávez’s 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
TOP: Mariachi music
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
TOP: Mariachi music
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
3. Like Copland, Revueltas wrote music for films. ANS: T MSC: Factual
DIF:
Medium
REF:
4. The emotional quality in works of Revueltas tend to be objective and reserved. ANS: F MSC: Factual
DIF:
Medium
REF:
348
TOP: Revueltas
5. The dedicatee of Revueltas’s Homenaje a Federico García Lorca was a famous Mexican poet. ANS: F MSC: Factual
DIF:
Easy
REF:
348
TOP: Revueltas
6. The string section of Revueltas’s Homenaje a Federico García Lorca consists of two violins and one bass only. ANS: T MSC: Factual
DIF:
Easy
REF:
348
TOP: Revueltas
Also American: Revueltas and Mexican Musical Modernism | 271 7. Despite the prominence of Mexican qualities in Revueltas’s Homenaje a Federico García Lorca, the structure of Son is a traditional sonata form. ANS: F MSC: Applied
DIF:
Easy
REF:
348
TOP: Revueltas
8. A harp is sometimes included in a mariachi ensemble. ANS: T MSC: Factual
DIF:
Medium
REF:
350
TOP: Mariachi music
9. Mariachi performers often wear the costumes of Mexican cowboys, known as charros. ANS: T MSC: Factual
DIF:
Hard
REF:
350
TOP: Mariachi music
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
2. Describe the Mexican mariachi tradition. ANS: Answers will vary. DIF: Hard MSC: Applied
REF:
350f
TOP: Mariachi music
Chapter 61: Classic Rethinking: Bartók and the “Neo-Classical” Turn MULTIPLE CHOICE 1. The early twentieth-century style that sought to revive certain principles and forms of earlier music was: a. neo-Classicism. c. Impressionism. b. post-Romanticism. d. Expressionism. ANS: A MSC: Factual
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
4. How did twentieth-century nationalism differ from its nineteenth-century counterpart? a. It approached music more scientifically. b. It shunned music’s melodic content and exploited its rhythmic implications. c. It incorporated original instrumentation rather than orchestral settings. d. all of the above ANS: A MSC: Applied
DIF:
Medium
REF:
354
TOP: Nationalism
5. The comparative study of musics of the world is called: a. musicology. c. ornithology. b. ethnomusicology. d. iconography. ANS: B MSC: Factual
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
Classic Rethinking: Bartók and the “Neo-Classical” Turn | 273 7. Which of the following English composers is viewed as one of the foremost twentieth-century opera composers? a. Delius c. Britten b. Elgar d. Vaughan Williams ANS: C MSC: Applied
DIF:
Medium
REF:
354
TOP: Nationalism
8. Prokofiev and Shostakovich were prominent composers from: a. Hungary. c. the Soviet Union. b. Germany. d. England. ANS: C MSC: Factual
DIF: Hard
REF:
354
TOP: Nationalism
9. Which Hungarian composer combined native folk music characteristics with main currents of European music? a. Bartók. c. Sibelius. b. Bloch. d. Albeniz. ANS: A MSC: Factual
DIF:
Easy
REF:
354
TOP: Bartók
10. Béla Bartók traveled around Hungary collecting peasant songs with the composer: a. Zoltán Kodály. c. Jean Sibelius. b. Ernest Bloch. d. Erik Satie. ANS: A MSC: Factual
DIF:
Hard
REF:
354
TOP: Bartók
11. Bartók 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: Bartók
12. Bartók 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: Bartók
13. Bartók’s 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 Wagner’s music dramas. d. all of the above ANS: B MSC: Applied
DIF:
Medium
REF:
356
TOP: Bartók
274 | Chapter 61 14. The model for Bartók’s 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: Bartók
15. Which of the following is NOT a characteristic of Bartók’s music? a. polytonality c. traditional forms b. pounding rhythms d. major-minor tonality ANS: D MSC: Applied
DIF:
Hard
16. Bartók’s use of rhythm was: a. particularly innovative. b. neo-Classical in concept. ANS: A MSC: Applied
DIF:
Medium
REF:
c. d. REF:
356
TOP: Bartók
symmetrical and balanced. unimportant to his compositional style. 356
TOP: Bartók
17. One of Bartók’s 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: Bartók
18. Why did Bartók 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: Bartók
19. Which of the following does NOT characterize the Interrupted Intermezzo from Bartók’s 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: Bartók
20. The “interruption” section in Bartók’s Interrupted Intermezzo represents: a. a peasant dance. c. his happy state of mind at the time. b. a puppet act in a carnival. d. the Nazis. ANS: D MSC: Applied
