Kerman Listen Test Bank 6p1f4r

Contents v

CHAPTER 1 Music, Sound, and Time

CHAPTER 13 Other Classical Genres

1

Global Perspectives 4: Musical

CHAPTER 2 Rhythm and Pitch

5

Preface

Interlude A: Musical Notation

11

CHAPTER 3 The Structures of Music

14

Interlude B: Musical Instruments

20

CHAPTER 4 Musical Form and Musical Style CHAPTER 5 The Middle Ages

Global Perspectives 1: Sacred Chant CHAPTER 6 The Renaissance

24 27 41 43

Global Perspectives 2: Music and Early European Colonialism CHAPTER 7 The Early Baroque Period

56

117

Form: Two Case Studies from Asia

124

CHAPTER Beethoven

128

14

CHAPTER 15 Prelude: Music after Beethoven: Romanticism

136

CHAPTER 16 The Early Romantics

144

CHAPTER 17 Romantic Opera

158

CHAPTER 18 The Late Romantics

168

Global Perspectives 5: Musical Drama Worldwide

177

CHAPTER 19 Prelude: Music and Modernism

180

58

CHAPTER

Ostinato Forms

71

The Twentieth Century: Early Modernism

185

CHAPTER 8 Prelude: The Late Baroque Period

73

CHAPTER 21 Alternatives to Modernism

198

CHAPTER 9 Baroque Instrumental Music

80

Global Perspectives 3:

CHAPTER 10 Baroque Vocal Music

CHAPTER 22 The Late Twentieth Century CHAPTER 23 Music in America: Jazz and Beyond

205

214

Global Perspectives 6:

CHAPTER 11 Prelude: Music and the Enlightenment CHAPTER .1 The Symphony

90

20

African Drumming 100

225

Global Perspectives 7: Global Music

227

ANSWER

229

2 107

KEY

vii

Test Bank to Accompany

SIXTH EDITION

C H A P T ER

1

Music, Sound, and Time

Multiple-Choice Questions 1.

Music, Sound, and Time, p. 7 Music is exclusively the art of: a. arranging sound vibrations into high and low pitches. b. sound in time. c. melody and rhythm. d. tone color and duration.

2.

3.

Sound Vibrations, p. 7 A healthy human ear can hear from___ to__________ cycles per second. a. 10; 20 b. 20; 20,000 c. 20; 440 d. 20; 440,000 Pitch (Frequency), p. 7 Frequency refers to:

a. b. c. d.

how often a pitch is sounded. how fast sounds are repeated or played. the loudness or quietness of a sound. the speed or rate of the vibrations.

4.

Pitch (Frequency), p. 8 Pitch is the quality of: a. highness or lowness of a sound. b. loudness or softness of a sound. c. brightness or dullness of a sound. d. the speed of travel of sound waves.

5.

Pitch (Frequency), p. 8 What determines the pitch of a sound? a. complex, unfocused vibrations b. how much force the player uses in playing an instrument c. the length of the vibrating element d. the material used in making an instrument

2

Chapter 1 Music, Sound, and Time

6. Dynamics (Amplitude), p. 8 What is amplitude? a. the level of strength of sound vibrations b. the size of a musical instrument c. how high or low a pitch is d. the relative speed of the beat or rhythm 7. Dynamics (Amplitude), p. 8 The musical term for the level of strength of a sound is: a. pitch. b. amplitude. c. duration. d. dynamics. 8. Dynamics (Amplitude), p. 8 In which language are dynamics generally described? a. German b. Italian c. English d. French 9. Dynamics (Amplitude), p. 8 Which dynamic indication is the softest? a. piano b. fortissimo c. pianissimo d. mezzo piano 10. Dynamics (Amplitude), p. 8 What is the musical term for "medium"? a. subito b. mezzo c. diminuendo d. sforzando 11. Dynamics (Amplitude), p. 8 Which of the following lists of dynamics shows a change from louder to softer? a. piano; mezzo piano; mezzo forte b. mezzo forte; forte; fortissimo c. mezzo piano; mezzo forte; forte d. mezzo forte; mezzo piano; piano 12. Dynamics (Amplitude), p. 8 What is the musical term for "suddenly"? a. mezzo b. subito C. forte d. mol to 13. Dynamics (Amplitude), p. 9 Which term indicates a gradual increase in dynamic level? 1

a. b. c. d.

diminuendo decrescendo crescendo mezzo forte

Chapter

Time

1 Music, Sound, and

3

14. Tone Color: Overtones, p. 9 What is another name for tone color? a. timbre b. rhythm c. pitch d. volume 15. Tone Color: Overtones, p. 9 Tone color is the musical term for the general quality of: a. a sound. b. a melody. c. a performance. d. rhythmic combinations. 16. Tone Color: Overtones, p. 10 What determines the tone color of a sound? a. the length of the sound-producing body b. the number and proportion of overtones and the way they vibrate together c. the loudness of the sound produced d. the pitch of the sound produced 17. Tone Color: Overtones, p. 10 Overtones, or partials, exist because sound-producing bodies: a. do not actually vibrate themselves. b. vibrate only along their entire length. c. vibrate along their entire length and in halves, quarters, eighths, and so on, simultaneously. d. do not vibrate along their entire length, but in halves, quarters, and so on. 18. Duration, p. 10 The broad term for the time aspect of music is: a. volume. b. meter. c. tempo. d. rhythm.

Essay Questions 1.

Sound Vibrations, p. 7 Briefly explain what causes sound and how it is measured.

2.

Pitch (Frequency), p. 7 Briefly explain the acoustical property of frequency and give the corresponding musical term.

3.

Dynamics (Amplitude), p. 8 Name six dynamic levels you have learned and give their abbreviations and meanings. Arrange or number them in order from softest to loudest.

4.

Dynamics (Amplitude), p. 9 Draw the symbol for gradually getting louder. To the right of that draw the symbol for gradually getting softer. Place the correct musical term below each symbol.

5.

Tone Color: Overtones, p. 9 Define timbre and briefly explain the cause of the great variety of timbres in different kinds of voices and instruments.

6.

Tone Color: Overtones, p. 10 Briefly explain overtones and their contribution to variety in the experience of music.

7.

Tone Color: Overtones, p. 9 Define tone color. Use adjectives to describe some tone colors with which you are familiar.

8.

Duration, p. 10 What is the function of rhythm in music?

C H A P T E R

2

Rhythm and Pitch Multiple-Choice Questions 1.

Rhythm, p. 11 The definition of rhythm as a general term is the: a. organization of beats by accent. b. time aspect of music. c. speed of the beat. d. relative duration of every note in a musical composition.

2.

Beat, p. 11 How is musical time measured? a. in decibels b. in cycles c. in beats d. in seconds

3.

Beat, p. 11 Which is not an example of "beating time"? a. a conductor waving a hand b. a pianist playing an intricate, syncopated rhythm c. a drum major moving a baton up and down d. a listener tapping a foot

4.

Accent, p. 12 Giving the beat an accent means: a. playing all of the beats exactly the same. b. gradually increasing the dynamic level. c. changing tone color. d. making some of the beats more emphatic than others.

5.

Accent, p. 12 An accent mark above or below a note tells the performer to: a. avoid playing that note any differently than the other notes. b. play that note a little longer than the other

notes. c. play that note more strongly than the other notes. d. change tone color on that note.

5

9

6.

Chapter 2

Rhythm and Pitch

Accent, p. 12 The musical term sforzando means: a. forced. b. loud. c. equal. d. high.

7.

Meter, p. 12 Any recurring pattern of strong and weak beats is called a(n): a. accent. b. beat. c. meter. d. sforzando.

8.

Meter, p. 12 A measure or bar is: a. the time aspect of music. b. each recurrence of a repeated pattern of a principal strong beat and one or more weaker beats. c. the length of the vibrating body. d. one beat that is emphasized more than the others in a recurring pattern of strong and weak beats.

9.

Meter, p. 12 The purpose of bar lines is to: a. show each beat. b. show accented beats. c. indicate specific arrangements of long and short notes. d. divide music into measures.

10. Meter, p. 12

Which grouping shows duple meter? a. ONE two three, ONE two three b. ONE two THREE four FIVE six, ONE two THREE four FIVE six c. ONE two, ONE two, ONE two, ONE two d. ONE two three four five, ONE two three four five

11. Meter, p. 13 Which grouping shows triple meter? a. ONE two three, ONE two three b. ONE two, ONE two, ONE two c. ONE two three four, ONE two three four d. ONE two three four five six, ONE two three four five six

12. Meter, p. 13 Which grouping shows simple meter? a. ONE two three four five six, ONE two three four five six b. ONE two three four, ONE two three four c. ONE two three four five six seven eight nine, ONE two three four

10

Rhythm and Pitch five six seven eight nine d. ONE two three four five six seven eight nine ten eleven twelve, ONE two three four five six seven eight nine ten eleven twelve

Chapter 2

5

11

Chapter 2

Rhythm and Pitch

13. Meter, p. 13 Which two meters have the most in common? a. simple duple and simple triple b, simple duple and compound duple c. simple triple and compound duple d. simple duple and compound triple 14. Rhythm and Meter, p. 13 Which term refers to the specific arrangements of long and short notes in music? a. tempo b. meter c. beat d, rhythm 15. Rhythm and Meter, p. 13 Which aspect of duration in music can be thought of as the foreground? a. beat b. meter c. rhythm d. tempo 16. Rhythm and Meter, p. 14 Which is an example of nonmetrical music? a. a Gregorian chant b. a march c. popular dance music d. Joplin's Maple Leaf Rag 17. Syncopation, p. 14 Placement of accents away from their normal stresses in the meter results in: a. nonmetrical music. b. simple triple meter. c. compound triple meter. d. syncopation. 18. Tempo, p. 15 Tempo is the term for the: a, number of beats per measure. b. arrangement of short and long notes. c. arrangement of rhythms over the meter. d. speed at which beats follow one another. 19. Tempo, p. 15 In musical notation, metronome marks indicate: a. the arrangement of rhythms over meter. b. the number of beats per measure. c. which type of note gets how many beats per minute. d. where the accented beats fall in each measure. 20. Tempo, p. 15 Which set of tempo markings is arranged in order from faster to slower?

12

Rhythm and Pitch moclerato, allegro, presto allegro, moderato, andante allegro, presto, andante largo, moderato, presto

Chapter 2

a. b. c. d.

Chapter 2

Rhythm and Pitch

21. Tempo, p. 15

Which term indicates the fastest tempo? a. vivace b. prestissimo c. allegro d. allegretto

22. Tempo, p. 15

Which term indicates the slowest tempo? a. grave b. moderato c. adagio d. larghetto

23. Tempo, p. 16

An individual movement of music is often referred to by its: a. meter. b. dynamic marking. c. rhythm. d. tempo indication.

24. Pitch,

p. 16

25. Pitch,

p. 16

A scale consists of: a. all of the sounds that exist in nature. b. all of the white keys on the piano. c. a collection of fixed pitches. d. all of the white and black keys on a piano. Scales are made up of: a. twelve pitches. b. a different number of pitches in each culture. c. no fewer than five and no more than twelve pitches, d. eight pitches.

26. Intervals (I): The Octave,

p. 16

An interval is: a. the pitch range of an instrument or voice. b. the distance or difference between two pitches. c. a segment of vibrating string on a violin, viola, cello, or bass. d. the time it takes to perform one tune.

27. Intervals (I): The Octave, p. 17 The distance between two pitches that seem to duplicate each other and blend very well together is called: a. diatonic.

14

Rhythm and Pitch a scale. an octave. chromatic.

Chapter 2

b. c. d.

Chapter 2

Rhythm and Pitch

28. Intervals (I): The Octave, p. 17

How many octaves do most voices and instruments cover? a. about one b. four to five c. three to four d. two to three

29. The Diatonic Scale, p. 18 The set of seven pitches used in Western music is called a(n): a. chromatic scale. b. octave. c. interval. d. diatonic scale.

30. The Diatonic Scale, p. 18 The country of origin for the diatonic scale is: a. England. b. . c. Greece. d. Italy.

31.

The Chromatic Scale, p. 18 The chromatic scale consists of: a. all black keys on the piano. b. all white keys on the piano. c. all white and black keys on the piano. d. any collection of pitches in an octave segment.

32.

Intervals (II): Half Steps and Whole Steps, p. 19 The chromatic scale consists of: a. half steps. b. whole steps. c. a certain combination of half steps and whole steps. d. a variable number of half steps and whole steps.

33. Intervals (II): Half Steps and Whole Steps, p. 19 Which scale is considered "symmetrical"? a. the diatonic scale b. only C major, which uses only the white keys of the piano c. the minor scale d. the chromatic scale

16

Rhythm and Pitch 34. Scales and Instruments, p. 20 Playing in tune is more difficult on the: a. guitar. b. flute. c. piano. d. violin.

Chapter 2

Chapter 2

Rhythm and Pitch

Essay Questions 1.

Rhythm, p. 11 Define the musical term rhythm in the most general sense of the word. What is meant by a reference to specific rhythms?

2.

Beat, p. 11 Write a definition of the term beat. Describe three or four ways in which the beat can be indicated visually and aurally during a performance.

3.

Accent, p. 12 Describe the effect of accents on a series of beats. Draw an accent mark above two or three words in your answer that you wish to emphasize.

4.

Accent, p. 12 What is the meaning of the term sforzando? When is it used, and what are the two possible abbreviations for this term?

5.

Meter, p. 12 Define and distinguish between beat, accent, and meter.

6.

Meter, p. 12 Define and distinguish between duple meter, triple meter, and compound meter.

7.

Rhythm and Meter, p. 13 Explain which aspect of duration in music is considered to be the background, and which the foreground, and why. Which one is simple, and which one is usually more complicated?

8.

Rhythm and Meter, p. 14 Distinguish between metrical and nonmetrical sounds in music and nature, and give several examples of each.

9.

Syncopation, p. 14 Define syncopation. With what type of music is it often associated?

10.

Tempo, p. 15 Differentiate between the relative duration of sounds and the absolute duration of sounds.

11.

Tempo, p. 15 Explain the metronome and metronome markings.

12. Tempo, p. 15 List six common tempo indications in order from slowest to fastest. Use the musical and give their English meanings.

13.

Tempo, p. 15 Give the names and meanings for four tempo having to do with a change in tempo.

14. Pitch, p. 16 Define the term scale. Explain the difference between the diatonic scale and the chromatic scale, and briefly discuss the variety of scales in other parts of the world.

Rhythm and Pitch 15. Intervals (I): The Octave, p. 16 Define interval and octave. Why do certain pitches seem to have a lot in common? Explain the "duplicating segments" that occur throughout the entire range of pitches found in nature.

18

Chapter 2

Chapter 2

Rhythm and Pitch

16.

Intervals (Ti): Whole Steps and Half Steps, p. 19 Name the two types of "steps" in Western music, and define them.

17.

Intervals (II): Whole Steps and Half Steps, p. 19 Which scale is considered "symmetrical"? Why?

18.

Scales and Instruments, p. 20 Are all instruments designed to produce exact pitches? Explain. Include a discussion of the sound-producing mechanisms of instruments you are familiar with to your answer.

19. Scales and Instruments, p. 20

What is meant by playing or singing "in tune"? Do performers always try to produce exact pitches according to the scale? Explain.

I N T E R LU D E A

Musical Notation

Multiple-Choice Questions 1. Musical Notation, p. 21 In musical notation, the vertical resents a. volume; time b. pitch; time c. time; pitch

aspect represents_____, while the horizontal aspect rep-

2.

Notes and Rests, p. 21 Which notational device shortens the rhythmic value of a note by one half? a. a dot b. a flag c. a slur d. a tie

3.

Notes and Rests, p. 21 In rhythmic notation_______ and_________ call for the same effect. a. ties; slurs b. ties; beams c. flags; beams d. dots; rests

4.

Notes and Rests, p. 21 Which notational device lengthens a note by one half? a. a slur mark between the note and another note b. a beam between the note and another note c. a flag connected to the stem d. a dot to the right of the note

5.

Ties, p. 22 The musical term for the

Rhythm and Pitch effect called for by slurs in music is: a. legato. b. staccato. c. adagio. d. sforzando. 6. Ties, p. 22 The musical term for effect called for by dots placed above or below notes is: the a. legato. b. staccato. c. adagio.

20

Chapter 2

7. Pitch Notation, p. 22 How are pitches named in music? a. in fractional ratios such as 2:1, 3:1, and so on b. with numbers and prime marks c. with beams and flags d. with letters and prime marks 8. The Staff: Ledger Lines, p. 22 In musical notation, the staff is: a. the collection of sharps or flats at the beginning of each line of music. b. the symbol at the beginning of a composition showing how beats are grouped. c. a set of five parallel lines on which notes are placed. d. the line used to connect two notes on the same line or space. 9. Sharps and Flats; Naturals, p. 23 Which symbol name indicates that a note should be raised one half step? a. sharp b. flat c. staccato d. ledger line Essay

Questions

1.

Musical Notation, p. 21 Briefly explain the vertical and horizontal aspects of music notation with regard to elements of music.

2.

Notes and Rests, p. 21 Draw and list the rhythmic values for six different notes and their corresponding rests, in order from longest to shortest.

3.

Notes and Rests, p. 21 Distinguish between beams and flags. Draw examples of notes with each to illustrate your answer.

4.

Dotted Notes and Dotted Rhythms, p. 21 What is the effect of a dot beside a note or rest?

5.

"Ties, p. 21 What is the function of

Rhythm and Pitch the tie in musical notation?

Chapter 2

6.

Ties, p. 22 Distinguish between the effect of a slur and that of dots placed above or below notes. Draw examples of each. What are the musical names for these effects?

7.

Time Signatures, p. 22 Define time signature, and explain what each part of a time signature means. Where are time signatures found in the music?

8. Clefs, p. 22 Describe the meaning, function, and placement of clefs. Draw a bass clef and a treble clef.

9.

Key Signatures, p. 23 Briefly explain key signatures and their function. How do they save time for composers? Where are they found in the music?

10.

Scores, p. 23 Define score. Explain the difference between a score and a part.

11. Scores, p.

23

Briefly describe a typical orchestral score, explaining which range of instruments is generally found at the top, and which is generally found at the bottom. Also give the location of tempo markings, instrument names,

Rhythm and Pitch clefs, and staff lines. Draw a diagram if it will assist in your answer.

Chapter 2

C H A P T E R

3

The Structures of Music Multiple-Choice Questions 1.

Melody, p. 25 An organized series of pitches, played or sung in a certain rhythm, is called a: a. melody. b. phrase. c. tune. d. sequence.

2.

Tunes, p. 25 Tunes tend to be a. long and elaborate. b. simple and easily singable. c. experienced separate from rhythm. d. complex structures.

3.

Characteristics of Tunes, p. 26 In songs, musical phrases generally coincide with: a. the meter. b. the lines of poetry. c. sequences. d. dynamic changes.

4.

Characteristics of Tunes, p. 26 A melodic pattern of pitches that is repeated at different pitch levels is called a: a. chord. b. key change. c. phrase. d. sequence.

5.

Characteristics of Tunes, p. 26 Most tunes have a high point. The musical term for this is: a. modulation. b. cadence. c. climax. d. theme.

Chapter 3 The Structures of Music

25

6. Characteristics of Tunes, p. 26 The moments at the ends of phrases where a melody pauses or stops altogether are called: a. climaxes. b. cadences. c. contrasts. d. balances. 7. Motives and Themes, p. 27 The shortest identifiable melodic idea is called a: a. half step. b. motive. c. phrase. d. tune. 8. Motives and Themes, p. 27 Motives are by definition: a. brief. b. elaborate. c. harmonic. d. parallel. 9. Motives and Themes, p. 27 Which is true of themes? a. A theme is generally heard only once, at the beginning of a work. b. A theme is longer than three phrases. c. A theme can consist of a motive. d. A theme appears only in the foreground of a work. 10. Harmony, p. 28 Groupings of several pitches sounded simultaneously are referred to as a(n): a. octaves. b. chromatic scales. c. melodies. d. chords. 11. Harmony, p. 28 When a melody is accompanied with chords, the melody is: a. dissonant. b. polyphonic. c. harmonized. d. ch.romaticized. 12. Harmony, p. 28 The nature of the chords used with a melody is called: a. harmony. b. texture.

26

Chapter 3 The c. d.

Structures of Music

melody. rhythm.

13. Consonance and Dissonance, p. 28 A chord that creates a sense of rest can be described as: a. dissonant. b. homophonic. c. imitative. d. consonant.

1.4


27

14. Consonance and Dissonance, p. 28 A chord that sounds discordant, unstable, or in need of resolution is called: a. dissonant. b. a motive. c. nonimitative. d. consonant.

15. Texture, p. 29 Musical texture is a term that refers to the: a. blend of rhythm, meter, and pulse in music. b. relationship between the pull toward or away from the tonic in harmony. c. way different tone colors are combined in a piece of music. d. blend of sounds or melodic lines occurring simultaneously in music.

16.

Texture, p. 29 Which musical element is perceived in the vertical dimension? a. rhythm b. texture c. tone color d. dynamics

17. Texture, p. 29 The three main textures of Western art music are: a. monophony, polyphony, and counterpoint. b. monophony, nonimitative polyphony, and imitative homophony. c. monophony, homophony, and polyphony. d. monophony, imitative monophony, and nonimitative polyphony.

18.

Monophony, p. 29 The texture of a single melody played without accompaniment is: a. monophony. b. homophony. c. polyphony. d. imitative counterpoint.

19.

Monophony, p. 29 When you sing in the shower, the texture is most likely to be: a. polyphonic. b. monophonic. c. imitative. d. homophonic.

20. Homophony, p. 29 Homophony occurs when: a. various musical lines are heard one after another with the

28

Chapter 3 The

Structures of Music

same melody or similar melodies. b. the melody is heard in one line and the other parts have clearly less important material that forms an accompaniment. c. all musical lines are heard simultaneously, but each has a different melody. d. all voices or parts are heard simultaneously with the same melody.


21.

Polyphony, p. 29 The texture that combines two or more individual melody lines simultaneously is: a. monophony. b. consonant. c. homophony. d. polyphony.

22.

Polyphony, p. 30 Counterpoint is closely related to: a. monophony. b. cadence. c. polyphony. d. tonality.

23. Imitation, p. 30

Imitative polyphony occurs when: a. various musical lines are heard one after another with the same melody or similar melodies. b. the main melody is heard in one line and the other parts have clearly less important material, forming an accompaniment to the melody. c. all musical lines are heard simultaneously, but each has a different melody. d. all voices or parts are heard simultaneously with the same melody.


Non-imitative polyphony occurs when: a. various musical lines are heard one after another with the same melody or similar melodies. b. the main melody is heard in one line and the other parts have clearly less important material, forming an accompaniment to the melody. c. all musical lines are heard simultaneously, but each has a different melody. d. all voices or parts are heard simultaneously with the same melody.

25.

Tonality, p. 32 The principle of organizing music around a central or "home" pitch is called: a. consonance. b. tonality. c. dissonance. d. harmony.

26.

Tonality, p. 32 Music that centers around a fundamental "home" pitch is described as:

29


30

a. b.

tonal. consonant. C. homophonic. d. imitative. 27. Tonality, p. 32 The fundamental "home" pitch a. principal harmony. b. primary mode. c. major chord. d. tonic.

in a section of music is called the:


31

28. Modality: Major and Minor, p. 33 Which mode is formed with the diatonic scale oriented around A (la)? a. major b. minor c. tonic d. chromatic

29. Modality: Major and Minor, p. 33 Which mode is formed with the diatonic scale oriented around C (do)? a. major b. minor c. tonic d. chromatic

30. Keys, p. 33

A change in key indicates a change in: a. the location of the tonic. b. half and whole steps. c. tone color. d. chords.

31.

Keys, p. 33 The number of major and minor scales that can be built on the notes of the chromatic scale is: a. seven. b. twelve. c. fourteen. d. twenty-four.

32.

Hearing the Major and Minor Modes, p. 34 Which scale degree should a listener use to determine the mode of a selection? a. fifth b. first c. third d. fourth

33. Hearing the Major and Minor Modes, p. 34 Though there are exceptions, music in minor mode can sometimes be described as_________________________________________________________________ whereas that in major mode can sometimes be described as_______________ a. happy; sad b. sad; happy c. dissonant; consonant d. monophonic; homophonic

34. Hearing Keys and Modulation, p. 35

32

Chapter 3 The

Structures of Music

Moving from one key to another in the middle of a composition is called: a. disjunct. b. dissonant. c. modulation. d. counterpoint.


33

Essay Questions 1.

Melody, p. 25 Distinguish between melody, tune, motive, and theme.

2.

Characteristics of Tunes, p. 26 Define phrase. How can the phrases of a melody be related to each other?

3.

Characteristics of Tunes, p. 26 Explain how a tune can have a climax. Describe the function of the melodic material leading up to a climax, and coming after a climax in a tune. Define and use the term cadence in your answer.

4.

Motives and Themes, p. 27 Describe the relationship between a motive and a theme and the purpose of motives in music.

5.

Motives and Themes, p. 27 Motive and theme are two distinct that describe two different kinds of melodic units in music, yet a motive can be a theme. Explain.

6.

Harmony, p. 28 Discuss how the study of harmony is different from the study of melody.

7.

Consonance and Dissonance, p. 28 Define consonance and dissonance. Describe their relationship to each other. Why is music more interesting when both are present?

8.

Texture, p. 29 Define texture. Include a discussion of the three basic types of texture in Western music.

9.

Polyphony, p. 29 Define counterpoint. Compare and contrast the counterpoint and polyphony, and describe how they are related.

10. Imitation, p. 30 Define and contrast imitative polyphony and nonimitative polyphony. Name a type of music for each. 11.. Tonality, p. 32 Define the tonality, tonal, and tonic. How are they related to one another?

12. Modality: Major and Minor, p. 32 Define modality in of do and la, and explain the main difference between the major mode and the minor mode. Refer to the diatonic scale in your answer.

13.

Keys, p. 33 Contrast key and mode.

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Chapter 3 The

Structures of Music

14.

Keys, p. 33 Define the term key. Relate key to the chromatic scale.

15.

Keys, p. 33 How many major and minor scales can be built on the chromatic scale? Why?


35

16.

Hearing Keys and Modulation, p. 35 Define modulation.

17.

Hearing the Major and Minor Modes, p. 34 In contrasting the major and minor modes, which number of the scale degrees in the scales is different? Because of this difference, which scale sounds brighter? Which sounds more subdued? Explain.

I N T E R LU D E B

Musical Instruments

Multiple-Choice Questions 1. Musical Instruments, p. 37 What is the criterion for organizing the instruments of the orchestra in their present families? a. method of production of sound vibrations b. range of pitches possible c. capacity for dynamic contrasts d. tone color 2. Stringed Instruments, p. 37 What do all stringed instruments have in common? a. range of pitches possible b. the size of the instrument c. sound produced by taut strings attached to a sound box d. location in the orchestra 3. Stringed Instruments, p. 37 Plucking the string of a stringed instrument is called: a. legato. b. pizzicato. c. counterpoint. d. violoncello. 4. Stringed Instruments, p. 37 Which shows the correct order from lowest range to highest range in the violin family? a. double bass, viola, cello, violin b. double bass, cello, viola, violin c. violin, viola, cello, double bass d. double bass, violin, viola, cello 5. Stringed Instruments, p. 38 Can an orchestral harp play all the notes in the chromatic scale? Why or why not? a. Yes. A pedal mechanism changes string tension, allowing all twelve notes in the chromatic scale to be played individually.

36

Chapter 3 The Structures of Music b. Yes. A harp has all of the necessary strings: one for each note of the chromatic scale over many octaves. c. No. A harp cannot play all twelve notes of the chromatic scale, because it has only enough strings to play in certain keys. d. Yes. Since pitch is determined by hand placement on the string while playing, all pitches are possible, as on any other stringed instrument.


6.

7.

37

Woodwind Instruments, p. 38 What do all woodwind instruments have in common? a. They are currently all made of wood. b. All woodwinds use a reed of some sort as the vibrating sound producer. c. They all have the same kind of mouthpiece through which air is blown. d. They all set up vibrations in a column of air in a tube. Woodwind Instruments, p. 39 Which list names woodwind instruments that have approximately the same pitch range? a. flute, oboe, trumpet b. flute, oboe, clarinet c. clarinet, oboe, French horn d. flute, violin, oboe

8.

Woodwind Instruments, p. 39 Which list names the flute family in order from highest pitch range to lowest pitch range? a. bass flute, alto flute, flute, piccolo b. flute, piccolo, alto flute, bass flute c. piccolo, flute, alto flute, bass flute d. flute, piccolo, bass flute, recorder

9.

Woodwind Instruments, p. 39 Sound is produced on a clarinet by: a. blowing on a reed. b. pushing fingers on the keys. c. blowing across a hole in the mouthpiece. d. plucking a string.

10. Woodwind Instruments, p. 40

The bassoon has a comparable range to which of the following instruments? a. viola b. oboe c. cello d. French horn

11. Woodwind Instruments, p. 40 The saxophone's tone color is similar to that of the: a. flute. b. bassoon. c. clarinet. d. oboe.

38

Chapter 3 The

Structures of Music

12. Brass Instruments, p. 41

How is sound produced on brass instruments? a. The player blows through a hole in the side of the cylinder. b. A single reed vibrates when air is blown through the small cup-shaped mouthpiece. c. A double reed vibrates as air is blown through it. d. The player's lips vibrate as air is blown between them into the small cup-shaped mouth-piece.


39

13. Brass Instruments, p. 41

Which lists the brass family in order from the lowest range to the highest range? a. trumpet, French horn, trombone, tuba b, tuba, trombone, French horn, trumpet c. tuba, trumpet, trombone, French horn d. French horn, tuba, trombone, trumpet

14.

Brass Instruments, p. 41 Which is a brass instrument? a. oboe b. English horn c. bugle d. bassoon

15. Percussion Instruments, p. 42 Which of these instruments is capable of playing melodies? a. triangle b. xylophone c. tam-tam d. cymbals

16. Keyboard Instruments, p. 45

How is the piano different from the harpsichord? a. Piano strings are plucked, whereas harpsichord strings are struck by hammers. b. The piano can be played only rather quietly, but the harpsichord has a wide dynamic range. c. Piano strings are struck by hammers, whereas harpsichord strings are plucked. d. The piano has a tuned set of strings activated at the keyboard, whereas harpsichord strings are plucked directly by the performer.

17. Keyboard Instruments, p. limited in their______ 45 Unlike pianos, capability. harpsichords are a. rhythmic b. harmonic c. melodic d. dynamic 18. Keyboard Instruments, p. 46 Which keyboard instrument is known as "the king of instruments"? a. clavichord b. piano c. organ d. harpsichord

Chapter 3 The Essay Questions 40

Structures of Music

1.

