Quiz 6 The Twentieth Century and Beyond

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

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

C  simplification of nonwestern thought and musical styles.

D  natural outgrowth of the late romantic style.

A  Alban Berg.

B  Milton Babbitt.

C  Anton Webern.

D  Arnold Schoenberg.

A  a solo clarinet.

B  a muted trumpet.

C  a solo flute.

D  the full orchestra.

A  set.

B  series.

C  tone row.

D  All answers are correct.

A  Sprechstimme.

B  Klangfarbenmelodie.

C  serialism.

D  atonality.

A  Pierrot Lunaire.

B  bel canto.

C  Sprechstimme.

D  stile rappresentativo.

A  imagination.

B  reality.

C  morality.

D  conventional prettiness.

A  Charles Ives.

B  Richard Strauss.

C  Debussy.

D  Edvard Munch.

A  a wind ensemble.

B  an enormous orchestra.

C  vocal soloists and orchestra.

D  a small chamber group.

A  All answers are correct.

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  dissonance has been emancipated.

A  primitivism.

B  expressionism.

C  impressionism.

D  neoclassicism.

A  Agon.

B  Pulcinella.

C  The Fairy’s Kiss.

D  The Rite of Spring.

A  Vaclav Nijinsky.

B  Sergei Diaghilev.

C  George Balanchine.

D  Michel Fokine.

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

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

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

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

A  sound free and almost improvisational.

B  have a strong sense of tonality.

C  affirm the key very noticeably.

D  use the full orchestra for massive effects.

A  Richard Wagner.

B  Claude Debussy.

C  Béla Bartók.

D  Arnold Schoenberg.

A  Austria.

B  France.

C  England.

D  Bohemia.

A  1930

B  1922

C  1908

D  1895

A  extremely complex.

B  quite simple.

C  limited to only two chords.

D  the same as earlier popular music.

A  the first and third beats

B  the first beat

C  the second and fourth beats

D  all four beats

A  new electronic effects.

B  All answers are correct.

C  unconventional scales, chord progressions, and rhythms.

D  “classical” and nonwestern instruments.

A  Rhythm and blues

B  Country and western

C  Motown

D  Gospel

A  glissando.

B  ostinato.

C  atonality.

D  polytonality.

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

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

C  a blend of rhythm and blues and popular music.

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

A  Swanee.

B  I Got Rhythm.

C  Embraceable You.

D  La, La, Lucille.

A  Sweeney Todd.

B  Cats.

C  West Side Story.

D  On Your Toes.

A  polyrhythm.

B  jazz.

C  ostinato.

D  polytonality.

A  conductor.

B  composer of orchestral and vocal works.

C  author-lecturer.

D  All answers are correct.

A  Charlie Parker and Thelonious Monk.

B  Joe Zawinul and Wayne Shorter.

C  Dave Brubeck and Lennie Tristano.

D  John Coltrane and Ornette Coleman.

A  consisted of short pieces freely improvised.

B  All answers are correct.

C  used traditional jazz instrumental combinations.

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

C  improvisational sections by the soloists.

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

A  Thelonious Monk.

B  Buddy Rich.

C  Dizzy Gillespie.

D  Charlie Parker.

A  saxophone.

B  cornet.

C  guitar.

D  tuba.

A  6/8

B  3/4

C  4/4

D  2/4

A  All answers are correct.

B  may be vocal or instrumental.

C  can be happy or sad, fast or slow.

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

A  generally in duple meter.

B  a style of composed piano music.

C  All answers are correct.

D  performed at a moderate march tempo.

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  All answers are correct.

B  ancient church modes.

C  scales they themselves invented.

D  scales borrowed from nonwestern cultures.

A  prepared piano.

B  large symphonic orchestra and two synthesizers.

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

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

A  John Cage.

B  Ellen Taaffe Zwilich.

C  Edgard Varèse.

D  Steve Reich.

A  microtones.

B  macrotones.

C  tone clusters.

D  white tones.

A  a tone cluster.

B  a polychord.

C  bitonality.

D  polytonality.

A  “new impressionists”.

B  “new Expressionists”.

C  “new Classicists”.

D  “new Romantics”.

A  Terry Riley

B  Philip Glass

C  George Crumb

D  Steve Reich

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

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

C  All answers are correct.

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  serialism.

B  Klangfarbenmelodie.

C  chance music.

D  minimalism.

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  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.