Quiz 6 The Twentieth Century and Beyond

A  simplification of nonwestern thought and musical styles.

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

C  natural outgrowth of the late romantic style.

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

A  Milton Babbitt.

B  Arnold Schoenberg.

C  Alban Berg.

D  Anton Webern.

A  a muted trumpet.

B  a solo flute.

C  the full orchestra.

D  a solo clarinet.

A  tone row.

B  All answers are correct.

C  series.

D  set.

A  atonality.

B  Sprechstimme.

C  serialism.

D  Klangfarbenmelodie.

A  bel canto.

B  stile rappresentativo.

C  Pierrot Lunaire.

D  Sprechstimme.

A  conventional prettiness.

B  imagination.

C  reality.

D  morality.

A  Edvard Munch.

B  Richard Strauss.

C  Charles Ives.

D  Debussy.

A  vocal soloists and orchestra.

B  a wind ensemble.

C  a small chamber group.

D  an enormous orchestra.

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

B  dissonance has been emancipated.

C  percussion instruments have become very prominent and numerous.

D  All answers are correct.

A  impressionism.

B  primitivism.

C  neoclassicism.

D  expressionism.

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

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

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

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

A  use the full orchestra for massive effects.

B  sound free and almost improvisational.

C  affirm the key very noticeably.

D  have a strong sense of tonality.

A  Richard Wagner.

B  Arnold Schoenberg.

C  Béla Bartók.

D  Claude Debussy.

A  England.

B  Austria.

C  Bohemia.

D  France.

A  1922

B  1930

C  1895

D  1908

A  extremely complex.

B  quite simple.

C  limited to only two chords.

D  the same as earlier popular music.

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  All answers are correct.

C  “classical” and nonwestern instruments.

D  new electronic effects.

A  Rhythm and blues

B  Motown

C  Country and western

D  Gospel

A  glissando.

B  polytonality.

C  atonality.

D  ostinato.

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

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

A  La, La, Lucille.

B  Embraceable You.

C  I Got Rhythm.

D  Swanee.

A  Cats.

B  West Side Story.

C  Sweeney Todd.

D  On Your Toes.

A  polytonality.

B  polyrhythm.

C  ostinato.

D  jazz.

A  conductor.

B  All answers are correct.

C  author-lecturer.

D  composer of orchestral and vocal works.

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  All answers are correct.

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

C  used traditional jazz instrumental combinations.

D  consisted of short pieces freely improvised.

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

B  improvisational sections by the soloists.

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

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

A  Thelonious Monk.

B  Charlie Parker.

C  Buddy Rich.

D  Dizzy Gillespie.

A  cornet.

B  saxophone.

C  guitar.

D  tuba.

A  2/4

B  4/4

C  6/8

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  generally in duple meter.

B  All answers are correct.

C  performed at a moderate march tempo.

D  a style of composed piano music.

A  rhythm section.

B  clarinet section.

C  director.

D  brass section.

A  an outdated form of music.

B  an avant-garde experiment.

C  a form of orchestral music.

D  an American art form.

A  scales they themselves invented.

B  scales borrowed from nonwestern cultures.

C  ancient church modes.

D  All answers are correct.

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

B  prepared piano.

C  large symphonic orchestra and two synthesizers.

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

A  Steve Reich.

B  John Cage.

C  Ellen Taaffe Zwilich.

D  Edgard Varèse.

A  tone clusters.

B  macrotones.

C  microtones.

D  white tones.

A  polytonality.

B  bitonality.

C  a tone cluster.

D  a polychord.

A  “new Romantics”.

B  “new Classicists”.

C  “new impressionists”.

D  “new Expressionists”.

A  Philip Glass

B  George Crumb

C  Steve Reich

D  Terry Riley

A  a combination of four tones.

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

C  All answers are correct.

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

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

B  writes music that is considered impossible to perform.

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

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

A  serialism.

B  minimalism.

C  Klangfarbenmelodie.

D  chance music.

A  it was easier to write twelve-tone 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  they were bored with tonal music.

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.