DIF:
Medium
REF:
355
TOP: Bartók
Classic Rethinking: Bartók and the “Neo-Classical” Turn | 275 TRUE/FALSE 1. Neo-Classical composers preferred absolute music and forms to program music. ANS: T MSC: Applied
DIF:
Easy
REF:
353
TOP: Neo-Classicism
2. Sergei Prokofiev composed the popular Peter and the Wolf. ANS: T MSC: Factual
DIF:
Medium
REF:
354
TOP: Nationalism
3. Although Hungarian, Bartók composed in the prevailing international style. ANS: F MSC: Applied
DIF:
Medium
REF:
354
TOP: Bartók
4. Unlike Bartók’s 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: Bartók
5. Bartók’s six string quartets rank among the finest achievements of twentieth-century chamber music. ANS: T MSC: Applied
DIF:
Medium
REF:
356
TOP: Bartók
356
TOP: Bartók
6. Bartók generally avoided Classical structures. ANS: F MSC: Applied
DIF:
Medium
REF:
7. Bartók attempted to imitate the vocal styles and rhythms of certain eastern European traditional musics. ANS: T MSC: Applied
DIF:
Medium
REF:
356
TOP: Bartók
8. Bartók composed his Concerto for Orchestra while he was terminally ill. ANS: T MSC: Factual
DIF:
Medium
REF:
356
TOP: Bartók
9. Bartók’s Concerto for Orchestra is set in the standard symphonic format of four movements. ANS: F MSC: Factual
DIF:
Medium
REF:
357
TOP: Bartók
276 | Chapter 61 10. Few Hungarian folk elements are heard in Interrupted Intermezzo, from Bartók’s Concerto for Orchestra. ANS: F MSC: Conceptual
DIF:
Easy
REF:
354
TOP: Bartók
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
2. Describe twentieth-century musical nationalism, citing examples from your text. ANS: Answers will vary. DIF:
Medium
REF:
354f
TOP: Nationalism
MSC: Applied
Prelude 7: Beyond Modernism? MULTIPLE CHOICE 1. Which of the following does NOT characterize postmodernism? a. rejection of traditional and classical elements b. new media and materials c. collage and quotation d. incorporation of popular elements ANS: A MSC: Applied
DIF:
Hard
REF:
360
TOP: New directions
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
TOP: New directions
3. Which artist is most closely associated with abstract expressionism? a. Robert Rauschenberg c. Andy Warhol b. Jackson Pollock d. Jasper Johns ANS: B MSC: Applied
DIF:
Hard
REF:
360
TOP: New directions
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:
5. Andy Warhol’s style of art is best described as: a. Cubism. c. b. abstract expressionism. d. ANS: C MSC: Applied
DIF:
Medium
REF:
360
TOP: New directions
pop art. surrealism. 361
TOP: New directions
6. Which of the following is NOT a subcategory of postmodern art? a. minimalism c. multimedia art b. environmental art d. abstract expressionism ANS: D MSC: Applied
DIF:
Medium
REF:
361
TOP: New directions
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
TOP: New directions
8. The African American artist noted for “storybook” quilts is: a. Judy Chicago. c. Maya Angelou. b. Faith Ringgold. d. Lois Mailou Jones. ANS: B MSC: Factual
DIF:
Hard
REF:
361
TOP: New directions
9. Which of the following directors is NOT associated with new-wave cinema? a. Fellini c. Godard b. Spielberg d. Antonioni ANS: B MSC: Applied
DIF:
Medium
REF:
362
TOP: New directions
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
TOP: New directions
11. Which of the following is NOT a distinguished contemporary novelist? a. Toni Morrison c. Laurie Anderson b. J. K. Rowling d. Gabriel García Márquez ANS: C MSC: Applied
DIF:
Hard
REF:
12. Which mass-media forum was launched in 1981? a. Dick Clark’s American Bandstand c. b. FM radio d. ANS: C MSC: Factual
DIF:
Easy
REF:
362
TOP: New directions
MTV YouTube 363
TOP: New directions
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
TOP: New directions
Beyond Modernism? | 279 14. With which contemporary movement is the composer John Cage linked? a. theater of the absurd c. postminimalism b. chance music d. serialism ANS: B MSC: Applied
DIF:
Hard
REF:
363
TOP: New directions
15. Which of the following songs was written by Bob Dylan? a. Blowin’ in the Wind c. We Shall Overcome b. If I Had a Hammer d. all of the above ANS: A MSC: Factual
DIF:
Medium
REF:
363
TOP: New directions
16. Electronic music that relies on natural sounds is called: a. electronically generated music. c. musique concrète b. synthesized music. d. taped music ANS: C MSC: Factual
DIF:
Medium
17. Where did Electronische Musik originate? a. Berlin. b. Cologne. ANS: B MSC: Factual
DIF:
e
18. The creator of Switched-On Bach was: a. Robert Moog. b. Walter Carlos. ANS: B MSC: Factual
DIF:
Medium
REF:
