Quiz 6 The Twentieth Century and Beyond

A  natural outgrowth of the late romantic style.

B  simplification of nonwestern thought and musical styles.

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

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

A  Milton Babbitt.

B  Alban Berg.

C  Arnold Schoenberg.

D  Anton Webern.

A  a solo clarinet.

B  a muted trumpet.

C  a solo flute.

D  the full orchestra.

A  series.

B  set.

C  All answers are correct.

D  tone row.

A  Klangfarbenmelodie.

B  atonality.

C  Sprechstimme.

D  serialism.

A  Sprechstimme.

B  bel canto.

C  stile rappresentativo.

D  Pierrot Lunaire.

A  reality.

B  imagination.

C  conventional prettiness.

D  morality.

A  Richard Strauss.

B  Debussy.

C  Charles Ives.

D  Edvard Munch.

A  a small chamber group.

B  an enormous orchestra.

C  a wind ensemble.

D  vocal soloists and orchestra.

A  percussion instruments have become very prominent and numerous.

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

C  All answers are correct.

D  dissonance has been emancipated.

A  impressionism.

B  neoclassicism.

C  primitivism.

D  expressionism.

A  The Fairy’s Kiss.

B  Pulcinella.

C  The Rite of Spring.

D  Agon.

A  George Balanchine.

B  Vaclav Nijinsky.

C  Michel Fokine.

D  Sergei Diaghilev.

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

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

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

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

A  use the full orchestra for massive effects.

B  have a strong sense of tonality.

C  affirm the key very noticeably.

D  sound free and almost improvisational.

A  Béla Bartók.

B  Arnold Schoenberg.

C  Claude Debussy.

D  Richard Wagner.

A  France.

B  Austria.

C  Bohemia.

D  England.

A  1922

B  1908

C  1895

D  1930

A  quite simple.

B  limited to only two chords.

C  extremely complex.

D  the same as earlier popular music.

A  the second and fourth beats

B  the first beat

C  the first and third beats

D  all four beats

A  new electronic effects.

B  All answers are correct.

C  unconventional scales, chord progressions, and rhythms.

D  “classical” and nonwestern instruments.

A  Country and western

B  Motown

C  Gospel

D  Rhythm and blues

A  atonality.

B  polytonality.

C  glissando.

D  ostinato.

A  a blend of rhythm and blues and popular music.

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

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  I Got Rhythm.

B  La, La, Lucille.

C  Embraceable You.

D  Swanee.

A  Cats.

B  On Your Toes.

C  West Side Story.

D  Sweeney Todd.

A  ostinato.

B  polytonality.

C  jazz.

D  polyrhythm.

A  composer of orchestral and vocal works.

B  All answers are correct.

C  conductor.

D  author-lecturer.

A  Joe Zawinul and Wayne Shorter.

B  Dave Brubeck and Lennie Tristano.

C  John Coltrane and Ornette Coleman.

D  Charlie Parker and Thelonious Monk.

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

B  used traditional jazz instrumental combinations.

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  Buddy Rich.

B  Thelonious Monk.

C  Charlie Parker.

D  Dizzy Gillespie.

A  saxophone.

B  guitar.

C  cornet.

D  tuba.

A  6/8

B  2/4

C  4/4

D  3/4

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

B  All answers are correct.

C  may be vocal or instrumental.

D  can be happy or sad, fast or slow.

A  performed at a moderate march tempo.

B  All answers are correct.

C  a style of composed piano music.

D  generally in duple meter.

A  clarinet section.

B  director.

C  brass section.

D  rhythm section.

A  an avant-garde experiment.

B  an American art form.

C  a form of orchestral music.

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  large symphonic orchestra and two synthesizers.

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

A  John Cage.

B  Ellen Taaffe Zwilich.

C  Edgard Varèse.

D  Steve Reich.

A  microtones.

B  tone clusters.

C  macrotones.

D  white tones.

A  bitonality.

B  a tone cluster.

C  polytonality.

D  a polychord.

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  the chord built on the fourth step of the scale.

D  a combination of four tones.

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

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

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

D  writes music that is considered impossible to perform.

A  serialism.

B  chance music.

C  minimalism.

D  Klangfarbenmelodie.

A  they were bored with tonal music.

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

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

D  it was easier to write twelve-tone music.

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.