Quiz 6 The Twentieth Century and Beyond

A  natural outgrowth of the late romantic style.

B  simplification of nonwestern thought and musical styles.

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

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  the full orchestra.

D  a muted trumpet.

A  series.

B  All answers are correct.

C  tone row.

D  set.

A  Sprechstimme.

B  Klangfarbenmelodie.

C  serialism.

D  atonality.

A  stile rappresentativo.

B  bel canto.

C  Pierrot Lunaire.

D  Sprechstimme.

A  imagination.

B  reality.

C  conventional prettiness.

D  morality.

A  Edvard Munch.

B  Debussy.

C  Richard Strauss.

D  Charles Ives.

A  a small chamber group.

B  vocal soloists and orchestra.

C  a wind ensemble.

D  an enormous orchestra.

A  percussion instruments have become very prominent and numerous.

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

C  All answers are correct.

D  dissonance has been emancipated.

A  primitivism.

B  neoclassicism.

C  expressionism.

D  impressionism.

A  The Fairy’s Kiss.

B  The Rite of Spring.

C  Pulcinella.

D  Agon.

A  Michel Fokine.

B  George Balanchine.

C  Sergei Diaghilev.

D  Vaclav Nijinsky.

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

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

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

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

A  have a strong sense of tonality.

B  sound free and almost improvisational.

C  affirm the key very noticeably.

D  use the full orchestra for massive effects.

A  Arnold Schoenberg.

B  Béla Bartók.

C  Richard Wagner.

D  Claude Debussy.

A  Bohemia.

B  Austria.

C  France.

D  England.

A  1895

B  1922

C  1908

D  1930

A  the same as earlier popular music.

B  quite simple.

C  limited to only two chords.

D  extremely complex.

A  the first and third beats

B  the first beat

C  the second and fourth beats

D  all four beats

A  “classical” and nonwestern instruments.

B  new electronic effects.

C  unconventional scales, chord progressions, and rhythms.

D  All answers are correct.

A  Motown

B  Rhythm and blues

C  Country and western

D  Gospel

A  ostinato.

B  glissando.

C  polytonality.

D  atonality.

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.

A  I Got Rhythm.

B  La, La, Lucille.

C  Swanee.

D  Embraceable You.

A  On Your Toes.

B  Sweeney Todd.

C  Cats.

D  West Side Story.

A  jazz.

B  ostinato.

C  polytonality.

D  polyrhythm.

A  conductor.

B  composer of orchestral and vocal works.

C  All answers are correct.

D  author-lecturer.

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  used traditional jazz instrumental combinations.

B  consisted of short pieces freely improvised.

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

D  All answers are correct.

A  improvisational sections by the soloists.

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

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

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

A  Buddy Rich.

B  Thelonious Monk.

C  Dizzy Gillespie.

D  Charlie Parker.

A  tuba.

B  guitar.

C  saxophone.

D  cornet.

A  3/4

B  6/8

C  2/4

D  4/4

A  All answers are correct.

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

C  may be vocal or instrumental.

D  can be happy or sad, fast or slow.

A  All answers are correct.

B  a style of composed piano music.

C  generally in duple meter.

D  performed at a moderate march tempo.

A  director.

B  rhythm section.

C  brass section.

D  clarinet section.

A  an avant-garde experiment.

B  an outdated form of music.

C  an American art form.

D  a form of orchestral music.

A  All answers are correct.

B  ancient church modes.

C  scales borrowed from nonwestern cultures.

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

D  prepared piano.

A  Steve Reich.

B  Edgard Varèse.

C  John Cage.

D  Ellen Taaffe Zwilich.

A  tone clusters.

B  macrotones.

C  microtones.

D  white tones.

A  bitonality.

B  a polychord.

C  a tone cluster.

D  polytonality.

A  “new impressionists”.

B  “new Classicists”.

C  “new Romantics”.

D  “new Expressionists”.

A  Steve Reich

B  George Crumb

C  Philip Glass

D  Terry Riley

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

B  a combination of four tones.

C  All answers are correct.

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

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  minimalism.

D  serialism.

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

B  it was easier to write twelve-tone music.

C  they were bored with tonal music.

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

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.