Quiz 6 The Twentieth Century and Beyond

A  simplification of nonwestern thought and musical styles.

B  reaction against the complexity of serialism and the randomness of chance music.

C  natural outgrowth of the late romantic style.

D  way to create popular works quickly and with little effort.

A  Arnold Schoenberg.

B  Anton Webern.

C  Alban Berg.

D  Milton Babbitt.

A  a muted trumpet.

B  a solo flute.

C  the full orchestra.

D  a solo clarinet.

A  All answers are correct.

B  set.

C  series.

D  tone row.

A  atonality.

B  Klangfarbenmelodie.

C  serialism.

D  Sprechstimme.

A  bel canto.

B  Sprechstimme.

C  Pierrot Lunaire.

D  stile rappresentativo.

A  reality.

B  imagination.

C  conventional prettiness.

D  morality.

A  Debussy.

B  Richard Strauss.

C  Edvard Munch.

D  Charles Ives.

A  vocal soloists and orchestra.

B  a small chamber group.

C  a wind ensemble.

D  an enormous orchestra.

A  string players are sometimes called on to use the wood instead of the hair on their bows.

B  percussion instruments have become very prominent and numerous.

C  dissonance has been emancipated.

D  All answers are correct.

A  impressionism.

B  primitivism.

C  neoclassicism.

D  expressionism.

A  Pulcinella.

B  The Rite of Spring.

C  Agon.

D  The Fairy’s Kiss.

A  Sergei Diaghilev.

B  Vaclav Nijinsky.

C  George Balanchine.

D  Michel Fokine.

A  Neoclassical composers reacted against twentieth-century harmonies and rhythms, and preferred to revive old forms and styles exactly as they were.

B  Neoclassical compositions use the musical forms and stylistic features of earlier periods, particularly of the eighteenth century.

C  Since many neoclassical compositions were modeled after Bach’s music, the term neobaroque might have been more appropriate.

D  Neoclassicism was an important trend in other art forms such as painting and poetry.

A  affirm the key very noticeably.

B  sound free and almost improvisational.

C  have a strong sense of tonality.

D  use the full orchestra for massive effects.

A  Claude Debussy.

B  Richard Wagner.

C  Arnold Schoenberg.

D  Béla Bartók.

A  Austria.

B  Bohemia.

C  France.

D  England.

A  1922

B  1930

C  1895

D  1908

A  extremely complex.

B  quite simple.

C  limited to only two chords.

D  the same as earlier popular music.

A  the first and third beats

B  the first beat

C  all four beats

D  the second and fourth beats

A  “classical” and nonwestern instruments.

B  unconventional scales, chord progressions, and rhythms.

C  new electronic effects.

D  All answers are correct.

A  Rhythm and blues

B  Country and western

C  Motown

D  Gospel

A  glissando.

B  ostinato.

C  polytonality.

D  atonality.

A  a blend of rhythm and blues and popular music.

B  an African-American dance music that fused blues, jazz, and gospel styles.

C  a folklike guitar-based style associated with rural white Americans.

D  vocal music with a hard, driving beat, often featuring electric guitar accompaniment and heavily amplified sound.

A  I Got Rhythm.

B  Embraceable You.

C  La, La, Lucille.

D  Swanee.

A  On Your Toes.

B  Cats.

C  West Side Story.

D  Sweeney Todd.

A  polyrhythm.

B  ostinato.

C  jazz.

D  polytonality.

A  conductor.

B  composer of orchestral and vocal works.

C  author-lecturer.

D  All answers are correct.

A  Joe Zawinul and Wayne Shorter.

B  John Coltrane and Ornette Coleman.

C  Charlie Parker and Thelonious Monk.

D  Dave Brubeck and Lennie Tristano.

A  consisted of short pieces freely improvised.

B  All answers are correct.

C  was related to bop but was calmer and more relaxed in character.

D  used traditional jazz instrumental combinations.

A  improvisational sections by the soloists.

B  a statement of the main theme by one or two soloists in unison.

C  a statement of the main theme by the whole combo in unison.

D  free sections by the rhythm instruments to set the beat and tempo.

A  Dizzy Gillespie.

B  Charlie Parker.

C  Thelonious Monk.

D  Buddy Rich.

A  guitar.

B  saxophone.

C  tuba.

D  cornet.

A  4/4

B  6/8

C  2/4

D  3/4

A  can be happy or sad, fast or slow.

B  usually follow a 12-bar pattern as a basis for improvisation.

C  may be vocal or instrumental.

D  All answers are correct.

A  a style of composed piano music.

B  performed at a moderate march tempo.

C  generally in duple meter.

D  All answers are correct.

A  director.

B  clarinet section.

C  rhythm section.

D  brass section.

A  an American art form.

B  a form of orchestral music.

C  an avant-garde experiment.

D  an outdated form of music.

A  ancient church modes.

B  scales they themselves invented.

C  scales borrowed from nonwestern cultures.

D  All answers are correct.

A  sound engineer, a female vocalist, five instrumentalists, and a violin soloist.

B  large symphonic orchestra and two synthesizers.

C  mezzo-soprano, boy soprano, oboe, mandolin, harp, percussion, and electric piano.

D  prepared piano.

A  Steve Reich.

B  Ellen Taaffe Zwilich.

C  Edgard Varèse.

D  John Cage.

A  macrotones.

B  microtones.

C  white tones.

D  tone clusters.

A  a tone cluster.

B  bitonality.

C  polytonality.

D  a polychord.

A  “new Romantics”.

B  “new Expressionists”.

C  “new Classicists”.

D  “new impressionists”.

A  Terry Riley

B  George Crumb

C  Steve Reich

D  Philip Glass

A  All answers are correct.

B  a combination of four tones.

C  the chord built on the fourth step of the scale.

D  a chord in which the tones are a fourth apart, instead of a third.

A  takes a chance on which performers will perform the work.

B  writes the music in a traditional manner, but allows the recording engineer to make electronic changes.

C  writes music that is considered impossible to perform.

D  chooses pitches, tone colors, and rhythms by random methods.

A  Klangfarbenmelodie.

B  serialism.

C  minimalism.

D  chance music.

A  they could make more money selling atonal compositions to a wider public.

B  they discovered it was a compositional technique rather than a special musical style.

C  they were bored with tonal music.

D  it was easier to write twelve-tone music.

A  remained relatively stable.

B  taken many new directions and changes.

C  returned to the styles of the nineteenth century.

D  concentrated on perfecting the twelve-tone system.