Musical Instruments, p. 37 List the four basic groups of instruments found in a modern symphony orchestra.

2.

Stringed Instruments, p. 37 Name and describe the four of the orchestral family of bowed instruments.


3. Stringed Instruments,

p. 38 Can the harp play all the notes in the chromatic scale? If so, how, and if not, why not?

4.

Woodwind Instruments, p. 39 Name the five families of woodwind instruments. List two of each family in order from higher range to lower range.

5.

Woodwind Instruments, p. 39 Compare and contrast the transverse flute and the recorder; tell which came first in development and why one is used more frequently in orchestras today.

6. Woodwind Instruments, p. 40 Describe the

difference between oboe reeds and clarinet reeds.

7. Brass Instruments, p. 41 Name and

describe four of the brass family.

8.

Percussion Instruments, p. 42 Describe the two categories of percussion instruments and list three examples from each category.

9.

Keyboard Instruments, p. 45 Name four keyboard instruments. Then compare and contrast the four instruments you have named.

10. Plucked Stringed Instruments, p. 47 Name four instruments that are plucked by hand. Tell which are

41

usually associated with popular music and which with Western European art music.

24

C H A P T E R

4

Musical Form and Musical Style Multiple-Choice Questions 1. Musical Form and Musical Style, p. 48 The arrangement, relationship, or organization of elements a. tone.

in music is called:

2. Form and Forms, p. 49 A standardized pattern used by composers to organize the elements in a musical work is called: a. form. b. texture. c. meter. d. tone color. 3. Form in Music, p. 48 A musical composition takes on its form through: a. modulation and returning to the tonic key. b. meter and tempo. c. variation of melody and rhythm. d. repetition and contrast. 4. Form in Music, p. 48 Repetition of elements in form: a. can only be exact, otherwise it is not a true repetition. b. can occur only with some variation, however small. c. can be exact or can have some variation. d. is rarely used by composers; repetition breeds tediousness. 5. Form and Feeling, p. 49 What is the main skill involved in hearing form in music? a. singing b. memory c. pitch identification d. rhythm

Chapter 4 Musical Form and Musical Style

24

25

6. Form and Forms, p. 50 In a piece of music that can be diagrammed indicates a. contrast; repetition b. repetition; contrast c. variation; contrast d. contrast; variation

as A B A, the A indicates____, and the B

7.

Form and Forms, p. 51 Letter diagrams are least useful for showing: a. contrast. b. repetition. c. specific changes of the inner form. d. the overall outer form.

8.

Form and Forms, p. 50 Which diagram shows the greatest amount of musical contrast? a. A B C b. A B A c. AA'A"A"' d. AB AB

9.

Musical Genres, p. 51 The genre of a musical work can be determined by its: a. period in history. b. inner and outer forms. c. text, function, and performing forces. d. meter, key, and tempo.

10. Musical Style, p. 52 The individual style of a particular composer is described in of: a. the style of the era in which the composer worked. b. writings by the composer about music. c. the life and environment of the composer. d. the way the composer handles musical elements.

Essay Questions 1.

Musical Form and Musical Style, p. 48 Discuss the elements of form as applied to poetry and visual arts. Refer to at least two elements for each discipline.

2.

Form in Music, p. 48 List the elements of music that a composer can manipulate in a piece of music.

3.

Form in Music, p. 48 What is the function of musical form? What is the value of repetition and contrast? Can you think of types of music that have no sections of contrast?

4.

Form in Music, p. 48 Discuss "beginnings, middles, and ends" in of musical form and how composers can relate these parts of the whole.

26

Chapter 4 Musical Form and Musical Style

5.

Form and Feeling, p. 48 Discuss our perception of music as opposed to the other arts.

6.

Form and Feeling, p. 49 What might the composer of a long work, such as a symphony, do to make the form of the work more comprehensible for the listener?

7.

Form and Forms, p. 50 Name, define, and discuss the two factors that determine musical form.

8.

Form and Forms, p. 49 Contrast the notions of form and a form.

9.

Form and Forms, p. 50 Define and relate outer form and inner form. With which kind of form are composers best able to convey emotion and reveal their personal style? Explain.

10. Form and Forms, p. 50 Discuss the ways in which sections of a musical work can be related to each other and how these relations are diagrammed in musical form. Draw an example to your answer. 11.

Musical Genres, p. 51 Contrast musical form

and genre.

12.

Musical Style, p. 52 Describe and explain the two levels of musical style that can exist within one style period.

27

C H A P T E R

5

The Middle Ages Multiple-Choice Questions Listening

1.

"Vere dignum," p. 61 Who composed "Vere dignum"? a. Guillaume de Machaut b. Hildegard of Bingen c. Pope Gregory I d. not known

2.

"Vere dignum," p. 61 The performing forces of "Vere dignum" are: a. children's voices, unaccompanied. b. adult male voices, unaccompanied. c. a soprano solo voice with a small organ. d. a mixed chorus of adult men and women with organ accompaniment.

3.

Vere dignum, " p. 61 How would you characterize the mood of "Vere dignum"? a. bright and dancelike b. majestic and grandiose c. slow, solemn, then joyful d. festive and celebratory

4.

"In paradisum," p. 62 "In paradisum " is sung by: a. mixed choir. b. women's voices. c. men's voices plus drone. d. men's voices.

5.

"In paradisum, " p. 62 The opening of the antiphon "In paradisum" is sung by: a. a boy soprano. b. a solo male voice. c. men's chorus.

"

d.

a solo female voice.

27

Chapter 5 The Middle Ages

51

6.

"In paradisum," p. 62 In the last line of "In paradisum," the last syllable of the word aeternam: a. pauses before the word habeas. b. divides into two parts. c. slowly rises and falls in pitch. d. is accented.

7.

"Columba aspexit, " p. 63 Who composed "Columba aspexit"? a. Guillaume de Machaut b. Hildegard of Bingen c. Pope Gregory I d. not known ~. "Columba aspexit, " p. 63 Which structure do you hear in "Columba aspexit"? a. a number of tunes sung twice, with one single tune at the end b. the same tune sung over and over with slight changes each time c. one recurring tune interspersed with contrasting sections d. many phrases, each with a different melody

9.

"

Columba aspexit, " p. 63 The performing forces in "Columba aspexit" consist of: a. a soprano solo voice and a drone. b. a choir of mixed voices and a drone. c. a solo tenor voice, a pipe organ, and a lute. d. one solo female voice, a female choir, and a drone.

10.

"Columba aspexit, " p. 63 What is the texture of "Columba aspexit," excluding the instrumental accompaniment? a. rnonophony b. homophony c. imitative polyphony d. nonimitative polyphony

11.

"

Columba aspexit, " p. 63 Which does not change throughout "Columba aspexit"? a. the pitch b. the melody c. the rhythm d. the instrumental accompaniment

12. "Columba aspexit, " p. 63 Which changes provide contrast in "Columba aspexit"? a. changes in tempo b. changes in. instrumentation c. changes from the soloist to a group of singers

52

Chapter 5 The Middle Ages d.

changes from long, drawn-out notes to short, quick notes in the rhythm

13. "La dousa votz," p. 66

Who composed "La dousa votz "? a. Hildegard of Bingen b. Bel-nail de Vmtadorn c. Guillaume de Machaut d. Pcrotin

27

53


14. "La dousa votz, " p. 66 What type of selection is "La dousa votz"? a. troubadour song b. plainchant c. sequence d. trouvere song 15. "La dousa votz," p. 66 The performing forces in "La dousa votz" are a: a. male vocal soloist, a choir, and a drum. b. female vocal soloist, a plucked stringed instrument, and a choir. c. female vocal soloist, a recorder, and a drum. d. male vocal soloist and a plucked stringed instrument. 16. "La dousa votz, " p. 66 The form of "La dousa votz" can be described as having: a. one main melody recurring with variations. b. several stanzas in an a a' b form. c. no real structure; it is free-flowing. d. several tunes, each sung twice, with one single tune at the end. 17. "La dousa votz, " p. 66 Which is true of the rhythm of "La dousa votz"? a. There is no identifiable meter. b. The tempo changes frequently. c. The rneter is triple. d. The meter is duple. 18. "La dousa votz," p. 66 "La dousa votz" is_______ in nature. a. sacred b. operatic c. secular d. theatrical 19.

"

Alleluia. Diffusa est gratia, " p. 68 Who composed "Alleluia. Diffusa est gratia"? a. Perotin b. Leonin c. Josquin Desprez d. Guillaume Dufay

20. "Alleluia. Diffusa est gratia, " p. 68 When was "Alleluia. Diffusa est gratia" written? a. c. 1200 b. c. 1100 c. c. 900 d. c. 700 21.

"

Alleluia. Diffusa est gratia, " p. 68 The performing forces in "Alleluia. Diffusa est gratia" are: a. male voices, unaccompanied.

54

Chapter 5 The Middle Ages b. c. d.

an organ and a solo male voice. a bowed stringed instrument and a solo male voice. a mixed choir, unaccompanied.

Chapter 5

The Middle Ages

22. "Alleluia. Diffusa est gratia," p. 68

Which textures do you hear in "Alleluia. Diffusa est gratia"? a. monophony, then imitative polyphony, then homophony b. monophony, then organum, then monophony c. homophony, then monophony, then homophony d. organum, then homophony, then organum


Which is true of the rhythm of "Alleluia. Diffusa est gratia"? a. The meter is compound triple, then simple duple, then free. b. The tempo is slow throughout the selection. c. The meter is free, then compound duple, then free. d. The meter is a slow simple duple throughout the selection, with syncopation.


Which is true of the relative speed of the upper and lower voices during the organum section of "Alleluia. Diffusa est gratia"? a. All the voices move together. b. The higher voices move more quickly than the lower voices. c. The higher voices move more slowly than the lower voices. d. The relative speeds of the upper and lower voice parts change constantly, for variety.

25. "Alleluia. Diffusa est gratia, " p. 68

The chant in "Alleluia Diffusa est gratia," sung by the lowest voice, at times: a. is moving with the upper voices. b. drops out periodically. c. is in triple rhythms. d. is reduced to a series of lengthy drones.

26.

"Alleluia. Diffusa est gratia," p. 68 "Alleluia. Diffusa est gratia" is in nature. a. secular b. operatic c. sacred d. theatrical

27. "Quant en moi, " p. 70 Who composed "Quant en moi"? a. Guillaume de Machaut b. Hildegard of Bingen c. Phillippe de Vitry d. Bernart de Ventadorn

56

Chapter 5 The Middle Ages 28. "Quant en moi," p. 70 The performing forces in "Quant en moi" are: a. a choir and a lute. b. two high vocal soloists. c. a high vocal soloist, a recorder, and a viol. d. two high vocal soloists and a viol.

Chapter 5

The Middle Ages

29. "Quant en moi," p. 70

What contributes to the intricacy of "Quant en moi"? a. the harmony b. the small vocal range used c. the complex rhythms d. the performing forces

30. "Quant en moi, " p. 70

Which do you hear in "Quant en moi"? a. hocket b. chordal accompaniment c. variation of theme d. modulation

Topics

31. The Middle Ages, p. 58

The Middle Ages, or medieval era, covers the time period of the: a. fifth century to the fourteenth and fifteenth centuries. b. twelfth century to the fifteenth and sixteenth centuries. c. ninth and tenth centuries to the fourteenth and fifteenth centuries. d. fourth and fifth centuries to the twelfth and thirteenth centuries.

32. Music and the Church: Plainchant, p. 58 The early history of Western music was dominated by: a. troubadours. b. the Christian church. c. trouveres. d. motets.

33.

Music and the Church: Plainchant, p. 58 During the early Middle Ages, the institution(s) that preserved written records of its culture, including music, was(were) the: a. secular court. b. great urban libraries. c. Christian Church. d. group of landowners in each locale.

34. Music and the Church: Plainchant, p. 58 Most of the music of medieval times that has been preserved for us was written down by: a. kings and queens. b. professional instrumentalists. c. amateur singers and instrumentalists. d. of religious orders.

35. Music and the Church: Plainchant, p. 58 The type of music most likely to be written down in the Middle Ages

58

Chapter 5 The Middle Ages was: a. music of the troubadours and trouveres. b. the standard repertory of the concert hall. c. religious music. d. music for weddings, parties, and other festivities involving the middle class.

Chapter 5

The Middle Ages

36. Music and Church Services, p. 59 The eight daily services in cathedrals and monasteries were known collectively as:

60

Chapter 5 The Middle Ages a. the Mass. b. the Divine Office. c. plainchant sequence. d. organum.

37. Plainchant, p. 60 The single-line melodies of the a. plainchant. early Christian Church are known as: b. madrigals. c. chansons. d. Masses.

61


38. Plainchant, p. 60 Another term for Gregorian chant is: a. troubadour song. b. motet. c. madrigal. d. plainchant. 39. Plainchant, p. 60 Who is traditionally associated with collecting and codifying the chants of the church? a. Leonin b. Perotin c. Pope Gregory I d. Guillaume de Machaut 40. Plainchant, p. 60 Gregorian chant was organized around c.E.: a. 400. b. 600. c. 800. d. 1000. 41. Plainchant, p. 60 Gregorian chant is so named because Pope Gregory I: a. organized the chants. b. commissioned the chants. c. composed all of the chants. d. established a particular singing style to be used with the chants. 42. Characteristics of Plainchant, p. 60 The role of a chant in church services was the determining factor in the chant's: a. texture. b. mode. c. genre. d. tempo and meter. 43. Characteristics of Plainchant, p. 60 Which is a false characteristic of plainchant? a. It is monophonic. b. It is metered. c. It is unaccompanied. d. It is sung in Latin.

44. Characteristics of Plainchant, p. 60 Musicforthe150Psalmssungeveryweekwas_____________, while other music could be

a. b. c. d.

simple; more complex complex; simple simple; even more simple complex; also complex

45. Characteristics of Plainchant, p. 60 Which two characteristics do all plainchants share? a. All are in triple meter and use minor tonality. b. All have polyphonic texture and are unaccompanied. c. All are nonmetrical and use medieval modes. d. All have homophonic texture and use medieval modes. 46. Characteristics of Plainchant, p. 60 A medieval mode is: a. a musical interlude between two parts of the Mass. b. a style of melodic writing. c. one of the services in the Divine Office. d. one of a system of scales. 47. Characteristics of Plainchant, p. 60 The medieval modes were traced back to ancient: a. Rome. b. Greece.

c.

Egypt.

Israel.

48. Characteristics of Plainchant, p. 60 Which is n o t a medieval mode? a. Dorian b. Lydian c. Grecian d. Phrygian 49. Characteristics of Plainchant, p. 61 On which musical element is the artistic effect of plainchant based? a. melody b. rhythm c. texture d. harmony 50. "Vere dignum," p. 61 "Vere dignum" demonstrates the use of the: a. reciting tone. b. estampic. c. late medieval sequence. d. troubadou r song. 51. "Vere dignum," p. 61

The Middle Ages "Vere dignum" would most. likely have been used: a. in the Divine Office. b. to introduce an important clement in the Mass. c. at a royal coronation. d. for courtly entertainment.

Chapter 5

64

Chapter 5 The Middle Ages 52. "In paradisum, " p. 62

"In paradisum" is part of the liturgy for: a. celebrating Easter. b. processing to the graveyard. c. celebrating Communion. d. the worship of the Virgin Mary.

53. "In paradisum," p. 63

"In paradisum " is sung by: a. the priest and the entire religious community. b. only the priest. c. a special choir for the occasion. d. a pair of boy sopranos.

54. "In paradisum," p. 63 After the initial "In paradisum," the music: a. recedes into a monotone. b. becomes increasingly disjunct. c. develops an approximate duple meter. d. becomes more and more melodic.

55. "In paradisum," p. 63

The mourners singing "In paradisum" in the Middle Ages would have identified with the text referring to: a. Lazarus. b. the angel choir. c. the martyrs. d. the Virgin Mary.

56. "Columba aspexit," p. 63 A plainchant sequence consists of: a. a simpler melody than an antiphon. b. a series of short tunes repeated with some variation. c. a choir accompanied by an instrumental drone. d. a soloist accompanied by an instrumental drone.

57. Hildegard of Bingen, p. 63 Hildegard of Bingen composed in the__ century. a. ninth b. tenth c. eleventh d. twelfth

58. Hildegard of Bingen, p. 63 Hildegard's music is a product of: a. biblical texts and her own plainchants.

Chapter 5

b. c. d.

The Middle Ages her own poetry and her own plainchants. biblical texts and Gregorian chant. her own poetry and Gregorian chant.

66

Chapter 5 The Middle Ages 59.

Hildegard of Bingen, p. 63 The subject of "Columba aspexit" is: a. praise for Saint Maximinus. b. unrequited love. c. the coming of spring. d. praise for Saint Francis of Assisi.

60. Hildegard of Bingen, p. 63 Which composition is a plainchant sequence? a. "Quant en moi" b. "La dousa votz" c. "Alleluia. Diffusa est gratia" d. "Columba aspexit"

61. Music at Court, p. 64

Which is true about the sources of artistic and political influence over the course of the Middle Ages? a. The Christian Church remained the only influence. b. Kings and barons completely took over the influence once enjoyed by the Christian Church. c. Kings and barons gained influence, but the Christian Church retained some power. d. The middle class rose and took over artistic life in society.

62. Troubadour and Trouvere Songs, p. 64 back to the_______ The troubadours, trouveres, and centuries. Minnesingers date a. eleventh and twelfth b. twelfth and thirteenth c. thirteenth and fourteenth d. eleventh through the fourteenth 63. Troubadour and Trouvere Songs, p. 64 Who were the medieval poet-musicians of southern ? a. troubadours b. trouveres c. Leonin and Perotin d. Minnesingers

64.

Troubadour and Trouvere Songs, p. 64 Who was a troubadour? a. Hildegard of Bingen b. Countess Beatriz of Dia c. Leonin d. Perotin

65. Troubadour and Trouvere Songs, p. 64

The Middle Ages Subjects reflected in the poems of the troubadours and trouveres included all except: a. crusaders' songs. b. laments for dead princes. c. religious praise. d. love, or lack thereof.

Chapter 5

66. Troubadour and Trouvere Songs, p. 64

Who were considered the popular musicians of the Middle Ages? a. troubadours b. trouveres c. jongleurs d. Minnesingers

67.

Troubadour and Trouvere Songs, p. 66 Which is a "dawn song"? a. pastourelle b. jongleur c. estampie d. alba

68. How Did Early Music Sound? p. 65 Which is commonly observed of the way early music was notated? a. Tempo was never indicated in the score. b. Instruments were indicated for accompaniments. c. Solos and choral sections were indicated in the score. d. Specific notes were not indicated in the score.

69. Bernart de Ventadorn, p. 66 Which is true of Bernart de Ventadorn? a. He had a humble background but worked for Queen Eleanor of Aquitaine, wife of Henry II. b. He was born a prince but later became a priest-composer. c. He had a humble background but ended his life as a bishop, working for Pope Gregory I. d. He was the first major composer of plainchant.

70. "La dousa votz," p. 66 Which characteristic makes "La dousa votz" different from "Columba aspexit"? a. "La dousa votz" is sung. b. "La dousa votz" is sacred. c. "La dousa votz" is medieval in style. d. "La dousa votz" is secular.

71. "La dousa votz," p. 66 The meaning of the text of "La dousa votz" involves: a. iration of a saint. b. contentment in love. c. betrayal in love. d. the joys of springtime.

The Middle Ages 72. The Estampie, p. 66 The few surviving medieval court dances are called: a. sequences. b. estampies. c. al bas. d. troubadour songs.

Chapter 5

70

Chapter 5 The Middle Ages 73. The Estampie, p. 66

Estampies are considered: a. dances that are in an irregular meter. b. music for voice and instrumental accompaniment. c. unassuming one-line dance pieces repeated many times in varied forms. d. sacred music for performance in monasteries.

74.

Organum, p. 67 The earliest type of polyphony, dating from around C.E. 900, was: a. the isorhythmic motet. b. plainsong. c. organum. d. the sequence.

75. Organum, p. 67 The early compositional style consisting of a plainchant melody with another melody sung simultaneously to the same words is called: a. monophony. b. organum. c. a Gregorian chant. d. estampie.

76. Organum, p. 68

Early polyphony had its beginnings at: a. St. Stephen's Cathedral in Vienna. b. the Vatican. c. Winchester Abbey, England. d. Notre Dame Cathedral in Paris.

77. Organum, p. 68 Who were the two great composers of the Notre Dame school? a. Guillaume Dufay and josquin Desprez b. Leonia and Perotin c. Hildegard of Bingen and Bernart de Ventadorn d. Guillaume de Machaut and Phillippe de Vitry

78.

Perotin, "Alleluia. Diffusa est gratia, " p. 68 "Alleluia. Diffusa est gratia" was composed for: a. a Christmas festival. b. middle-class home entertainment. c. the birthday of Pope Gregory I. d. the Mass.

79. Later Medieval Polyphony, p. 70

The Middle Ages What happened to polyphonic music during the thirteenth century? a. It became more and more closely linked with church services. b. It became more and more popular as middle-class family entertainment. c. It became more and more removed from church services. d. It became more and more monophonic.

Chapter 5

72

Chapter 5 The Middle Ages 80. Later Medieval Polyphony, p. 70

The medieval polyphonic form that resulted from the addition of texts to the upper parts while retaining the Gregorian chant in the lower part is called the: a. motet. b. Mass. c. madrigal. d. estampie.

81. Ars

Nova, p. 70 Music of the Notre Dame School was later referred to as:

a. b. c. d.

ars nova. ars antiqua.

the new school. the isorhythmic school.

82.

Ars Nova, p. 70 In Western music, the period from about ] 300 to 1400 was the period of: a. plainsong. b. early experiments in polyphony. c. the first flowering of polyphony at Notre Dame.

d. 83. Ars

ars nova. Nova, p. 70

One of the chief characteristics of the late medieval motet is: a. surprising cadences. b. the jarring use of dissonance. c. intricate and complex rhythmic combinations. d. smooth, regular rhythms and brief melodies.

84.

Ars Nova, p. 70 In the ars nova, what genre is increasingly secular, using complex rhythm patterns? a. alba b. motet c. estampie d. plainchant

85.

Ars Nova, p . 70 An outstanding composer of the French ars nova was:

a. b. c. d.

Guillaume de Machaut. Perotin. Hildegard of Bingen. Pope Gregory I.

86. Ars Nova, p. 70 Guillaume de Machaut composed a. twelfth b. thirteenth c. fourteenth d. fifteenth

in the________ century.

Chapter 5 The

Middle Ages

87.

Ars Nova, p. 70 Guillaume de Machaut was not only a composer, but also a: a. dancer. b. prince. c. lawyer. d. poet.

88.

"Quant en moi, " p. 70 "Quant en moi " is a: a. Gregorian chant. b. motet. c. sequence. d. troubadour song.


Which part has the plainchant fragment in "Quant en moi"? a. the viol b. the higher voice c. the lower voice d. the recorder


The text of "Quant en moi" involves: a. life at court in medieval Europe. b. romantic love. c. God's love and mercy to humankind. d. honoring a saint.

91. "Quant en moi, " p. 71 The polyphonic technique in which the melodies in each stanza change while the complex rhythms are repeated is called: a. rhythmic isolation. b. isorhythm. c. isotonicism. d. estampie.

92. "Quant en moi, " p. 71 The hocket is a device that: a. assigned metrical values to plainchant. b. was used in the Cathedral of Notre Dame in the composition of sequences. c. allowed for fast interplay between voices in motets. d. allowed for the even division between soloists and choirs in the singing of sequences.

74

Middle Ages " Quant en moi, " p. 71 Which piece contains a hocket? a. "Columba aspexit" b. "La dousa votz" c. "Alleluia. Diffusa est gratia" d. "Quant en moi"

Chapter 5 The

93.

75

76


94. "Quant en moi," p. 71 Chant is the musical basis for all of the following except: a. "Columba aspexit. " b. "La dousa votz." c. "Alleluia. Diffusa est gratia." d. "Quant en moi."

Essay Questions 1.

Music and the Church: Plainchant, p. 58 Describe the role of the early church in the music of the Middle Ages.

2.

Music and Church Services, p. 59 Describe the music sung in the medieval church.

3.

Music and Church Services, p. 59 Compare and contrast the music for the Mass and the music for the Divine Office in of plainchant genre and style.

4.

Characteristics of Plainchant, p. 60 Name and describe the two characteristics common to all plainchant.

5.

Characteristics of Plainchant, p. 60 Name the four medieval modes. List the starting pitch for each in the diatonic scale.

6.

"Vere Dignum," p. 61 Describe the setting for a performance of "Vere Dignum" in the Middle Ages. Discuss the aspect of recitation and the reason for this.

7.

"Columba aspexit," p. 63 Define and diagram an example of plainchant sequence.

8.

Music at Court, p. 64 Briefly describe the shift in sources of political and artistic influence during the Middle Ages.

9.

Music at Court, p. 64 Name the three types of court poet-composers and performers of the twelfth and thirteenth centuries. List the geographic location for each.

10. Music at Court, p. 64 What was the name given to medieval popular musicians? How were they different from the court poet-composers?

11. How Did Early Music Sound? p. 65 Do performers today know how early music sounded? Explain. Include a discussion of tempo, dynamics, performing forces, and

Middle Ages instruments in your answer.

Chapter 5 The

12.

77

Estampie, p. 66 Define estairzpie. Discuss the character, purpose, and structure of the estampie in your answer.

13.

Organum, p. 67 What is organ/1m? During what time period did composers use this style of composition?

78

Chapter 5 The Middle Ages 14.

Organum, p. 67 Trace the development of organum, from its simplest manifestation to its most complex.

15. "Alleluia. Diffusa est gratia," p. 68 Even though it is difficult to hear, what do you know about the lowest voice part in "Alleluia. Diffusa est gratia"? What is its origin? Is it meant to be recognized? Explain.

16. Later Medieval Polyphony, p. 70

In the late Middle Ages, was it considered sacrilegious to use secular elements in motets? Explain.

17.

Later Medieval Polyphony, p. 70 Distinguish between organum and motet.

18.

Ars Nova, p. 70

Differentiate between the music of ars antiqua and ars nova. Name two composers for each style.

Chapter 5 The

Middle Ages

79

19. Ars Nova, p. 70

Which musical element was used with particular sophistication by composers of the ars nova? What technique did they develop for using this element?

20.

"Quant en moi," p. 70 What is a hocket? When and in what type of composition was it used? GLOBAL PERSPECTIVES

1

Sacred Chant


Sacred Chant, p. 73 The musics of the world show several parallels. Two of them are: a. mode and harmony. b. function and technique. c. notation and polyphony. d. tone color and texture.

2.

Islam: Reciting the Qur ' an, p. 73 Qur'anic recitation is thought of as________ the sacred text. a. reading b. dancing c. singing d. acting

3.

Islam: Reciting the Qur'an, p. 73 Like Gregorian chant, Qur'anic recitation is: a. monophonic, nonmetric. b. homophonic, metric. c. monophonic, metric. d. polyphonic, nonmetric.

4. The Azan, p. 74 In Islamic chant, the special singer who calls the faithful to worship is called: a. lead tenor. b. chanter. c. soloist. d. muezzin. 5. Hawai 'ian Chant, p. 74

The term for Hawai'ian prayer songs is: a. adhan. b. mete pule. c. musiqi. d. hula. 6. Hawai'ian Chant, p. 74 All traditional Hawai'ian songs, like Gregorian chant and Qur'anic recitation, are: a. polyphonic. b. monophonic. c. metrical. d. modal. 7. A Navajo Song, p. 75 Most Native North American song is monophonic and: a. is usually accompanied by a string drone instrument. b. uses a sobbing vibrato. c. is usually accompanied by drums or rattles. d. is isorhythmic. 8. A Navajo Song, p. 75 The melody of "K'adnikini'ya' " is organized around a: a. soloist. b. specific mode. c. disjunct tune. d. reciting tone.

Essay Questions 1.

Sacred Chant, p. 73 How do parallels in different types of music come about?

2.

Sacred Chant, p. 73 Briefly discuss the role of music in the service of religion.

3.

Islam: Reciting the Qur ' an, p. 73 How does Qur'anic recitation compare to Gregorian chant?

4.

Hawai 'ian Chant, p. 74 How does the I-Iawai'ian chant compare to Gregorian chant and Qur'anic recitation?

5.

A Navajo Song, p. 75 Briefly define vocables and their presence in "K'adnikini 'ya'."

C H A P T ER

6

The Renaissance Multiple-Choice Questions Listening

1.

"Ave maris stella," p. 78 Which is true of "Ave maris stella"? a. It is a homophonic setting of a Gregorian hymn. b. It is a polyphonic setting of plainchant. c. It is a monophonic chant. d. It is a plainchant sequence.

2.

"Ave maris stella," p. 78 In "Ave maris stella," which stanzas consist of the unembellished plainchant? a. 2, 3, and 4 b. 1, 3, and 5 c. 2, 4, and 6 d. 3 and 5

3.

"Ave maris stella, " p. 78 In which stanzas of "Ave maris stella" do you hear the composer's own music? a. 2, 3, and 4 b. 1, 2, and 3 c. 1, 3, and 5 d. 2, 4, and 6

4.

Ave maris stella, " p. 78 In which voice(s) during "Ave maris stella" do you hear the hymn tune in paraphrase with extra notes? a. the lowest voice b. the lowest and middle voices c. the highest voice d. the middle voice

5.

"

"Ave maris stella," p. 78 What are the performing forces in "Ave maris stella"? a. solo male voice b. solo male voice alternating with male choir c. a choir of high and low voices

d.

a female choir

84

Chapter 6 The Renaissance Mass, p. 83 Who composed the Pange lingua Mass? a. Josquin Desprez b. Guillaume Dufay c. Giovanni Pierluigi da Palestrina d. Thomas Weelkes

6 . .Pange lingua

7. Pange lingua Mass, p. 83

The performing forces in Pange lingua consist of a: a. solo high voice. b. choir of high voices. c. solo tenor and a mixed choir. d. choir of high and low voices. 8. Pange lingua Mass, p. 83

9.

The composer used the melody of the hymn_________as the basis of Pange lingua. plainsong a. "Qui tollis" b. "Kyrie eleison" c. "Gloria" d. "Pange lingua" Pange lingua Mass, p. 83 What do you hear after the brief plainchant section in the Kyrie of Pange lingua?

a. b. c.

a point of imitation a pocket an isorhythmic section cl. a sequence

10. Pange lingua Mass, p. 83 The composer of Pange lingua uses plainchant to open: a. each section of the Kyrie. b. the first section of the Kyrie. c. the middle section, or "Christe." d. the "Qui tollis" section.

11.

Pange lingua Mass, p. 83 Which parts of the larger work are included in Pange lingua? a. Kyrie and Gloria b. Credo and Kyrie c. Pange and lingua d. first and second verses

12.

