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  Arnold Schoenberg.

C  Milton Babbitt.

D  Anton Webern.

A  the full orchestra.

B  a solo flute.

C  a muted trumpet.

D  a solo clarinet.

A  All answers are correct.

B  tone row.

C  set.

D  series.

A  serialism.

B  atonality.

C  Klangfarbenmelodie.

D  Sprechstimme.

A  stile rappresentativo.

B  bel canto.

C  Sprechstimme.

D  Pierrot Lunaire.

A  imagination.

B  conventional prettiness.

C  morality.

D  reality.

A  Edvard Munch.

B  Charles Ives.

C  Richard Strauss.

D  Debussy.

A  a wind ensemble.

B  an enormous orchestra.

C  vocal soloists and orchestra.

D  a small chamber group.

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  neoclassicism.

B  impressionism.

C  expressionism.

D  primitivism.

A  Agon.

B  The Rite of Spring.

C  The Fairy’s Kiss.

D  Pulcinella.

A  Sergei Diaghilev.

B  Michel Fokine.

C  Vaclav Nijinsky.

D  George Balanchine.

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

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

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  Richard Wagner.

C  Arnold Schoenberg.

D  Béla Bartók.

A  France.

B  Austria.

C  Bohemia.

D  England.

A  1922

B  1895

C  1930

D  1908

A  extremely complex.

B  the same as earlier popular music.

C  quite simple.

D  limited to only two chords.

A  the first and third beats

B  the second and fourth beats

C  all four beats

D  the first beat

A  unconventional scales, chord progressions, and rhythms.

B  new electronic effects.

C  All answers are correct.

D  “classical” and nonwestern instruments.

A  Country and western

B  Gospel

C  Motown

D  Rhythm and blues

A  atonality.

B  ostinato.

C  polytonality.

D  glissando.

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

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

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  La, La, Lucille.

B  Embraceable You.

C  Swanee.

D  I Got Rhythm.

A  West Side Story.

B  On Your Toes.

C  Sweeney Todd.

D  Cats.

A  jazz.

B  polyrhythm.

C  polytonality.

D  ostinato.

A  conductor.

B  author-lecturer.

C  All answers are correct.

D  composer of orchestral and vocal works.

A  Dave Brubeck and Lennie Tristano.

B  Charlie Parker and Thelonious Monk.

C  John Coltrane and Ornette Coleman.

D  Joe Zawinul and Wayne Shorter.

A  consisted of short pieces freely improvised.

B  All answers are correct.

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

D  used traditional jazz instrumental combinations.

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

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

C  improvisational sections by the soloists.

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

A  Buddy Rich.

B  Dizzy Gillespie.

C  Thelonious Monk.

D  Charlie Parker.

A  saxophone.

B  tuba.

C  cornet.

D  guitar.

A  3/4

B  6/8

C  4/4

D  2/4

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  a style of composed piano music.

B  All answers are correct.

C  generally in duple meter.

D  performed at a moderate march tempo.

A  director.

B  brass section.

C  rhythm section.

D  clarinet section.

A  an outdated form of music.

B  an American art form.

C  a form of orchestral music.

D  an avant-garde experiment.

A  All answers are correct.

B  ancient church modes.

C  scales borrowed from nonwestern cultures.

D  scales they themselves invented.

A  prepared piano.

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

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

D  large symphonic orchestra and two synthesizers.

A  John Cage.

B  Steve Reich.

C  Ellen Taaffe Zwilich.

D  Edgard Varèse.

A  macrotones.

B  tone clusters.

C  white tones.

D  microtones.

A  bitonality.

B  a polychord.

C  polytonality.

D  a tone cluster.

A  “new Classicists”.

B  “new Romantics”.

C  “new Expressionists”.

D  “new impressionists”.

A  Steve Reich

B  Philip Glass

C  Terry Riley

D  George Crumb

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

B  All answers are correct.

C  a combination of four tones.

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

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

A  serialism.

B  minimalism.

C  Klangfarbenmelodie.

D  chance music.

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

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

C  it was easier to write twelve-tone music.

D  they were bored with tonal 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.