Quiz 6 The Twentieth Century and Beyond

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

B  simplification of nonwestern thought and musical styles.

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

D  natural outgrowth of the late romantic style.

A  Arnold Schoenberg.

B  Milton Babbitt.

C  Alban Berg.

D  Anton Webern.

A  the full orchestra.

B  a muted trumpet.

C  a solo flute.

D  a solo clarinet.

A  set.

B  series.

C  All answers are correct.

D  tone row.

A  serialism.

B  Klangfarbenmelodie.

C  atonality.

D  Sprechstimme.

A  Pierrot Lunaire.

B  stile rappresentativo.

C  Sprechstimme.

D  bel canto.

A  imagination.

B  reality.

C  morality.

D  conventional prettiness.

A  Charles Ives.

B  Debussy.

C  Edvard Munch.

D  Richard Strauss.

A  vocal soloists and orchestra.

B  an enormous orchestra.

C  a small chamber group.

D  a wind ensemble.

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 Fairy’s Kiss.

B  Agon.

C  The Rite of Spring.

D  Pulcinella.

A  Vaclav Nijinsky.

B  Sergei Diaghilev.

C  Michel Fokine.

D  George Balanchine.

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  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  Béla Bartók.

B  Arnold Schoenberg.

C  Claude Debussy.

D  Richard Wagner.

A  Austria.

B  Bohemia.

C  France.

D  England.

A  1908

B  1922

C  1930

D  1895

A  extremely complex.

B  limited to only two chords.

C  the same as earlier popular music.

D  quite simple.

A  all four beats

B  the second and fourth beats

C  the first beat

D  the first and third beats

A  All answers are correct.

B  unconventional scales, chord progressions, and rhythms.

C  new electronic effects.

D  “classical” and nonwestern instruments.

A  Motown

B  Gospel

C  Country and western

D  Rhythm and blues

A  atonality.

B  glissando.

C  ostinato.

D  polytonality.

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

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

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

D  a blend of rhythm and blues and popular music.

A  Embraceable You.

B  Swanee.

C  I Got Rhythm.

D  La, La, Lucille.

A  Sweeney Todd.

B  West Side Story.

C  On Your Toes.

D  Cats.

A  polytonality.

B  jazz.

C  polyrhythm.

D  ostinato.

A  All answers are correct.

B  composer of orchestral and vocal works.

C  author-lecturer.

D  conductor.

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

B  used traditional jazz instrumental combinations.

C  consisted of short pieces freely improvised.

D  All answers are correct.

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

B  improvisational sections by the soloists.

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

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

A  Dizzy Gillespie.

B  Charlie Parker.

C  Thelonious Monk.

D  Buddy Rich.

A  tuba.

B  guitar.

C  saxophone.

D  cornet.

A  2/4

B  6/8

C  4/4

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  performed at a moderate march tempo.

C  a style of composed piano music.

D  All answers are correct.

A  clarinet section.

B  director.

C  rhythm section.

D  brass section.

A  an avant-garde experiment.

B  an outdated form of music.

C  a form of orchestral music.

D  an American art form.

A  ancient church modes.

B  scales borrowed from nonwestern cultures.

C  All answers are correct.

D  scales they themselves invented.

A  prepared piano.

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

C  large symphonic orchestra and two synthesizers.

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

A  Steve Reich.

B  Ellen Taaffe Zwilich.

C  John Cage.

D  Edgard Varèse.

A  tone clusters.

B  macrotones.

C  microtones.

D  white tones.

A  bitonality.

B  a polychord.

C  polytonality.

D  a tone cluster.

A  “new impressionists”.

B  “new Romantics”.

C  “new Expressionists”.

D  “new Classicists”.

A  Terry Riley

B  George Crumb

C  Steve Reich

D  Philip Glass

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  a combination of four tones.

D  All answers are correct.

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

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

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

D  writes music that is considered impossible to perform.

A  minimalism.

B  chance music.

C  serialism.

D  Klangfarbenmelodie.

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.

A  concentrated on perfecting the twelve-tone system.

B  remained relatively stable.

C  returned to the styles of the nineteenth century.

D  taken many new directions and changes.