Pange lingua Mass, p. 83 What is the predominant texture of Pange lingua? a. monophony b. homophony c. imitative polyphony d. nonimitative polyphony

Chapter 6 The Renaissance

13.

85 "

"Mille regrets, p. 85 Desprez's polyphonic chanson "Mille regrets" is notable for its: a. use of isorhythms. b. fragments of chant. c. spiritual nature. d. expressive matching of music to words.

86


14. Pope Marcellus Mass, p. 87 Who composed the Pope Marcellus Mass?

a. b. c. d.

Josquin Desprez Giovanni Pierluigi da Palestrina Thomas Weelkes anonymous

15. Pope Marcellus Mass, p. 87

The performing forces in Pope Marcellus consist of: a. voices and organ. b. voices and brass instruments. c. voices and string instruments. d. voices alone. 16. Pope Marcellus Mass, p. 87

What is the predominant texture of Pope Marcellus? a. monophony b. imitative polyphony c. nonimitative polyphony d. homophony 17. Pope Marcellus Mass, p. 87 How does Pope Marcellus differ from the Pange lingua Mass? a. It uses fewer voices and more solos are heard. b. It is more polyphonic; it has many points of imitation. c. It uses more voices and alternates choirs; it is more homophonic. d. It uses a different text than that used in the Pange lingua Mass. 18. Pope Marcellus Mass, p. 87 The purpose of Pope Marcellus was to: a. provide dance music. b. entertain nobility. c. entertain the public. d. worship God. 19. "As Vesta Was from Latmos Hill Descending, " p. 89 "As Vesta Was from Latmos Hill Descending" is a: a. madrigal. b. Mass. c. motet. d. plainchant sequence. 20. "As Vesta Was from Latmos Hill Descending," p. 89 The text of "As Vesta Was from Latmos Hill Descending" involves: a. worship of God. b. Queen Elizabeth and mythological figures. c. a celebration of the birthday of the Virgin Mary. d. unrequited love. 21. "As Vesta Was from Latmos Hill Descending," p. 89 "As Vesta Was from Latmos Hill Descending" demonstrates:


a. b. c. d.

isorhythm. hocket. plainchant sequence. word painting.

87

88

Chapter 6 The Renaissance 22. "As Vesta Was from Latmos Hill Descending," p. 89

The performing forces in "As Vesta Was from Latmos Hill Descending" consist of: a. a male choir. b. two choirs in alternation. c. male and female vocal soloists. d. a female choir.

23.

"Daph ne," p. 91 "Daphne " is a: a. pavane. b. galliard. c. jig. d. stylized dance.

24.

"Daphne," p. 91 The performing forces in "Daphne" consist of: a. early violins. b. early violins and lute. c. recorders, early violins, and harpsichord. d. organ and early violins.

25.

"Daphne," p. 91 The texture of "Daphne" is: a. monophonic. b. homophonic. c. polyphonic. d. monophonic, then polyphonic.

26.

"Kemp's Jig," p. 92 The meter of "Kemp's Jig" is: a. duple. b. triple. c. compound duple. d. compound triple.

27. "Kemp's Jig," p. 92 What is the form of "Kemp's Jig"? a. a b a repeated several times b. a a b b c c repeated several times c. a a b repeated several times


d.

a a' a" a"' and so on

28. "Kemp's Jig," p. 92

The purpose of "Kemp's Jig" is: a. praising Queen Elizabeth. b. celebrating a biblical birthday. c. use in a church service. d. listening enjoyment.

89

90


To p i c s

29. New Attitudes, p. 77 The process by which Renaissance composers freely embellished plainchant melodies for use in their compositions is known as: a. harmonization. b. improvisation. c. paraphrase. d. elaboration. 30. New Attitudes, p. 77 In the early Renaissance, composers concentrated on the__________________ rather than the________________________________________ of the plainchant melodies used. a. form; melody b. sonority; authoritarian function c. imitative and nonimitative polyphony; melody d. intellectual elements; sensuous aspects

91


31. New Attitudes, p. 77 In medieval music the plainchant melody was in Renaissance it moved to the______________________________ voice. a. lowest; highest b. highest; lowest c. lowest; middle d. middle; highest

the_________ voice, but in the early

92

Chapter 6 The Renaissance 32. Early Homophony, p. 77 What was the new, preferred texture of early Renaissance music? a. monophony b. imitative polyphony c. non-imitative polyphony d. homophony

33. Early Homophony, p. 77 What type of piece results when all voices move in simple chord patterns? a. plainchant harmonization b. a motet c. a polyphonic Mass d. a madrigal

34. Guillaume Dufay, p. 77 Where is the birthplace of Dufay (and many other important composers of his day) and where did he spend his career? a. London; Paris b. northern near Belgium; Italy c. southern ; Munich d. Italy; northern near Flanders

35. "Ave maris Stella, " p. 78 In church music, a short tune sung through many stanzas of text is a: a. motet. b. Mass. c. madrigal. dk hymn.


93

36. "Ave maxis stella," p. 78

Dufay's "Ave maxis stella" is: a. an estampie. b. a madrigal. c. a harmonized hymn. d. part of a polyphonic Mass.

37. "Ave maxis stella," p. 79

Dufay is best known for his: a. madrigals and motets. b. instrumental dance pieces. c. polyphonic Masses and plainchant harmonizations. d. Gregorian chants and hymns.

38. The Mass, p. 80 The most important of the daily church services was the: a. Office. b. Mass. c. proper. d. vespers.

39. The Mass, p. 80

The five sections of the polyphonic Mass are: a. Kyrie, Eleison, Christe, Eleison, Kyrie. b. Kyrie, Gloria, Credo, Sanctus, Agnus Dei. c. Kyrie, Gloria, Cantus, Sanctus, Agnus Dei. d. Kyrie, Gloria, Communion, Sanctus, Agnus Dei.

40. The Mass, p. 80 Which is n o t a movement of the Mass? a. Credo b. Sanctus c. Cantus d. Gloria

41. the

a. b. c. d. 42.

The Mass, p. 80 The great, large-scale compositional challenge of Renaissance was musical unification of: the church. the Mass. the motet. plainchant harmonizations.

The High Renaissance Style, p. 80 The High Renaissance style began around:

94

Chapter 6 The Renaissance a. 1350. b. 1400. c. 1450. d. 1500.


95

43. The High Renaissance Style, p. 80

Which two techniques were blended to form the compositional style for the Mass, the motet, and the chanson in the High Renaissance? a. imitative counterpoint and homophony b. monophony and harmonization c. non-imitative polyphony and monophony d. imitative counterpoint and polyphony


How did polyphony change from the beginning to the end of the fifteenth century? a. It disappeared. b. It started out imitative and ended non-imitative. c. It started out non-imitative and ended imitative. d. Polyphony did not change throughout the century.

45. Homophony, p. 81 In of texture, High Renaissance composers: a. focused on the horizontal aspects of music at the expense of the vertical aspects. b. used polyphonic lines in such a way that a chordal quality was maintained. c. focused on the vertical aspects of music at the expense of the horizontal aspects. d. turned their attention away from polyphonic and chordal writing and focused on monophony.

46. Other Characteristics, p. 81

The musical term for "voices alone" is: a. strophic. b. isorhythmic. c. cantus. d. a cappella.

47. Other Characteristics, p. 81 The preferred tone color of the High Renaissance style was: a. stringed instruments and voice. b. organ and voice. c. brass and organ with voice. d. voices alone.

48. Other Characteristics, p. 81. How can rhythm in the High Renaissance style be characterized? a. Music usually was in a clear triple meter. b. Rhythm was unaccented and fluid, with the meter often obscured. c. Rhythm was energetic, but with constantly changing meters.

96

Chapter 6 The Renaissance d. Rhythm was complex, featuring techniques such as isorhythm. 49.

Josquin Desprez, p. 82 Who was the first master of the High Renaissance style? a. Thomas Weelkes b. Josquin Desprez c. Guillaume Dufay d. Giovanni Pierluigi da Palestrina


97

50. Josquin Desprez, p. 82 Josquin composed works in which genre(s)? a. stylized dance b. motet, chanson, and madrigal c. plainchant and madrigal d. Mass, motet, and chanson 51. Pange lingua Mass, p. 83 The text of the Kyrie section of the Pange lingua Mass is: a. Kyrie eleison, Christe eleison, Kyrie eleison. b. Kyrie, Eleison, Christe. c. Gloria patri, qui tollis peccata mundi. d. Pange lingua, Kyrie eleison, Christe eleison. 52. Pange lingua Mass, p. 83 Points of imitation are used extensively in: a. "As Vesta Was from Latmos Hill Descending." b. the Kyrie from the Pange lingua Mass. c. "Kemp's Jig. " d. "Daphne." 53. Pange lingua Mass, p. 83 What is a point of imitation? a. the beginning of each movement in a polyphonic Mass b. a cadence point where the polyphony comes together to form homophonic chords c. a age of imitative polyphony using one musical motive and one phrase of text d. the place where the second voice enters in a age of imitative polyphony 54. Pange lingua Mass, p. 84 A characteristic of High Renaissance music, as heard in the Pange lingua Mass, is the contrasting of____ and a. imitative polyphony; non-imitative polyphony b. monophony; homophony c. points of imitation; monophony d. homophony; imitative polyphony 55. Music as Expression, p. 84 Renaissance composers were inspired to explore the power of music to express human feelings. Their inspiration came from the: a. church. b. court. c. ancient Greeks. d. ancient Egyptians.

98


56. Music as Expression, p. 84 The first style period in which composers tried to way was: a. ancient Greece. b. the Middle Ages. c. the early Renaissance. d. the High Renaissance.

set words to music in a natural and clear


99

57. Music as Expression, p. 85 The style of setting words to music using rhythms that approximate human speech is called: a. declamation. b. imitative. c. word painting. d. isorhythmic. 58. Music as Expression, p. 85 What is the device used by Renaissance composers text? a. a cappella b. word painting c. cantus firmus d. isorhythm

to depict in music the words or ideas of a

59. Music as Expression, p. 85 Word painting was first used extensively in the a. fourteenth b. fifteenth c. sixteenth d. seventeenth

century.

60. Late Renaissance Music, p. 86 The universality of the Late Renaissance style is found in the works of Palestrina, Lassus, Victoria, and Byrd, who worked, respectively, in: a. Rome; Munich; Rome and Madrid; and England. b. Venice, Rome, Madrid, and England. c. Rome, Munich, Madrid, and England. d. Rome and Madrid; Munich; Venice; and England.

61. Pope Marcellus Mass, p. 87

The most convincing and diplomatic composer of Roman Catholic Church music during the Counter-Reformation was: a. Fabritio Caroso. b. Giovanni Pierluigi da Palestrina. c. Josquin Desprez. d. Thomas Weelkes.

62. Pope Marcellus Mass, p. 87 Homophonic texture and avoidance of long, elaborate phrases composed on one syllable of text characterize the music of: a. Josquin Desprez. b. Guillaume Dufay. c. Giovanni Pierluigi da Palestrina. d. Perotin.

63. The Motet, p. 88 Which is true of the evolution of the motet over the centuries? a. The motet has changed a great deal over the centuries. b. The motet stayed the same over the centuries. c. The motet appeared in the medieval period, changed to a

100

Chapter 6 The Renaissance simpler form in the early Renaissance, then changed back to its more intellectual form by the end of the Renaissance. d. The motet began in the early Renaissance and changed drastically during that era.


64. The Motet, p. 88 Why was the motet more attractive to sixteenth-century composers than the Mass? a. Polyphony was allowed in the motet, but not in the Mass. b. The motet allowed for different texts, but the Mass always had the same text. c. The motet was secular, and the Mass was religious. d. The motet was in the High Renaissance homophonic style, whereas the Mass was usually polyphonic. 65.

The Italian Madrigal, p. 89 The Italian madrigal dates from about: a. 1500. b. 1530. c. 1560. d. 1600.

66. The Italian Madrigal, p. 89 A short piece of music set to a one-stanza poem of a secular nature with each part sung typically by one singer, and having alternating sections of homophony and a. motet. b. pavane. c. madrigal. d. galliard.

67. The English Madrigal, p. 89 The anthology of madrigals in honor of Queen Elizabeth that was compiled in 1601 was called: a. Celeste Giglio. b. "As Vesta Was from Latmos Hill Descending." c. "Veni Creator Spiritus." d. The Triumphs of Oriana.

68.

The English Madrigal, p. 89 The most significant difference between the Italian madrigal and the English madrigal is that Italian madrigals are and English madrigals are a. in Italian; in English b. polyphonic; homophonic c. homophonic; polyphonic d. religious in nature; secular

69.

Thomas Weelkes, p. 89 Thomas Weelkes wrote madrigals in: a. Latin. b. Italian. c. English. d. French.

70. Instrumental Music: Early Developments, p. 91

102

Chapter 6 The Renaissance The basis for the development of great Baroque instrumental music was laid in: a. ancient Greece b. the Middle Ages c. the ars nova d. the Renaissance


71. Dance Stylization, p. 92 A stylized dance is one that: a. was used only by nobility, specifically at court functions. b. used up-to-date dance steps. c. was made more elaborate so that musical elements are more important. d. combines homophony and polyphony in a way that was typical of the High Renaissance style of composition.

72. Dance Stylization, p. 92

One aspect of "ICemp' s Jig" that leads to dance stylization is: a. unusual instrumentation. b. the association with dancing in the theater. c. predictable cadences. d. irregular cadences.

73. Renaissance Dances, p. 91 Which was the most widespread of Renaissance instrumental genres? a. the madrigal b. dance music c. organ music d. instrumental music used to accompany voices in church

74.

Renaissance Dances, p. 91 The pavane and galliard were: a. types of Renaissance chansons. b. forms used in Renaissance Masses. c. types of Renaissance dance music. d. forms used in madrigals.

75.

Renaissance Dances, p. 91 Pavanes are often paired with: a. galliards. b. jigs. c. madrigals. d. other pavanes.

76. Renaissance Dances, p. 91 The pavane is in________ meter, and the galliard is in___ meter. a. duple; duple b. duple; compound duple c. duple; triple d. compound duple; compound triple

Chapter 6 The Renaissance 77. "Daphne," p. 91

104

What makes it easy for the dancers to keep their places in "Daphne"? a. the polyphony b. the clear cadences ending the phrases c. the instrumental accompaniment d. the text


78. "Kemp's Jig," p. 92 Will Kemp was: a. the composer of "Kemp's Jig." b. a famous Elizabethan violinist. c. a composer of music for Shakespeare's plays. d. an actor in Shakespeare's plays. Essay

1.

Questions

The Renaissance, p. 76 Renaissance means "rebirth." What was reborn during the Renaissance and what was the source of the inspiration for the Renaissance? Discuss.

2.

The Renaissance, p. 76 Briefly contrast medieval thought with the new ideas of the Renaissance.

3.

New Attitudes, p. 77 Briefly contrast the way medieval composers used plainchant melodies with the way Renaissance composers used them. In your answer, state which aspect of the chant was valued by whom and the location of the chant in the music.

4.

Early Homophony, p. 77 Explain how polyphonic voices can sometimes sound homophonic.

5.

Early Homophony, p. 77 Define plainchant harmonization. Does this technique contribute to the sensuous aspect of a chant, or to the intellectual, authoritarian aspect? Explain.

6.

"Ave maris stella," p. 78 Define Gregorian hymn and name an example of one.

7.

"Ave maris stella," p. 79 For which two types of composition is Dufay best known?

8.

The Mass, p. 79 Describe the change in attitude of Renaissance composers with regard to medieval authority and intricacy in composition. For example, what was the Renaissance attitude toward isorhythm?

9.

The Mass, p. 79 Define chanson. Is a chanson sacred or secular?

10.

The Mass, p. 80 What is the Mass? Name the five parts of the Mass.

11. The Mass, p. 80

106

Chapter 6 The Renaissance What was the goal of Renaissance composers regarding the Mass? How did Renaissance composers achieve this goal?

12. The High Renaissance Style, p. 81 Describe the change in the use of imitation from the beginning to the end of the fifteenth century.


13. The High Renaissance Style, p. 81

Describe the High Renaissance style with regard to musical texture, tempo, and dynamics. When did it emerge?

14. Homophony, p. 81

Describe the change in composers' approach to their use of homophony from the late medieval period to the time of the High Renaissance style.

15.

Other Characteristics, p. 81 Define a cappella. Explain why it was the ideal tone color for High Renaissance composers.

16.

Josquin Desprez, p. 82 Approximately when did Josquin Desprez live? What were his most important musical contributions? In which genres was he a great pioneer?

17.

Pange lingua Mass, p. 83 Define point of imitation. How does Josquin use this device in his Pange lingua Mass?

18.

Music as Expression, p. 84 How did the idea of expressiveness in music change from the medieval period to the Renaissance? What inspired this change?

19. Music as Expression, p. 85 Define and discuss the processes of declamation and word painting, through which Renaissance composers attempted to achieve heightened expressiveness.

20. Late Renaissance Music, p. 86

In the late Renaissance, composers applied their compositional style to new secular genres. Describe two of them.

21. Late Renaissance Music, p. 86

Name four composers of the High Renaissance who contributed to the distribution of this musical style throughout most of Europe and England.

22. Pope Marcellus Mass, p. 87 Describe the career of Palestrina with regard to his role as a composer and a Roman Catholic during the time of the Counter-Reformation.

23.

The Motet, p. 88 Define motet as known to sixteenth-century composers.

24.

The Italian Madrigal, p. 89 What is a madrigal? When did the madrigal become popular? Are madrigals generally sacred or secular?

25. The English Madrigal, p. 89 Did the madrigal remain a uniquely Italian genre because the music was so closely tied to the Italian words? Explain.

Chapter 6 The Renaissance 26. "As Vesta Was from Latmos Hill Descending," p. 89

108

What gives the madrigal "As Vesta Was from Latmos Hill Descending" by Weelkes a modern feel? Explain the musical causes for the difference between the mood of this music and that of Josquin.


27. Instrumental Music: Early Developments, p. 90

What are some instruments that date from the sixteenth century? Which one was originally from the near East?

28. Dance Stylization, p. 92 What is the most widespread of Renaissance instrumental genres? Name and describe two types of compositions within this genre.

29.

Dance Stylization, p. 92 Compare and contrast the nature and purpose of music for dancing and a stylized dance.

30.

"

Kemp ' s Jig," p. 92 What tendency does "Kemp's Jig" illustrate in the evolution of musical dances? Explain. GLOBAL PERSPECTIVES 2

Music and Early European Colonialism

Multiple-Choice Questions 1. Music and Early European Colonialism, p. 93 The first great phase of European expansion into other parts of the world was from_______________________________________________________________ to_____________________________________________________________________________ a. 1780; 1820 b. 1680; 1720 c. 1580; 1620 d. 1480; 1620 2. Cultural Conquest and Music, p. 93 During the first great phase of European expansion, explorers, missionaries, and merchants heard and described music such as: a. Argentinian polkas. b. Andean antiphons and sequences. c. spiritual songs of Tupi Indians of Brazil. d. Hawai'ian mele pule chants. 3. Cultural Conquest and Music, p. 93 It was the_________ explorers who told of the____ of Indonesia. a. Dutch, gamelans b. Aztec, sackbuts c. English, song and dance d. Chinese, Noh opera 4. Music of the Aztecs and Incas, p. 93 Spanish missionaries, while amazed at the achievements and complexities of the Aztec and Incan empires, sought to: a. preserve native customs. b. encourage native song and dance in Christian festivals.

110

Chapter 6 The Renaissance c. include harvest festivals in the church liturgy. d. include native instruments and costumes in church liturgy.

5.

Inca Processional Music, p. 94 The song "Hanaq pachap Kusikuynin" was published in: a. 1431. b. 1531. c. 1631. d. 1731.

6.

Inca Processional Music, p. 94 The words of "Hanaq pachap Kusikuynin" is in the native Andean language: a. Nahuatl. b. Basque. c. Quechua. d. Mayan.

7.

Inca Processional Music, p. 94 The texture of "Hanaq pachap Kusikuynin" is: a. homophonic. b. monophonic. c. polyphonic. d. heterophonic.

Essay Questions 1.

Music and Early European Colonialism, p. 93 Discuss briefly the early explorers of the 1480s to 1620s.

2.

Cultural Conquest and Music, p. 93 During the 1480s to 1620s, was the European attempt to conquer solely a military need? If so, why, and if not, why not?

3.

Cultural Conquest and Music, p. 93 What reports of music and rituals came back to Europe from the explorers, soldiers, and missionaries of the 1480s to 1620s? Discuss the accuracy of these reports.

4.

Music of the Aztecs and Incas, p. 93

What great civilization posed the first great challenge of religious conversion to the missionaries in the 1500s? Discuss briefly.

5.

58

Inca Processional Music, p. 94 Describe the mixture of Native Andean and European cultural and musical expression during the time of the Franciscan friar Bocanegra.

C H A P T E R

7

The Early Baroque Period

Multiple-Choice Questions Listening

1.

" 0 magnum mysterium," p. 97 Who composed " 0 magnum mysterium"? a. Giovanni Gabrieli b. Claudio Monteverdi c. Henry Purcell d. Arcangelo Corelli

2.

" 0 magnum mysterium, " p. 97 What is the genre of " 0 magnum mysterium"? a. Mass b. motet c. madrigal d. pavane

3.

"0 magnum mysterium, " p. 97 The style heard in " 0 magnum mysterium" is typical of music from: a. seventeenth-century Paris. b. sixteenth-century London. c. seventeenth-century Venice. d. sixteenth-century Rome.

4.

" 0 magnum mysterium, " p. 97 Which compositional technique do you hear in " 0 magnum mysterium"? a. isorhythm b. hocket c. plainchant paraphrase d. echoing semichoirs

5.

" 0 magnum mysterium," p. 97 What are the performing forces of " 0 magnum mysterium"? a. choirs b. choirs and organ c. choirs, brass instruments, and organ

d.

choirs, brass instruments, woodwind instruments, and organ

58

Chapter 7 The Early Baroque Period

115

6.

" 0 magnum mysterium," p. 97 The two elements that most bring about the change of mood in the "Alleluia" section of " 0 magnum mysterium" are: a. texture and tone color. b. harmony and texture. c. tone color and dynamics. d. tempo and meter.

7.

" 0 magnum mysterium," p. 97 Which describes the use of meter in " 0 magnum mysterium"? a. There is no discernible meter anywhere. b. The meter is duple throughout. c. The meter is sometimes duple and sometimes triple or compound duple. d. The meter is triple or compound duple throughout.

8.

" 0 magnum mysterium," p. 97 In which section of " 0 magnum mysterium" do you hear the most echoing? a. " 0 , o magnum mysterium ..." b. "... sacr.amentu, .. c. "Alleluia" d. closing " 0 , o magnum mysterium ..."

9.

" 0 magnum mysterium," p. 97 Which musical technique do you hear in the first and last sections of " 0 magnum mysterium"? a. sequence b. points of imitation c. isorhythm d. plainchant paraphrase

10.

Monteverdi, The Coronation of Poppea, p. 102 The singers in The Coronation of Poppea are:

a. b. c. d.

two one two two

male sopranos. male soprano and one female soprano. female sopranos. females: a mezzo soprano and a soprano.

11. Monteverdi, The Coronation of Poppea, p. 102 In the opening recitative of The Coronation of Poppea, there is: a. no identifiable meter. b. constant duple meter. c. constant triple meter. d. duple meter at first, then triple meter.

12. Monteverdi, The Coronation of Poppea, p. 102

116

Chapter 7 The Early Baroque Period In the opening recitative of The Coronation of Poppea, which word is repeated in several different ways, sometimes sounding minor, sometimes sounding major?

a. b. c. d.

58

dalle tornerai col'

divelle


117

13. Monteverdi, The Coronation of Poppea, p. 102 The opening recitative of The Coronation of Poppea is interrupted by a very short section in regular meter sung by Nero. It is a(n): a. arioso. b. aria. c. recitative. d. alba.


How is the word addio treated at the end of the recitative section of The Coronation of Pop pea?

a. b. c. d.

with with with with

sequences ornamentation a change in instrumental accompaniment paraphrasing in the lower voices

15. Monteverdi, The Coronation of Poppea, p. 102 In the aria part of The Coronation of Poppea, what does not change from section to section? a. tonality b. the accompaniment c. the meter d. the soloist

16.

Dido and Aeneas, p. 106 Who composed Dido and Aeneas?

a. b. c. d. 17.

Giovanni Gabrieli Claudio Monteverdi Henry Purcell Arcangelo Corelli Dido

Aeneas, p. 106 and Aeneas is a(n):

a. b. c. d.

and Dido

Mass. opera. motet. madrigal.

18. Dido and Aeneas, p. 106 Where was Dido and Aeneas composed? a. Italy h. c. d. England

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Chapter 7 The Early Baroque Period 19. Dido and Aeneas, p. 106

There are__________ sectionsinActIII,finalsceneof DidoandAeneas. Theyarea a. two; recitative (including a short arioso) and an aria b. three; recitative, an aria, and a chorus c. four; recitative, an aria, a recitative, and a chorus d. three; recitative, an aria, and another aria


119

p. 106 Who is singing to whom in the recitative section of the final scene of Dido

20. Dido and Aeneas,

and Aeneas?

a. b. c. d.

Dido sings to Aeneas. Aeneas sings to Dido. Dido sings to Belinda. Belinda sings to Dido.

21. Dido and Aeneas, p. 106 How can you tell when the aria portion of the final scene of Dido and Aeneas has begun? a. The rhythm settles into a regular meter. b. The rhythm is suddenly irregular. c. The chorus comes in. d. A vocal duet begins. p. 106 In which section of the final scene of Dido and Aeneas do you hear a ground bass? a. the recitative b. the chorus c. the arioso d. the aria


p. 106 When does the chorus begin to sing in the final scene of Dido and Aeneas? a. as Dido is singing b. after Dido stabs herself c. when Aeneas finishes his aria d. when Aeneas stabs himself


24. Dido and Aeneas, p. 106 What textures do you hear in the closing chorus of Dido and Aeneas? a. monophony, then polyphony b. monophony, then homophony c. polyphony, then homophony d. imitative polyphony, then non-imitative polyphony 25. Suite, p. 109 The composer of this Suite is: a. Giovanni Gabrieli. b. Claudio Monteverdi. c. Henry Purcell. d. Girolamo Frescobaldi. 26. Suite, p. 109 What genre of keyboard music opens the Suite? a. toccata b. arioso c. canzona d. fugue

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27. Suite, p. 109 Which statement is true of the Suite? a. The acaglia ends the Suite. b. The canzona ends the Suite. c. The Suite is a collection of three stylized dances. d. The Suite opens with a toccata.


121

28. Suite, p. 109 The canzona of the Suite opens with: a. three repeated notes. b. three repeated chords. c. a theme that begins very slowly. d. a theme that begins with long leaps followed by running sixteenth notes.

29. Suite, p. 109

The balletto and corrente of the Suite are dances related by their: a. contrasting keyboards. b. similar meters. c. bass lines. d. attention to variation.

30.

Suite, p. 109 The balletto and corrente of the Suite contrast strongly in their: a. contrasting keyboards. b. homophonic texture. c. bass lines. d. meters.

31. Suite, p. 109 The length of the bass line in the acaglia of the Suite is: a. four measures in triple meter. b. eight measures in triple meter. c. four measures in duple meter. d. eight measures in duple meter.

32. Suite, p. 109

In the third variation of the acaglia of the Suite, the composer surprises the listener with a(n): a. descending bass line. b. ascending bass line. c. no bass line. d. fugue section.

Topics

33. From Renaissance to Baroque, p. 95 What was the most "advanced" form in late Renaissance music? a. the madrigal b. the motet c. the Mass d. dance forms

34. From Renaissance to Baroque, p. 95 At the end of the Renaissance an influential group of Florentines reacted against the madrigal because of its:

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Chapter 7 The Early Baroque Period a. b. c. d.

homophonic lines. great capacity for expressing emotions of an individual. word painting and counterpoint. religious orientation.


35. From Renaissance to Baroque, p. 95 Opera began in: a. London around 1500. b. Rome around 1450. c. Paris around 1200. d. Florence around 1600. 36. From Renaissance to Baroque, p. 96 In the early Baroque period, composers subdivided choirs in order to exploit more: a. sonorous effects. b. complex textures. c. word painting. d. austere moods. 37. From Renaissance to Baroque, p. 96 Which texture gained prominence in seventeenth-century Venice? a. monophony b. homophony c. imitative polyphony d. non-imitative polyphony 38. Extravagance and Control, p. 97 Musical form in the early Baroque period was becoming: a. less concerned with structure. b. more influenced by classical Greek music theory. c. less oriented toward intense sonorities. d. more controlled and systematic. 39. The Gabrielis, p. 97 Who were the most important composers in Venice around 1600? a. Claudio Monteverdi and Arcangelo Corelli b. Andrea and Giovanni Gabrieli c. Arcangelo Corelli and Henry Purcell d. Giovanni Gabrieli and Claudio Monteverdi 40. The Gabrielis, p. 97 Where did the Gabrielis work? a. St. Peter 's Basilica in Rome b. Westminster Abbey in London c. St. Mark 's Cathedral in Venice d. the opera house in Venice 41. " 0 magnum mysterium, " p. 97 " 0 magnum mysterium " was written for: a. Christmas. b. Easter. c. Pentecost. d. Epiphany. 42. Style Features of Early Baroque Music, p. 98

123

124

Chapter 7 The Early Baroque Period The Baroque period spans the years: a. 1600 to 1700. b. 1600 to 1750. c. 1400 to 1750. d. 1450 to 1650.


125

43. Style Features of Early Baroque Music, p. 98 The original meaning of baroque was: a. a piece of music broken into several sections. b. plainchant. c. a perfectly shaped pearl. d. an irregularly shaped pearl. 44. Rhythm and Meter, p. 98 In the Baroque period, rhythm became more: a. syncopated. b. unidentifiable. c. regular. d. irregular. 45. Rhythm and Meter, p. 99 Which accurately describes the Baroque treatment of meter? a. Meter became more accepted; bar lines came into use. b. Meter disappeared; bar lines disappeared. c. Meter became more and more blurred with increased polyphony. d. Meter was no longer necessary now that recitatives were popular. 46. Texture: Basso Continuo, p. 99 The term basso continuo refers to: a. an extended style of singing for men in the Baroque period. b. where the plainchant melody is paraphrased in Baroque vocal music. c. the bass line and continuous chords of a Baroque composition. d. another term for ground bass. 47. Texture: Basso Continuo, p. 99 Which two instruments would most likely have played the basso continuo in the Baroque era? a. cello and harpsichord b. bassoon and piano c. violin and cello d. bassoon and cello 48. Texture: Basso Continuo, p. 99 In Baroque music, what is the form in which there is a repeated bass figure with chords, above which the upper lines play different melodies? a. strophic b. ground bass c. basso continuo d. recitative 49. Functional Harmony, p. 99 What feature of harmony disappears during the Baroque period? a. major/minor system b. functional harmony c. strong sense of tonality d. use of Church modes

126


SO. Opera, p. 100 Drama set to music is: a. opera. b. Greek tragedy. c. a madrigal. d. a motet.