c. d. REF:
c. d. REF:
364
TOP: New directions
Mannheim. Vienna. 364
TOP: New directions
Karl Stockhausen. Donald Buchla. 364
TOP: New directions
365
TOP: New directions
19. The synthesizer is capable of: a. recreating the sounds of a grand piano. b. recreating natural sounds such as bird calls. c. create new sounds. d. all of the above ANS: D MSC: Factual
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
TOP: New directions
280 | Prelude 7 TRUE/FALSE 1. Postmodern architecture strove for greater simplicity. ANS: F MSC: Applied
DIF:
Easy
REF:
360
TOP: New directions
2. The motto of architect Frank Gehry is “less is more.” ANS: F MSC: Factual
DIF:
Medium
REF:
360
TOP: New directions
3. Jasper Johns and Robert Rauschenberg owe some of their inspiration to the Dadaists. ANS: T MSC: Applied
DIF:
Medium
REF:
360
TOP: New directions
362
TOP: New directions
4. New-wave cinema reflects postmodern ideas. ANS: T MSC: Applied
DIF:
Easy
REF:
5. The definition of postmodern in music is simpler than in other art forms. ANS: F MSC: Applied
DIF:
Easy
REF:
362
TOP: New directions
REF:
362
TOP: New directions
6. Postmodern music embraced mass media. ANS: T MSC: Applied
DIF:
Easy
7. Performers of late-twentieth-century popular music tended to ignore current events. ANS: F MSC: Applied
DIF:
Easy
REF:
363
TOP: New directions
8. Postmodern music rejected the use of electronic instruments. ANS: F MSC: Applied
DIF:
Easy
REF:
364
TOP: New directions
9. The MIDI allows synthesizers to communicate with computers. ANS: T MSC: Factual
DIF:
Medium
REF:
365
TOP: New directions
Beyond Modernism? | 281 10. Robert Moog was a key figure in the development of hyperinstruments. ANS: F MSC: Factual
DIF:
Hard
REF:
366
TOP: New directions
ESSAY 1. Discuss some of the post–World War II trends in the arts. Include examples from the textbook in your answer. ANS: Answers will vary. DIF: Medium MSC: Applied
REF:
360f
TOP: New directions
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
TOP: New directions
Chapter 62: New Sound Palettes: Mid-Twentieth-Century American Experimentalists MULTIPLE CHOICE 1. Which of the following American composers was NOT greatly influenced by the philosophy of the Far East? a. John Cage c. Henry Cowell b. Aaron Copland d. Harry Partch ANS: B MSC: Applied
DIF:
Medium
REF:
368f
TOP: Early Experiments
2. Which innovative composer first explored tone clusters at the piano? a. Aaron Copland c. Henry Cowell b. Harry Partch d. John Cage ANS: C MSC: Factual
DIF:
Hard
REF:
368
TOP: Early Experiments
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
TOP: Early Experiments
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
TOP: Early Experiments
5. Harry Partch experimented with a ________ tuning system. a. microtonal c. pentatonic b. modal d. whole tone ANS: A MSC: Factual
DIF:
Hard
REF:
369
TOP: Early Experiments
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
New Sound Palettes: Mid-Twentieth-Century American Experimentalists | 283 7. Which of the following works by John Cage has no musical content and can be performed by anyone on any instrument? a. Sonatas and Interludes c. I Ching b. Fontana Mix d. 4'33" ANS: D MSC: Factual
DIF:
Medium
REF:
369
TOP: Cage
8. Which of the following composers invented the prepared piano? a. Harry Partch c. Henry Cowell b. John Cage d. Pierre Boulez ANS: B MSC: Factual
DIF:
Medium
REF:
369
TOP: Cage
9. John Cage’s Sonatas and Interludes evoke the sounds of the: a. bagpipe of eastern Europe. c. Javanese gamelan. b. Japanese koto. d. sitar of India. ANS: C MSC: Conceptual
DIF:
Easy
REF:
369
TOP: Cage
10. John Cage’s Sonatas and Interludes is a work for: a. chamber ensemble. c. violin and piano. b. prepared piano. d. synthesizer. ANS: B MSC: Factual
DIF:
Easy
REF:
369
TOP: Cage
11. Which of the following does NOT characterize John Cage’s 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 Cage’s 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 García Lorca. d. Emily Dickinson. ANS: B MSC: Factual
DIF:
Easy
REF:
372
TOP: Crumb
16. Crumb’s Caballito negro is included in a book of: a. madrigals. c. piano preludes. b. song cycles. d. chamber works. ANS: A MSC: Factual
DIF: Hard
REF:
371
TOP: Crumb
17. The performing forces of Crumb’s Caballito negro include all of the following EXCEPT: a. soprano. c. piccolo. b. piano. d. marimba. ANS: B MSC: Factual
DIF: Hard
REF:
18. The ensemble known as the gamelan comes from: a. China. c. b. Japan. d. ANS: D MSC: Factual
DIF: Hard
REF:
19. Gamelan instruments are made of: a. wood. b. metal.
c. d.
