Quiz 6 The Twentieth Century and Beyond

A  simplification of nonwestern thought and musical styles.

B  natural outgrowth of the late romantic style.

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

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

A  Alban Berg.

B  Milton Babbitt.

C  Arnold Schoenberg.

D  Anton Webern.

A  a muted trumpet.

B  the full orchestra.

C  a solo flute.

D  a solo clarinet.

A  series.

B  tone row.

C  All answers are correct.

D  set.

A  Klangfarbenmelodie.

B  Sprechstimme.

C  atonality.

D  serialism.

A  stile rappresentativo.

B  Sprechstimme.

C  bel canto.

D  Pierrot Lunaire.

A  morality.

B  imagination.

C  conventional prettiness.

D  reality.

A  Richard Strauss.

B  Charles Ives.

C  Debussy.

D  Edvard Munch.

A  vocal soloists and orchestra.

B  a wind ensemble.

C  an enormous orchestra.

D  a small chamber group.

A  dissonance has been emancipated.

B  All answers are correct.

C  percussion instruments have become very prominent and numerous.

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

A  impressionism.

B  neoclassicism.

C  expressionism.

D  primitivism.

A  Pulcinella.

B  Agon.

C  The Rite of Spring.

D  The Fairy’s Kiss.

A  George Balanchine.

B  Vaclav Nijinsky.

C  Michel Fokine.

D  Sergei Diaghilev.

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  use the full orchestra for massive effects.

D  have a strong sense of tonality.

A  Richard Wagner.

B  Claude Debussy.

C  Arnold Schoenberg.

D  Béla Bartók.

A  Austria.

B  France.

C  England.

D  Bohemia.

A  1908

B  1922

C  1895

D  1930

A  quite simple.

B  extremely complex.

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  new electronic effects.

B  All answers are correct.

C  “classical” and nonwestern instruments.

D  unconventional scales, chord progressions, and rhythms.

A  Gospel

B  Motown

C  Rhythm and blues

D  Country and western

A  glissando.

B  atonality.

C  ostinato.

D  polytonality.

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

B  a blend of rhythm and blues and popular music.

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

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

A  La, La, Lucille.

B  Embraceable You.

C  I Got Rhythm.

D  Swanee.

A  Sweeney Todd.

B  Cats.

C  West Side Story.

D  On Your Toes.

A  jazz.

B  polytonality.

C  ostinato.

D  polyrhythm.

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  used traditional jazz instrumental combinations.

B  All answers are correct.

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

D  consisted of short pieces freely improvised.

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

B  improvisational sections by the soloists.

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

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

A  Dizzy Gillespie.

B  Thelonious Monk.

C  Buddy Rich.

D  Charlie Parker.

A  cornet.

B  tuba.

C  saxophone.

D  guitar.

A  3/4

B  2/4

C  6/8

D  4/4

A  may be vocal or instrumental.

B  All answers are correct.

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

D  can be happy or sad, fast or slow.

A  performed at a moderate march tempo.

B  a style of composed piano music.

C  generally in duple meter.

D  All answers are correct.

A  director.

B  rhythm section.

C  brass section.

D  clarinet section.

A  an avant-garde experiment.

B  an American art form.

C  a form of orchestral music.

D  an outdated form of music.

A  ancient church modes.

B  scales they themselves invented.

C  All answers are correct.

D  scales borrowed from nonwestern cultures.

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  Edgard Varèse.

B  John Cage.

C  Steve Reich.

D  Ellen Taaffe Zwilich.

A  microtones.

B  tone clusters.

C  white tones.

D  macrotones.

A  polytonality.

B  a polychord.

C  bitonality.

D  a tone cluster.

A  “new Romantics”.

B  “new impressionists”.

C  “new Expressionists”.

D  “new Classicists”.

A  Steve Reich

B  Terry Riley

C  George Crumb

D  Philip Glass

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

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

C  a combination of four tones.

D  All answers are correct.

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

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

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

D  writes music that is considered impossible to perform.

A  chance music.

B  minimalism.

C  Klangfarbenmelodie.

D  serialism.

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

B  it was easier to write twelve-tone music.

C  they were bored with tonal music.

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

A  concentrated on perfecting the twelve-tone system.

B  remained relatively stable.

C  returned to the styles of the nineteenth century.

D  taken many new directions and changes.