Navigation » List of Schools » California State University, Northridge » Music » Music 105 – Understanding Music » Spring 2022 » Quiz 6 The Twentieth Century and Beyond
Below are the questions for the exam with the choices of answers:
Question #1
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.
Question #2
A Milton Babbitt.
B Alban Berg.
C Arnold Schoenberg.
D Anton Webern.
Question #3
A a muted trumpet.
B a solo flute.
C a solo clarinet.
D the full orchestra.
Question #4
A tone row.
B set.
C series.
D All answers are correct.
Question #5
A Sprechstimme.
B atonality.
C Klangfarbenmelodie.
D serialism.
Question #6
A Pierrot Lunaire.
B Sprechstimme.
C bel canto.
D stile rappresentativo.
Question #7
A reality.
B imagination.
C conventional prettiness.
D morality.
Question #8
A Richard Strauss.
B Debussy.
C Charles Ives.
D Edvard Munch.
Question #9
A vocal soloists and orchestra.
B an enormous orchestra.
C a small chamber group.
D a wind ensemble.
Question #10
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.
Question #11
A neoclassicism.
B primitivism.
C impressionism.
D expressionism.
Question #12
A Pulcinella.
B Agon.
C The Fairy’s Kiss.
D The Rite of Spring.
Question #13
A Sergei Diaghilev.
B Vaclav Nijinsky.
C George Balanchine.
D Michel Fokine.
Question #14
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.
Question #15
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.
Question #16
A Richard Wagner.
B Béla Bartók.
C Arnold Schoenberg.
D Claude Debussy.
Question #17
A France.
B England.
C Bohemia.
D Austria.
Question #18
A 1922
B 1895
C 1908
D 1930
Question #19
A extremely complex.
B quite simple.
C limited to only two chords.
D the same as earlier popular music.
Question #20
A the first and third beats
B all four beats
C the second and fourth beats
D the first beat
Question #21
A “classical” and nonwestern instruments.
B unconventional scales, chord progressions, and rhythms.
C All answers are correct.
D new electronic effects.
Question #22
A Country and western
B Gospel
C Motown
D Rhythm and blues
Question #23
A polytonality.
B ostinato.
C glissando.
D atonality.
Question #24
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.
Question #25
A I Got Rhythm.
B Embraceable You.
C La, La, Lucille.
D Swanee.
Question #26
A West Side Story.
B Cats.
C Sweeney Todd.
D On Your Toes.
Question #27
A ostinato.
B polyrhythm.
C jazz.
D polytonality.
Question #28
A composer of orchestral and vocal works.
B author-lecturer.
C conductor.
D All answers are correct.
Question #29
A Joe Zawinul and Wayne Shorter.
B Dave Brubeck and Lennie Tristano.
C Charlie Parker and Thelonious Monk.
D John Coltrane and Ornette Coleman.
Question #30
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.
Question #31
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.
Question #32
A Charlie Parker.
B Buddy Rich.
C Thelonious Monk.
D Dizzy Gillespie.
Question #33
A tuba.
B guitar.
C saxophone.
D cornet.
Question #34
A 6/8
B 4/4
C 2/4
D 3/4
Question #35
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.
Question #36
A generally in duple meter.
B performed at a moderate march tempo.
C a style of composed piano music.
D All answers are correct.
Question #37
A rhythm section.
B director.
C clarinet section.
D brass section.
Question #38
A a form of orchestral music.
B an outdated form of music.
C an avant-garde experiment.
D an American art form.
Question #39
A All answers are correct.
B ancient church modes.
C scales they themselves invented.
D scales borrowed from nonwestern cultures.
Question #40
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.
Question #41
A Steve Reich.
B Edgard Varèse.
C Ellen Taaffe Zwilich.
D John Cage.
Question #42
A microtones.
B tone clusters.
C white tones.
D macrotones.
Question #43
A a tone cluster.
B bitonality.
C polytonality.
D a polychord.
Question #44
A “new Classicists”.
B “new impressionists”.
C “new Expressionists”.
D “new Romantics”.
Question #45
A Steve Reich
B Philip Glass
C Terry Riley
D George Crumb
Question #46
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.
Question #47
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.
Question #48
A serialism.
B Klangfarbenmelodie.
C chance music.
D minimalism.
Question #49
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.
Question #50
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.