Quiz 6 The Twentieth Century and Beyond

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

B  natural outgrowth of the late romantic style.

C  simplification of nonwestern thought and musical styles.

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

A  Milton Babbitt.

B  Arnold Schoenberg.

C  Anton Webern.

D  Alban Berg.

A  the full orchestra.

B  a solo flute.

C  a muted trumpet.

D  a solo clarinet.

A  set.

B  tone row.

C  series.

D  All answers are correct.

A  serialism.

B  atonality.

C  Klangfarbenmelodie.

D  Sprechstimme.

A  bel canto.

B  stile rappresentativo.

C  Sprechstimme.

D  Pierrot Lunaire.

A  imagination.

B  reality.

C  morality.

D  conventional prettiness.

A  Richard Strauss.

B  Edvard Munch.

C  Debussy.

D  Charles Ives.

A  a wind ensemble.

B  vocal soloists and orchestra.

C  an enormous orchestra.

D  a small chamber group.

A  dissonance has been emancipated.

B  string players are sometimes called on to use the wood instead of the hair on their bows.

C  percussion instruments have become very prominent and numerous.

D  All answers are correct.

A  neoclassicism.

B  expressionism.

C  impressionism.

D  primitivism.

A  The Rite of Spring.

B  Agon.

C  The Fairy’s Kiss.

D  Pulcinella.

A  Sergei Diaghilev.

B  Vaclav Nijinsky.

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

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

A  have a strong sense of tonality.

B  affirm the key very noticeably.

C  use the full orchestra for massive effects.

D  sound free and almost improvisational.

A  Arnold Schoenberg.

B  Richard Wagner.

C  Claude Debussy.

D  Béla Bartók.

A  England.

B  Austria.

C  France.

D  Bohemia.

A  1922

B  1930

C  1908

D  1895

A  limited to only two chords.

B  quite simple.

C  the same as earlier popular music.

D  extremely complex.

A  the first and third beats

B  all four beats

C  the first beat

D  the second and fourth beats

A  unconventional scales, chord progressions, and rhythms.

B  All answers are correct.

C  “classical” and nonwestern instruments.

D  new electronic effects.

A  Country and western

B  Rhythm and blues

C  Gospel

D  Motown

A  atonality.

B  glissando.

C  polytonality.

D  ostinato.

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

D  a blend of rhythm and blues and popular music.

A  Swanee.

B  Embraceable You.

C  I Got Rhythm.

D  La, La, Lucille.

A  Sweeney Todd.

B  On Your Toes.

C  Cats.

D  West Side Story.

A  jazz.

B  ostinato.

C  polytonality.

D  polyrhythm.

A  All answers are correct.

B  conductor.

C  author-lecturer.

D  composer of orchestral and vocal works.

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  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  improvisational sections by the soloists.

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

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

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

A  Thelonious Monk.

B  Dizzy Gillespie.

C  Buddy Rich.

D  Charlie Parker.

A  saxophone.

B  tuba.

C  guitar.

D  cornet.

A  3/4

B  6/8

C  2/4

D  4/4

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  performed at a moderate march tempo.

B  All answers are correct.

C  generally in duple meter.

D  a style of composed piano music.

A  director.

B  clarinet section.

C  brass section.

D  rhythm 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  Ellen Taaffe Zwilich.

C  Steve Reich.

D  Edgard Varèse.

A  macrotones.

B  tone clusters.

C  white tones.

D  microtones.

A  a polychord.

B  a tone cluster.

C  polytonality.

D  bitonality.

A  “new Expressionists”.

B  “new Classicists”.

C  “new impressionists”.

D  “new Romantics”.

A  Steve Reich

B  Philip Glass

C  Terry Riley

D  George Crumb

A  a combination of four tones.

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

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

D  All answers are correct.

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

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

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

D  writes music that is considered impossible to perform.

A  Klangfarbenmelodie.

B  minimalism.

C  serialism.

D  chance music.

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  taken many new directions and changes.

B  remained relatively stable.

C  concentrated on perfecting the twelve-tone system.

D  returned to the styles of the nineteenth century.