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  natural outgrowth of the late romantic style.

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

A  Milton Babbitt.

B  Arnold Schoenberg.

C  Alban Berg.

D  Anton Webern.

A  a solo flute.

B  a muted trumpet.

C  the full orchestra.

D  a solo clarinet.

A  tone row.

B  series.

C  All answers are correct.

D  set.

A  atonality.

B  Klangfarbenmelodie.

C  serialism.

D  Sprechstimme.

A  Sprechstimme.

B  Pierrot Lunaire.

C  bel canto.

D  stile rappresentativo.

A  conventional prettiness.

B  morality.

C  imagination.

D  reality.

A  Charles Ives.

B  Richard Strauss.

C  Debussy.

D  Edvard Munch.

A  vocal soloists and orchestra.

B  a small chamber group.

C  an enormous orchestra.

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  primitivism.

B  expressionism.

C  impressionism.

D  neoclassicism.

A  The Rite of Spring.

B  The Fairy’s Kiss.

C  Pulcinella.

D  Agon.

A  George Balanchine.

B  Michel Fokine.

C  Sergei Diaghilev.

D  Vaclav Nijinsky.

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

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

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  have a strong sense of tonality.

B  use the full orchestra for massive effects.

C  affirm the key very noticeably.

D  sound free and almost improvisational.

A  Richard Wagner.

B  Claude Debussy.

C  Arnold Schoenberg.

D  Béla Bartók.

A  France.

B  Bohemia.

C  Austria.

D  England.

A  1908

B  1895

C  1922

D  1930

A  limited to only two chords.

B  extremely complex.

C  the same as earlier popular music.

D  quite simple.

A  the second and fourth beats

B  the first beat

C  all four beats

D  the first and third beats

A  All answers are correct.

B  “classical” and nonwestern instruments.

C  unconventional scales, chord progressions, and rhythms.

D  new electronic effects.

A  Motown

B  Gospel

C  Country and western

D  Rhythm and blues

A  polytonality.

B  glissando.

C  ostinato.

D  atonality.

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  Embraceable You.

C  I Got Rhythm.

D  La, La, Lucille.

A  Sweeney Todd.

B  On Your Toes.

C  West Side Story.

D  Cats.

A  polytonality.

B  jazz.

C  polyrhythm.

D  ostinato.

A  All answers are correct.

B  author-lecturer.

C  composer of orchestral and vocal works.

D  conductor.

A  Charlie Parker and Thelonious Monk.

B  John Coltrane and Ornette Coleman.

C  Joe Zawinul and Wayne Shorter.

D  Dave Brubeck and Lennie Tristano.

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

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  improvisational sections by the soloists.

A  Thelonious Monk.

B  Dizzy Gillespie.

C  Charlie Parker.

D  Buddy Rich.

A  cornet.

B  saxophone.

C  tuba.

D  guitar.

A  3/4

B  4/4

C  2/4

D  6/8

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

B  can be happy or sad, fast or slow.

C  may be vocal or instrumental.

D  All answers are correct.

A  a style of composed piano music.

B  performed at a moderate march tempo.

C  generally in duple meter.

D  All answers are correct.

A  brass section.

B  clarinet section.

C  director.

D  rhythm section.

A  an outdated form of music.

B  a form of orchestral music.

C  an avant-garde experiment.

D  an American art form.

A  All answers are correct.

B  scales borrowed from nonwestern cultures.

C  scales they themselves invented.

D  ancient church modes.

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  Steve Reich.

B  Ellen Taaffe Zwilich.

C  Edgard Varèse.

D  John Cage.

A  white tones.

B  tone clusters.

C  microtones.

D  macrotones.

A  a tone cluster.

B  a polychord.

C  polytonality.

D  bitonality.

A  “new Romantics”.

B  “new Expressionists”.

C  “new impressionists”.

D  “new Classicists”.

A  Steve Reich

B  George Crumb

C  Philip Glass

D  Terry Riley

A  a combination of four tones.

B  All answers are correct.

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

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

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

B  writes music that is considered impossible to perform.

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

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

A  chance music.

B  minimalism.

C  Klangfarbenmelodie.

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  concentrated on perfecting the twelve-tone system.

B  returned to the styles of the nineteenth century.

C  taken many new directions and changes.

D  remained relatively stable.