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  Arnold Schoenberg.

B  Milton Babbitt.

C  Alban Berg.

D  Anton Webern.

A  a solo flute.

B  the full orchestra.

C  a muted trumpet.

D  a solo clarinet.

A  set.

B  tone row.

C  series.

D  All answers are correct.

A  Sprechstimme.

B  Klangfarbenmelodie.

C  atonality.

D  serialism.

A  Sprechstimme.

B  bel canto.

C  stile rappresentativo.

D  Pierrot Lunaire.

A  conventional prettiness.

B  imagination.

C  reality.

D  morality.

A  Richard Strauss.

B  Edvard Munch.

C  Charles Ives.

D  Debussy.

A  an enormous orchestra.

B  vocal soloists and 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  dissonance has been emancipated.

C  All answers are correct.

D  percussion instruments have become very prominent and numerous.

A  expressionism.

B  neoclassicism.

C  primitivism.

D  impressionism.

A  The Fairy’s Kiss.

B  Agon.

C  Pulcinella.

D  The Rite of Spring.

A  Michel Fokine.

B  Sergei Diaghilev.

C  Vaclav Nijinsky.

D  George Balanchine.

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  sound free and almost improvisational.

B  have a strong sense of tonality.

C  affirm the key very noticeably.

D  use the full orchestra for massive effects.

A  Claude Debussy.

B  Béla Bartók.

C  Richard Wagner.

D  Arnold Schoenberg.

A  Austria.

B  Bohemia.

C  England.

D  France.

A  1908

B  1922

C  1895

D  1930

A  extremely complex.

B  the same as earlier popular music.

C  limited to only two chords.

D  quite simple.

A  the second and fourth beats

B  the first and third beats

C  the first beat

D  all four beats

A  unconventional scales, chord progressions, and rhythms.

B  new electronic effects.

C  “classical” and nonwestern instruments.

D  All answers are correct.

A  Country and western

B  Gospel

C  Rhythm and blues

D  Motown

A  polytonality.

B  atonality.

C  ostinato.

D  glissando.

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

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

A  Embraceable You.

B  La, La, Lucille.

C  Swanee.

D  I Got Rhythm.

A  Cats.

B  On Your Toes.

C  West Side Story.

D  Sweeney Todd.

A  polytonality.

B  jazz.

C  ostinato.

D  polyrhythm.

A  All answers are correct.

B  conductor.

C  author-lecturer.

D  composer of orchestral and vocal works.

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  used traditional jazz instrumental combinations.

C  consisted of short pieces freely improvised.

D  All answers are correct.

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

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

C  improvisational sections by the soloists.

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

A  Buddy Rich.

B  Dizzy Gillespie.

C  Thelonious Monk.

D  Charlie Parker.

A  saxophone.

B  cornet.

C  guitar.

D  tuba.

A  3/4

B  4/4

C  2/4

D  6/8

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  All answers are correct.

B  performed at a moderate march tempo.

C  a style of composed piano music.

D  generally in duple meter.

A  clarinet section.

B  brass section.

C  director.

D  rhythm section.

A  an American art form.

B  a form of orchestral music.

C  an avant-garde experiment.

D  an outdated form of music.

A  All answers are correct.

B  ancient church modes.

C  scales they themselves invented.

D  scales borrowed from nonwestern cultures.

A  large symphonic orchestra and two synthesizers.

B  prepared piano.

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  John Cage.

C  Edgard Varèse.

D  Ellen Taaffe Zwilich.

A  white tones.

B  tone clusters.

C  microtones.

D  macrotones.

A  polytonality.

B  bitonality.

C  a polychord.

D  a tone cluster.

A  “new Classicists”.

B  “new impressionists”.

C  “new Romantics”.

D  “new Expressionists”.

A  George Crumb

B  Philip Glass

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  writes music that is considered impossible to perform.

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

A  serialism.

B  minimalism.

C  Klangfarbenmelodie.

D  chance music.

A  it was easier to write twelve-tone music.

B  they were bored with tonal music.

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

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

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.