Quiz 6 The Twentieth Century and Beyond

A  simplification of nonwestern thought and musical styles.

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

C  natural outgrowth of the late romantic style.

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

A  Milton Babbitt.

B  Anton Webern.

C  Alban Berg.

D  Arnold Schoenberg.

A  the full orchestra.

B  a solo clarinet.

C  a solo flute.

D  a muted trumpet.

A  All answers are correct.

B  series.

C  set.

D  tone row.

A  Sprechstimme.

B  Klangfarbenmelodie.

C  serialism.

D  atonality.

A  Pierrot Lunaire.

B  Sprechstimme.

C  bel canto.

D  stile rappresentativo.

A  reality.

B  imagination.

C  conventional prettiness.

D  morality.

A  Charles Ives.

B  Richard Strauss.

C  Edvard Munch.

D  Debussy.

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  dissonance has been emancipated.

C  All answers are correct.

D  percussion instruments have become very prominent and numerous.

A  neoclassicism.

B  primitivism.

C  impressionism.

D  expressionism.

A  Pulcinella.

B  Agon.

C  The Rite of Spring.

D  The Fairy’s Kiss.

A  Sergei Diaghilev.

B  George Balanchine.

C  Michel Fokine.

D  Vaclav Nijinsky.

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

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

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

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  have a strong sense of tonality.

D  sound free and almost improvisational.

A  Claude Debussy.

B  Richard Wagner.

C  Béla Bartók.

D  Arnold Schoenberg.

A  Bohemia.

B  France.

C  Austria.

D  England.

A  1908

B  1930

C  1922

D  1895

A  the same as earlier popular music.

B  limited to only two chords.

C  extremely complex.

D  quite simple.

A  the first beat

B  the second and fourth beats

C  all four beats

D  the first and third beats

A  “classical” and nonwestern instruments.

B  All answers are correct.

C  new electronic effects.

D  unconventional scales, chord progressions, and rhythms.

A  Motown

B  Gospel

C  Country and western

D  Rhythm and blues

A  ostinato.

B  polytonality.

C  glissando.

D  atonality.

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

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

C  a blend of rhythm and blues and popular music.

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

A  La, La, Lucille.

B  I Got Rhythm.

C  Embraceable You.

D  Swanee.

A  West Side Story.

B  On Your Toes.

C  Cats.

D  Sweeney Todd.

A  jazz.

B  polyrhythm.

C  ostinato.

D  polytonality.

A  All answers are correct.

B  composer of orchestral and vocal works.

C  author-lecturer.

D  conductor.

A  Charlie Parker and Thelonious Monk.

B  John Coltrane and Ornette Coleman.

C  Dave Brubeck and Lennie Tristano.

D  Joe Zawinul and Wayne Shorter.

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

B  All answers are correct.

C  consisted of short pieces freely improvised.

D  used traditional jazz instrumental combinations.

A  improvisational sections by the soloists.

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

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

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

A  Thelonious Monk.

B  Charlie Parker.

C  Dizzy Gillespie.

D  Buddy Rich.

A  saxophone.

B  tuba.

C  guitar.

D  cornet.

A  4/4

B  2/4

C  6/8

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  All answers are correct.

B  performed at a moderate march tempo.

C  generally in duple meter.

D  a style of composed piano music.

A  rhythm section.

B  brass section.

C  director.

D  clarinet section.

A  a form of orchestral music.

B  an American art form.

C  an avant-garde experiment.

D  an outdated form of music.

A  scales they themselves invented.

B  All answers are correct.

C  scales borrowed from nonwestern cultures.

D  ancient church modes.

A  prepared piano.

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

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

D  large symphonic orchestra and two synthesizers.

A  John Cage.

B  Edgard Varèse.

C  Ellen Taaffe Zwilich.

D  Steve Reich.

A  white tones.

B  macrotones.

C  microtones.

D  tone clusters.

A  a polychord.

B  polytonality.

C  bitonality.

D  a tone cluster.

A  “new impressionists”.

B  “new Classicists”.

C  “new Expressionists”.

D  “new Romantics”.

A  Philip Glass

B  George Crumb

C  Steve Reich

D  Terry Riley

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

B  All answers are correct.

C  a combination of four tones.

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

A  writes music that is considered impossible to perform.

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

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

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

A  Klangfarbenmelodie.

B  serialism.

C  chance music.

D  minimalism.

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

B  it was easier to write twelve-tone music.

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

D  they were bored with tonal music.

A  returned to the styles of the nineteenth century.

B  concentrated on perfecting the twelve-tone system.

C  taken many new directions and changes.

D  remained relatively stable.