127

51. Opera, p. 101 Early Florentine operas were: a. religious dramas set to music in churches. b. public entertainment on a grand scale. c. court entertainments for events such as royal weddings. d. traveling minstrel shows with Greek tragedies set to music. 52. Opera, p. 101 The first public opera theater was opened in: a. Vienna in 1603. b. Florence in 1603. c. Florence in 1637. d. Venice in 1637. 53. Opera, p. 101 Opera provided the perfect vehicle for the Baroque idea of: a. expressing the views of many individuals at once. b. expressing the emotions of the individual. c. enacting biblical stories. d. political propaganda. 54. Recitative, p. 101 The operatic equivalent to dramatic dialogue is a(n): a. aria. b. theme. c. recitative. d. arioso. 55. Recitative, p. 102 In a recitative, the rhythm: a. follows the rhythm of speech. b. follows the meter. c. is vague, and the text is not important. d. is hidden by polyphony. 56. Recitative, p. 102 Which is true of recitatives? a. The plot action stops. b. There is much musical elaboration. c. There is very little accompaniment for the soloist. d. The singer meditates on the dramatic situation at hand. 57. Aria, p. 102 The operatic equivalent of a soliloquy or meditation is a(n): a. recitative. b. aria. c. arioso. d. declamation. 58. Aria, p. 102 An aria is: a. the musical declamation of words in a heightened, theatrical manner. b. between recitative and arioso in style.

128

Chapter 7 The Early Baroque Period c. used for moving the plot along. d. an extended piece for a solo singer having more musical elaboration and a steadier pulse than recitative.


59. Aria, p. 102

129

Which is true of arias? a. There is very little accompaniment for the singer. b. The singer meditates on the dramatic situation at hand and emotions are "frozen" into a tableau. c. There is far less musical elaboration than in a recitative. d. The plot action moves along quickly and emotions are ever-changing.

60. Claudio Monteverdi, p. 102 Which composer was the first whose music was attacked for being too radical? a. Andrea Gabrieli b. Henry Purcell c. Arcangelo Corelli d. Claudio Monteverdi

61. Claudio Monteverdi, p. 102

Who is known as the "last great madrigalist and the first great opera composer "? a. Arcangelo Corelli b. Henry Purcell c. Claudio Monteverdi d. Giovanni Gabrieli


During which phase of Monteverdi's career did he compose The Coronation of Poppea?

a. b. c. d.

It It It It

was was was was

late in his career. early in his career. in the middle of his career. the first piece he ever wrote.

63.

Monteverdi, The Coronation of Poppea, p. 103 The plot of Monteverdi's Coronation of Poppea involves: a. the founding of Rome and the Roman Empire. b. biblical characters, including David, Goliath, and Poppea. c. Nero; his mistress, Poppea; his wife, Ottavia; and his adviser, Seneca. d. Poppea's coronation as queen of Carthage.

64.

Monteverdi, The Coronation of Poppea, p. 103 An aria-like fragment in an opera that is neither a recitative nor an aria is a(n): a. alba. b. arioso. c. recitoso.

130

Chapter 7 The Early Baroque Period d. interlude. 65. Henry Purcell, p. 105

Who is considered to be the greatest English composer of the Baroque period? a. George Frideric Handel b. Thomas Morley c. William Byrd d. Henry Purcell


131

66. Henry Purcell, p. 105 Purcell wrote: a. only vocal music. b. instrumental music and operatic vocal music. c. instrumental music, sacred music, secular songs, and theater music, including opera. d. secular songs, sacred music, and theater music, including opera. 67. Henry Purcell, p. 106 What was the source for Dido and Aeneas? a. the Bible b. the Aeneid, by Virgil c. a Shakespearean play d. an original play he wrote earlier in his career 68. Dido and Aeneas, p. 107 " me, but ah, forget my fate" is part of the text of: a. " 0 magnum mysterium. " b. The Coronation of Poppea. c. "When I am laid in earth." d. "Thy hand, Belinda." 69. The Rise of Instrumental Music, p. 108 What are the three main sources of instrumental music? a. dance, virtuosity, and vocal music b. dance, the Church, and vocal music c. virtuosity, the Church, and vocal music d. dance, opera, and virtuosity 70. The Rise of Instrumental Music, p. 108 In the Baroque period, dance music gained popularity because of: a. the increased popularity of liturgical dance in the church. b. commissions from royalty to compose dance music for festive occasions. c. the way ballet was used in opera. d. its popularity with the rising middle class. 71. The Rise of Instrumental Music, p. 108 A set of dances collected from an opera or ballet is called a: a. concerto grosso. b. suite. c. sonata. d. recitative. 72. The Rise of Instrumental Music, p. 108 Pieces written in the form or style of dance music but meant for listening, not dancing, are: a. suites. b. sonatas. c. movements. d. stylized dances.

132


73. The Rise of Instrumental Music, p. 108 What characterizes the art of the early instrumental virtuosos? a. They repeated simple melodies. b. They used chant sequences. c. They improvised music that was rarely written down. d. They notated everything they played for their students' use.


133

74. The Rise of Instrumental Music, p. 108 Which feature of vocal music was transferred to Baroque instrumental music? a. word painting b. imitative polyphonic texture c. monophonic texture d. declamation

75. The Rise of Instrumental Music, p. 108

Points of imitation in vocal music led to the development of the instrumental music. a. fugue b. concerto c. stylized dance d. suite


A Baroque composition that treats one melody imitatively is called a: a. suite. b. concerto. c. fugue. d. recitative.

77. The Rise of Instrumental Music, p. 108 Fugues were composed and improvised mainly by: a. singers. b. virtuoso violinists. c. conductors. d. keyboard players.

78. Girolamo Frescobaldi, p. 108 The foremost organ virtuoso of the early seventeenth century was: a. Henry Purcell. b. Girolamo Frescobaldi. c. Andrea Gabrieli. d. Claudio Monteverdi.

79. Girolamo Frescobaldi, p. 109 The keyboard virtuoso and composer who was influenced a century later by Frescobaldi's music was: a. Johann Sebastian Bach b. Antonio Vivaldi c. Andrea Gabrieli d. Claudio Monteverdi

80.

Girolamo Frescobaldi, p. 109 The genre of keyboard work that emphasized imitative polyphony is

in

134

Chapter 7 The Early Baroque Period the:

a. b. c. d.

toccata. variation. canzona. balletto.


135

81. Suite, p. 109

A keyboard genre based on melodic or harmonic patterns borrowed from vocal music is a: a. set of variations. b. stylized dance. c. toccata. d. canzona.

82. Suite, p. 109

Frescobaldi's Suite consists of a canzona followed by: a. a pair of dances, the pavane and galliard. b. two dances and a set of variations. c. a toccata and two short dances. d. a second canzona and a short toccata.

83.

Suite, p. 109 A set of variations on a brief harmonic progression and the bass line associated with it is a: a. fugue. b. acaglia. c. canzona. d. corrente.

84.

Suite, p. 109 A keyboard genre that means "touched" in Italian is a: a. corrente. b. acaglia. c. canzona. d. toccata.

85.

Suite, p. 110 The balletto and corrente of Frescobaldi's Suite have a formal design that is: a. a a b. b. a a b b . c. a b b . d. a b a.

86.

Suite, p. 110 The acaglia in Frescobaldi's Suite bears a close relationship to the: a. galliard. b. stylized dance. c. ostinato. d. canzona.

Essay Questions 1.

The Early Baroque Period, p. 95 Which country was the musical leader in the early Baroque period? What was the state of the art of music in this country at that time?

2.

From Renaissance to Baroque, p. 95 Describe the style of the madrigal at the end of the sixteenth century

136

Chapter 7 The Early Baroque

Period

and reactions against this style.

3.

From Renaissance to Baroque, p. 95 Name and explain the new musical style emerging in Florence around 1600.


4. Music in Venice, p. 95

Describe the "Serene Republic " of Venice around 1600. Refer to the arts, the socioeconomic climate of the city, and the city's appearance in your answer.

5. Music in Venice, p. 96 Explain how seventeenth-century Venetian composers expanded on the echoing semichoir technique of sixteenth-century composers.

6. Extravagance and Control, p. 97

Discuss the Baroque dualism of freedom of expression and extravagance versus formal control and balance.

7. The Gabrielis, p. 97

Name the two important composers who worked at St. Mark's Cathedral in Venice around 1600. Describe their acoustical innovations.

8. Gabrieli, " 0 magnum mysterium," p. 97 For which festive day in the Church year was " 0 magnum mysterium" composed? Summarize the text.

9. Style Features of Early Baroque Music, p. 98 Briefly describe how Baroque music differs from Renaissance music in of rhythm, meter, mode, and harmony. You can put your answer in chart form if you wish.

10.

Texture: Basso Continuo, p. 99 Define, compare, and contrast basso continuo and ground bass.

11.

Opera, p. 100 Define opera. Explain why it is referred to as the most characteristic art form of the Baroque era.

12.

Opera, p. 101 Characterize the nature and purpose of early Florentine operas.

13.

Opera, p. 101 Explain why opera provided the perfect opportunity for individual emotional expression.

14.

Recitative and Aria, p. 101 Define and contrast recitative and

aria; address their musical and dramatic differences.

15.

Claudio Monteverdi, p. 102 Name the Baroque composer who is known as the first master of opera. Where did he work? How was his music regarded during his lifetime?

16.

Monteverdi, The Coronation of Poppea, p. 102 Summarize the plot of The Coronation of Poppea. What is the specific plot situation of the portion of this opera in your listening selection?

17.

Henry Purcell, p. 105 Summarize the career and types of compositions of Henry Purcell.

137

138

18.

Chapter 7 The Early Baroque

Period

Dido and Aeneas, p. 106

What are the background and plot of Dido and Aeneas? What is the literary source for this work?


139


Describe the roles played by dance, virtuosity, and vocal music in the rise of Baroque instrumental music.


Define fugue in of texture and themes. Explain what sort of musician would be most likely to write and improvise fugues.

21.

Girolamo Frescobaldi, p. 108 What instrument did Frescobaldi play and whom did he influence?

22.

Girolamo Frescobaldi, p. 108 What three basic tendencies in instrumental music are present in the keyboard music of Frescobaldi? Give an example of each.

23.

Girolamo Frescobaldi, p. 109 What distinguishes the canzona, and what later genre does it influence?

24.

Suite, p. 110 Describe the acaglia and how it may differ from the ground bass found in "Dido's Lament" by Henry Purcell.

25.

Frescobaldi, Suite, p. 111 Describe the ways Frescobaldi creates variation in the acaglia from his Suite. GLOBAL PERSPECTIVES 3

Ostinato Forms


African Ostinatos, p. 112 The rich array of ostinato form is displayed up and down the continent of: a. Asia. b. Europe. c. South America. d. Africa.

2.

A Minstrel's Song, p. 112 The instrument that accompanies the singer in the Gambian song is called a: a. harp. b. viol. c. kora. d. lute.

3.

A Minstrel's Song, p. 112 Traditions of solo song accompanied by an instrument like the kora, harp, or lyre are:

140

Chapter 7 The Early Baroque Period a. a recent development. b. performed in Europe today. c. found very far back in history around the Mediterranean Sea. d. rare in cultures around the Mediterranean Sea.

vii

72


4. A Minstrel's Song, p. 112 In this Gambian song, the kora player creates an ostinato pattern by: a. plucking mainly on the low-pitched strings with his thumbs. b. playing cascading melodies on the higher strings. c. singing quietly along with the music. d. playing dissonant notes. 5. Pygmy Polyphony, p. 113 Pygmy polyphony involves a technique common to many kinds of African music: a. monophonic statement of a theme b. interlocking ostinatos c. polyphonic accompaniment by brass instruments d. interjection of virtuosic drumming 6. Pygmy Polyphony, p. 113 are The intricate, repetitive texture of the pygmy chorus's reminiscent of: short melodic lines a. the hocket in the isorhythmic motet of the Middle Ages. b. the polychoral sound of the early Baroque. c. the homophonic texture of Palestrina's Pope Marcellus Mass. d. the dance rhythms of the pavane in the Renaissance. 7. A Hunting Song for Chorus, p. 113 A Hunting Song for Chorus opens with: a. an instrumental introduction of drums and flutes. b. an aria-like solo. c. a clear ostinato that is to last the entire piece. d. two choral announcements describing bravery and daring. 8. A Hunting Song for Chorus, p. 113 What accompanies A Hunting Song for Chorus is: a. a lyre being strummed. b. two sticks struck together to keep the beat.

Essay Questions 1.

African Ostinatos, p. 112 How prevalent is the ostinato in the world?

2.

African Ostinatos, p. 112 Briefly discuss the construction of the kora.

3.

A Minstrel's Song, p. 112 Outline the flow of this Gambian song.

4.

Pygmy Polyphony, p. 113 Describe the social

aspects and musical techniques of pygmy polyphony.

5.

A Hunting Song for Chorus, p. 113 Describe briefly how this composition unfolds, particularly the appearance and presence of the ostinato.

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C H A P T E R

8

Prelude The Late

Period

Multiple-Choice Questions 1. Prelude: The Late Baroque Period, p. 116 The Baroque Period spanned the years: a. 1200-1450. b. 1400-1550. c. 1600-1750. d. 1700-1800. 2. Prelude: The Late Baroque Period, p. 116 An instrument from the Baroque period that revived is the: has been a. harpsichord. b. clarinet. c. piano.

3.

Prelude: The Late Baroque Period, p. 116 Much of the Baroque music we hear today is from the late Baroque era, which spanned the years: a. 1600-1750. b. 1700-1750. c. 1750-1850. d. 1650-1750.

4.

Prelude: The Late Baroque Period, p. 116 Who are the two most important composers of the late Baroque period? a. Johann Sebastian Bach and Georg Philipp Telemann b. Antonio Vivaldi and Johann Sebastian Bach c. George Frideric Handel and Antonio Vivaldi d. Johann Sebastian Bach and George Frideric Handel

5.

Absolutism and the Age of Science, p. 116 Historians might speak of the Baroque Period as the: a. Age of Absolutism.

b. c. d.

ars nova.

Age of Classicism. Age of Literature.

144

Chapter 8 Prelude: The Late Baroque Period

6.

Absolutism and the Age of Science, p. 117 Which best describes the dualism found in Baroque art and music? a. recitative versus aria b. pomp and extravagance versus system and calculation c. church music versus secular music d. systematic extravagance versus calculated pomp

7.

Art and Absolutism, p. 117 Who was the leading monarch in the Age of Absolutism? a. Elizabeth I of England b. Cosimo de' Medici c. King Phillip of Spain d. Louis XIV of

8.

Art and Absolutism, p. 118 The purpose of art in the Age of Absolutism was: a. to share with the general populace. b. to demonstrate scientific absolutes. c. to impress and overwhelm. d. to protest the influence of the church.

9.

The Music of Absolutism, p. 118 Which is true of music in the Age of Absolutism? a. Monarchs had no control over music. b. Music functioned at least partly to flatter the nobility who paid for it. c. Absolutely no emotional display was allowed in Baroque music. d. Only emotion mattered in music; control was not important.

10. Art and Theatricality, p. 119 Opera arose around the year: a. 1600. b. 1603. c. 1637. d. 1650.

11. Art and Theatricality, p. 120 Which characteristic of Baroque theater made it appealing to Baroque audiences and composers of opera? a. the deep, quiet spirituality of the theater b. the slapstick comedy of the stage c. the display of strong emotions in drama d. the down-to-earth, realistic topics and characters

12.

Science and Music, p. 122 Which best describes rhythm in the


Baroque era? a. It became less regular. b. It became more regular. c. Bar lines disappeared. d. Meters changed frequently and often were unidentifiable.

146

Chapter 8 Prelude: The Late Baroque Period 13. Science and Music, p. 123 Which best describes the musical depiction of emotion in the late Baroque era? a. Emotions were expressed freely and naturally. b. A piece of music was performed differently each time; the performer expressed what he or she felt at the moment. c. Emotional display was kept at a minimum, as a reaction to the Renaissance musical style. d. Emotions were scientifically categorized and musical expression of emotion was systematized into techniques and devices.

14. Musical Life in the Early Eighteenth Century, p. 123

Baroque composers were likely to think of themselves as: a. artists, striving for self-expression. b. virtuoso performers, capable of amazing the ordinary person. c. craftspeople, creating a product on demand. d. undesirables, constantly moving from town to town looking for employment.

15. Musical Life in the Early Eighteenth Century, p. 123 The three main institutions where Baroque composers could make a living were: a. the church, the tavern, and the concert hall. b. the church, the opera house, and the court. c. the court, the university, and musical journals. d. the opera house, the theater, and the concert hall.

16. Musical Life in the Early Eighteenth Century, p. 124 In the early eighteenth century, court musicians had a better sense of new musical trends than church musicians because: a. they were required to travel with their employers. b. they studied composition with their employers. c. they periodically took time to refine their skills. d. they studied past compositional techniques.

17. Rhythm, p. 125 Which is true of the Baroque treatment of rhythm? a. There are no bar lines, so meter is not important. b. The beat tends to be unsteady and unpredictable. c. Certain instruments, such as the harpsichord, emphasize a clear, steady beat and meter. d. The harmonic rhythm tends to be unsteady and unpredictable.

18. Rhythm, p. 126 A bass part that moves in even notes, usually eighths or quarters, is called a: a. marching bass. b. walking bass. c. ground bass.


d.

continuo.

19. Dynamics, p. 126

Baroque dynamics generally: a. change with the harmonic rhythm. b. get gradually louder and softer throughout a movement. c. stay the same throughout a movement. d. get louder and softer according to the emotions of the performer.

148

Chapter 8 Prelude: The Late Baroque Period 20. Tone Color, p. 126 Baroque music is often very adaptable and changeable with regard to which musical element? a. rhythm b. texture c. harmony d. tone color

21. The Baroque Orchestra, p. 127

Which instrument family formed the core of the Baroque orchestra? a. strings b. woodwinds c. brass d. percussion

22.

The Baroque Orchestra, p. 127 The orchestra of the court of Louis XIV was called the: a. "Opera Orchestra of the Sun King." b. "Twenty-Four Violins of the King." c. "Royal Festival Orchestra." d. "Versailles Philharmonic."

23. Melody, p. 127 Which best describes Baroque melodies? a. simple lines b. symmetrical and graceful c. complex and appearing in sequences d. brief motives

24. Ornamentation, p. 128 Ornamentation is the practice of: a. improvising changes in the beat. b. improvising melodic extras in the music. c. wearing highly decorative costumes in operas. d. improvising changes to the words of an aria.

25.

Texture, p. 128 The standard texture of much Baroque music is: a. monophonic. b. homophonic. c. non-imitative. d. polyphonic.

26. The Continuo, p. 129 In Baroque music, the continuo, or basso continuo, is the: a. lowest voice part in polyphonic vocal music. b. lowest instrument in the orchestra that plays continuously. c. chordal instrument. cl. bass line that is linked to a series of chords.


27. The Continuo, p. 129 Which two instruments most likely have played the basso continuo part in a Baroque would composition? a. flute and violin b. violin and cello c. cello and harpsichord

150

Chapter 8 Prelude: The Late Baroque Period 28.

The Continuo, p. 129 The numerical shorthand below the basso continuo notes indicating the content of chords to be played is called: a. ground bass. b. figured bass. c. ground figures. d. concerto grosso.

29. The Emotional World of Baroque Music, p. 130 How did Baroque composers view the use of emotion in their compositions? a. They isolated emotions, analyzed them, and portrayed them as consistently as possible. b. They revealed their own emotions directly in their compositions. c. They allowed only subtle emotional display in their work. d. They left all emotion out of the music, knowing that the performer would provide an emotional rendition of this intellectual style of music.

Essay Questions 1.

Prelude: The Late Baroque Period, p. 116 Define baroque. What is the source of this word? When was the word baroque applied to the music of this period, and in what spirit?

2.

Prelude: The Late Baroque Period, p. 116 Alessandro Scarlatti, Antonio Vivaldi, Francois Couperin, Jean-Philippe Rameau, Domenico Scarlatti, and Georg Philipp Telemann were important composers in the late Baroque period. Give their respective countries of employment.

3.

Absolutism and the Age of Science, p. 116 Explain the "divine right of kings" and name a king to whom this right seemed to apply. Relate this concept to the Age of Absolutism.

4.

Absolutism and the Age of Science, p. 116 Explain how science affected both art and ordinary life in the Baroque era.

5.

Art and Absolutism, p. 117 Describe the extent to which the monarchy of the "Sun Icing" influenced music, the visual arts, and architecture in his country and elsewhere.

6.

The Music of Absolutism, p. 118 Describe the types of music and the musical forces demanded in the courts of nobility in the Age of Absolutism.

7.

The Music of Absolutism, p. 119 Describe two purposes of opera in the Age of Absolutism.

8.

Art and Theatricality, p. 120 Explain the theatrical quality of the Baroque play as it related to and inspired opera of the time.


9.

Science and Music, p. 122 Explain the impact of improved tuning on composers in the Baroque era.

10.

Science and Music, p. 122 Describe the change in the use of harmony in the late Baroque era.

152

Chapter 8 Prelude: The Late Baroque Period 11.

Science and Music, p. 122 How did composers approach form in the late Baroque era?

12.

Science and Music, p. 123 Describe the scientific approach to emotional expression in music in the late Baroque era.

13.

Musical Life in the Early Eighteenth Century, p. 123 Describe the way the career of a composer was viewed in the Baroque era.

14.

Musical Life in the Early Eighteenth Century, p. 123 Name and describe the three main institutions where a Baroque composer could make a living. Contrast the probable quality of life of composers in each institution.

15. Rhythm, p. 125 Characterize the Baroque use of rhythm. Refer to walking bass, meter, and harmonic rhythm in your answer.

16.

Rhythm, p. 126 Define harmonic rhythm.

17.

Dynamics, p. 126 How did Baroque composers and performers use dynamics?

18.

Tone Color, p. 126 Briefly describe the two ways Baroque composers approached and used tone color.

19.

The Baroque Orchestra, p. 127 Briefly describe the early Baroque orchestra as typified in the court of Louis XIV.

20.

The Baroque Orchestra, p. 127 Name the keyboard instruments of the Baroque orchestra. For which type of music was each used?

21. The Baroque Orchestra, p. 127 Describe the basic Baroque orchestra and explain the difference between this and the "festive" Baroque orchestra. When might the festive orchestra be called on to play?

22. Melody, p. 127 Characterize Baroque melody. Refer to musical elements such as pitch range, rhythm, ornamentation, length, and use of sequence.

23. Melody, p. 128 Is it generally easier to sing typical Baroque melodies, or to play them on instruments? Explain.

24. Texture, p. 128 Is Baroque music primarily simple or complex in texture? Describe instances in which Baroque music is polyphonic and ways in which


it is homophonic.

25.

The Continuo, p. 129 Define basso continuo. Refer to instrumentation and figured bass in your answer.

26.

The Continuo, p. 129 Briefly describe the functions of the left and right hands of a continuo keyboard player.

27.

The Continuo, p. 129 Briefly explain the way Baroque harmony is "polarized."

28.

Musical Form, p. 130 Discuss the patronage system that existed in the Baroque era.

29. Musical Form, p. 130

What two nonmusical factors were influential in making Baroque forms so clear and regular? In what ways?

30. The Emotional World of Baroque Music, p. 130

Characterize the Baroque depiction of emotion in music. Was it realistic or exaggerated? Explain how.

C H A P T E R

9

Baroque Instrumental Music


Violin Concerto in G, La stravaganza, Op. 4, No. 12, p. 134 The composer of the Violin Concerto in G, La stravaganza, is: a. Johann Sebastian Bach. b. Henry Purcell. c. Antonio Vivaldi. d. Antonio Stradivarius.

1.

2.

Violin Concerto in G, La stravaganza, Op. 4, No. 12, p. 134 The Violin Concerto in G, La stravaganza, was composed between: a. 1600 and 1650. b. 1650 and 1700. c. 1700 and 1750. d. 1750 and 1800.

3.

Violin Concerto in G, La stravaganza, Op. 4, No. 12, p. 134 In the recording of the Violin Concerto in G, La stravaganza, the continuo chords are played by a(n): a. cello. b. bassoon. c. violin. d. archlute.

4.

Violin Concerto in G, La stravaganza, Op. 4, No. 12, p. 134 From which country and style period is the Violin Concerto in G, La stravaganza?

a. b. c. d. 5.

England; Classical ; Baroque ; Renaissance Italy; Baroque

Violin Concerto in G, La stravaganza, Op. 4, No. 12, p. 134 Which do you hear in the first movement of the Violin Concerto in G, La stravaganza?

a.

a contrast between ritornello and solo ages

b. c. d.

80

variation on a melody above a ground bass subjects and countersubjects A B A' form

Chapter 9 Baroque Instrumental Music

6.

Violin Concerto in G, L a stravaganza, Op. 4, No. 12, p. 138 The form of the second movement of the Violin Concerto in G, La stravaganza, is:

a. b. c. d. 7.

fugue. variation. ritornello. ABA.

Violin Concerto in G, La stravaganza, Op. 4, No. 12, p. 138 The main melody of the second movement of the Violin Concerto in G, La stravaganza, is:

a. b. c. d. 8.

in the bass. in the solo violin line. in the upper part of the orchestra. ed back and forth between solo and orchestra.

Violin Concerto in G, La stravaganza, Op. 4, No. 12, p. 138 Which is true of the third movement of the Violin Concerto in G, La stravaganza?

a. b. c. d. 9.

It starts with the orchestral ritornello. It starts with the solo violin. The second ritornello is the same as the main ritornello. The solo violin line hardly changes.

Violin Concerto in G, La stravaganza, Op. 4, No. 12, p. 138 The third movement of the Violin Concerto in G, La stravaganza, is an example of: a. a dance suite. b. imitative polyphony. c. ritornello form. d. variation form.

10. Bach,

Concerto No. 5, p. 139 The opening melody of Brandenburg Concerto No. 5: a. becomes more and more complicated as it goes along. b. is brief and starkly simple. c. is in a more difficult meter than the rest of the movement. d. is slow and somber. Brandenburg

9.1. Bach, Brandenburg Concerto No. 5, p. 139 The meter of the first movement of Brandenburg Concerto No. 5 is: a. duple. b. triple. c. compound duple. d. compound triple.

12.

Bach, Brandenburg Concerto No. 5, p. 139 In the first movement of Brandenburg Concerto No. 5, the mode is: a. major throughout.

158

Chapter 9 Baroque Instrumental Music b. c. d.

minor throughout. mostly major with a couple of minor spots. mostly minor with a couple of major spots.

13. Bach,

Brandenburg Concerto No. 5, p. 139 Instruments heard in the first movement of Brandenburg Concerto No. 5 are: a. oboe, organ, and string orchestra. b. trumpet, flute, harpsichord, and string orchestra. c. flute, violin, harpsichord, and string orchestra. d. violin, harpsichord, and string orchestra.

80


14. Bach, Brandenburg Concerto No. 5, p. 139 What is the form of the first movement of Brandenburg Concerto No. 5? a. acaglia b. fugue c. dance suite d. ritornello 15. Bach, Brandenburg Concerto No. 5, p. 139 Which instrument(s) is/are featured in the quiet, central solo section of the first movement of Brandenburg Concerto No. 5? a. flute and violin b. harpsichord c. flute and harpsichord d. violin and harpsichord 16. Bach, Brandenburg Concerto No. 5, p. 139 Which instrument plays the cadenza in the first movement of Brandenburg Concerto No. 5? a. flute b. harpsichord c. orchestra d. violin 17. Bach, Contrapunctus 4, from The Art of Fugue, p. 1 4 6 In Contrapunctus 4, the exposition of the subject voices proceeds from: a. bass to tenor, then alto to soprano. b. tenor to alto, then bass to soprano. c. soprano to alto, then tenor, then bass. d. soprano to tenor, then alto, then bass. 18. Bach, Contrapunctus 4, from The Art of Fugue, p. 146 The performance of Contrapunctus 4 is by: a. a pipe organ. b. a harpsichord. c. a string orchestra. d. a string quartet. 19. Bach, Contrapunctus

a. b. c. d.

a a a a

from The Art of Fugue, p. 146 In the first episode of Contrapunctus 4, Bach composes: second fugue subject used later. cuckoo figure in sequence. dancelike figure. chorale tune. 4,

20. Bach, Orchestral Suite No. 3 in D, p. 150 The Air movement of Orchestral Suite No. 3 in D was written for: a. strings only. b. woodwinds only. c. brass only. d. a festive Baroque orchestra. 21. Bach, Orchestral Suite No. 3 in D, p. 150

160

Chapter 9 Baroque Instrumental Music Which best describes the character of the Air movement of Orchestral Suite No. 3 in D? a. peppy and spirited b. songlike c. grandiose d. festive


22. Bach, Orchestral Suite No. 3 in D, p. 150 One characteristic that gives the Air movement of Orchestral Suite No. 3 in D organized momentum is Bach's use of: a. imitative counterpoint. b. dissonance. c. episodes. d. sequences. 23. Bach, Orchestral Suite No. 3 in D, p. 150 After the Air, what two instruments return together in the Gavotte movement of Orchestral Suite No. 3 in D? a. cellos and timpani b. wind instruments and timpani c. strings and timpani d. cellos and violins 24. Bach, Orchestral Suite No. 3 in D, p. 150 The Gavotte movement of Orchestral Suite evokes a________ mood in the suite No. 3 in D in its use of_________ and a. solemn; violins and cellos b. complex; imitative and non-imitative polyphony c. military; trumpet and timpani d. soothing; flutes and violins 25. Bach, Orchestral Suite No. 3 in D, p. 150 The meter of the Gavotte movement of Orchestral Suite No. 3 in D is: a. duple. b. triple. c. compound duple. d. compound triple. Topics

26. Concerto and Concerto Grosso, p. 133

The term concerto comes from the Latin word concertare, which indicates in the concerto grosso a: a. blending of orchestral sound to avoid contrast. b. contest between a soloist and a keyboard instrument. c. contest between soloists and orchestra. d. contest between two or more choirs.

27. Concerto and Concerto Grosso, p. 133 The concerto and concerto grosso are characterized by: a. more contrast than much other Baroque music. b. less contrast than much other Baroque music. c. about the same amount of contrast as other Baroque music. d. almost no contrast at all.

28. Movements, p. 133 I -low many movements does a typical concerto have? a. one b. two

162

Chapter 9 Baroque Instrumental Music c. d.

three four


29. Ritornello Form, p. 133 The term for the initial orchestral melody in a concerto grosso that returns from time to time is: a. subject. b. episode. c. countersubject. d. ritornello.