ANS: B MSC: Factual
DIF: Hard
REF:
20. Composers influenced by gamelan music include: a. Cage. c. b. Cowell. d. ANS: D MSC: Applied
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
New Sound Palettes: Mid-Twentieth-Century American Experimentalists | 285 TRUE/FALSE 1. The composers Henry Cowell and Harry Partch were highly influenced by a variety of non-Western musics. ANS: T MSC: Applied
DIF:
Easy
REF:
368f
TOP: Early Experiments
2. Harry Partch was the first composer to experiment with tone clusters on the piano.. ANS: F MSC: Applied
DIF:
Easy
REF:
368
TOP: Early Experiments
3. Harry Partch developed a scale with forty-three notes in an octave. ANS: T MSC: Applied
DIF:
Easy
REF:
369
TOP: Early Experiments
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 Cage’s 4'33" questions the distinction between music and noise. ANS: T MSC: Conceptual
DIF:
Medium
REF:
369
TOP: Cage
6. Cage’s 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 Cage’s 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
9. The mood of Crumb’s Caballito negro can be described as grimly playful. ANS: T MSC: Conceptual
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
TOP: Early Experiments
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
Chapter 63: Staged Sentiment: Bernstein and American Musical Theater MULTIPLE CHOICE 1. Which of the following is considered America’s unique contribution to theater? a. operetta c. the musical b. pantomime d. ballad opera ANS: C MSC: Applied
DIF:
Easy
REF:
376
TOP: Musical theater
2. Which of the following composers did NOT write operettas? a. Gilbert and Sullivan c. Richard Wagner b. Johann Strauss, Jr. d. Victor Herbert ANS: C MSC: Factual
DIF:
Medium
REF:
377
TOP: Musical theater
3. Victor Herbert revamped operetta to suit American tastes with works such as: a. Babes in Toyland c. Finian’s Rainbow b. Show Boat d. My Fair Lady ANS: A MSC: Factual
DIF:
Hard
REF:
377
TOP: Musical theater
4. Which of the following American composers did NOT write musicals? a. George Gershwin c. Will Marion Cook b. Aaron Copland d. Jerome Kern ANS: B MSC: Factual
DIF:
Hard
REF:
377
TOP: Musical theater
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
TOP: Musical theater
6. Which of the following is an established, living American composer of musicals? a. Stephen Sondheim c. Jerome Kern b. Claude-Michel Schonberg d. Richard Rodgers ANS: A MSC: Factual
DIF:
Medium
REF:
377
TOP: Musical theater
7. Which of the following is a musical by the British composer Andrew Lloyd Webber? a. Sweeney Todd c. Wicked b. Les Misérables d. The Phantom of the Opera ANS: D MSC: Factual
DIF:
Easy
REF:
377
TOP: Musical theater
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
TOP: Musical theater
9. Which of the following operas was the inspiration for Jonathan Larson’s rock opera Rent? a. Le nozze di Figaro c. Carmen b. La bohème d. Pagliacci ANS: B MSC: Factual
DIF:
Hard
10. Bernstein rose to prominence as: a. a conductor. b. a pianist. ANS: D MSC: Factual
DIF: Easy
REF:
c. d. REF:
377
TOP: Musical theater
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
12. Which of the following was NOT composed by Leonard Bernstein? a. Chichester Psalms c. An American in Paris b. On the Town d. Fancy Free ANS: C MSC: Factual
DIF: Hard
REF:
379
TOP: Bernstein
13. West Side Story is a modern-day musical retelling of Shakespeare’s: a. Twelfth Night. c. Macbeth. b. Merchant of Venice. d. Romeo and Juliet. ANS: D MSC: Factual
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
Staged Sentiment: Bernstein and American Musical Theater | 289 15. Bernstein’s West Side Story updates the feud of the Capulets and the Montagues to a feud between: a. Tony and Maria. c. the Jets and the Sharks. b. the Jets and the police. d. African Americans and Puerto Ricans. ANS: C MSC: Factual
DIF:
Medium
REF:
377f
TOP: Bernstein
16. Which of the following is NOT true of Bernstein’s 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
17. What are the ethnic origins of the mambo? a. Spanish b. Afro-Cuban ANS: B MSC: Factual
DIF: Hard
REF:
c. d. REF:
378
TOP: Bernstein
Mexican Brazilian 380
TOP: Bernstein
18. Which musical was the first to be based on a tragedy? a. Oklahoma! c. West Side Story b. The Sound of Music d. Sweeney Todd ANS: C MSC: Factual
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
TOP: Musical theater
2. Show Boat helped usher in the golden age of American musicals. ANS: T MSC: Applied
