Quiz 6 The Twentieth Century and Beyond

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

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

C  natural outgrowth of the late romantic style.

D  simplification of nonwestern thought and musical styles.

A  Alban Berg.

B  Arnold Schoenberg.

C  Anton Webern.

D  Milton Babbitt.

A  a solo flute.

B  the full orchestra.

C  a solo clarinet.

D  a muted trumpet.

A  set.

B  tone row.

C  All answers are correct.

D  series.

A  serialism.

B  Sprechstimme.

C  Klangfarbenmelodie.

D  atonality.

A  Pierrot Lunaire.

B  bel canto.

C  stile rappresentativo.

D  Sprechstimme.

A  reality.

B  imagination.

C  morality.

D  conventional prettiness.

A  Richard Strauss.

B  Charles Ives.

C  Debussy.

D  Edvard Munch.

A  an enormous orchestra.

B  vocal soloists and 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  dissonance has been emancipated.

C  All answers are correct.

D  percussion instruments have become very prominent and numerous.

A  expressionism.

B  neoclassicism.

C  impressionism.

D  primitivism.

A  The Fairy’s Kiss.

B  Agon.

C  The Rite of Spring.

D  Pulcinella.

A  George Balanchine.

B  Vaclav Nijinsky.

C  Sergei Diaghilev.

D  Michel Fokine.

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

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

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

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

A  use the full orchestra for massive effects.

B  have a strong sense of tonality.

C  affirm the key very noticeably.

D  sound free and almost improvisational.

A  Claude Debussy.

B  Béla Bartók.

C  Richard Wagner.

D  Arnold Schoenberg.

A  Bohemia.

B  France.

C  Austria.

D  England.

A  1895

B  1908

C  1930

D  1922

A  quite simple.

B  limited to only two chords.

C  the same as earlier popular music.

D  extremely complex.

A  the first beat

B  the second and fourth beats

C  the first and third beats

D  all four beats

A  new electronic effects.

B  unconventional scales, chord progressions, and rhythms.

C  “classical” and nonwestern instruments.

D  All answers are correct.

A  Gospel

B  Rhythm and blues

C  Country and western

D  Motown

A  atonality.

B  ostinato.

C  polytonality.

D  glissando.

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

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

C  a blend of rhythm and blues and popular music.

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

A  La, La, Lucille.

B  Swanee.

C  Embraceable You.

D  I Got Rhythm.

A  West Side Story.

B  On Your Toes.

C  Cats.

D  Sweeney Todd.

A  polytonality.

B  jazz.

C  polyrhythm.

D  ostinato.

A  conductor.

B  All answers are correct.

C  composer of orchestral and vocal works.

D  author-lecturer.

A  Joe Zawinul and Wayne Shorter.

B  Charlie Parker and Thelonious Monk.

C  John Coltrane and Ornette Coleman.

D  Dave Brubeck and Lennie Tristano.

A  All answers are correct.

B  used traditional jazz instrumental combinations.

C  consisted of short pieces freely improvised.

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

A  improvisational sections by the soloists.

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

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

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  cornet.

B  saxophone.

C  tuba.

D  guitar.

A  4/4

B  2/4

C  3/4

D  6/8

A  may be vocal or instrumental.

B  can be happy or sad, fast or slow.

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

D  All answers are correct.

A  a style of composed piano music.

B  generally in duple meter.

C  All answers are correct.

D  performed at a moderate march tempo.

A  director.

B  rhythm section.

C  brass section.

D  clarinet section.

A  a form of orchestral music.

B  an American art form.

C  an outdated form of music.

D  an avant-garde experiment.

A  scales borrowed from nonwestern cultures.

B  All answers are correct.

C  ancient church modes.

D  scales they themselves invented.

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

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

C  large symphonic orchestra and two synthesizers.

D  prepared piano.

A  Edgard Varèse.

B  Ellen Taaffe Zwilich.

C  John Cage.

D  Steve Reich.

A  macrotones.

B  microtones.

C  tone clusters.

D  white tones.

A  bitonality.

B  a tone cluster.

C  a polychord.

D  polytonality.

A  “new impressionists”.

B  “new Expressionists”.

C  “new Classicists”.

D  “new Romantics”.

A  Terry Riley

B  Philip Glass

C  Steve Reich

D  George Crumb

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

B  All answers are correct.

C  a combination of four tones.

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

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

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

C  writes music that is considered impossible to perform.

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

A  chance music.

B  serialism.

C  Klangfarbenmelodie.

D  minimalism.

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 were bored with tonal music.

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

A  returned to the styles of the nineteenth century.

B  taken many new directions and changes.

C  concentrated on perfecting the twelve-tone system.

D  remained relatively stable.