30. Ritornello Form, p. 134 Ritornello form is based on: a. constant variation of a ground bass. b. a periodic return of a central, musical theme by the orchestra. c. the alternation of various dance movements. d. persistent imitation of a single subject.

31. Violin Concerto in G, La stravaganza, Op. 4, No. 12, p. 134

A___________ beginning and_______ cadence is typical of the opening ritornello of the first movement of a Baroque concerto. a. quiet; a strong final b. strong; a strong final c. quiet; a quiet d. strong; no

32. Violin Concerto in G, La stravaganza, Op. 4, No. 12, p. 134 The five ritornello sections in the first movement of the Violin Concerto in G, La stravaganza, are: a. all different in some way. b. the same each time. c. sometimes exact repetitions and sometimes different. d. different only in key and harmonies.

33.

Violin Concerto in G, La stravaganza, Op. 4, No. 12, p. 134 The musical term for work is:


a. b. c. d. 34.

aria. opus. continuo. ritornello.

Antonio Vivaldi, p. 136 Known as the , Antonio Vivaldi taught music much of his music for this institution. a. "Red Priest" b. "Venetian Master" c. "Crimson Monk" d. "Comionate Scholar"

at an orphanage for girls and wrote


35. Antonio Vivaldi, p. 136

The Venetian composer Antonio Vivaldi is especially ed for his: a. symphonies. b. sonatas. c. concertos. d. suites.

166

Chapter 9 Baroque Instrumental Music 36. Antonio Vivaldi, p. 136

Which composer copied many pages of Vivaldi's concertos in learning how to write in this genre? a. Henry Purcell b. Arcangelo Corelli c. Johann Sebastian Bach d. George Frideric Handel

37. Baroque Variation Form: The Ground Bass, p. 137

A form in which a single melodic unit is repeated with successive changes to arouse the listener's interest is called: a. ritornello form. b. ground bass. c. variation form. d. imitative polyphony.

38. Violin Concerto in G, La stravaganza, ®p. 4, No. 12, p. 138 Which best describes the second movement of the Violin Concerto in G, La stravaganza?

a. b. c. d.

It It It It

is vigorous and brilliant, and in ritornello form. is slow and gentle, and in variation form. starts slow, becomes fast, ends slow, and is in A B A' form. is in a medium dance tempo, and is in binary form.

39.

Bach, Brandenburg Concerto No. 5, p. 139 How many Brandenburg Concertos did Bach write? a. eight b. seven c. six d. five

40. Bach, Brandenburg Concerto No. 5, p. 140

In Bach ' s Brandenburg Concerto No. 5, the harpsichord player: a. plays solos only. b. plays continuo. c. plays both solos and continuo. d. does not have any part at all.

41. Bach, Brandenburg Concerto No. 5, p. 140 In Bach's Brandenburg Concerto No. 5, the part where the harpsichord plays improvisatory solo material unaccompanied is called a(n): a. ritornello. b. episode. c. cadence. d. cadenza.

42. Johann Sebastian Bach, p. 143


The__________ was the main instrument on which Bach performed. a. violin b. organ c. trumpet d. flute

43. Johann Sebastian Bach, p. 143 At the end of his career, Bach: a. was regarded as old-fashioned by other composers. b. was considered an innovator, musically. c. turned his attention from oratorio writing to opera writing. d. destroyed many of his earlier compositions. 44. Johann Sebastian Bach, p. 143 The collection of forty-eight preludes and fugues by Bach is called:

a. b. c. d.

The Art of Fugue.

the Goldberg Variations. The Well-Tempered Clavier. the Brandenburg Concertos.

45. Fugue, p. 142 The outstanding element of a fugue is: a. basso continuo. b. word painting. c. variations on a ground bass. d. systematized imitative polyphony. 46. Fugue, p. 142 The fugue subject is the: a. main theme or melody. b. story or text on which the fugue is based. c. recurring contrasting section. d. melody that sometimes accompanies the theme. 47. Fugal Exposition, p. 144 The section of a fugue in which all subject entries first occur is the: a. subject. b. exposition. c. countersubject. d. episode. 48. Fugues, Free and Learned, p. 145 A section of a fugue in which new, contrasting material is presented is a(n): a. subject. b. exposition. c. countersubject. d. episode. 49. Bach, Contrapunctus 4 from The Art of Fugue, p. 146 The Art of Fugue was written by: a. Antonio Vivaldi b. George Frideric Handel c. Johann Sebastian Bach d. Arcangelo Corelli

50. Bach, Contrapunctus 4 from The Art of Fugue, p. 147 The Art of Fugue was written for: a. harpsichord. b. clavichord. c. string ensemble. d. organ.

170

Chapter 9 Baroque Instrumental Music Chapter 9 Baroque Instrumental Music

51.

Bach, Contrapunctus 4 from The Art of Fugue, p. 146 The Art of Fugue consists of canons and fugues based on: a. a German folk song. b. the same fugue subject. c. melodies from Nature. d. Baroque dance rhythms.

52. Bach, Contrapunctus 4 from The Art of the Fugue, p. 146 In Contrapunctus 4, for climactic effect, Bach has the order a. in reverse order (bass, tenor, alto, soprano). b, in pairs of voices (soprano and tenor; alto and bass). c. in augmentation. d. in reverse inversion.

of the subject enter:

53. The Dance Suite, p. 147

"Stylized" dances were intended for:

54. The Dance Suite, p.

148

A Baroque dance suite: a. always included the same eight standard dance forms. b. maintained the same tempo in all movements. c. maintained the same key in all movements, and ended with a fast dance. d. used the sonata da camera format.

55. Baroque Dance Form, p.

148

56. Baroque Dance Form, p.

148

57. The French Overture, p.

149

The typical Baroque dance form can be diagrammed: a. a a b b. b. a b a. c. a b a c a b a . d. a b c. Some Baroque dances, particularly the gavotte and minuet, were grouped in pairs, to create a large A B A form. The B dance in such a pair is called the: a. episode. b. trio. c. subject. d, ritornello. The French overture may consist of:

87

a. b. c. d.

imitative counterpoint interspersed with contrasting episodes. solo sections alternating with the full orchestral ritornello. contrasting sections in A B A form. shorter versions of the main melodies of the suite to come, serving as a preview.

172

Chapter 9 Baroque Instrumental Music 58. Bach, Orchestral Suite No. 3 in D, p. 150

The movement titles of Bach's Orchestral Suite No. 3 in D are: a. Overture, Air, Gavotte, Bourree, Gigue. b. Spiritoso e non presto, Largo, Allegro. c. Allegro, Affetuoso, Allegro. d. Overture, Allegro, Affetuoso, Gigue.

59. Bach, Orchestral Suite No. 3 in D, p. 150

Bach's Orchestral Suite No. 3 in D contains: a. subject entries and episodes. b. dance pieces. c. a contrast between the soloist and the orchestra. d. variations over a ground bass.

Essay Questions 1.

Concerto and Concerto Grosso, p. 133 Describe the two sets of forces in a concerto or concerto grosso. Explain the interplay between them.

2.

Concerto and Concerto Grosso, p. 133 Explain how contrast is an important feature of the concerto and concerto grosso.

3.

Movements, p. 133 Describe the character and tempo of the movements of a typical concerto.

4.

Movements, p. 133 Define movement. Describe the way in which various movements in a work can contrast with each other.

5.

Ritornello Form, p. 134 Draw a diagram of a typical ritornello form as found in a Baroque concerto grosso. Describe the function and character of the ritornello sections in this structure.

6.

Antonio Vivaldi, p. 136 Discuss the work of Antonio Vivaldi in of what types of pieces are his most famous, for whom his pieces were written, how they are organized, and for what genres and instruments he composed.

7.

Vivaldi, Violin Concerto in G, La stravaganza, Op. 4, No. 12, p. 135 Describe the scheme of the movements of the Violin Concerto in G, La stravaganza. Refer to tempo, form, and mood in your answer.

8.

Baroque Variation Forms: The Ground Bass, p. 137 Explain variation form. Why did Baroque composers emphasize the bass line?

9.

Baroque Variation Forms: The Ground

Bass, p. 137 List the elements that can be altered or varied in variation form.

10. Violin Concerto in G, La stravaganza, Op. 4, No. 12, p. 139 Explain how the third movement of Vivaldi's Violin Concerto in G, La stravaganza, is unusual with regard to internal form.


11. Bach, Brandenburg Concerto No. 5, p. 140 Describe the character and tempo of each of the three movements of the Brandenburg Concerto No. 5.

12. Johann Sebastian Bach, p. 143 Briefly discuss the career of Johann Sebastian Bach. Include a discussion of the patronage system.

13. Johann Sebastian Bach, p. 143 List the three main compositions written by Bach at the end of his life and explain the purpose of each.

14.

Cadenza, p. 140 Define cadenza and give its usual location in Baroque concertos.

15.

Fugue, p. 142 Define fugue. List and describe the various parts of a fugue.

16. Fugues, Free and Learned, p. 145 Why would one refer to fugues as "free," and in what possible context? Are "free" fugues rare or commonplace?

17.

Fugues, Free and Learned, p. 145 Briefly describe four ways in which a fugue subject may be manipulated.

18.

The Dance Suite, p. 147 Define Baroque dance suite. Describe the medium(s) for which such suites were written.

19. Baroque Dance Form, p. 148 When shorter dances like the gavotte and minuet were paired to create an A B A form, what was the B section called, and why?

20.

The French Overture, p. 149 Diagram a French overture and describe the character of each section.

21.

Bach, Orchestral Suite No. 3 in D, p. 150

89

Discuss how Bach achieves variety in his Orchestral Suite No. 3 in D.

CHAPTER 10

Baroque Vocal Music


1.

Julius Caesar, "La giustizia," p. 158 Who composed Julius Caesar? a. Johann Sebastian Bach b. George Frideric Handel c. Antonio Vivaldi d. Arcangelo Corelli

2.

Julius Caesar, "La giustizia," p. 158 "La giustizia " is from a(n): a. oratorio. b. Mass. c. cantata. d. opera.

3.

Julius Caesar, "La giustizia," p. 158 The first part of "La giustizia" is a(n): a. aria. b. arioso. c. ritornello. d. accompanied recitative.

4.

Julius Caesar, "La giustizia," p. 158 Which describes what happens in "La giustizia" when the aria begins? a. The full orchestra plays and the meter is regular. b. The full orchestra plays and the chorus comes in. c. Only the continuo plays the accompaniment, and the meter is less regular. d. Two soloists sing instead of just one.

5.

Julius Caesar, "La giustizia, " p. 158 The performing forces in "La 90

giustizia" are: a. one vocal soloist, strings, and trumpet. b. one vocal soloist, strings, and continuo. c. two vocal soloists, strings, flutes, and continuo. d. three vocal soloists, strings, flutes, trumpets, and continuo.

Chapter 10 Baroque Vocal Music

6. Messiah, p. 161

Who composed Messiah? a. Johann Sebastian Bach b. Antonio Vivaldi c. Henry Purcell d. George Frideric Handel 7 . Messiah, p. 162

"There were shepherds" is part of a(n): a. opera. b. cantata. c. oratorio. d. Mass. 8. Messiah, " There were shepherds, " p. 162

"There were shepherds" is part of a larger work called:

a. b. c. d.

Julius Caesar. Christmas Oratorio. Messiah. Dido and Aeneas.

"There were shepherds," p. 162 In of accompaniment, the four sections of "There were shepherds" are: a. all accompanied. b. all secco. c. accompanied, secco, secco, accompanied. d. secco, accompanied, secco, accompanied.

9. Messiah,

10. Messiah, "There were shepherds," p. 162 The performing forces in "There were shepherds" are: a. one vocal soloist and continuo. b. two vocal soloists, strings, and continuo. c. one vocal soloist, strings, and continuo. d. two vocal soloists, flutes, oboes, trumpets, strings, and continuo. 11. Messiah, " Glory to God, " p. 162 Which is true of the ending of "Glory to God" from Messiah? a. The loud dynamics of the opening are maintained all the way to the end. b. The orchestra gets quieter and quieter. c. The trumpets play a fanfare at the very end. d. The chorus becomes quiet and accompanies the strings. 12. Messiah, Hallelujah Chorus, p. 162 What is/are the texture(s) of the Hallelujah Chorus from Messiah? a. monophony and homophony b. monophony, homophony, and polyphony c. homophony and polyphony


d.

polyphony and monophony

13. Messiah, Hallelujah Chorus, p. 162 The performing forces in the Hallelujah Chorus from Messiah consist of a: a. chorus and continuo. b. chorus, festive Baroque orchestra, and female soloist. c. chorus, continuo, and trumpet. d. chorus and festive Baroque orchestra.


14. Cantata No. 4, " Christ lag in Todesbanden, " p. 165 "Christ lag in Todesbanden" is part of a(n): a. cantata. b. chorale. c. opera. d. Mass. 15. Cantata No. 4, "Christ lag in Todesbanden, " p. 165 Who composed "Christ lag in Todesbanden"? a. Antonio Vivaldi b. Henry Purcell c. Johann Sebastian Bach d. George Frideric Handel 16. Cantata No. 4, "Christ lag in Todesbanden," p. 165 The performing forces of stanza 3 of "Christ lag in Todesbanden" are: a. castrato and "festive" Baroque orchestra. b. voices and continuo. c. baritone voice, viola, and continuo. d, tenor voice, violin, and continuo. 17. Cantata No. 4, "Christ lag in Todesbanden," p. 165 Which do you hear in stanza 3 of "Christ lag in Todesbanden"? a. variation over a ground bass b. gapped chorale tune c. recitative d. aria 18. Cantata No. 4, "Christ lag in Todesbanden," p. 165 The texture of stanza 4 of "Christ lag in Todesbanden" is: a. imitative polyphony. b. non-imitative polyphony. c. homophony. d. monophony. 19. Cantata No. 4, "Christ lag in Todesbanden, " p. 165 Which part has the main melody in stanza 4 of "Christ lag in Todesbanden"? a. the violin b. the tenor voice c. the soprano voice d. the alto voice 20. Cantata No. 4, "Christ lag in Todesbanden," p. 165 Which do you hear in stanza 7 of "Christ lag in Todesbanden"? a. choral fugue b. gapped chorale melody


c. d.

ungapped chorale melody arioso

21. Cantata No. 4, " Christ lag in Todesbanden, " p. 165 Which part has the main melody in stanza 7 of "Christ lag in Todesbanden"? a. soprano voice b. alto voice C. tenor voice d. bass voice


182

22. Choral Prelude, "Christ lag in Todesbanden," p. 165 The Chorale Prelude of "Christ lag in Todesbanden" is based on a(n): a. aria melody. b. chorale melody. c. recitative. d. arioso.

23. Choral Prelude, "Christ lag in Todesbanden," p. 165

The texture of the Chorale Prelude of "Christ lag in Todesbanden" is: a. monophony. b. homophony. c. polyphony. d. polyphony, then homophony.

Topics

24. Words and Music, p. 154 The application of "vocabulary of the emotions" occurs most easily in: a. chamber music. b. vocal music. c. solo sonatas. d. orchestral music.

25. Opera, p. 154

The most important genre in Baroque secular vocal music is: a. the madrigal. b. the chanson. c. opera. d. the motet.

26.

Opera, p. 155 The singing style characterized by fast runs and scales, a large pitch range, cadenzas, and virtuosic displays of all sorts is: a. oratorio. b. da capo. c. arioso. d. coloratura.

27. Italian Opera Seria, p. 155 Opera seria is a style of Baroque opera that originated in:

a. b. c. d.

Italy. . England. .

28. Italian Opera Seria, p. 155 The text of an opera is called the: a. mot.


b. c. d.

word painting. arioso. libretto.

29. Recitative, p. 156 The technique of declaiming words musically in a heightened, theatrical manner is called: a. word painting. b. vocabulary of the emotions, c. recitative. d. aria. 30. Recitative, p. 156 A recitative in which only continuo instruments play the accompaniment is called: a. accompanied recitative. b. secco recitative. c. arioso. d. da capo. 31. Recitative, p. 157 A recitative with full orchestral accompaniment is called: a. accompanied recitative. b. secco recitative. c. arioso. d. da capo. 32. The Castrato, p. 157 Castrati generally sang_____ parts. a. soprano or alto solo b. soprano or alto chorus c. tenor or bass solo d. tenor or bass chorus 33. Aria, p. 157 Which is true of an aria? a. An aria ordinarily is accompanied only by the continuo. b. An aria's text phrases are not repeated. c. An aria has coherence and musical elaboration. d. An aria is used to keep the plot moving. 34. Aria, p. 157 The musical term for "from the beginning" is: a. arioso. b. da capo. c. a tempo. d. allegretto. 35. Aria, p. 157 The standard form for the Baroque Italian opera aria is form. a. song b. ritornello c. binary d. da capo 36. Aria, p. 157


In da capo form, more elaborate ornamentation occurs primarily185 in the . _______________________________________________________________________ section(s). a. opening A b. B c. final A d. A and B

186

Chapter 10 Baroque Vocal Music 37. Julius Caesar, p. 158

The plot of Julius Caesar offers singers opportunities for: a. showing repose, grace, and control. b. strong emotional displays. c. a meditative atmosphere in the middle of a church service. d. reinforcing a single mood throughout the work.

38.

Julius Caesar, "La giustizia," p. 158 The essence of the text of "La giustizia" involves: a. encouragement in a love affair. b. encouragement of religious behavior. c. discouragement of villainous tyranny and cruelty. d. encouragement of vengeance and justice.

39. George Frideric Handel, p. 158 Handel composed most of his operas and oratorios in: a. . b. England. c. Italy. d. .

40. George Frideric Handel, p. 160 Handel knew how to follow the tastes of the public in his compositional style. This is shown in his switch from writing__ to writing a. operas; oratorios b. string music; woodwind and brass music c. oratorios; operas d. vocal music; instrumental music

41.

George Frideric Handel, p. 160 Many Baroque operas deal with ancient , whereas oratorios deal with ancient

a. b. c. d.

Greece; Rome Rome; Greece Rome; Israel Israel; Rome

42. Oratorio, p. 159 Which is true of an oratorio? a. An oratorio is performed as part of a religious service. b. An oratorio is the most secular of all vocal genres. c. An oratorio uses a chorus and soloists, as well as instrumentalists. d. Oratorios are staged, with elaborate sets.

43. Women in Music, p. 164 In the Baroque era, women were most able to be professional musicians

Chapter 10 Baroque Vocal Music 187

by:

a. b. c. d.

playing an instrument. singing. making instruments. composing music.

188


44. Women in Music, p. 164 One of the most famous singers in Handel's operas was: a. Hildegard of Bingen. b. Elisabeth-Claude Jacquet. c. Marie de la Guerre. d. sca Cuzzoni. 45. George Frideric Handel, p. 161 Handel's most famous oratorio, which is frequently performed today, is:

a. b. c. d.

Julius Caesar. Water Music. Rodelinda. Messiah.

46. Messiah, p. 161 How does Messiah differ from other works of this genre? a. Messiah uses chorus and soloists. b. Messiah does not have characters acting out a story. c. Messiah's text is taken from the Bible. d. Messiah is not staged, but is presented in concert form. "There were shepherds," p. 162 "There were shepherds" is a(n): a. cantata. b. aria. c. recitative. d. chorus.

47. Messiah,

48. Messiah, "There were shepherds," p. 162 What is the message to the shepherds in "There were shepherds"? a. the birth of the Christ Child b. the resurrection of Christ c. the conception of the Christ Child d. God's eternal reign 49. Messiah, "Glory to God," p. 162 "Glory to God" is a(n): a. aria. b. chorus. c. recitative. d. cantata. 50. Messiah, Chorus, p. 162 The Hallelujah Chorus is a good example of changing: a. tempos. b. rhythms. c. meters. d. textures. 51. Messiah, Chorus, p. 163 Itis customary for audiences to____ during a performance of the


Hallelujah Chorus. a. sing b. clap c. stand d. sit

189


190

52. The Church Cantata, p. 164 The important genre that was used in Lutheran services, which was very much like a second sermon, is called a(n): a. oratorio. b. motet. c. cantata. d. chorale. 53. The Lutheran Chorale, p. 165 The preexisting melodies on which much of Lutheran church music is based are: a. plainchants. b. religious arias. c. paraphrases. d. chorales. 54. The Lutheran Chorale, p. 165 The person who first organized congregational hymn singing in Protestant churches was: a. Johann Sebastian Bach. b. George Frideric Handel. c. Martin Luther. d. Henry Purcell. 55. Cantata No. 4, "Christ lag in Todesbanden," p. 166 What characteristic does each of the sung portions of "Christ lag in Todesbanden" share? a. a gapped chorale tune b. homophonic texture c. monophonic texture d. the ending word, "Hallelujah" 56. Cantata No. 4, "Christ lag in Todesbanden, " p. 166 Bach's cantata "Christ lag in Todesbanden" is comprised of: a. an orchestral prelude (sinfonia) followed by several stanza movements. b. several arias and recitatives. c. an overture, arias, and several choruses. d. three movements, each with a gapped chorale tune. 57. The Organ Chorale, p. 167 A Lutheran organ composition incorporating a hymn tune is called a(n): a. chorale. b. chorale prelude. c. sonata da chiesa. d. organ fugue. 58. The Organ Chorale, p. 167 Another name for chorale prelude is: a. organ chorale. b. organ fugue. c. trio sonata. d. chorus.


59. Chorale Prelude, "Christ lag in Todesbanden," p. 168 Bach's collection of 162 short chorale preludes is called:

a. b. c. d.

The Art of Fugue. Orgelbuchlein ("Little Organ Book"). The Well-Tempered Clavier. Goldberg Variations.

191

192


Essay Questions 1.

Words and Music, p. 154 Describe how a Baroque composer might have "painted" the following words musically, to heighten musical expression: "rejoicing," "victory," "high." Refer to as many musical elements as you can in your answer.

2.

Opera, p. 155 Describe the spectacular elements of Baroque opera.

3.

Opera, p. 155 Describe coloratura singing.

4.

Italian Opera Seria, p. 155 Define and discuss the elements of Italian Baroque opera seria.

5.

Italian Opera Seria, p. 155 Define libretto. What is the term for one who writes libretti?

6.

Recitative, p. 156 Describe what happens in an opera during a recitative. Refer to plot, possible accompaniment styles, meter, melody, and form in your answer.

7.

Recitative, p. 156 Compare and contrast secco

recitative and accompanied recitative.

8.

The Castrato, p. 157 Define castrato. Briefly describe the role, purpose, and lives of castrati.

9.

Aria, p. 157 Define da capo. Use letters to diagram da capo form. What happens in the last part of a da capo aria?

10.

Recitative and Aria, p. 156 Distinguish between recitative, secco

recitative, accompanied recitative, and da capo aria.

11.

Julius Caesar, p. 158 Is the plot of Julius Caesar accurate to the historical ? Explain why or why not.

12.

Julius Caesar, p. 158 How does the composer treat emotional display in Julius Caesar?

13.

Oratorio, p. 159 Describe the role and importance of the choir in sacred Baroque music.

14.

Oratorio, p. 160 Which secular vocal genre influenced sacred Baroque vocal music? Explain.

15.

Oratorio, p. 160 Define oratorio. List the features of a typical oratorio.


16.

George Frideric Handel, p. 160 Explain the impresario side of Handel's musical career.

193


17.

George Frideric Handel, p. 160 Explain how Handel changed the genre he composed in when the public's tastes changed.

18.

Women in Music, p. 164 Briefly explain the career opportunities for women in the Baroque era. How did music offer opportunities for women to work? What were the advantages and disadvantages of such careers?

19. Women in Music, p. 164

Who was Elizabeth-Claude Jacquet? Why was her life unusual? What did she do in music? Who was her sponsor?

20.

Messiah, p. 161 How is Messiah different from other works in this genre?

21.

Messiah, p. 161 Describe the source and story of Messiah.

22.

Messiah, p. 162 Describe the varied role of the chorus in Messiah.

23.

The Church Cantata, p. 164 Distinguish between oratorio and church cantata.

24.

The Church Cantata, p. 164 Describe the church cantata. Compare and contrast the opera and the church cantata in of function, setting, staging, purpose, and so on.

25.

The Lutheran Chorale, p. 165 Define chorale. Relate chorales to Lutheran church music and religious Baroque compositions.

26.

Cantata No. 4, "Christ lag in Todesbanden," p. 165 Briefly explain the structure of Cantata No. 4, "Christ lag in Todesbanden." On what material is the work based?

27.

The Organ Chorale, p. 167 Define chorale prelude. At what point in the service might a chorale prelude be played?

194


28.

Chorale Prelude, "Christ lag in Todesbanden," p. 168 Define Orgelbuchlein. Describe its contents and purpose.

195

C H A P T E R

Prelude Music

11

Enlightenment


Prelude: Music and the Enlightenment, p. 169 The Classical style emerged in the century. a. early seventeenth b. mid-seventeenth c. early eighteenth d. mid-eighteenth

2.

Prelude: Music and the Enlightenment, p. 169 The Classical style developed principally in: a. Vienna. b. Paris. c. London. d. Salzburg.

3.

Prelude: Music and the Enlightenment, p. 169 Which ruler in the Classical era was known for his generous encouragement of the arts? a. Cosimo de' Medici b. King John c. Emperor Joseph II d. Louis XIV

4.

"

The Pursuit of Happiness, " p. 171 The eighteenth-century salon was a(n): a. opera house. b. concert hall. c. gathering in a home. d. arts lecture in a public place.

5.

"The Pursuit of Happiness, " p. 171 Which is a musical innovation of eighteenth-century Western society?

a. b. c. d.

the the the the

opera house public concert oratorio cantata

Music and the Enlightenment 198 Chapter 11 Prelude:

6. Art and Entertainment, p. 171 Music during the Enlightenment was meant to: a. stir up strong emotions. b. glorify God. c. please and entertain. d. enlighten the world with rational, intellectual polyphony. 7. Art and Entertainment, p. 172 The light, decorative, frivolous style of art and music that developed during the mid-eighteenth century was called: a. Rococo. b. Baroque. c. Viennese Classical style. d. salon style. 8. Art and Entertainment, p. 172 A genre typical of the Rococo style is the: a. sonata. b. divertimento. c. concerto. d. chanson. 9. Jean-Jacques Rousseau and Opera, p. 173 Rousseau contributed the articles on music to the a. Encyclopaedia Britannica b. British Archives c. French Encyclopedia d. London Times 10. Jean-Jacques Rousseau and Opera, p. 173 In his writings, Rousseau attacked the: a. instrumental music of the Classical era. b. idea of music for entertainment. c. religious music of the Classical era. d. operatic style of the Baroque era. 11. Jean-Jacques Rousseau and Opera, p. 173 Rousseau desired: a. more polyphony in symphonies. b. more complex plots in opera. c. simple characters singing "natural" music in opera. d. mythical characters singing complex music in oratorios. 12. Jean-Jacques Rousseau and Opera, p. 173 Thanks to Pergolesi, Rousseau, and Mozart, the most progressive style of opera in the latter part of the eighteenth century was:


a.

opera seria. opera buffa. French Baroque opera. highly polyphonic opera.


13. Jean-Jacques Rousseau and Opera, p. 173 Opera buffet refers to__________ opera. a. Italian comic b. Italian dramatic c. French Baroque d. Florentine 14. Neoclassicism, p. 174 The influence of more austere classical subjects (Neoclassical art) is found in the operas of: a. Wolfgang Amadeus Mozart. b. Franz Joseph Haydn. c. Johann Christian Bach. d. Christoph Willibald von Gluck. 15. The Rise of Concerts, p. 175 What was the result of the new sociology and economy of music in the mideighteenth century? a. the opera house b. regular public concerts with subscription ticket sales c. music in church services with subscription ticket sales d. salon concerts with ticket sales 16. The Rise of Concerts, p. 175 Oxford, England, was the location of the first: a. salon concert. b. opera house. c. concert hall. d. cathedral concert. 17. The Rise of Concerts, p. 175 The rise of public concerts in the eighteenth century gave special impetus to the creation of: a. vocal music. b. chamber music. c. opera. d. orchestral music. 18. The Rise of Concerts, p. 175 The eighteenth-century public concert included principally: a. symphonies and concertos. b. opera arias and recitatives. c. chamber music. cf. piano sonatas. 19. The Rise of Concerts, p. 175 Which new institution ed the development of orchestral music in the eighteenth century? a. the opera house b. the church c. the court cl. the concert hall

Chapter 11 Prelude: Music and the 201 20. Style Features of Classical Music, p.Enlightenment 175 The two descriptions applicable to most Classical music are: a. ornate and intellectually pleasing. b. polyphonic and artificial. c. full of "natural" simplicity and pleasing variety. d. monophonic and melodically complex.

202 Chapter 11 Prelude: Music and the Enlightenment 21. Style Features of Classical Music, p. 175 Which is true of Classical music? a. The basic Classical orchestra had fewer instruments than the basic Baroque orchestra. b. Composers of Classical music tried to emulate the unvarying rhythms of Baroque music. c. Composers of Classical music worked extensively with dynamics to add variety and flexibility. d. Classical themes tend to be less tuneful than Baroque themes.

Music and the Enlightenment 203 will stay the same and the____ will Chapter 11 Prelude:

22. Rhythm, p. 176 In a movement of Classical music, the be varied. a. rhythms; meter b. meter and tempo; rhythms C. rhythms and tempo; meter d. meter; tempo and rhythms


23. Dynamics, p. 176 Which is true of the use of dynamics in the Classical era? a. Dynamics and gradual dynamic changes were specifically notated by composers. b. Dynamics were not notated by composers; they were improvised by the performers. c. Dynamics could change only from movement to movement within a piece. d. Dynamics were notated by composers but remained more or less constant throughout a piece. 24. Dynamics, p. 176 The Classical use of dynamics was reflected in the popularity of the new instrument, the , in the Classical era. a. harpsichord. b. French horn. c. piano. d. violin. 25. Tone Color: The Orchestra, p. and brass 177 In the Classical orchestra, the instruments: woodwind a. were not specified. section. b. had clearly defined roles. c. always played along with the 26. Tone Color: The Orchestra, p. 177 The woodwind section of a Classical orchestra consisted of: a. one of each: flute, oboe, clarinet, and bassoon. b. two of each: flute, oboe, clarinet, bassoon, and optional saxophones. c. one of each: flute, clarinet, bassoon, and optional oboes. d. two of each: flute, oboe, bassoon, and optional clarinets. 27. Tone Color: The Orchestra, p. 177 The function of the brass section in a Classical orchestra was to: a. play along with the woodwind section. b. play along with the string section. c. the main harmonies. d. play special effects such as fanfares.


28. Tone Color: The Orchestra, p. 178 The percussion section of a Classical orchestra included: a. a bass drum. b. two timpani. c. timpani and cymbals. d. a bass drum and cymbals.