DIF:
Easy
REF:
377
TOP: Musical theater
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
TOP: Musical theater
4. Composers of musicals often look to sophisticated literary sources. ANS: T MSC: Applied
DIF:
Easy
REF:
377
TOP: Musical theater
290 | Chapter 63 5. Because most musicals now seem dated, revivals have been largely unsuccessful. ANS: F MSC: Factual
DIF:
Easy
REF:
377
TOP: Musical theater
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
7. Leonard Bernstein composed both popular and art music. ANS: T MSC: Factual
DIF:
Easy
REF:
379
TOP: Bernstein
REF:
379
TOP: Bernstein
8. West Side Story is Bernstein’s only musical. ANS: F MSC: Factual
DIF:
Easy
9. Bernstein’s West Side Story deals with rival youth gangs in Los Angeles. ANS: F MSC: Factual
DIF:
Easy
REF:
377
TOP: Bernstein
10. Bernstein’s West Side Story draws on Afro-Cuban dance rhythms. ANS: T MSC: Factual
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
TOP: Musical theater
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
Chapter 64: Less Is More: Reich and Minimalist Music MULTIPLE CHOICE 1. What is process music? a. serial music b. music that changes gradually ANS: B MSC: Factual
DIF: Easy
c. d. REF:
music for a procession chance music 385
TOP: Minimalism
2. Which of the following composers is NOT a minimalist? a. Steve Reich c. Terry Riley b. LaMonte Young d. George Crumb ANS: D MSC: Applied
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 concrète. ANS: C MSC: Applied
DIF:
Medium
REF:
385
TOP: Minimalism
4. Which of the following was an influence on the music of Steve Reich? a. Ewe drumming c. Judaism b. gamelan music d. all of the above ANS: D MSC: Applied
DIF:
Medium
REF:
385
TOP: Reich
5. Which of the following is NOT a composition by Steve Reich? a. Sonatas and Interludes c. Different Trains b. Tehillim d. Violin Phase ANS: A MSC: Factual
DIF:
Medium
REF:
6. Steve Reich was influenced by polyrhythms of: a. Cuba. c. b. West Africa. d. ANS: B MSC: Applied
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
8. Electric Counterpoint features the: a. piano. b. electric guitar. ANS: B MSC: Factual
DIF:
Easy
REF:
c. d. REF:
386
TOP: Reich
synthesizer. jazz violin. 386
TOP: Reich
9. How many movements are in Electric Counterpoint? a. three c. five b. four d. seven ANS: A MSC: Factual
DIF:
Medium
REF:
386
TOP: Reich
10. Which of the following does NOT characterize Electric Counterpoint? a. canons c. goal-oriented harmony b. a repetitive musical idea d. complexity ANS: C MSC: Applied
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
Less Is More: Reich and Minimalist Music | 293 2. The goal of process music is to make change imperceptible. ANS: F MSC: Applied
DIF: Hard
REF:
385
TOP: Minimalism
REF:
385
TOP: Minimalism
3. Phase music uses electronic looping. ANS: T MSC: Factual
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
5. The salient feature of minimalism is contrast. ANS: F MSC: Applied
DIF:
Easy
REF:
6. Repetition is an important element of minimalism. ANS: T MSC: Applied
DIF:
Easy
REF:
7. Electric Counterpoint can be played by an ensemble of live guitarists. ANS: T MSC: Factual
DIF:
Medium
REF:
386
TOP: Reich
8. The harmony in Electric Counterpoint is primarily chromatic. ANS: T MSC: Applied
DIF:
Hard
REF:
387
TOP: Reich
9. Electric Counterpoint exhibits several Baroque qualities. ANS: T MSC: Conceptual
DIF:
Medium
REF:
386
TOP: Reich
10. Drumming in Uganda is based on rhythms and has no melodic content. ANS: F MSC: Applied
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 America’s 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
3. Which of the following is NOT a song by Bob Dylan? a. Blowin’ in the Wind c. Mr. Tambourine Man b. Masters of War d. If I Had a Hammer ANS: D MSC: Factual
DIF:
Hard
REF:
391
TOP: Dylan
4. Who had the greatest success with a recording of Dylan’s 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
5. John Corigliano’s Prelude: Mr. Tambourine Man is a setting of a text by: a. Woody Guthrie. c. Pete Seeger. b. Bob Dylan. d. Federico García Lorca. ANS: B MSC: Factual
DIF:
Easy
REF:
392
TOP: Corigliano
6. Corigliano’s Prelude: Mr. Tambourine Man is part of a(n): a. opera. c. song. b. musical. d. song cycle. ANS: D MSC: Factual
DIF:
Hard
REF:
393
TOP: Corigliano
7. Which of the following does NOT characterize Corigliano’s 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 Corigliano’s Mr. Tambourine Man? a. 3 c. 7 b. 6 d. 9 ANS: C MSC: Factual
