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  way to create popular works quickly and with little effort.

D  natural outgrowth of the late romantic style.

A  Milton Babbitt.

B  Alban Berg.

C  Arnold Schoenberg.

D  Anton Webern.

A  a muted trumpet.

B  a solo flute.

C  a solo clarinet.

D  the full orchestra.

A  tone row.

B  set.

C  series.

D  All answers are correct.

A  Sprechstimme.

B  atonality.

C  Klangfarbenmelodie.

D  serialism.

A  Pierrot Lunaire.

B  Sprechstimme.

C  bel canto.

D  stile rappresentativo.

A  reality.

B  imagination.

C  conventional prettiness.

D  morality.

A  Richard Strauss.

B  Debussy.

C  Charles Ives.

D  Edvard Munch.

A  vocal soloists and orchestra.

B  an enormous orchestra.

C  a small chamber group.

D  a wind ensemble.

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

B  All answers are correct.

C  percussion instruments have become very prominent and numerous.

D  dissonance has been emancipated.

A  neoclassicism.

B  primitivism.

C  impressionism.

D  expressionism.

A  Pulcinella.

B  Agon.

C  The Fairy’s Kiss.

D  The Rite of Spring.

A  Sergei Diaghilev.

B  Vaclav Nijinsky.

C  George Balanchine.

D  Michel Fokine.

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

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

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

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

A  affirm the key very noticeably.

B  use the full orchestra for massive effects.

C  sound free and almost improvisational.

D  have a strong sense of tonality.

A  Richard Wagner.

B  Béla Bartók.

C  Arnold Schoenberg.

D  Claude Debussy.

A  France.

B  England.

C  Bohemia.

D  Austria.

A  1922

B  1895

C  1908

D  1930

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  all four beats

C  the second and fourth beats

D  the first beat

A  “classical” and nonwestern instruments.

B  unconventional scales, chord progressions, and rhythms.

C  All answers are correct.

D  new electronic effects.

A  Country and western

B  Gospel

C  Motown

D  Rhythm and blues

A  polytonality.

B  ostinato.

C  glissando.

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  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  I Got Rhythm.

B  Embraceable You.

C  La, La, Lucille.

D  Swanee.

A  West Side Story.

B  Cats.

C  Sweeney Todd.

D  On Your Toes.

A  ostinato.

B  polyrhythm.

C  jazz.

D  polytonality.

A  composer of orchestral and vocal works.

B  author-lecturer.

C  conductor.

D  All answers are correct.

A  Joe Zawinul and Wayne Shorter.

B  Dave Brubeck and Lennie Tristano.

C  Charlie Parker and Thelonious Monk.

D  John Coltrane and Ornette Coleman.

A  used traditional jazz instrumental combinations.

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

C  All answers are correct.

D  consisted of short pieces freely improvised.

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

B  improvisational sections by the soloists.

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

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

A  Charlie Parker.

B  Buddy Rich.

C  Thelonious Monk.

D  Dizzy Gillespie.

A  tuba.

B  guitar.

C  saxophone.

D  cornet.

A  6/8

B  4/4

C  2/4

D  3/4

A  All answers are correct.

B  may be vocal or instrumental.

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

D  can be happy or sad, fast or slow.

A  generally in duple meter.

B  performed at a moderate march tempo.

C  a style of composed piano music.

D  All answers are correct.

A  rhythm section.

B  director.

C  clarinet section.

D  brass section.

A  a form of orchestral music.

B  an outdated form of music.

C  an avant-garde experiment.

D  an American art form.

A  All answers are correct.

B  ancient church modes.

C  scales they themselves invented.

D  scales borrowed from nonwestern cultures.

A  prepared piano.

B  large symphonic orchestra and two synthesizers.

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

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

A  Steve Reich.

B  Edgard Varèse.

C  Ellen Taaffe Zwilich.

D  John Cage.

A  microtones.

B  tone clusters.

C  white tones.

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  Steve Reich

B  Philip Glass

C  Terry Riley

D  George Crumb

A  a combination of four tones.

B  All answers are correct.

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

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

A  writes music that is considered impossible to perform.

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

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

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

A  serialism.

B  Klangfarbenmelodie.

C  chance music.

D  minimalism.

A  it was easier to write twelve-tone music.

B  they were bored with tonal music.

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

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  taken many new directions and changes.

D  returned to the styles of the nineteenth century.