Quiz 6 The Twentieth Century and Beyond

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

B  natural outgrowth of the late romantic style.

C  simplification of nonwestern thought and musical styles.

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

A  Alban Berg.

B  Milton Babbitt.

C  Arnold Schoenberg.

D  Anton Webern.

A  a solo clarinet.

B  a solo flute.

C  a muted trumpet.

D  the full orchestra.

A  set.

B  series.

C  All answers are correct.

D  tone row.

A  atonality.

B  Klangfarbenmelodie.

C  Sprechstimme.

D  serialism.

A  Pierrot Lunaire.

B  stile rappresentativo.

C  bel canto.

D  Sprechstimme.

A  imagination.

B  morality.

C  reality.

D  conventional prettiness.

A  Edvard Munch.

B  Richard Strauss.

C  Charles Ives.

D  Debussy.

A  a wind ensemble.

B  a small chamber group.

C  vocal soloists and orchestra.

D  an enormous orchestra.

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

B  percussion instruments have become very prominent and numerous.

C  dissonance has been emancipated.

D  All answers are correct.

A  expressionism.

B  neoclassicism.

C  impressionism.

D  primitivism.

A  The Rite of Spring.

B  Agon.

C  The Fairy’s Kiss.

D  Pulcinella.

A  Sergei Diaghilev.

B  George Balanchine.

C  Vaclav Nijinsky.

D  Michel Fokine.

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

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

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

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

A  affirm the key very noticeably.

B  have a strong sense of tonality.

C  sound free and almost improvisational.

D  use the full orchestra for massive effects.

A  Claude Debussy.

B  Béla Bartók.

C  Arnold Schoenberg.

D  Richard Wagner.

A  England.

B  Bohemia.

C  France.

D  Austria.

A  1895

B  1922

C  1908

D  1930

A  quite simple.

B  limited to only two chords.

C  extremely complex.

D  the same as earlier popular music.

A  all four beats

B  the first beat

C  the first and third beats

D  the second and fourth beats

A  “classical” and nonwestern instruments.

B  new electronic effects.

C  unconventional scales, chord progressions, and rhythms.

D  All answers are correct.

A  Gospel

B  Rhythm and blues

C  Country and western

D  Motown

A  ostinato.

B  atonality.

C  polytonality.

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  Sweeney Todd.

B  Cats.

C  On Your Toes.

D  West Side Story.

A  ostinato.

B  jazz.

C  polytonality.

D  polyrhythm.

A  conductor.

B  author-lecturer.

C  composer of orchestral and vocal works.

D  All answers are correct.

A  Dave Brubeck and Lennie Tristano.

B  John Coltrane and Ornette Coleman.

C  Joe Zawinul and Wayne Shorter.

D  Charlie Parker and Thelonious Monk.

A  used traditional jazz instrumental combinations.

B  All answers are correct.

C  consisted of short pieces freely improvised.

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

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

B  improvisational sections by the soloists.

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

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

A  Thelonious Monk.

B  Buddy Rich.

C  Dizzy Gillespie.

D  Charlie Parker.

A  saxophone.

B  tuba.

C  cornet.

D  guitar.

A  6/8

B  3/4

C  2/4

D  4/4

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

B  can be happy or sad, fast or slow.

C  may be vocal or instrumental.

D  All answers are correct.

A  a style of composed piano music.

B  All answers are correct.

C  performed at a moderate march tempo.

D  generally in duple meter.

A  rhythm section.

B  director.

C  brass section.

D  clarinet section.

A  an outdated form of music.

B  an American art form.

C  an avant-garde experiment.

D  a form of orchestral music.

A  All answers are correct.

B  scales borrowed from nonwestern cultures.

C  ancient church modes.

D  scales they themselves invented.

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

B  large symphonic orchestra and two synthesizers.

C  prepared piano.

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

A  Ellen Taaffe Zwilich.

B  John Cage.

C  Edgard Varèse.

D  Steve Reich.

A  white tones.

B  tone clusters.

C  macrotones.

D  microtones.

A  polytonality.

B  bitonality.

C  a polychord.

D  a tone cluster.

A  “new Romantics”.

B  “new Expressionists”.

C  “new Classicists”.

D  “new impressionists”.

A  Terry Riley

B  Philip Glass

C  George Crumb

D  Steve Reich

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

B  All answers are correct.

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

D  a combination of four tones.

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.

A  chance music.

B  Klangfarbenmelodie.

C  serialism.

D  minimalism.

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  taken many new directions and changes.

B  returned to the styles of the nineteenth century.

C  concentrated on perfecting the twelve-tone system.

D  remained relatively stable.