DIF:
Hard
REF:
395
TOP: Corigliano
9. Corigliano’s Mr. Tambourine Man is written for voice and: a. guitars. c. big band. b. string orchestra. d. orchestra with saxophones. ANS: D MSC: Factual
DIF:
Hard
REF:
395
TOP: Corigliano
10. Which of the following compositions by Corigliano received an Academy Award? a. The Red Violin c. The Ghosts of Versailles b. The Naked Carmen d. Mr. Tambourine Man ANS: A MSC: Factual
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
3. Bob Dylan was influenced by Woody Guthrie. ANS: T MSC: Applied
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
5. The musical elements in Dylan’s Mr. Tambourine Man are simple. ANS: T MSC: Applied
DIF:
Medium
REF:
391
TOP: Dylan
Returning with Interest: Dylan, Corigliano, and Postmodern Reworkings | 297 6. Both Bob Dylan and John Corigliano have won Academy Awards. ANS: T MSC: Applied
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
8. Corigliano’s Prelude: Mr. Tambourine Man has a modified verse-chorus structure. ANS: T MSC: Applied
DIF:
Hard
REF:
393
TOP: Corigliano
9. Corigliano quotes Dylan’s song extensively in Prelude: Mr. Tambourine Man. ANS: F MSC: Applied
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
TOP: Bob Dylan
MSC: Conceptual
2. Which aspects of Bob Dylan’s 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
2. Which is not a musical goal of Jennifer Higdon? a. expanding on the procedures of John Cage b. modernizing the nineteenth-century orchestral tradition c. continuing to incorporate influences of non-Western cultures d. exploring new ways to expand and renew concert music for the twenty-first century ANS: A MSC: Applied
DIF: Hard
REF:
398
TOP: Higdon
3. Which American composer is associated with neo-Romanticism? a. Aaron Copland c. Samuel Barber b. George Crumb d. John Cage ANS: C MSC: Applied
DIF:
Hard
REF:
398
TOP: Neo-Romanticism
4. Which of the following does NOT characterize neo-Romanticism? a. It incorporates the complexities of postmodernism. b. It maintains Schoenberg’s concept of atonality. c. It looks to the past with respect and nostalgia. d. It reclaims the language of nineteenth-century music. ANS: B MSC: Applied
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
6. Which of the following best describes Higdon’s treatment of harmony? a. She avoids triads. c. Her music is rooted in tonality. b. Her music is highly dissonant. d. Her music lacks tonal centers. ANS: C MSC: Applied
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
8. Higdon chose the title blue cathedral as a tribute to: a. gospel singers. c. a minimalist church in New York. b. the French painter Matisse. d. her brother. ANS: D MSC: Factual
DIF:
Medium
9. Higdon’s blue cathedral is a: a. tone poem. b. song cycle. ANS: A MSC: Factual
DIF:
REF:
c. d. Medium
REF:
398
TOP: Higdon
concerto. film score. 398
TOP: Higdon
10. Higdon’s blue cathedral was written for a performance by: a. gospel choir. c. full symphony orchestra. b. an a cappella choir. d. small chamber orchestra. ANS: C MSC: Factual
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
2. Neo-Romanticism rejects non-Western influences. ANS: F MSC: Applied
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
4. Samuel Barber’s most celebrated composition is Adagio for Strings. ANS: T MSC: Factual
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
6. Postmodernism emphasized the new and rejected the past. ANS: F MSC: Applied
DIF:
Easy
REF:
398
TOP: Neo-Romanticism
7. Jennifer Higdon’s performance background is as a flutist. ANS: T MSC: Factual
DIF:
Medium
REF:
398
TOP: Higdon
8. Jennifer Higdon’s blue cathedral contains major triads but no strong sense of a key center. ANS: T MSC: Applied
DIF:
Hard
REF:
399
TOP: Higdon
9. There are no non-Western influences in Jennifer Higdon’s blue cathedral. ANS: F MSC: Conceptual
DIF:
Easy
REF:
399
TOP: Higdon
399
TOP: Higdon
10. Higdon’s blue cathedral has a rondo-like structure. ANS: T MSC: Applied
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
Chapter 67: Underscoring Meaning: Music for Film MULTIPLE CHOICE 1. Why is music important to motion pictures? a. It can reveal the emotions of the characters. b. It can set the mood of the film. c. It can tell the audience where or when the story takes place. d. all of the above ANS: D MSC: Conceptual
DIF:
Easy
REF:
401f
TOP: Film music