29. Tone Color: The Orchestra, p. 178

The most versatile medium for Classical composers was the: a. orchestra. b. organ. c. piano. d. chorus.

30. Melody: Tunes, p. 178 Which were sometimes included in Classical symphonies? a. plainchant melodies b. popular songs c. sonatas d. choruses

31. Texture: Homophony, p. 178

The predominant texture of Classical music is: a. monophony. b. homophony. c. imitative polyphony. d. non-imitative polyphony.

32. Texture: Homophony, p. 179 What compositional practice by composers disappeared during the Classical era? a. writing harmony for its pleasing sonorities b. distributing notes in chords among various instruments c. using the continuo to suggest the harmony d. developing greater subtlety in rhythm and harmony

33. Classical Counterpoint, p. 179 Which is true with regard to texture in Classical music? a. By the time the Classical style had fully evolved, polyphony had once again become the main texture used by composers. b. Classical composers used a significant amount of monophony in their music. c. Polyphony was rejected completely by Classical composers. d. Compared to Baroque composers, Classical composers employed a delicate and unobtrusive sort of polyphony in their music.

34. Classical Counterpoint, p. 179 In the Classical era,

206 Chapter 11 Prelude: Music and the Enlightenment counterpoint was used to create and was often found in sections. a. stability; homophonic b. tension; slow c. stability; development d. tension; development


35. Repetitions and Cadences,

p. 180

How might a Classical composer help listeners become familiar with a theme in a composition? a. by repeating it right away b. by setting it in imitation c. by repeating it at the end of the work d. by quoting popular tunes of the day

36.

Repetitions and Cadences, p. 180 How are Classical themes "closed off"? a. with one clear cadence b. with multiple cadences c. with a rest d. with the beginning of the next theme

37. Classical Forms,

p. 181

Which is not one of the standard Classical forms? a. minuet form b. sonata form c. da capo form d. rondo form

38. Classical Forms, p. 181 What was the result of the Classical practice of using standard forms? a. More specialization occurred with Classical composers than those of previous periods. b. Fewer pieces were written since there was a limited number of acceptable forms. c. Music became less predictable for the listener. d. Music became more predictable for the listener.

Essay Questions 1.

2.

Prelude: Music and the Enlightenment, p. 169 Identify when the Classical style was born, its city of greatest development, and the ruler under whom it thrived. "

The Pursuit of Happiness, " p. 171 Name two innovations of the Age of Enlightenment that had an impact on the musical life of that era. Explain the effect of each.

3.

Art and Entertainment, p. 172 Briefly describe Rococo style.

4.

Art and Entertainment, p. 172 Briefly contrast the purpose of the arts in the Classical era with that of the arts in the medieval, Renaissance, and Baroque periods.

5.

Art and Entertainment, p. 172 What was the purpose of a

208 Chapter 11 Prelude: Music and the Enlightenment divertimento? Briefly describe the character of a typical divertimento.

6.

Jean-Jacques Rousseau and Opera, p. 173 What did jean-Jacques Rousseau think of Baroque opera? What characteristics did he foster in Classical opera?

7.

The Novel, p. 173 Which literary genre was closely tied to opera in the Classical era? Briefly explain the relationship between opera and this type of literature.

8. Neoclassicism, p. 174 With which eighteenth-century style are the operas of Gluck associated? Why?

9.

The Rise of Concerts, p. 175 Discuss how the development of the public concert during the Classical era altered the social and economic nature of Western European art music.

10.

The Rise of Concerts, p. 175 Where could a composer still be sure to earn a living in the Classical era?

11.

Style Features of Classical Music, p. 175 Briefly describe the two concepts considered essential to the Viennese Classical style.

12.

Rhythm, p. 176 Characterize the use of rhythm by Viennese Classical composers.

13.

Dynamics, p. 176 Briefly explain the two new ways in which composers used dynamics in the Classical style.

14.

Dynamics, p. 176 What instrument became a favorite in the Classical period? Why? 1S. Tone Color: The Orchestra, p. 177 Compare and contrast the Classical orchestra with the Baroque orchestra. How did the functions of the woodwind, brass, and percussion families change?

16.

Melody: Tunes, p. 178 Contrast the Baroque approach to melody with the Classical approach.

17. Texture: Homophony, p. 178 What was the predominant texture of music in the Classical style? How did it serve the expressive ideal of the Classical era?

18.

Texture: Homophony, p. 179 Contrast the Classical approach to harmony with that of Baroque composers.

19. Classical Counterpoint, p. 179 How was counterpoint viewed by Classical composers? What purposes did these composers have in mind when they used counterpoint?

20.

Repetitions and Cadences, p. 180 Why did Classical composers use repetition in music?

21.

Repetitions and Cadences, p. 180 Characterize transitional ages in Classical music.

210 Chapter 11 Prelude: Music and the Enlightenment 22. Repetitions and Cadences, p. 180 Briefly describe how Classical composers made the ends of themes and phrases clear.

23. Classical Forms, p. 181 Briefly describe how the composer's use of set forms might influence the listener's comprehension of the music.

10 7

C H A P T E R

12

The Symphony Multiple-Choice Questions Listening

1. Symphony No. 40 in G Minor, K. 550, p. 186 Who composed Symphony No. 40 in G minor? a. Wolfgang Amadeus Mozart b. Franz Joseph Haydn c. Arcangelo Corelli d. Antonio Salieri 2. Symphony No. 40 in G Minor, K. 550, p. 186 The first movement of Symphony No. 40 in G minor is a. rondo b. sonata c. theme and variations

in_________ form.

3.

Symphony No. 40 in G Minor, K. 550, p. 186 Which best describes the character of the first movement of Symphony No. 40 in G minor? a. peaceful and serene b. mystical and religious c. agitated and struggling d. triumphant, with a military flavor

4.

Symphony No. 40 in G Minor, K. 550, p. 186 The performing forces in the first movement of Symphony No. 40 in G minor consist of: a. strings, percussion, and continuo. b. strings, brass, and continuo. c. woodwinds, brass, and percussion. d. strings and winds.

5.

Symphony No. 40 in G Minor, K. 550, p. 186 The opening texture of the first movement of Symphony No. 40 in G minor is a(n): a. free fugue. b. spare monophonic presentation. c. melody with homophonic accompaniment.

d.

non-imitative polyphony.

10 7

213 Chapter 12 The Symphony

6. Symphony No. 40 in G Minor, K. 550, p. 186 The mode of the first movement of Symphony No. 40 in G minor is: a. minor throughout the movement. b. minor in the beginning, but changes to major and modulates several times, ending in minor. c. major in the beginning, but changes to minor and modulates several times, ending in major. d. major throughout the movement.

7. Symphony No. 40 in G Minor, K. 550, p. 186

The meter of the first movement of Symphony No. 40 in G minor is: a. simple duple. b. simple triple. c. compound duple. d. compound triple.

8. Symphony No. 95 in C Minor, p. 191 The composer of Symphony No. 95 in C minor is: a. Wolfgang Amadeus Mozart. b. Johann Sebastian Bach. c. Franz Joseph Haydn. d. Ludwig van Beethoven.

9. Symphony No. 95 in C Minor, p. 191 The form of the first movement of Symphony No. 95 in C minor is: a. rondo. b. minuet. c. theme and variations. d. sonata.

10. Symphony No. 95 in C Minor, p. 191

The tempo of the first movement of Symphony No 95 in C minor is: a. slow at the start, then fast. b. fast at the start, then slow. c. fast. d. slow.

11. Symphony No. 95 in C Minor, p. 191 The first movement of Symphony No. 95 in C minor has main themes. a. one b. two c. three d. four

12. Symphony No. 95 in C Minor, p. 191 Which is true of the second movement of Symphony No. 95 in C minor? a. It is in minor mode throughout.


b. c.

It is in major mode throughout. It begins in major mode, goes to minor, and ends in major. cl. It begins in minor mode, goes to major; and ends in major.

10 7


13. Symphony No. 95 in C Minor, p. 191 Which best describes the overall character of the second C minor? a. varied and graceful b. sad and grieving c. majestic and grand d. tormented and longing

movement of Symphony No. 95 in


14. Symphony No. 95 in C Minor, p. 197 The form of the third movement of Symphony No. 95 in C minor is: a. sonata. b. theme and variations. c. rondo. d. minuet with trio. 15. Symphony No. 95 in C Minor, p. 197 The meter of the third movement of Symphony No. 95 in C minor is: a. compound duple. b. simple triple. c. irregular. d. simple duple. 16. Symphony No. 95 in C Minor, p. 199 The performing forces of the fourth movement of Symphony No. 95 in C minor consist of: a. strings, woodwinds, and piano. b. continuo, strings, and percussion. c. strings, continuo, and woodwinds. d. strings, woodwinds, and brass. 17. Symphony No. 95 in C Minor, p. 199 The fourth movement of Symphony No. 95 in C minor is in a. sonata b. rondo c. theme and variations d. minuet

form.

18. Symphony No. 95 in C Minor, p. 199 The meter of the fourth movement of Symphony No. 95 in C minor is: a. simple duple. b. compound duple. c. simple triple. d. compound triple. 19. Symphony No. 95 in C Minor, p. 199 Which of the main sections are similar in the fourth movement of Symphony No. 95 in C minor? a. the first and second sections b. the second and third sections c. the first and third sections d. the third and fourth sections

Chapter 12

The Symphony

217

20. Symphony No. 95 in C Minor, p. 199

Which sections provide contrast to the other sections in the fourth movement of Symphony No. 95 in C minor? a. the second and fourth sections b. the second and fifth sections c. the second and third sections d. the third and fifth sections

Topics

21.

The Symphony, p. 1 8 2 The major genre developed by Classical composers is the: a. string quartet. b. opera. c. oratorio. d. symphony.

22.

Movements of the Symphony, p. 182 The first movement in most Classical symphonies is generally: a. a slow movement with beautiful, relaxing melodies. b. the fastest, lightest movement. c. in minuet form and triple meter. d. a moderate or fast movement in sonata form that sometimes has a slow introduction.

23.

Movements of the Symphony, p. 183 The second movement in most Classical symphonies is generally: a. a slow movement with beautiful, relaxing melodies. b. the fastest, lightest movement. c. in minuet form and triple meter. d. a moderate or fast movement in sonata form that sometimes has a slow introduction.

24. Movements of the Symphony,

p. 1 8 3

The third movement in most Classical symphonies is generally: a. a slow movement with beautiful, relaxing melodies. b. the fastest, lightest movement. c. in minuet form and triple meter. d. a moderate or fast movement in sonata form that sometimes has a slow introduction.

25.

Movements of the Symphony, p. 183 The last movement in most Classical symphonies is generally: a. a slow movement with beautiful, relaxing melodies. b. the fastest, lightest movement.


c. d.

in minuet form and triple meter. a moderate or fast movement in sonata form that sometimes has a slow introduction.

26.

Movements of the Symphony, p. 183 The slow movement of a Classical instrumental work: a. is in theme and variations form. b. is in rondo form. c. is in sonata form. d. could be in a variety of classical forms. 27. Sonata Form, p. 183 to be the_______ form developed in the Sonata form is Classical era. considered a. most simple b. most complex c. least popular 28. Sonata Form, p. 183 The first movements of multimovement works a. rondo b. sonata c. minuet

from the Classical era are in___ form.

29. Sonata Form, p. 183 Another name for an A B A form with an exposition, a development, and a recapitulation is form. a. binary b. rondo c. sonata d. theme and variations 30. Exposition, p. 184 What are the main elements of the exposition in sonata form? a. first theme, bridge, second theme, ritornello b. first theme, bridge, second theme, retransition c. first theme, bridge, second theme, cadence theme d. first theme, bridge, ritornello, cadence theme 31. Exposition, p. 184 In sonata form, the bridge: a. establishes the tonic. b. modulates to a new key. c. develops earlier themes. d. restates earlier themes in the tonic key. 32. Exposition, p. 184 In sonata form, which is true of the key in which the second theme is heard in the exposition? a. The second theme is heard in the tonic key.

Chapter 12 The Symphony 219 The second theme wanders through many different keys in a fragmentary fashion. c. The second theme always appears in a minor key. d. The second theme is heard in a second key, to which the music has modulated during the bridge section.

b.

33. Development, p. 184 When themes are up, recombined, reorchestrated, extended, or played broken contexts, in new musical they are being: a. stylized. b. developed. c. recapitulated. d. bridged.


34. Development, p. 185

What key(s) islare used during the development section in sonata form? a. the tonic key b. a second key, to which the music has modulated during the bridge age c. many different keys d. the relative major or minor key to the tonic

35. Development, p. 185

In sonata form, which section contains the most modulation? a. the coda b. the recapitulation c. the exposition d. the development

36. Recapitulation, p. 185 A late-eighteenth-century work in sonata form that starts in the key of C major will end in the key of: a. C major. b. G major. c. C minor. d. G minor.

37. Recapitulation, p. 185 In sonata form, what is repeated in the recapitulation? a. various themes from the development b. the first theme followed by all the other elements of the exposition c. only the second theme and cadence theme from the exposition d. the coda

38. Recapitulation, p. 185 In sonata form, in what key is the second theme likely to be heard in the recapitulation? a. a second key, to which the music has modulated during the bridge age b. the relative major or relative minor of the tonic key c. the tonic key d. many different keys

39. Recapitulation, p. 185 A coda:

a. b. c. d.

often appears at the beginning of a movement. is a crucial element of sonata form. is never used in theme and variations form. is a closing section of a movement.

The Symphony 221 The first movement of Symphony No. 40 in G minor has no: a. exposition. b. development. c. recapitulation. d. slow introduction. Chapter 12

40. Symphony No. 40 in G Minor, K. 550, p. 186

Chapter 12 The

Symphony

222 41. Wolfgang Amadeus Mozart, p. 189 The only one of Mozart's operas to be a success during his lifetime was:

a. b. c. d.

The Magic Flute. The Marriage of Figaro. Don Giovanni.

Cosi fan tutte.

42. Wolfgang Amadeus Mozart, p. 189 While in Vienna, Mozart relied on____ for income. a. opera ticket sales b. teaching and concerts c. the church d. the patronage system 43. Classical Variation Form, p. 191 A typical form of the theme in theme and variations form is: a. a a ' b b ' b. a a ' b c b c c. I:a:II:b:l d. a b 44. Symphony No. 95 in C Minor, p. 191 The first movement of Symphony No. 95 in C minor is: a. a rondo. b. in theme and variations form. c. in sonata form. d. in minuet form. 45. Symphony No. 95 in C Minor, p. 192 The second movement of Symphony No. 95 in C minor shows Haydn's gift for presenting: a. natural, simple, beautiful melodies. b. intricate rhythmic patterns. c. complex variations on a theme. d. polyphonic manipulation of thematic material. 46. Franz Joseph Haydn, p. 195 Haydn's career shows: a. the limits of working for one patron. b. the frustration of working in the shadow of the great Mozart. c. a combination of the patronage system and the concert system. d. a combination of working for the nobility and the church at the same time. 47. Franz Joseph Haydn, p. 195 Which is true of most of Haydn's symphonies? a. They are usually somber in character. b. They usually include simple, cheerful melodies. c. They are usually highly polyphonic and include complex melodies. d. They usually have a religious theme. 48. Minuet Form, p. 195

Chapter 12 The

Symphony 223 Which dance type(s) from the Baroque suite survived into the Classical era? a. the gigue b. the minuet c. the bourree and minuet d. the sarabande and minuet


49. Minuet Form, p. 196 Typically, the third movement of a four-movement work in the Classical era would be: a. in sonata form. b. slow and lyrical. c. a minuet and trio. d. in theme and variations form. 50. Minuet Form, p. 196 Traditionally, the_______, a three-movement genre, does not include a minuet: a. Classical concerto b. Classical symphony c. Classical sonata d. string quartet 51. Minuet Form, p. 196 In the Classical era, four-movement works such as included a minuet. a. concertos and symphonies b. concertos and sonatas c. symphonies and string quartets d. rondos and sonatas

always

52. Minuet Form, p. 196 A Classical minuet: a. is a fast movement with an exposition, a development, and a recapitulation. b. has one main theme with a series of variations. c. has a recurring theme with contrasting material interspersed between the statements of the theme. d. is a moderately paced movement in triple meter. 53. Baroque and Classical Dance Form, p. 196 The section sandwiched between the minuet sections in a minuet is called the: a. rondo. b. trio. c. scherzo. d. variation. 54. Baroque and Classical Dance Form, p. 197 Which lists the form of a Classical minuet? a. I: a :I I : ba ': I I : c d c ' : I a b a' b. I:a:II:b:I I : c d : I a b c. a a' b b' a a' d. a a ' b b ' I I : c : l l d c d ' c ' a a ' b b ' 55. Baroque and Classical Dance Form, p. 197 Which is true of minuets? a. Classical minuets are more danceable than Baroque minuets. b. Classical minuets are shorter and simpler than Baroque minuets. c. Classical minuets are more extended than Baroque minuets.

Chapter 12 The

Symphony 225 d. The minuet was basically unchanged from the Baroque era to the Classical era. 56. Baroque and Classical Dance, p. 197 Another term for Classical dance form is_ form. a. simple triple b. stylized c. binary d. ternary


57. Rondo Form, p. 199 The mood of rondo-form movements is generally: a. light and simple. b. serious. c. religious. d. ionate and emotional. 58. Rondo Form, p. 199 The form diagrammed as AB A C A B A is__________form. a. sonata b. minuet c. rondo d. theme and variations 59. Rondo Form, p. 199 What happens in a rondo? a. One theme is stated, then restated with variations. b. One theme is repeated again and again, with contrasting episodes interspersed. c. Subject entries are interspersed with contrasting episodes. d. Two or three themes are presented in the exposition, then developed, then restated in the recapitulation. 60. Symphony No. 95 in C Minor, p. 199 The fourth movement of Symphony No. 95 in C minor is in a. sonata b. minuet c. rondo d. theme and variations

form.

61. Symphony No. 95 in C Minor, p. 200 What closes the fourth movement of Symphony No. 95 in C minor? a. a cadenza b. a coda c. the recapitulation d. the last variation

Essay Questions 1.

The Symphony, p. 182 Which genre served as the centerpiece of Classical public concerts? Why was it chosen for this role?

2.

The Movements of the Symphony, p. 182 Explain the movement plan for a typical symphony in the Classical era.

3.

Sonata Form, p. 183 What was the attraction of sonata form for Classical composers?

Chapter 12 The

Symphony 227 4. Exposition, p. 183 What is the purpose of the exposition in sonata form? What happens, harmonically speaking? Briefly describe a typical Classical exposition. Refer to all four of the elements in an exposition. You may draw a diagram as part of your answer.


5. Development, p. 184 Briefly describe what happens to thematic material in the development section in sonata form.

6.

Development, p. 185 Define as it relates to sonata form.

retransition

7.

Recapitulation, p. 185 What is the purpose of the recapitulation in sonata form? Briefly describe a typical recapitulation section.

8.

Recapitula tion, p. 185 Define coda.

9.

Wolfgang Amadeus Mozart, p. 186 Why is the name of Ludwig von Kochel connected to the music of Mozart?

10.

Wolfgang Amadeus Mozart, p. 189 Was Mozart successful as a composer in his own lifetime? How did he earn a living at various times in his life?

11. Franz Joseph Haydn, p. 195

Describe Haydn's working situation with the Esterhazys. What types of music did he compose there?


Characterize the symphonies of Franz Joseph Haydn with respect to purpose, mood, and melodies.


Compare and contrast the way Mozart and Haydn treat sonata form in of thematic contrast.

14.

Minuet Form, p. 195 Which dance movement survived into the Classical era? Give two reasons for its survival.

15.

Baroque and Classical Dance Form, p. 197 What is the middle section of a Classical minuet called? Why?

16.

Baroque and Classical Dance Form, p. 197 Compare and contrast Baroque minuets and Classical minuets.

17.

Rondo Form, p. 199 Briefly describe the character and structure of a rondo. You may use

letters in your diagram. Explain where rondo form is often found in multimovement Classical works.

18.

Rondo Form, p. 199 Compare and contrast rondo form and ritornello form.

C H A P T E R

13

Other Classical Genres Multiple-Choice Questions Listening

1.

Sonata in F, Opus 1, No. 3, p. 203 Who composed the Sonata in F, Opus 1, No. 3? a. sca LeBrun b. Ludwig van Beethoven c. Wolfgang Amadeus Mozart d. Franz Joseph Haydn

2.

Sonata in F, Opus 1, No. 3, p. 203 This selection from Sonata in F, Opus 1, No. 3 is the: a. third movement. b. second movement. c. first movement. d. last movement.

3.

Sonata in F, Opus 1, No. 3, p. 203 What rhythmic feature do you hear in the coda of the third movement of the Sonata in F? a. augmentation b. isorhythm c. compound meter d. syncopation

4.

Piano Concerto, No. 23 in A, K. 488, p. 206 Who composed Piano Concerto in A? a. Wolfgang Amadeus Mozart b. Franz Joseph Haydn c. Arcangelo Corelli d. Antonio Salieri

5.

Piano Concerto, No. 23 in A, K. 488, p. 206 The performing forces in the Piano Concerto in A consist of: a. piano, strings, continuo, woodwinds, and brass. b. piano, strings, and woodwinds.

c. d.

piano, strings, continuo, and brass. piano, strings, woodwinds, and percussion.

232 Chapter 13

6.

Other Classical Genres

Piano Concerto, No. 23 in A, K. 488, p. 206 What happens after the orchestral exposition in the first movement of the Piano Concerto in A? a. The full orchestra comes in. b. The piano stops playing and the orchestra takes over. c. The piano comes in and the orchestra has a secondary role. d. The mode changes from major to minor.

7.

Piano Concerto, No. 23 in A, K. 488, p. 206 What happens in the development section of the first movement of the Piano Concerto in A? a. The meter shifts frequently. b. The performing forces include trumpets. c. The tempo fluctuates. d. The orchestra and piano are in a dialogue.

8.

Piano Concerto, No. 23 in A, K. 488, p. 206 What is altered in the recapitulation of the first movement of the Piano Concerto in A? a. The entire orchestra plays the theme fugally. b. The tempo changes from fast to faster. c. The bridge remains in the tonic key. d. The oboes alternate solos with the piano.

Other Classical Genres 9. Piano Concerto, No. 23 in A, K. 488, p. 206 The first movement of the is in_________ form. Piano Concerto in A a. double-exposition sonata b. theme and variations c. rondo d. minuet

233 Chapter 13

10.

"

Don Giovanni, "Ho

capito, p. 213 "Ho capito" is from a(n): a. Mass. b. oratorio. c. opera. d. motet.

11. Don Giovanni, "Ho capito, " p. 213 Who composed "Ho capito"? a. Franz Joseph Haydn b. Antonio Salieri c. Franz Schubert d. Wolfgang Amadeus Mozart

12.

Don Giovanni, " I-lo "

capito, p. 213 "Ho capito" is a(n): a. aria, b. chanson. c. recitative. d. arioso.

Other Classical Genres 13. Don Giovanni, "I-lo capito, " p. 213 The larger work from which "Ho capito" comes is called:

234 Chapter 13

a. b. c. d.

The Magic Flute. Don Giovanni.. Messiah. Cosi fan tutte.

235 Chapter 13


14. Don Giovanni, p. 215 The first part of "Alfin siam liberati" is a(n): a. duet. b. arioso for two singers. c. secco recitative. d. accompanied recitative. 15. Don Giovanni, p. 215 The accompaniment for the a. full orchestra. b. piano. c. harpsichord and

voices in "Alfin siam liberati" is a:

16. Don Giovanni, p. 214

"La ci darem la mano" is a(n): a. secco recitative. b. accompanied recitative. c. duet. d. arioso.

17.

Don Giovanni, p. 215 The meter of "La ci darem la mano" is: a. simple duple. b. simple triple. c. compound duple. d. compound triple. Topics

18. The Sonata, p. 202 How many people are needed to play a Classical sonata? a. one or two b. two or three c. four d. a full orchestra

19. The Sonata, p. 202 The favorite featured instrument of the Classical sonata was the: a. recorder. b. piano. c. organ. d. harpsichord.

20. The Sonata, p. 203 How many movements does a Classical sonata generally have? a. one

236 Chapter 13

b. c. d.


two three four

Chapter 13 Other Classical Genres 237

21. Sonata in F, Opus 1, No.

3, p. 204

The first movement of the Sonata in F, Opus 1, No. 3 is: a. a slow theme and variations movement. b. in A B A coda form. c. in sonata form. d. a minuet.

22. Sonata in F, Opus 1,

No. 3, p. 204

The second movement of the Sonata in F, Opus 1, No. 3 is a: a. slow theme and variations movement. b. rondo. c. fast sonata-form movement. d. minuet.

23. The Classical Concerto, p.

205

Which describes the relationship between the soloist and the orchestra in the Classical concerto? a. The soloist 's part was more important. b. The orchestral parts were more important. c. The woodwinds and the solo part generally traded off the thematic material. d. The soloist and the orchestra were equally balanced in importance.

24. Double-Exposition Form, p.

205

25. Double-Exposition Form, p.

205

TheformdevelopedbyMozartforthefirstmovementofaconcertoiscalled form. a. sonata b. rondo c. double-exposition d. double-development

In double-exposition form: a. secondary key areas are replaced by cadenzas. b. there are two expositions, the first for the orchestra, the second for the soloist with the orchestra. c. there are two expositions, the first for the soloist with orchestra, the second for the orchestra. d. there are two recapitulations.

26.

Double-Exposition Form, p. 205 In doubleexposition form: a. the first exposition does not modulate, but the second one does. b. the first exposition modulates, but the second one does not. c. the modulation occurs during the statement of the second theme. d. there are no bridge themes.

27. Double-Exposition Form, p. 205

Other Classical Genres In a Classical concerto, there is no___movement. a. sonata form b. minuet c. rondo d. theme and variations

238 Chapter 13


28. Double-Exposition Form, p. 205 In the final section of the first movement of a Classical concerto, the soloist improvises a solo age called a: a. coda. b. ritornello. c. cadenza. d. recapitulation.

29. Piano Concerto No. 23 in A, K. 488, p. 206

The first movement of the Piano Concerto in A can be characterized as: a. angry. b. spiritual. c. comical. d. songful.

30. Piano Concerto No. 23 in A, K. 488, p. 206

For the Piano Concerto in A, the composer uses a reduced orchestra, omitting: a. oboes b. cellos c. clarinets d. violas

31. The String Quartet, p. 209 A string a. one b. two c. two d. one

quartet consists of: violin, two violas, and one cello. violins and two cellos. violins, one viola, and one cello. violin, one viola, one cello, and piano.

32. The String Quartet, p. 209 The string quartet has as many movements as the: a. symphony. b. Classical sonata. c. dance suite. d. Classical concerto.

33. The String Quartet, p. 209 In the Classical era, the string quartet was intended to perform in: a. opera houses. b. cathedrals. c. large concert halls. d. small, intimate gatherings.

34. The String Quartet, p. 209 A typical first movement of a Classical string quartet is:

Other Classical Genres in a moderate or fast tempo and in sonata form. slow and lyrical. a minuet. a rondo.

240 Chapter 13

a. b. c. d.


35. The String Quartet, p. 209 Classical string quartets generally have__movements. a. one b. two c. three d. four 36. The String Quartet, p. 210 Which of the following is true of the way Classical composers wrote for the string quartet? a. The violins were generally given the melody. b. The cello was given the job of harmonic , in the form of a continuo line. c. All four parts were interdependent, each reacting to musical gestures by the others. d. The inner voices were given harmony parts, not thematic material. 37. Opera Buffa, p. 210 The country that led the way in eighteenth-century comic opera was: a. . b. Italy. c. . d. England. 38. Opera Buffa, p. 210 Italian comic opera was called: a. da capo opera. b. arioso opera. c. opera buffa. d. ensemble opera. 39. The Ensemble, p. 211 An operatic number sung by two or more people is called a(n): a. arioso. b. buffa. c. recitative. d. ensemble. 40. The Ensemble, p. 211 All are characteristics of the ensemble in eighteenth-century opera except: a. Sentiments are presented more swiftly than in an aria. b. Sentiments can change within one musical number. c. Sentiments are fairly static and consistent within one musical number. d. Sentiments of a few characters can be presented simultaneously in one musical number. 41. Don Giovanni, p. 212 Which accurately describes Don Giovanni? a. tragic b. tragic and comical

Other Classical Genres comical and mythical mythical and tragic

242 Chapter 13

c. d.

42. Don Giovanni, "Ho capito, " p. 213 "Ho capito" is sung with fury and sarcasm by: a. Masetto. b. Don Giovanni. c. Zerlina. d. the Commandant.


43. Don Giovanni,

p. 214

44. Don Giovanni,

p. 214

The recitative "Alfin siam liberati" is an attempt by Don Giovanni to: a. escape the fires of hell. b. convince the Commandant to allow him to marry Zerlina. c. convince Zerlina to come to his villa. d. escape the clutches of angry women.

"La ci darem la mano" is an example of an eighteenth-century: a. solo aria. b. ensemble. c. recitative. d. opera buffa.

Essay Questions 1.

The Sonata, p. 202 Define the genre sonata in of possible performing forces.

2.

The Sonata, p. 203 Briefly describe the plan of movements in a typical Classical sonata.

3.

The Classical Concerto, p. 205 Briefly summarize the movement plan of the typical Classical concerto. Contrast this plan with that of the typical Classical symphony.

4.

The Classical Concerto, p. 205 Briefly describe the roles of the soloist and the orchestra in the Classical concerto. What is the nature of the balance between these two forces?

5.

Double-Exposition Form, p. 205 Draw a diagram of doubleexposition form.

6.

Double-Exposition Form, p. 205 Compare and contrast sonata form with double-exposition form.

7.

Double-Exposition Form, p. 205 Define cadenza and place it in the structure of a concerto.

8.

The String Quartet, p. 209 List the instruments (arid the number of each) in a string quartet.

9.

The String Quartet, p. 209 Briefly summarize the movement plan of a typical Classical string quartet. Refer to tempos and forms in your answer.

Other Classical Genres 10. Chamber Music, p. 210 Define and describe the genre chamber music. List three composers associated with this genre. 244 Chapter 13

1.1. Opera Buffa, p. 210 Describe the differences between Baroque opera seria and Classical opera buffa.


12.

Opera Buffa, p. 210 Why was opera buffa suited so well to the cultural climate of the Classical era?

13.

The Ensemble, p. 211 Define ensemble as it pertains to Classical opera. In which type of opera are ensembles found?

14. The Ensemble, p. 211 Compare and contrast aria and recitative with ensemble, in of performing forces, plot action, and presentation of emotions. You may put your answer in table form if you wish.

15.

Don Giovanni, p. 212 Briefly explain the combination of opera buffa elements and tragic elements in Don Giovanni.

