Quiz 6 The Twentieth Century and Beyond

A  natural outgrowth of the late romantic style.

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

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

D  simplification of nonwestern thought and musical styles.

A  Arnold Schoenberg.

B  Anton Webern.

C  Milton Babbitt.

D  Alban Berg.

A  a solo clarinet.

B  a muted trumpet.

C  a solo flute.

D  the full orchestra.

A  set.

B  tone row.

C  series.

D  All answers are correct.

A  atonality.

B  serialism.

C  Sprechstimme.

D  Klangfarbenmelodie.

A  bel canto.

B  Sprechstimme.

C  Pierrot Lunaire.

D  stile rappresentativo.

A  reality.

B  conventional prettiness.

C  imagination.

D  morality.

A  Edvard Munch.

B  Charles Ives.

C  Debussy.

D  Richard Strauss.

A  vocal soloists and orchestra.

B  an enormous orchestra.

C  a wind ensemble.

D  a small chamber group.

A  dissonance has been emancipated.

B  percussion instruments have become very prominent and numerous.

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

D  All answers are correct.

A  primitivism.

B  expressionism.

C  impressionism.

D  neoclassicism.

A  Agon.

B  Pulcinella.

C  The Rite of Spring.

D  The Fairy’s Kiss.

A  Vaclav Nijinsky.

B  George Balanchine.

C  Sergei Diaghilev.

D  Michel Fokine.

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  sound free and almost improvisational.

B  use the full orchestra for massive effects.

C  have a strong sense of tonality.

D  affirm the key very noticeably.

A  Richard Wagner.

B  Béla Bartók.

C  Arnold Schoenberg.

D  Claude Debussy.

A  England.

B  Bohemia.

C  France.

D  Austria.

A  1895

B  1908

C  1930

D  1922

A  limited to only two chords.

B  the same as earlier popular music.

C  extremely complex.

D  quite simple.

A  the first beat

B  the first and third beats

C  all four beats

D  the second and fourth beats

A  new electronic effects.

B  unconventional scales, chord progressions, and rhythms.

C  “classical” and nonwestern instruments.

D  All answers are correct.

A  Rhythm and blues

B  Gospel

C  Country and western

D  Motown

A  polytonality.

B  ostinato.

C  glissando.

D  atonality.

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

B  a blend of rhythm and blues and popular music.

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

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

A  La, La, Lucille.

B  Swanee.

C  I Got Rhythm.

D  Embraceable You.

A  Cats.

B  Sweeney Todd.

C  West Side Story.

D  On Your Toes.

A  polyrhythm.

B  jazz.

C  ostinato.

D  polytonality.

A  All answers are correct.

B  author-lecturer.

C  composer of orchestral and vocal works.

D  conductor.

A  Joe Zawinul and Wayne Shorter.

B  Charlie Parker and Thelonious Monk.

C  John Coltrane and Ornette Coleman.

D  Dave Brubeck and Lennie Tristano.

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

B  All answers are correct.

C  used traditional jazz instrumental combinations.

D  consisted of short pieces freely improvised.

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

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  improvisational sections by the soloists.

A  Buddy Rich.

B  Dizzy Gillespie.

C  Charlie Parker.

D  Thelonious Monk.

A  cornet.

B  saxophone.

C  tuba.

D  guitar.

A  6/8

B  3/4

C  4/4

D  2/4

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  a style of composed piano music.

B  performed at a moderate march tempo.

C  All answers are correct.

D  generally in duple meter.

A  clarinet section.

B  brass section.

C  director.

D  rhythm section.

A  an outdated form of music.

B  an avant-garde experiment.

C  an American art form.

D  a form of orchestral music.

A  scales they themselves invented.

B  All answers are correct.

C  ancient church modes.

D  scales borrowed from nonwestern cultures.

A  prepared piano.

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

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

D  large symphonic orchestra and two synthesizers.

A  John Cage.

B  Steve Reich.

C  Ellen Taaffe Zwilich.

D  Edgard Varèse.

A  macrotones.

B  tone clusters.

C  white tones.

D  microtones.

A  a tone cluster.

B  polytonality.

C  a polychord.

D  bitonality.

A  “new impressionists”.

B  “new Classicists”.

C  “new Romantics”.

D  “new Expressionists”.

A  Philip Glass

B  Steve Reich

C  George Crumb

D  Terry Riley

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

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

C  All answers are correct.

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  chance music.

C  Klangfarbenmelodie.

D  minimalism.

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

B  they were bored with tonal music.

C  it was easier to write twelve-tone music.

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

A  remained relatively stable.

B  taken many new directions and changes.

C  returned to the styles of the nineteenth century.

D  concentrated on perfecting the twelve-tone system.