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
TOP: Film music
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
TOP: Film music
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
TOP: Film music
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
TOP: Film music
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
TOP: Film music
301
302 | Chapter 67 7. Which of the following characterizes the career of John Williams? a. He was a composer for the TV series Gilligan’s 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. Schindler’s List c. Superman b. Titanic d. Harry Potter and the Sorcerer’s 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
11. Which movie first introduced the Imperial March? a. Star Wars c. The Return of the Jedi b. The Empire Strikes Back d. Raiders of the Lost Ark ANS: B MSC: Factual
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
TOP: Tan Dun
13. Which of the following works is NOT composed by Tan Dun? a. Marco Polo c. Symphony 1997 b. Summon the Heroes d. Internet Symphony No. 1 ANS: B MSC: Factual
DIF:
Hard
REF:
405
TOP: Tan Dun
Underscoring Meaning: Music for Film | 303 14. Tan Dun’s score for Crouching Tiger, Hidden Dragon features which Western solo instrument? a. violin c. guitar b. trumpet d. cello ANS: D MSC: Factual
DIF:
Medium
REF:
405
TOP: Tan Dun
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:
3
REF:
405
TOP: Tan Dun
16. Farewell from Crouching Tiger, Hidden Dragon is in ________ form. a. rondo c. theme and variations b. ABA d. sonata-allegro ANS: C MSC: Factual
DIF:
Hard
REF:
17. Guitar Hero is a: a. movie featuring Santana. b. composition by John Corigliano. ANS: D MSC: Factual
DIF:
Hard
c. d. REF:
18. Video games have: a. long used source music. b. only recently begun using source music. ANS: A MSC: Factual
DIF:
Hard
REF:
19. Who composed the music for Final Fantasy? a. Tan Dun b. John Williams ANS: C MSC: Factual
DIF:
Hard
c. d.
c. d.
REF:
406
TOP: Tan Dun
multimedia ensemble video game 408
TOP: Video Games
never used source music. avoided using music. 408
TOP: Video Games
Nobuo Uematsu Ge Wang 409
TOP: Video Games
20. Which of the following does NOT characterize “Aerith’s 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
TOP: Video Games
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
TOP: Film music
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
TOP: Film music
3. Music can help create a sense of place and time in films. ANS: T MSC: Applied
DIF:
Easy
REF:
402
TOP: Film music
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
TOP: Film music
5. The use of leitmotifs in the Star Wars films mirrors that in Wagner’s Ring cycle. ANS: T MSC: Applied
DIF:
Medium
REF:
402
TOP: Williams
6. Williams’s Imperial March is in standard march form. ANS: F MSC: Applied
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 Williams’s career is his Internet Symphony No. 1. ANS: F MSC: Factual
DIF:
Hard
REF:
405
TOP: Tan Dun
9. Tan Dun experienced China’s Cultural Revolution firsthand. ANS: T MSC: Factual
DIF:
Medium
REF:
405
TOP: Tan Dun
Underscoring Meaning: Music for Film | 305 10. In Tan Dun’s score for Crouching Tiger, Hidden Dragon, the solo cello imitates the vocal style heard in Beijing Opera. ANS: T MSC: Applied
DIF:
Medium
REF:
405
TOP: Tan Dun
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
TOP: Film music
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
TOP: Tan Dun
MSC: Conceptual
Chapter 68: Icons in Sound: Tavener and Postmodern Orthodoxy MULTIPLE CHOICE 1. Which of the following does NOT characterize spiritual minimalism? a. It is inspired by religious beliefs. b. It has simple chains of tonal progressions. c. It is nonpulsed music d. It is primarily an American movement. ANS: D MSC: Conceptual
DIF:
Medium
REF:
410
TOP: Minimalism
2. Which of the following composers is NOT associated with spiritual minimalism? a. Arvo Pärt c. Henryk Górecki b. Paul Lansky d. John Tavener ANS: B MSC: Applied
DIF:
Medium
REF:
410f
TOP: Minimalism
3. Which composer fused Russian Orthodox rituals with folk music and Gregorian chant? a. Arvo Pärt c. Steve Reich b. Henryk Górecki d. Jennifer Higdon ANS: A MSC: Applied
DIF:
Medium
REF:
4. John Tavener was a(n) ________ composer. a. American b. English ANS: B MSC: Factual
DIF:
Easy
c. d. REF:
5. during the mid-1970s, Tavener converted to: a. Catholicism b. Lutheranism ANS: D MSC: Factual
DIF:
Medium
c. d.