G L O B A L P E R S P E C T I V E S 4 Musical Form: Two Case Studies from Asia


1.

"Etenraku," p. 219 "Etenraku" opens with the following instruments: a. ryuteki, kakko, and tsuridaiko. b. Biwa and sho. c. gakuso and biwa. d. gakuso and sho.

2.

"Etenraku," p. 219 The form of "Etenraku" is characterized in three ways. One way is: a. the use of fugal entries for contrast. b. an ordered repetition of three different phrases that make up the melody. c. sections of homophony alternated with monophony. d. changes in meter.

3. "Etenraku," p. 219 An important formal feature of "Etenraku" as well as of traditional Japanese music is: of much a. the use of fugal entries for contrast. b. changes in meter. c. a slowing of the tempo as the performance proceeds. 4. "Etenraku," p. 220 Unlike much European Baroque music, "Etenraku" avoids: a. a clearer marking of the meter as the performance proceeds. b. quickening of the beat. c. virtuosic playing. d. repeating phrases.

5.

I Lotring, "Bopong," p. 222 "Bopong" has a sixty-four-beat melody that is played through:

Other Classical Genres three times. four times. five times. six times.

246 Chapter 13

a. b. c. d.


6.

I Lotring, "Bopong," p. 222 At the end of the sixty-four-beat cycle in "Bopong," a a. xylophone b. high-pitched flute c. large gong d. set of drums

7.

I Lotring, "Bopong," p. 223 The closing melody in "Bopong" is: a. played in unison by most of the gamelan. b. a brittle-sounding gangsa. c. meditative played by bamboo flutes. d. sung by a trio of singers.

sounds.

Topics

8. Japan, p. 217

The symphony orchestra first assumed a standarized makeup when it was used to "glorify": a. European courts. b. Franz Joseph. c. the Catholic Church. d. Pope Marcellus.

9. Japan, p. 217 The court orchestra of Japan was established: a. two thousand years before the symphony orchestra in Europe. b. around one thousand years before the symphony orchestra in Europe. c. at the same time as the symphony orchestra in Europe. d. five hundred years after the establishment of the symphony orchestra in Europe.

10. Japan, p. 217 Japan's traditional music for the court's ceremony and ritual is called gagaku, from the Chinese characters that mean: a. king's music. b. royal music. c. religious music. d. elegant music.

11. The Japanese Togaku Orchestra, p. 218 Unlike European orchestras, the gagaku orchestra is dominated by: a. strings. b. percussion. c. woodwinds. d. brass.

12. The Indonesian Orchestra: Gamelan, p. 220 A traditional musical ensemble in Indonesia is called a:

Other Classical Genres symphony. gamelan. Bopong. gongan.

248 Chapter 13

a. b. c. d.


13. The Indonesian Orchestra: Gamelan, p. 220 Gamelans may involve as few as____musicians. a. forty b. twenty c. ten to twelve d. three or four 14. The Indonesian Orchestra: Gamelan, p. 220 At the heart of the gamelan stands a great variety of: a. aerophones. b. chordophones. c. idiophones. d. gongs and metallophones. 15. Gamelan Pelegongan, p. 221 Gamelan Pelegongan is: a. the gongsmith who creates the gongs and metallophones. b. a type of Balinese orchestra. c. a large array of gongs. d. a quartet of small gongs. 16. Gamelan Pelegongan, p. 221 Gangsa is an umbrella term for: a. sounds, construction, and names of metallophones in a gamelan. b. texture. c. orchestra. d. an ancient form of a gamelan society. 17. Form in Gamelan Music, p. 221 The basic structural unit of a gamelan composition is known as the: a. legong. b. gangsa. c. gongan. d. ostinato.

Essay Questions 1.

Japan, p. 217 Discuss the establishment of the court orchestra in Japan and its influences.

2.

Japan, p. 218 What makes the gagaku orchestras different from European orchestras?

3.

Japan, p. 218 Describe the tone color and the function of the following instruments: ryuteki, sho, tsuridaiko, and gakuso.

4.

"Etenraku," p. 21.9 Briefly discuss the three characteristics of gagaku music that are heard in "Etenraku."

Other Classical Genres 5. "Etenraku," p. 219 Describe how the mood of "Etenraku" relates to the meaning of its name.

250 Chapter 13

6.

Balinese Gamelans, p. 220 What happened to the gamelan orchestra when Indonesia was under the colonial rule of the Netherlands?

7. Gamelan Pelegongan, p. 221 How does the sound of the gamelan orchestra differ from the sound of a European orchestra?

8.

Form in Gamelan Music, p. 221 How did Classical composers like Mozart and Haydn create elaborate musical forms, and how is that similar to or different from a composer for the gamelan orchestra?

9. Form in Gamelan Music, p. 221 How is "stratified" polyphony achieved in a gamelan composition?

10.

"Bopong," p. 222 How is the formal structure of "Bopong" organized?

C H A P T E R

14

eethoven M ultiple -Choic e Quest ions Listening

1.

Symphony No. 5 in C Minor, Op. 67, p. 231 The first movement of Symphony No. S in C Minor begins, in the first two measures: a. loudly and emphatically. b. moderately loud and flowing. c. softly and mysteriously. d. loudly with a syncopated rhythm.

2.

Symphony No. 5 in C Minor, Op. 67, p. 231 The first movement of Symphony No. S in C Minor is dominated by a repeated: a. development. b. violin solo. c. exposition. d. motive.

3.

Symphony No. 5 in C Minor, Op. 67, p. 231 While the lyrical second theme occurs, what is happening in the background of the first movement of Symphony No. 5 in C Minor? a. menacing-sounding bassoons repeat b. opening motive appears c. imitative polyphony d. energetic scales in the flutes

4.

Symphony No. 5 in C Minor, Op. 67, p. 231 What do you hear in the recapitulation of the first movement of Symphony No. S in C Minor that is unusual for this form? a. an oboe cadenza b. a short fugal section c. a simple final variation of the theme d. a repeat of the recapitulation

S. Symphony No. 5 in C Minor, Op. 67, p. 231 What gives the opening of the first movement of Symphony No. Sin C

Minor its "improvisational, primal quality "? a. the fanfare of the bassoons b. the use of polyphony c. the use of three fermatas in the presentation of the opening motive d. the use of the upper range of the woodwind section

Chapter 14 Beethoven 254

6.

Symphony No. 5 in C Minor, Op. 67, p. 231 What is the form of the first movement of Symphony No. 5 in C Minor? a. rondo form b. theme and variations form c. sonata form d. minuet form

7.

Symphony No. 5 in C Minor, Op. 67, p. 231 The performing forces in the first movement of Symphony No. 5 in C Minor consist of: a. strings, woodwinds, and percussion. b. strings, woodwinds, brass, and percussion. c. strings, woodwinds, continuo, and brass. d. strings, woodwinds, continuo, brass, and percussion.

8.

Symphony No. 5 in C Minor, Op. 67, p. 234 Which comes closest to describing the tempo of the second movement of Symphony No. 5 in C Minor? a. andante b. allegro c. grave d. vivace

9.

Symphony No. 5 in C Minor, Op. 67, p. 234 The second movement of Symphony No. 5 in C Minor is in a. sonata b. rondo c. minuet d. theme and variations

form.

10. Symphony No. 5 in C Minor, Op. 67, p. 234 The meter of the second movement of Symphony No. 5 in C Minor is: a. simple duple. b. compound duple. c. simple triple. d. compound triple.

11. Symphony No. 5 in C Minor, Op. 67, p. 234 How many themes are handled in the second movement of Symphony No. 5 in C Minor? a. one b. two c. three d. four

12. Symphony No. S in C Minor, Op. 67, p. 234 With which musical element does the composer achieve the most


contrast in the second movement of Symphony No. 5 in C Minor? a. melody b. texture c. tone color d. dynamics


13. Symphony No. 5 in C Minor, Op. 67, p. 235

The meter of the third movement of Symphony No. 5 in C Minor is: a. simple duple. b. simple triple. c. compound duple. d. compound triple.


Which is true about the second (b) theme in the third movement of Symphony No. 5 in C Minor? a. It recalls the first movement of Mozart's Symphony No. 40. b. It recalls the oboe cadenza of the first movement of this work. c. It recalls the rhythmic motive of the first movement of this work. d. It is very similar to the first theme of this selection.

15.

Symphony No. 5 in C Minor, Op. 67, p. 235 The middle portion of the third movement of Symphony No. 5 in C Minor includes: a. a fugal section. b. the development of the first two themes. c. a cadenza. d. variations on the first theme.

16. Symphony No. 5 in C Minor, Op. 67, p. 235 Which of the following is true about the end of the third movement of Symphony No. 5 in C Minor? a. It ends with a conclusive, triumphant coda. b. It ends with an oboe solo. c. The recapitulation is repeated. d. It continues right into the next movement of this work.

17. Symphony No. 5 in C Minor, Op. 67, p. 235 The meter of the fourth movement of Symphony No. 5 in C Minor is: a. simple duple. b. simple triple. c. compound duple. d. compound triple.

18. Symphony No. 5 in C Minor, Op. 67, p. 235 The fourth movement of Symphony No. 5 in C Minor is in a. minuet b. sonata c. rondo d. theme and variations

form.

19. Symphony No. 5 in C Minor, Op. 67, p. 235 The tonality of the fourth movement of Symphony No. 5 in C Minor


starts in: a. major and ends in minor. b. minor and ends in major. c. major, has a brief section in minor, then ends in major. d. minor, has a brief section in major, then ends in minor.

258 Chapter 14 Beethoven

20.

Symphony No. 5 in C Minor, Op. 67, p. 235 The surprise in the fourth movement of Symphony No. 5 in C Minor is: a. the march theme in the beginning. b. the oboe cadenza before the recapitulation. c. the piano introduction of the development. d. the appearance of the second theme of the scherzo movement before the recapitulation.

21. Beethoven, String Quartet in F, Op. 135, p. 237

The opening melody of the second movement of Beethoven's String Quartet in F is: a. long and lyrical. b. short and quiet. c. disjunct and very loud. d. conjunct and serene.

22. Beethoven, String Quartet in F, Op. 135, p. 237 The rhythmic feature of the second phrase in the opening melody of the second movement of Beethoven 's String Quartet in F is: a. a steady pulsing in duple meter. b. a slower tempo. c. a constant emphasis of the first beat. d. a constant use of syncopation.

23. Beethoven, String Quartet in F, Op. 135, p. 237 The tempo/meter of the second movement of Beethoven's String Quartet in F is: a. fast triple meter. b. fast duple meter. c. slow compound meter. d. slow duple meter.

24.

Beethoven, String Quartet in F, Op. 135, p. 237 In the second movement of the String Quartet in F, Beethoven creates contrast in his use of: a. disjunct melodies. b. changing from triple meter to duple meter. c. ascending scales. d. irregular rhythmic patterns. Topics

25. Beethoven, p. 227 From what condition did Beethoven suffer? a. paralysis b. deafness c. blindness d. mental illness


26. Beethoven, p. 227

Which best describes the early-nineteenth-century concept of the artist, as exemplified by Beethoven? a. an artisan under the authority of the court b. an artisan under the authority of the church c. an inspired soul who suffers to deliver art to humanity d. a socialite who caters to the desires of the aristocracy in artistic matters

260 Chapter 14 Beethoven 27. Between Classicism and Romanticism, p. 227 Beethoven wrote music in both the___ style and the_______ style. a. Classical; Romantic b. Classical; Baroque c. Baroque; Romantic d. Romantic; Medieval 28. The French Revolution, p. 228 What European political figure inspired Beethoven in his composing the Eroica Symphony? a. Emperor Franz Joseph II b. Napoleon Bonaparte c. King George of England d. Thomas Jefferson 29. Beethoven and the Symphony, p. 229 With which genre is Beethoven most closely associated? a. symphony b. cantata c. opera d. oratorio 30. Ludwig van Beethoven, p. 230 Beethoven's performing instrument was the: a. violin. b. flute. c. piano. d. cello. 31. Ludwig van Beethoven, p. 230 Beethoven stopped performing because: a. he gradually went blind. b. his music was not popular. c. the church did not approve of his work. d. he became progressively deaf. 32. Ludwig van Beethoven, p. 230 According to most sources, which characterizes Beethoven's personality? a. quiet and timid b. fun-loving and health conscious c. brusque and strong-willed d. self-effacing and modest 33. Ludwig van Beethoven, p. 230 According to most sources, Beethoven's personal life was: a. that of a stable family man. b. somewhat chaotic and lonely. c. violent and exciting. d. dull, because music consumed his life. 34. Beethoven and the Symphony, p. 230 All of the following are characteristics of Beethoven's symphonic


compositional style except: a. rhythmic drive b. motivic consistency c. disregard for Classical forms d. psychological progression during a work


35. Beethoven and the Symphony, p. 229 Which musical characteristic of Beethoven's symphonies seems far from the Classical style of Mozart and Haydn? a. extravagance of ornamentation b. fugal sections c. strict adherence to harmonic formulas d. rhythmic drive

36. The Scherzo, p. 231 The scherzo, a fast, triple-meter movement, evolved from the: a. rondo. b. minuet. c. minuet-trio. d. sonata.

37. The Scherzo, p. 231

The English word for scherzo is: a. "running." b. "dream." c. "joke." d. "story."

38. Beethoven and the Symphony, p. 231 Which best describes the psychological progression of Symphony No. 5 in C Minor? a. a heroic struggle with fate, starting out stormily and ending triumphantly b. a romantic struggle with happiness at the end c. a religious struggle between good and evil; starting out carefree and ending tragically d. the struggle of humanity against nature; pitting a soloist against the forces of the orchestra


What happens at the end of the third movement of Symphony No. 5 in C Minor? a. Trombones are heard for the first time. b. The music reaches a loud cadence. c. A transition age leads directly into the fourth movement. d. Woodwinds play variations on the theme

40.

Symphony No. 5 in C Minor, Op. 67, p. 235 Which instrument is not heard until the fourth movement of Symphony No. 5 in C Minor? a. clarinet b. viola c. French horn d. trombone


41. Beethoven's "Third Period," p. 237

Music scholars divide Beethoven's music into a. two b. three c. four d. five

distinct style periods.

134 Chapter 14 Beethoven

42. Beethoven's "Third Period," p. 237

Which is true of the style periods of Beethoven? a. They progress from Classical to heroic to serene. b. They progress from Classical to innovative to heroic. c. They progress from Classical to serene to heroic. d. They progress from innovative to Classical to religious.

43. Beethoven's "Third Period," p. 237 Beethoven composed mostly_____ in his last style period. a. symphonies and concertos b. piano sonatas and string quartets c. operas d. oratorios and Masses

44. String Quartet in F, Op. 135, p. 237 The second movement of Beethoven's String Quartet in F is in form. a. scherzo b. sonata c. more than one d. minuet


4S. String Quartet in F, Op. 135, p. 237 The second movement of Beethoven's String Quartet in F uses of fast, skittering motion. a. fast notes b. syncopation c. rapid harmonic changes d. irregular meters

Essay Questions 1.

Beethoven, p. 227 Briefly describe the image of Beethoven that listeners get from his music.

to create a


2. Beethoven, p. 227

Briefly describe the image of the artistic genius that evolved at the beginning of the nineteenth century. 3. Beethoven, p. 227 Briefly explain the physical problem that afflicted age thirty, how he coped with Beethoven by this problem, and how it changed his career. 4. Between Classicism and Romanticism, p. 227 What two musical styles did Beethoven embrace?

elements of each style appear 5. The French Revolution, p. 228 Briefly explain the connection between Napoleon and Beethoven' s Eroica Symphony.

6. Beethoven and the Symphony, p. 229 With which genre is Beethoven generally associated? Which work typifies the genre as a whole?


7. Beethoven and the Symphony, p. 229 Name and discuss the three main features that attract listeners to Beethoven's symphonies.

8. The Scherzo, p. 231 Define scherzo form. Use letters to diagram its structure.

9.

The Scherzo, p. 231 Compare and contrast the Viennese Classical minuet and trio form with Beethoven's scherzo form. Use the third movement from Symphony No. 5 in C Minor or the second movement from the String Quartet in F as an example.

10. Symphony No. 5 in C Minor, Op. 67, p. 231 What musical elements do all of the movements of Symphony No. 5 in C Minor have in common?

11. Beethoven's "Third Period," p. 237 Name all of the compositional style periods of Beethoven. Then

characterize each period and name one work Beethoven wrote during each of the last two periods.

136

C H A P T E R

15

Prelude Music after Beethoven: Romanticism Multiple-Choice Questions

Music after Beethoven: Romanticism, p. 239 The term romantic was: a. applied by music critics in the twentieth century. b. used by writers of literature in the nineteenth century and adopted by musicians. c. applied only to music, not literature, of the nineteenth century. d. applied only to literature, not music, of the nineteenth century. 2. Music after Beethoven: Romanticism, p. 239 The composer most responsible for elevating music to a new level of respect during the Romantic era was: a. Ludwig van Beethoven. b. Franz Liszt. c. Wolfgang Amadeus Mozart. d. Gustav Mahler. 3. Music after Beethoven: Romanticism, p. 239 Which is true of the relative status of music in the nineteenth century? a. Music was the most important of the arts. b. Music became less and less important as a separate art form because various art forms were combined. c. Music rose to the same status as literature. d. Music was the least important of the arts. 4. Romanticism, p. 239 The Romantic movement in literature first arose in: a. and Austria. b. Italy and Spain. c. Belgium and the Netherlands. d. England and . 5. The Cult of Individual Feeling, p. 240 Who provided the Romantics with the ideal of the individual and was

considered the ideological father of the French Revolution? a. Jean-Jacques Rousseau b. Ludwig van Beethoven c. Franz Schubert d. Victor Hugo

136

Chapter 1S Prelude: Music after Beethoven: Romanticism 271

6. The Cult of Individual Feeling, p. 240 Which describes the emotional goal of music in the nineteenth century? a. a return to religious mysticism and spiritual values b. light entertainment, with comedy reigning supreme c. a search for freedom of individual emotional expression d. artificial, intellectual entertainment; suppression of individual emotions 7. Romanticism and Revolt, p. 241 Which is true of Romantic composers such as Beethoven, Liszt, and Verdi? a. They avoided all involvement in political and social revolution, feeling that music transcended politics. b. They wanted to promote emotional expression without disrupting the established social order. c. People used their music to promote revolutionary movements, but the composers did not associate themselves with such movements. d. As rebels against the social order, they associated themselves with revolutionary and libertarian politics. 8. Romanticism and Revolt, p. 241 Which is true of the social revolution of the nineteenth century? a. Class boundaries were personally crossed by composers such as Liszt. b. From the start, the ruling class refused to accept the new emotional music. c. Composers such as Wagner refused to the revolutionaries. d. Composers failed to infiltrate the upper classes; this fueled a rebellious, imioned creative output. 9. Music and the Supernatural, p. 242 An early monument to supernatural Romanticism was the opera The Magic Bullet by: a. Franz Schubert b. Carl Maria von Weber c. Richard Wagner d. Hector Berlioz 10. Artistic Barriers, p. 242 Which describes Romantic composers' view of form and genre? a. Romantic composers did not allow form or genre to restrain spontaneous creativity. b. Romantic composers fought to maintain all the forms and genres of the Classical era. c. Romantic composers adhered strictly to genre but escaped the restraints of Classical forms. d. Romantic composers adhered strictly to Classical forms but

272

Chapter 15 Prelude: Music after Beethoven: Romanticism

escaped the restraints of strict genres. 11. Music and the Other Arts, p. 244 In the nineteenth century, which of the arts was believed to be the most capable of expressing inner experience and emotion? a. sculpture b. theater c. painting d. music

136


12. Concert Life in the Nineteenth Century, p. 244

Increasingly, the focal point for the performance of Romantic music was the: a. concert hall. b. court. c, church. d. chamber music salon.

13. Concert Life in the Nineteenth Century, p. 245 What musical genres became established on the concert stage by the end of the nineteenth century? a. operas and organ recitals b. concertos and symphonies c. lieder and string quartets d. cantatas and masses

14. The Artist and the Public, p. 246 Which is true of the relationship between Romantic composers and the public? a. With the popularity of public concerts, composers and the public saw eye to eye on what sort of music fit the Romantic ideal. b. Popular performers and composers such as Liszt and Wagner helped close the gap between the Romantic artist and the public. c. Nineteenth-century audiences became more conservative and more critical of innovative composers. d. The music of innovative composers such as Liszt, Wagner, and Mahler was embraced enthusiastically by a forward-looking public in the nineteenth century.

15. The Artist and the Public, p. 246

The composer who started a music magazine to defend the music of the Romantics against public indifference was: a. Franz Liszt. b. Robert Schumann. c. Richard Wagner. d. Gustav Mahler.

16. Style Features of Romantic Music, p. 246 The quality most prized by Romantic artists was: a. conformity to musical forms and genres set up in the Classical era. b. dislike for the Middle Ages. c. the integrity of the expression of individual feeling. d. the ability to cross over into artistic areas other than one's own.

17. Rhythm: Rubato, p. 246 The musical term applied to flexibility in rhythm is: a. ritardando. b. rallentando. c. rubato. d. accelerando.

274


18. Romantic Melody, p. 247 Which statement is false? a. Romantic melodies have more regular phrase lengths than Classical melodies. b. Romantic melodies use a greater range of notes than Classical melodies. c. Romantic melodies have more sustained climaxes than Classical melodies. d. Romantic melodies have less regular rhythms than Classical melodies.


19. Romantic Harmony, p. 248

Which statement is false? a. Romantic melodies were longer and less predictable than in earlier musical periods. b. In Romantic music, harmony was enjoyed for its own sake and was used for emotional expression. c. In Romantic music, rhythm was treated more freely than before. d. Romantic harmonies were clearer and more diatonic, and they established a stronger sense of tonality than in earlier musical periods.

20. Romantic Harmony, p. 248

What is chromaticism? a. changing key in the middle of a composition b. changing tone colors frequently in an orchestral composition c. using irregular phrase lengths d. using all twelve notes of the scale liberally

21. Romantic Harmony, p. 248 In which stylistic period was chromaticism used the most? a. Baroque b. Romantic c. Classical d. Renaissance

22. The Expansion of Tone Color, p. 248 Romantic treatment of tone color included: a. combining and blending different instrumental tone colors in innovative ways. b. keeping the sections of the orchestra distinct and clear. c. giving the brass section the melody most of the time. d. using more flexible instrumentation in orchestral scores: parts could be played by any instruments.

23. The Expansion of Tone Color, p. 248 Compared to the Classical orchestra, the typical Romantic orchestra was: a. larger but had fewer different kinds of instruments. b. larger and blended tone colors in new ways. c. larger, adding instruments such as the piano to the continuo section. d. smaller but had new stringed instruments.

24. The Expansion of Tone Color, p. 248 The important new member of the Romantic orchestra was the: a. concertmaster. b. continuo player. c. conductor. d. .

25. The Expansion of Tone Color, p. 248

276


In nineteenth-century opera, the orchestra: a. became less important as vocal lines became more important. b. was reduced to a small group as opera houses became smaller. c. became more important than the vocal lines; the voices now accompanied the orchestra. d. increased in importance, sometimes providing special effects and overshadowing the voices.


26. Program Music, p. 249 Music without singing but derived from a poem, story, or other literary source, is called:

a. b. c. d.

Gesamtkunstwerk.

a romantic symphony. thematic transformation. program music.

27.

Form in Romantic Music, p. 250 Romantic treatment of form was: a. exact. b. close to that of the Classical era. c. free and spontaneous. d. innovative but highly structured.

28.

Miniature Compositions, p. 250 Miniatures were usually written for: a. orchestra. b. voice and piano or piano alone. c. string quartets. d. small opera companies.

29. Miniature Compositions, p. 250 Miniatures were generally heard: a. as separate compositions. b. as the third movement of a Romantic multimovement work. c. as part of a sonata. d. between opera acts or scenes.

30. Miniature Compositions, p. 251 Miniatures were given all of the following types of titles except: a. general titles such as prelude or impromptu. b. formal titles such as sonata or rondo. c. poetic titles such as Why? or Woodland Sketches. d. dance titles, such as mazurka or waltz.

31. Grandiose Compositions, p. 251

In composing a Romantic "grandiose " composition, composers created works with: a. more narrated sections. b. more movements and increased performing forces. c. small forms linked together.

278


d. 32.

more adherence to strict formal structures.

The Principle of Thematic Unity, p. 252 Thematic unity occurs: a. within only one movement at a time. b. when a composer uses the same themes in all movements of a work. c. mostly in theme and variations form. d. only in the recapitulation section of sonata form.


33. The Principle of Thematic Unity, p. 252 The technique of having the same theme fragment reappear with some sort of variation at loosely recurring intervals is: a. thematic transformation. b. theme and variations form. c. program music. d. rondo variation form.

34. The Principle of Thematic Unity, p. 252

All of the following are characteristic of thematic unity in Romantic symphonic music except: a. thematic transformation. b. using the same themes in several symphonies. c. using the same themes in all movements of one symphony. d. use of different but vaguely similar themes in one work.

Essay Questions 1.

Music after Beethoven: Romanticism, p. 239 Define the term romantic and give the source of the term. Explain who applied it to this style period.

2.

Music after Beethoven: Romanticism, p. 239 Briefly describe the status of music in relation to the other arts in the nineteenth century.

3.

Romanticism, p. 239 When and where did the Romantic movement begin and in which area of the arts?

4.

The Cult of Individual Feeling, p. 240 Who was Jean-Jacques Rousseau? Why is he important to the Romantic movement in all the arts? What were his views on music and the expression of feelings?

5.

Romanticism and Revolt, p. 241 Why were the Romantics seen as rebels?

6.

Romanticism and Revolt, p. 241 Briefly discuss the influence of the revolutionary political climate on musical trends in the nineteenth century. Refer to two nineteenthcentury composers in your answer.

7.

Music and the Supernatural, p. 241 Briefly discuss the Romantic fascination with the supernatural and the macabre.

8.

Music and the Supernatural, p. 242 How did composers such as Carl Maria von Weber, Richard Wagner, and Hector Berlioz use the elements of music to summon up images of the supernatural and macabre?

9.

Artistic Barriers, p. 242 Why was

280


Shakespeare so popular with Romantic composers?

10.

Artistic Barriers, p. 243 Briefly describe the attitude embraced by Romantic composers toward form and harmony.

11. Music and the Other Arts, p. 243

Briefly discuss how artists in the nineteenth century crossed the barriers between literature, the visual arts, and music.


12.

Music and the Other Arts, p. 243 Briefly define Gesamtkunstwerk in of Wagner's operas.

13.

Music and the Other Arts, p. 244 How did Romantics view the expressive capability of music as compared with the expressive capability of the other arts?

14. Concert Life in the Nineteenth Century, p. 245

Briefly explain why the concert hall became the most important place for musical performance in the nineteenth century.

15.

Concert Life in the Nineteenth Century, p. 245 Describe the negative aspect of the institutionalization of concerts in the nineteenth century.

16.

The Artist and the Public, p. 246 Briefly describe the relationship between the concertgoer and the composer during the nineteenth century. Did this relationship improve or worsen as the twentieth century approached? How?

17.

The Artist and the Public, p. 246 What was the significance of the music magazine begun by Robert Schumann?

18.

Style Features of Romantic Music, p. 246 Name and describe the two most highly valued qualities in Romantic creative activity.

19.

Rhythm: Rubato, p. 246 Define rubato. Briefly explain why it was an important element for Romantic composers and performers.

20. Romantic Melody, p. 247 Briefly describe Romantic melody in of range, phrase lengths, use of climax, and regularity of rhythm.

21.

Romantic Melody, p. 247 Contrast Classical and Romantic melody.

22.

Romantic Harmony, p. 247 Briefly describe the way in which Romantic composers used harmony in relation to melody and emotional expression.

23. Romantic Harmony, p. 248 Define chromaticism and briefly discuss why the Romantic composers explored its use in their music.

24. The Expansion of Tone Color, p. 248 Briefly describe the status of tone color among other musical elements as used by Romantic composers.

282


25. The Expansion of Tone Color, p. 248 Compare and contrast the Classical orchestra with the Romantic orchestra. Which families of instruments underwent the most growth and change?

26. The Expansion of Tone Color, p. 248

Compare and contrast the ways Classical composers and Romantic composers used orchestral tone colors.


27.

Program Music, p. 249 Define program music.

28.

Program Music, p. 249 Briefly discuss how program music deals with the problem of form.

29.

Form in Romantic Music, p. 249 Briefly describe the attitude of Romantic composers toward the use of form.

30. Miniature Compositions, p. 250

Briefly describe the nineteenth-century miniature composition. For what media were miniatures usually written?

31.

Miniature Compositions, p. 251 How did miniature compositions deal with the problem of form?

32. Grandiose Compositions, p. 251 Briefly explain the "grandiose" compositions of the Romantic era. Briefly describe three ways in which these works are grandiose.

33.

Grandiose Compositions, p. 252 How did grandiose compositions deal with the problem of form?

34. The Principle of Thematic Unity, p. 252

Briefly describe thematic transformation. How does this technique contribute to thematic unity in a work?

144

C H A PT ER

16

The Early

6

ti

Multiple-Choice Questions L i s t e n i n g

1.

"Erlkonig," p. 255 Who composed "Erlkonig"? a. Robert Schumann b. Franz Schubert c. Hector Berlioz d. Richard Wagner

2.

"Erlkonig," p. 255 "Erlkonig" is a: a. da capo aria. b. miniature composition. c. grandiose composition. d. recitative from an opera.

3.

"Erlkonig," p. 255 The form of "Erlkonig" is______ form. a. strophic b. ABA c. through-composed d. rondo

4.

"Erlkonig," p. 255 Flow many different "characters" do you hear in "Erlkonig"? a. one, plus the narrator b. two, plus the narrator c. three, plus the narrator d. four, plus the narrator

5.

"Erlkonig," p. 255 The performing forces in "Erlkonig" consist of: a. three soloists and piano. b. two soloists and piano. c. one soloist, piano, and violin.

d.

144

one soloist and piano.

Chapter 16 The Early Romantics 287

6. "Erllconig," p. be

a. b. c. d.

255 Because

of the piano accompaniment, it can said that the mood of Erllconig " is: agitated. loving. restful. victorious. "

7. "Erlkonig," p. 255 What does the piano introduction to "Erllconig" bring to mind? a. the gurgling of a restful stream b. the spinning of a windmill c. the crash of the ocean waves d. the pounding of a horse's hooves

8. Dichterliebe, "Im wunderschonen Monat Mai, " p. 259 Who composed "Im wunderschonen Monat Mai"? a. Franz Schubert b. Richard Wagner c. Frederic Chopin d. Robert Schumann


9. Dichterliebe, "Im wunderschonen Monat Mai, " p. 259 The performing forces in "Im wunderschonen Monat Mai " soloist(s) and a. female; piano b. male; orchestra c. male; piano d. two; piano

10.

