Quiz 6 The Twentieth Century and Beyond

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

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

C  natural outgrowth of the late romantic style.

D  simplification of nonwestern thought and musical styles.

A  Alban Berg.

B  Anton Webern.

C  Milton Babbitt.

D  Arnold Schoenberg.

A  the full orchestra.

B  a muted trumpet.

C  a solo clarinet.

D  a solo flute.

A  series.

B  set.

C  tone row.

D  All answers are correct.

A  Klangfarbenmelodie.

B  serialism.

C  Sprechstimme.

D  atonality.

A  Sprechstimme.

B  Pierrot Lunaire.

C  stile rappresentativo.

D  bel canto.

A  imagination.

B  morality.

C  reality.

D  conventional prettiness.

A  Edvard Munch.

B  Debussy.

C  Richard Strauss.

D  Charles Ives.

A  an enormous orchestra.

B  vocal soloists and orchestra.

C  a wind ensemble.

D  a small chamber group.

A  dissonance has been emancipated.

B  percussion instruments have become very prominent and numerous.

C  All answers are correct.

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

A  neoclassicism.

B  impressionism.

C  primitivism.

D  expressionism.

A  Pulcinella.

B  The Rite of Spring.

C  Agon.

D  The Fairy’s Kiss.

A  Michel Fokine.

B  Sergei Diaghilev.

C  George Balanchine.

D  Vaclav Nijinsky.

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

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

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

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

A  sound free and almost improvisational.

B  affirm the key very noticeably.

C  have a strong sense of tonality.

D  use the full orchestra for massive effects.

A  Béla Bartók.

B  Richard Wagner.

C  Claude Debussy.

D  Arnold Schoenberg.

A  England.

B  Bohemia.

C  France.

D  Austria.

A  1908

B  1895

C  1930

D  1922

A  limited to only two chords.

B  the same as earlier popular music.

C  quite simple.

D  extremely complex.

A  the first and third beats

B  the second and fourth beats

C  the first beat

D  all four beats

A  All answers are correct.

B  unconventional scales, chord progressions, and rhythms.

C  new electronic effects.

D  “classical” and nonwestern instruments.

A  Gospel

B  Rhythm and blues

C  Motown

D  Country and western

A  polytonality.

B  ostinato.

C  atonality.

D  glissando.

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

B  a blend of rhythm and blues and popular music.

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

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

A  La, La, Lucille.

B  Embraceable You.

C  Swanee.

D  I Got Rhythm.

A  On Your Toes.

B  West Side Story.

C  Cats.

D  Sweeney Todd.

A  polyrhythm.

B  ostinato.

C  polytonality.

D  jazz.

A  All answers are correct.

B  author-lecturer.

C  composer of orchestral and vocal works.

D  conductor.

A  John Coltrane and Ornette Coleman.

B  Dave Brubeck and Lennie Tristano.

C  Charlie Parker and Thelonious Monk.

D  Joe Zawinul and Wayne Shorter.

A  used traditional jazz instrumental combinations.

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

C  consisted of short pieces freely improvised.

D  All answers are correct.

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  Charlie Parker.

B  Buddy Rich.

C  Dizzy Gillespie.

D  Thelonious Monk.

A  guitar.

B  cornet.

C  saxophone.

D  tuba.

A  3/4

B  4/4

C  2/4

D  6/8

A  can be happy or sad, fast or slow.

B  may be vocal or instrumental.

C  All answers are correct.

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

A  performed at a moderate march tempo.

B  a style of composed piano music.

C  All answers are correct.

D  generally in duple meter.

A  rhythm section.

B  brass section.

C  clarinet section.

D  director.

A  an avant-garde experiment.

B  a form of orchestral music.

C  an outdated form of music.

D  an American art form.

A  scales they themselves invented.

B  scales borrowed from nonwestern cultures.

C  ancient church modes.

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  prepared piano.

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

A  Edgard Varèse.

B  Ellen Taaffe Zwilich.

C  John Cage.

D  Steve Reich.

A  white tones.

B  microtones.

C  tone clusters.

D  macrotones.

A  a tone cluster.

B  bitonality.

C  polytonality.

D  a polychord.

A  “new Classicists”.

B  “new impressionists”.

C  “new Expressionists”.

D  “new Romantics”.

A  George Crumb

B  Terry Riley

C  Steve Reich

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  All answers are correct.

D  a combination of four tones.

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

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

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  Klangfarbenmelodie.

B  chance music.

C  serialism.

D  minimalism.

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

B  they were bored with tonal music.

C  it was easier to write twelve-tone music.

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

A  returned to the styles of the nineteenth century.

B  remained relatively stable.

C  concentrated on perfecting the twelve-tone system.

D  taken many new directions and changes.