REF:
411
TOP: Minimalism
German Polish 411
TOP: Tavener
Judaism Greek Orthodoxy 411
TOP: Tavener
6. Tavener’s 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
Icons in Sound: Tavener and Postmodern Orthodoxy | 307 7. Which of the following was NOT composed by John Tavener? a. Hymn to the Mother of God c. The Veil of the Temple b. Song for Athene d. Berlin Mass ANS: D MSC: Factual
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. Tavener’s 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 Tavener’s 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 Tavener’s 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
12. What is the form of Tavener’s Hymn to the Mother of God? a. strophic c. A-B-A-B b. A-B-A' d. sonata-allegro ANS: B MSC: Applied
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
3. Górecki’s Symphony No. 3 is written with a slow-moving tonal language. ANS: T MSC: Applied
DIF:
Hard
REF:
410
TOP: Minimalism
4. The Estonian composer Arvo Pärt incorporates the fervent mysticism of Russian Orthodox rituals into his works. ANS: T MSC: Applied
DIF:
Hard
REF:
410f
TOP: Minimalism
5. Latin is the official language of the Eastern Christian Church. ANS: F MSC: Applied
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
7. John Tavener’s music assimilates the patterns of repetition of Orthodox rituals.. ANS: T MSC: Applied
DIF:
Medium
REF:
411
TOP: Tavener
8. The text of Tavener’s Hymn to the Mother of God is attributed to Saint John Damascene. ANS: T MSC: Applied
DIF:
Hard
REF:
412
TOP: Tavener
9. Tavener’s 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
Icons in Sound: Tavener and Postmodern Orthodoxy | 309 ESSAY 1. What is spiritual minimalism? Who are the leading composers in this movement? ANS: Answers will vary. DIF:
Hard
REF:
410f
TOP: Minimalism
MSC: Applied
2. How is John Tavener’s religious background reflected in his music? Include examples from the textbook in your answer. ANS: Answers will vary. DIF:
Hard
REF:
411f
TOP: Tavener
MSC: Conceptual
Chapter 69: Reality Shows: Adams and Contemporary Opera MULTIPLE CHOICE 1. Which of the following characterizes historical opera? a. It seeks documentary like authenticity. b. It is a recent development in opera plots. c. It evokes the emotions of historical figures. d. all of the above ANS: C MSC: Conceptual
DIF:
Medium
REF:
414
TOP: Opera
2. In his post-minimalist style, John Adams combines minimalism with: a. chance music. c. electronic music. b. serialism. d. neo-Romanticism. ANS: D MSC: Applied
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
4. The music of John Adams reflects the influence of: a. rock. c. Mozart. b. serialism. d. all of the above ANS: A MSC: Applied
DIF:
Medium
REF:
415
TOP: Adams
5. Which of the following composers wrote the opera Nixon in China? a. Terry Riley c. Steve Reich b. John Adams d. Philip Glass ANS: B MSC: Factual
DIF:
Medium
REF:
415
TOP: Adams
6. John Adams’s opera Doctor Atomic is based on the life of: a. Albert Einstein. c. Richard Nixon. b. J. Robert Oppenheimer. d. Hans Geiger. ANS: B MSC: Factual
310
DIF:
Easy
REF:
415
TOP: Adams
Reality Shows: Adams and Contemporary Opera | 311 7. The librettist of Doctor Atomic is: a. Peter Sellars. b. John Adams. ANS: A MSC: Factual
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 Donne’s poetry c. William Shakespeare’s sonnets b. sacred Hindu scripture d. Charles Baudelaire’s 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 Adams’s 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
2. The music of John Adams exhibits elements of neo-Romanticism. ANS: T MSC: Applied
DIF:
Medium
REF:
414
TOP: Adams
REF:
415
TOP: Adams
3. Nixon in China is an opera by Philip Glass. ANS: F MSC: Factual
DIF:
Medium
4. All of John Adams’s best-known operas are based on historical events. ANS: T MSC: Factual
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
8. “At the sight of this” from Doctor Atomic includes electronic sonorities. ANS: T MSC: Applied
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
10. Adams’s opera The Death of Klinghoffer created a controversy. ANS: T MSC: Factual
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
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