Dichterliebe, "Im wunderschonen Monat Mai," p. 259 "Im wunderschonen Monat Mai" is part of a(n): a. opera. b. song cycle. c. oratorio. d. Mass.

11.

Dichterliebe, "Im wunderschonen

Monat Mai, " p. 259 The form of "Im wunderschonen Monat Mai" is: a. strophic. b. da capo aria. c. through-composed. d. theme and variations.

consist of________ vocal


12. Dichterliebe, "Iin wunderschonen Monat Mai," p. 259 Which is true of the ending of "Im wunderschonen Monat Mai"? a. The climax at the end gives the impression of love returned at last. b. The lack of a harmonic resolution gives the impression of endless longing and desire. c. The quiet cadence gives the impression of peace and solitude. d. The climax at the end gives the impression that the hero is victorious over his rival suitor.


13. Dichterliebe, "Die alten, bosen Lieder," p. 260 Who composed "Die alten, bosen Lieder"? a. Franz Schubert b. Franz Liszt c. Robert Schumann d. Hector Berlioz 14. Dichterliebe, "Die alten, bosen Lieder," p. 260 Which best describes the prevailing mood of "Die alten, bosen Lieder"? a. cheerful, then gloomy at the end b. sad, then downright frightening at the end c. meditative, then suddenly cheerful and bright at the end d. anguished, then comforting at the end

a. b. c. d.

15. Dichterliebe, "Die alten, bosen Lieder," p. 260 The form of "Die alten, bosen Lieder" is: mostly strophic. mostly sonata. mostly through-composed. a loosely arranged da capo aria.

16. "Der Mond kommt still gegangen," p. 263 Who composed "Der Mond kommt still gegangen"? a. Robert Schumann b. Clara Wieck Schumann c. Franz Schubert d. Frederic Chopin 17. "Der Mond kommt still gegangen," p. 263 "Der Mond kommt still gegangen " is a(n): a. miniature composition. b. sonata. c. character piece. d. opera aria. 18. "Der Mond kommt still gegangen," p. 263 "Der Mond kommt still gegangen" is in___ form. a. da capo, or A B A' b. through-composed c. theme and variations d. modified strophic 19. "Der Mond kommt still gegangen, " p. 263 Which best describes the mood of "Der Mond kommt still gegangen"? a. angry b. triumphant c. pensive d. whimsical


20. Moment Musical No. 2 in A-flat, p. 265 Moment Musical No. 2 in A-flat has in its opening idea a: a. plain melody with a steady accompaniment. b. quick running figure in the left hand. c. series of ascending scales. d. gentle, rhythmic rocking figure.

292 Chapter 16 The Early Romantics

21. Moment Musical No. 2 in A-flat, p. 265 The contrasting section of Moment Musical No. 2 in A-flat is characterized by: a. a change in mode. b. a short fugal section. c. a change in meter. d. a quick running note melody in the right hand. Eusebius, " p. 265 Who composed "Eusebius"? a. Franz Schubert b. Robert Schumann c. Franz Liszt d. Frederic Chopin

22. Carnaval,

"

"Eusebius," p. 265 Which best describes the mood of "Eusebius"? a. introspective b. angry c. triumphant d. sad and defeated

23. Carnaval,

24. Carnaval, "Eusebius," p. 265 "Eusebius" is a: a. lied. b. movement from a piano sonata. c. character piece. d. grandiose Romantic composition. Eusebius, " p. 265 The texture of "Eusebius" is: a. monophonic. b. homophonic. c. imitative polyphony. d. non-imitative polyphony.

25. Carnaval,

"

"Florestan, " p. 266 Who composed "Florestan "? a. Frederic Chopin b. Franz Liszt c. Robert Schumann d. Franz Schubert

26. Carnaval,

"Florestan, " p. 266 Which best describes the mood of "Florestan"? a. mysterious and macabre b. explosive c. peaceful, but with longing d. controlled and restrained

27. Carnaval,


"Florestan, p. 266 Florestan " is a: a. movement from a piano sonata. b. movement from a piano concerto. c. character piece. d. grandiose composition.

28. Carnaval, "

"


29.

Nocturne in F-sharp, Op. 15, No. 2, p. 266 Who composed the Nocturne in F-sharp? a. Franz Schubert b. Frederic Chopin c. Robert Schumann d. Franz Liszt

30. Nocturne in F-sharp, Op. 15, No. 2, p. 266 Which best describes the mood of Nocturne in F-sharp? a. It starts out peacefully, becomes ionate, then ends peacefully. b. It starts out ionately, becomes soothing and peaceful in the middle, and ends ionately. c. It is triumphant and victorious throughout. d. It is gloomy and mysterious throughout.

31.

Nocturne in F-sharp, Op. 15, No. 2, p. 266 Nocturne in Fsharp is a: a. movement from a piano sonata. b. program piano sonata. c. movement from a piano concerto. d. character piece.

32. Nocturne in F-sharp, Op. 15, No. 2, p. 266 Which technique do you hear in Nocturne in F-sharp? a. decoration of the melodic line b. syncopation in the bass line c. isorhythm throughout d. fugue in the middle section

33. Fantastic Symphony, p. 270 Who composed the Fantastic Symphony? a. Franz Liszt b. Hector Berlioz c. Richard Wagner d. Ludwig van Beethoven

34.

Fantastic

Symphony, p. 270 Fantastic Symphony is a(n): a. opera. b. song cycle. c. program symphony. d. concert overture.


35. Fantastic Symphony, p. 273

Because of much of the orchestration, the mood of the fifth movement of Fantastic Symphony can be described as: a. grotesque and macabre. b. serene and soothing. c. spiritual and introspective. d. ionate and romantic.


36. Fantastic Symphony, p. 273

The special effect of c o l legno in the violins that is heard toward the end of the fifth movement of Fantastic Symphony is: a. the technique of pizzicato. b. the use of sharply accented notes. c. the striking of the wood of the bow on the strings. d. the light stamping of the violin section.

37. Fantastic Symphony, p. 273 Which is true of the fifth movement of Fantastic Symphony? a. The meter and rhythm are consistent and steady throughout the selection. b. A plainchant melody is heard in this selection. c. This selection is a programmatic concert overture. d. This selection is a character piece for orchestra.

38. Fantastic Symphony, p. 273 All of the following are heard in the fifth movement of Fantastic Symphony except:

a. b. c. d.

a plainchant melody. a fugal section. an idee fixe. a cadenza.

To p i c s

39. The Early Romantics, p. 254 Who was not a Romantic composer? a. Robert Schumann b. Wolfgang Amadeus Mozart c. Franz Schubert d. Frederic Chopin

40.

The Early Romantics, p. 254 Who had the greatest influence on early Romantic composers? a. Johann Sebastian Bach b. Wolfgang Amadeus Mozart c. Ludwig van Beethoven d. Franz Joseph Haydn

41. The Early Romantics, p. 254 Which of the other arts had the greatest influence on the early Romantic composers? a. sculpture b. literature c. painting d. architecture

42.

The Lied, p.


254 The English word for lied is: a. "song. " b. "love." c. "romance. " d. "story."


43. The Lied, p. 254

The lied is a type of: a. concert overture. b. grandiose Romantic composition. c. miniature Romantic composition. d. opera aria.

44. The Lied, p. 254 The nineteenth-century German genre consisting of a musical setting of a short poem for voice and piano is the: a. song cycle. b. lied. c. concert overture. d. character piece.

45. The Lied, p. 255

Which is true of lieder? a. Lieder are usually sung a cappella. b. Lieder are set to sacred texts. c. The emotional expression in lieder leaves an impression of intimacy. d. Lieder generally appears in parts of operas where plot action does not move quickly.

46. "Erlkonig," p. 255

Who was the earliest master of the lied? a. Robert Schumann b. Ludwig van Beethoven c. Franz Schubert d. Johann Sebastian Bach

47. "Erlkonig," p. 256 What are the two basic forms of lieder? a. theme and variations, and sonata b. recitative and da capo aria c. minuet and rondo d. strophic and through-composed

48. "Erlkonig," p. 256 A song in which the musical sections do not follow the verses of poetry, but are composed with new material from beginning to end, is said to be: a. through-composed. b. strophic. c. programmatic. d. grandiose.

49. "Erlkonig," p. 256


In which form was "Erlkonig" composed? a. strophic b. through-composed c. da capo aria d. recitative


50. "Erlkbnig," p. 257 All of the following are true of "Erlkonig" except: a. It is through-composed. b. It is a song cycle. c. It represents three characters and a narrator with one singer and a piano. d. The piano part is very descriptive.

51. Franz Schubert, p. 257

Schubertbeganhiscareerasa______________, then devoted his time to a. performer; composition b. librarian; singing c. schoolteacher; composition d. doctor; piano performance

52. Franz Schubert, p. 257

Schubert wrote nearly seven hundred: a. lieder. b. character pieces for piano. c. opera arias. d. string quartets.

53. The Song Cycle, p. 258

A song cycle is a(n): a. group of four or more operas all unified by the same characters. b. art song in German with several verses of poetry. c. group of songs with a common poetic theme or unifying story. d. form used in multimovement lieder where the same theme comes back in each movement.

54. Dichterliebe, p. 259 Dichterliebe is a:

a. b. c. d.

program symphony. lied. song cycle. character piece for piano.

55. Dichterliebe, p. 259 Which is true of Dichterliebe? a. The text of Dichterliebe is a narrative poem. b. It is in through-composed form. c. It includes the song "Erlkonig." d. Its mood changes from cautious optimism to despair.

56. Robert Schumann, p. 262 Which statement is false? a. Schumann's musical career was eclipsed by that of his wife, the


c. d.

musically gifted Clara Wieck Schumann. b. Schumann's performing career was cut short when he injured a finger while trying to strengthen his fingers with a mechanical device. Schumann's career included founding and editing a music magazine. Schumann's life and career were cut short by mental illness.


57. "Der Mond kommt still gegangen, " p. 263 Which musical element contributes most to the thoughtful mood of "Der Mond kommt still gegangen"? a. somewhat unusual chords in the harmony b. insistent rhythmic figures c. A-B-A form d. voice and piano tone color 58. Clara Wieck263 Schumann, p. a great pianist in her time. Which statement is recognized one of the greatest composers in false? as her day. a great teacher in her a. Clara Schumann wasrecognized time. b. d. Clara Schumann wasas Clara Schumann married one of her father's music students.

59. The Character Piece for Piano, p. 264 In the nineteenth century, what instrument was the most likely to be composed for and played as a solo instrument? a. piano b. organ c. violin d. voice

60.

The Character Piece for Piano, p. 264 A character piece is a: a. composition for voice and piano. b. miniature composition for piano. c. grandiose composition for piano. d. miniature composition for orchestra.

61. The Character Piece for Piano, p. 264 Chopin preferred genre titles for his character pieces like: a. "March to the Scaffold." b. "Venetian Boat Song." c. "Etude." d. "Eusebius."

62. The Character Piece for Piano, p. 264 Which statement about character pieces is false? a. Character pieces were always connected to novels and literature. b. Character pieces range from those meant for the beginning student to those for the virtuoso performer. c. Character pieces were composed for piano. d. Character pieces all portrayed a definite mood or character.

63.

Schubert, Moment Musical No. 2 in A-flat,


p. 265 Franz Schubert's Moment Musical No. 2 in A-flat is considered: a. a lied. b. a reflection of the Classical period. c. a miniature. d. a minuet.


64.

Carnaval , p. 265 What is Carnaval? a. a song cycle b. a set of character pieces c. an opera d. a lied

65. Carnaval, p. 265

Carnaval contains twenty pieces, each representing a different:

a. b. c. d.

musical theme. emotional state of the composer. character at a masked ball. character in the hero's opium dream.

66. Frederic Chopin, p. 267 Frederic Chopin did not compose: a. piano concertos. b. nocturnes. c. symphonies. d. mazurkas.

67. Frederic Chopin, p. 267 How did Chopin himself? a. He gave piano lessons and sold his music to publishers. b. He was an organist and composer at the Cathedral of Notre Dame. c. He was ed by the successful writer George Sand. d. He was one of the first pianists to himself entirely by concertizing throughout the world.

68. Frederic Chopin, p. 267 Chopin was most noted for composing: a. symphonies. b. lieder. c. character pieces for piano. d. religious choral music.

69.

Nocturne in Fsharp, p. 266 A "night piece " is a: a. lied. b. song cycle. c. program symphony. d. nocturne.

70. Franz Liszt, p. 268


At the end of his career, Liszt turned to composing: a. operas. b. piano music. c. religious music. d. orchestral music.

306

Chapter 16 The Early Romantics 71. Franz Liszt, p. 268

Which statement about Franz Liszt is false? a. He was shy and reclusive. b. He was recognized as a great composer of piano music in his time. c. He was recognized as a great pianist in his time. d. He had a lot of charisma, like a present-day rock star.

72. Franz Liszt, p. 268 The composer________ is generally regarded as the most flamboyant pianist of the Romantic era. a. Robert Schumann b. Franz Liszt c. Hector Berlioz d. Ludwig van Beethoven

73. Early Romantic Program Music, p. 268

Which is true of program music? a. It relies on abstract musical elements for form. b. It attempts to convey dramatic polarity in sonata form. c. It refers to some non-musical idea such as a poetic or literary work. d. It includes a sung text.

74. Fanny Mendelssohn Hensel, p. 270 Which statement about Fanny Mendelssohn Hensel is false? a. She was an accomplished composer. b. She was the sister of Felix Mendelssohn. c. She was not a professional musician. d. Her compositions were widely ired during her lifetime.

75. The Concert Overture: Felix Mendelssohn, p. 269 What is a concert overture? a. the purely orchestral selection at the beginning of an opera b. the term for the first piece in any concert of nineteenthcentury music c. the first movement of a program symphony d. an overture that is not connected to any following music, such as an opera

76. The Concert Overture: Felix Mendelssohn, p. 269 One of the most successful composers of concert overtures was: a. Frederic Chopin. b. Franz Schubert.


c. d.

Felix Mendelssohn. Robert Schumann.

77. The Concert Overture: Felix Mendelssohn, p. 269 A concert overture such as the Hebrides Overture is in_ form. a. through-composed b. strophic c. sonata d. rondo

308

Chapter 16 The Early Romantics

78. Hector Berlioz, p. 271 Which composer was most ired for his ability as an orchestrator? a. Hector Berlioz b. Frederic Chopin c. Robert Schumann d. Franz Liszt

79. Hector Berlioz, p. 271 Which statement about Hector Berlioz is false? a. He was one of the first great conductors. b. He studied medicine briefly before turning to composition. c. He wrote treatises on orchestration and conducting. d. He was a great pianist.

80.

The Program Symphony: Hector Berlioz, p. 269 The Fantastic Symphony includes a(n): a. violin soloist.

b. c. d.

idee fixe.

chorus. group of vocal soloists.

81. The Program Symphony: Hector Berlioz, p. 269 A program symphony is a(n): a. through-composed symphony in which there is no recurrence of thematic material. b. Romantic symphony that is based on a program. c. orchestral concert for which a list of the works to be performed is handed out to the audience. d. work for an instrumental soloist that is based on a program.

82. The Program Symphony: Hector Berlioz, p. 269 Program symphonies are in the category of: a. grandiose compositions. b. miniature compositions. c. orchestral cycles.

d.

Gesamtkunstwerk.

83. Fantastic Symphony, p. 273 All are included in the fifth movement of Fantastic Symphony except: a. a Gregorian chant melody. b. a fugal section. c. a sonata form. d. an idee fixe.

Essay Questions 1.

The Early Romantics, p. 254


Which composer had the greatest influence on the early Romantic composers? Explain this influence.

2.

The Early Romantics, p. 254 Briefly explain the influence of literature on early Romantic composers.

310

Chapter 16 The Early Romantics 3. The Lied, p. 254 Define lied. In what country did the lied evolve?

4.

Franz Schubert, p. 257 Name five of the genres in which Franz Schubert composed. In which of these genres did he compose the most extensively?

5. Franz Schubert, p. 255 Who is considered the earliest master of the lied? Name two lieder by this composer and ex-plain the mood, character, or story of each.

6.

The Song Cycle, p. 258 Define song cycle and name one.

7.

Lied and Song Cycle, p. 259 Differentiate between lied and song cycle.

8.

Dichterliebe, p. 259 Name two lieder of Robert Schumann and explain the mood, character, or story of each.

9.

Robert Schumann, p. 262 Briefly explain Robert Schumann's connection with Romantic literature. In your answer, refer to the influence of Romantic literature on his work and describe his contribution to the literature of his time.

10. The Character Piece for Piano, p. 264 Briefly explain why the piano was so popular with nineteenthcentury composers and audiences.

11.

The Character Piece for Piano, p. 264 Describe the character piece for piano. Name two composers famous for such pieces.

12. Carnaval, p. 265 In what genre are the sections of Carnaval? Name one selection from this work and describe its mood.

13. Frederic Chopin, p. 267 Characterize the personality and music of Frederic Chopin. Which national flavor is found in his music?

14.

Nocturne in F-sharp, p. 266 Define nocturne. Name a composer who gave this title to some of his works.

15. Franz Liszt, p. 268 Briefly describe the personality and works of Franz Liszt. What stylistic change did he make at the end of his career?

16.

Early Romantic Program


Music, p. 268 Define program music and name an example.

17.

The Concert Overture: Felix Mendelssohn, p. 270 Briefly describe the musical abilities and careers of Fanny and Felix Mendelssohn.


18.

The Concert Overture: Felix Mendelssohn, p. 269 What is a concert overture? Compare and contrast opera overtures with concert overtures.

19.

Early Romantic Program Music, p. 269 Differentiate between program music, program symphony, and concert overture.

20.

Hector Berlioz, p. 271 How was the musical background of Hector Berlioz different from that of most other composers before him?

21. Hector Berlioz, p. 271 Briefly describe the personality of Hector Berlioz. How did he channel his emotions into at least one of his works?

22. Hector Berlioz, p. 271 In which musical element was Berlioz regarded as an innovator? What were his contributions to literature on music?

23. Fantastic Symphony, p. 269 Define idee fixe. Then name a nineteenth-century work containing an idee fixe and describe the idee fixe in this work.


24.

Fantastic Symphony, p. 270 Briefly describe the program for Fantastic

Symphony.

C H A P T E R

17

Romantic Opera

Multiple-Choice Questions

Listening

1. IV,

a. b. c. d.

Aida, "La fatal pietra," from Tomb Scene, Act scene ii, p. 280 Who composed "La fatal pietra"? Richard Wagner Georges Bizet Giacomo Puccini Giuseppe Verdi

2.

Aida, "La fatal pietra, " from Tomb Scene, Act IV, scene ii, p. 280 Which is true of the opening lines of "La fatal pietra" from Aida? a. They are sung as a duet. b. They are sung in a monotone. c. They are sung in a polyphonic texture. d. They are part of the first aria.

3.

Aida, "La fatal pietra," from Tomb Scene, Act IV, scene ii, p. 280 "La fatal pietra" from Aida is a(n): a. art song. b. aria. c. recitative. d. arioso.

4.

Aida, "La fatal pietra," from Tomb Scene, Act IV, scene ii, p. 280 What is not heard in "La fatal pietra" from Aida? a. a chorus b. a female soloist c. a male soloist d. the orchestra S.

Aida, "La fatal pietra," from Tomb Scene, Act IV, scene ii, p. 280 "La fatal pietra" is from a(n): a. song cycle for voice and orchestra. b. opera.

Chapter 17 Romantic Opera 315

c. d.

oratorio. lied.

6. Aida, "La fatal pietra," from Tomb Scene, Act IV, scene ii, p. 280 What are the moods portrayed in "La fatal pietra" from Aida?

a. b. c. d.

gloomy, then surprised, then gloomy macabre, then playful, then mystical gloomy, then fearful, then happy peaceful and content, then gloomy

7. Aida, "Morir! si pura e bella!" from Tomb Scene, Act IV,

scene ii, p. 280 Who composed "Morir! si pura e bella! "? a. Giacomo Puccini b. Giuseppe Verdi c. Richard Wagner d. Wolfgang Amadeus Mozart

8. Aida, "Morir! si pura e bella! " from Tomb Scene, Act IV, scene ii, p. 280 "Morir! si pura e bella!" from Aida is the first line

of a(n): a. aria. b. recitative. c. arioso. d. duet. 9. Aida, "Morir! si pura e bella!" from Tomb Scene, Act IV, scene ii, p. 280 The performing forces in the section starting with "Morir! si pura e bella!" from Aida consist of: a. a soprano soloist, chorus, and orchestra. b. two female soloists and orchestra. c. two male soloists and orchestra. d. a tenor soloist and orchestra. 10. Aida, " 0 terra addio" from Tomb Scene, Act IV, scene ii, p. 280 Who composed " 0 terra addio"? a. Wolfgang Amadeus Mozart b. Giacomo Puccini c. Giuseppe Verdi d. Richard Wagner 11. Aida, " 0 terra addio" from Tomb Scene, Act IV, scene ii, p. 280 The " 0 terra addio" section in Aida includes: a. a recitative and a lied. b. a chorus and a duet. c. two arias and an arioso. d. a chorus along with a solo aria. 12. Aida, Tomb Scene, Act IV, scene ii, p. 280 The performing forces in the Tomb Scene of Aida consist of: a. two vocal soloists and full orchestra. b. three vocal soloists, a chorus, and a full orchestra. c. two vocal soloists, a chorus, and the string and woodwind sections of 158


the orchestra. d. two vocal soloists, a chorus, and full orchestra.

a. b. c. d.

13. The Valkyrie, Act I, scene i, p. 287 Who composed The Valkyrie? Richard Wagner Giuseppe Verdi Giacomo Puccini Carl Maria von Weber

160 Chapter 17 Romantic Opera

14. The Valkyrie, Act I, scene i, p. 287 When the character Siegmund collapses in Sieglinde's house in the first scene of The Valkyrie, we hear a leitmotiv in which there is a(n): a. ascending scale melody in the trombones. b. descending scale melody played by the cellos. c. rhythmic pulsing in the timpani. d. rising melody in the cellos.

15.

The Valkyrie, Act I, scene i, p. 287 When Sieglinde enters in the first scene of The Valkyrie, she bends over Siegmund and a leitmotiv is heard in

which: a. the b. the c. the d. the

flute plays a flowing melody. melody rises in the cellos. melody rises and gently falls back in the violins. low brass repeat notes gently.

16. The Valkyrie, Act I, scene i, p. 287

In the first scene of The Valkyrie, as Sieglinde gives Siegmund a drink of water and their eyes meet, a new leitmotiv is heard, written for the: a. solo clarinet. b. upper strings. c. lower brass. d. solo cello.

17. The Valkyrie, Act I, scene i, p. 287 In the first scene of The Valkyrie, when Sieglinde confesses her own "illfate," a new melody occurs in the: a. clarinets. b. cellos and basses, c. trombones. d. bassoons.

18. The Valkyrie, Act I, scene i, p. 287 What announces the return of Hunding in the first scene of The Valkyrie? a. a baritone voice b. the low strings c. the low brasses d. the timpani


Topics

19. Romantic Opera, p. 276 Which statement is false? a. Many Romantic operas transcended artistic barriers. b. The Romantic era was a golden age of opera. c. Romantic opera flourished only in and Italy. d. Romantic composers came to view opera as a type of serious a vehicle for song, spectacle, and entertainment. 20. Early Romantic Opera, p. 277 Romantic opera began to surface in_ in the a. Austria; 1830s

drama in music, not just

21. Early Romantic Opera, p. 277 Vincenzo Bellini, Gaetano Donizetti, and Gioacchino Rossini were all: a. early Italian Romantic opera composers. b. legendary singers of the bel canto era. c. famous tenors in the nineteenth century. d. owners of the most famous early opera houses. 22. Early Romantic Opera, p. 277 A style of opera developed by early Italian Romantic composers was called: a. rubato.

b. c. d.

bel canto.

da capo aria. canzona.

23. Gioacchino Rossini, p. 277 Gioacchino Rossini's opera buffa style was similar to that of: a. Schubert. b. Beethoven. c. Berlioz. d. Mozart. 24. Gioacchino Rossini, p. 277 Which was composed by Gioacchino Rossini?

a. b. c. d.

The Barber of Seville Norma Lucia di Lammermoor Aida

25. Gaetano Donizetti, p. 277 Gaetano Donizetti is considered: a. a master of depicting the supernatural in his operas. b. an expert conductor of his works. c. a prolific composer of more than sixty operas. d. a sharp critic of the bel canto style. 26. Gaetano Donizetti, p. 277 Which was composed by Gaetano Donizetti?

a. b. c. d.


27. Vincenzo Bellini, p. 277 Which is true of Vincenzo Bellini? a. He used a light, folk-song style in his opera arias. b. He was a composer of refined, highly expressive Romantic melodies. c. He stressed the orchestra in his operas, sometimes overshadowing the singers. d. He was ired by Schubert for his melodic writing. 28. Vincenzo Bellini, p. 277


Which is considered Vincenzo Bellini's finest opera?

a. b. c. d.


322

Chapter 17 Romantic Opera

29. Carl Maria von Weber, p. 277 Carl Maria von Weber was the founder of: a. German Romantic opera. b. verismo. c. the bel canto style. d. the arioso style. 30. Carl Maria von Weber, p. 277 Carl Maria von Weber's most important work is:

a. b. c. d.

Tristan and Isolde. Otello. Don Pasquale. Der Freischutz.

31. Carl Maria von Weber, p. 277 Unlike the Romantic Italian opera composers of his time, Carl Maria von Weber: a. is known for his charming opera buffa. b. wrote primarily for the voice. c. used supernatural subject matter in his opera. d. developed new brass instruments to enrich the orchestral tone color. 32. Recitative and Aria: The Orchestra, p. 278 Which statement is false? a. Verdi never wavered in his commitment to the human voice. b. Verdi cared most about the dramatic quality of his operas. c. Verdi's operas still employ secco recitative, although in a bel canto style. d. The orchestra plays a richer role in Verdi's operas than in those of his predecessors. 33. Recitative and Aria: The Orchestra, p. 278 InVerdi'soperastheorchestraplaysagreaterrolein________________ and a lesser role in

a. b. c. d.

ensembles; arias recitatives; arias ariosos; arias ensembles; ballets

34. Giuseppe Verdi, p. 279 What three early operas of Verdi assured him international fame? a. Il trovatore, La traviata, and Rigoletto b. La traviata, Otello, and Falstaff c. Otello, II trovatore, and Rigoletto d. Rigoletto, II trovatore, and Falstaff 35. Giuseppe Verdi, p. 279 Many of Verdi's early operas were associated with: a. ancient Greek myths and legends. b. the Italian liberation movement. c. Germanic myths and legends. d. the Bible.


36. Giuseppe Verdi, p. 279 Verdi's last two masterpieces were: a. La traviata and Otello. b. Falstaff and Il trovatore. c. Rigoletto and Otello. d. Otello and Falstaff.

324

Chapter 17 Romantic Opera 37. Aida, p. 280 Aida was commissioned for:

a. b. c. d.

a new opera house in Cairo. the opening of the Panama Canal. the birthday of Vittorio Emmanuele. the Italian liberation movement.

38.

Aida, p.

280 The setting of Aida is:

a. b. c. d.

Venice. Rome. Egypt. Japan.

39. Aida, p. 282 The characters in the Tomb Scene of Aida include: a. Aida, Radames, and Cio-Cio San. b. Aida, Radames, and Amneris. c. Aida, Radames, and Aeneas. d. Aeneas, Aida, and Brangaene.

40. Aida, p. 282 What happens to Radames and Aida in the Tomb Scene? a. They escape at the last moment. b. Amneris has pity on them and releases them so they can sing their last arias. c. The chorus of priests rolls the stone away so that they can live. d. They die in the tomb.

41. Aida, p. 282 How does the orchestra contribute to the sense of death at the end of the Tomb Scene of Aida? a. It forecasts doom with gloomy music, then provides hazy, heavenlike music when the characters are leaving this world. b. It provides ballet music for the festival of priests, then illustrates the march to the scaffold and the fall of the ax vividly with percussion instruments. c. It reinforces the personality of each character with a leitmotiv. d. It adds to the tension of the scene with a fugal section right before the main characters die.

42. Wagner and Music Drama, p. 283 Many scholars say that, next to Beethoven, had the greatest influence on nineteenth-century composers. a. Richard Wagner b. Giuseppe Verdi c. Giacomo Puccini d. Gioacchino Rossini


43. Wagner and Music Drama, p. 283

What were the two most important elements of Wagner's operatic style? a. aria and recitative b. predominance of the orchestra and bel canto style c. the concept of Gesaintkunstwerk and the technique of leitmotiv d. the use of leitmotiv and idee fixe

44. Wagner and Music Drama, p. 285 Wagner was particularly against:

a. b. c. d.

leitmotivs.

arias. the concept of Gesamtkunstwerk. expanding the size and role of the orchestra in opera.

45. Richard Wagner, p. 284 Wagner's_________ was part of the larger work

a. b. c. d.

The Rhinegold; Dichterliebe The Ring of the Nibelung; Parsifal Parsifal; The Ring of the Nibelung The Rhinegold; The Ring of the Nibelung

46. Richard Wagner, p. 284 Wagner was as well known for his____ as he was for his operas. a. piano transcriptions of operatic works b. political views c. lieder d. moral views 47. The Total Work of Art, p. 285 Which term refers to a synthesis of many of the arts into one unified work or "total work of art"?

a. b. c. d.

leitmotiv bel canto

music drama Gesamtkunstwerk

48. The Total Work of Art, p. 285 What did Wagner call his new style of opera in the 1850s?

a. b. c. d.

Gesamtkunstulerk bel canto

music drama leitmotiv

49. The Total Work of Art, p. 285 Who wrote the texts for Wagner's operas? a. Hans von Biilow h. Richard Wagner c. Cosima Wagner d. Arthur Schopenhauer 50. The Total Work of Art, p. 285 Which statement is false? a. Wagner was a great conductor. b. Wagner's career as a concert pianist enabled him to travel all over Europe. c. Wagner was a great orchestrator. d. Wagner wrote many books and articles on his musical ideas.

Chapter 1 7 Romantic Opera

327 51.. Der Ring des Nibelungen, p. 287 Which statement about The Ring of the Nibelung is false? a. It exhibits a classic emotional restraint. b. It has an epic scope covering many generations. c. It is a story of myth and the supernatural. cl. It is a lengthy performance experience.

328

Chapter 17 Romantic Opera 52. Leitmotivs, p. 285 Leitmotivs are developed by means of:

a. b. c. d.

theme and variation form. thematic transformation. ornamentation in the last section of a da capo aria. imitative polyphony.

53. Leitmotivs, p. 285 Which allows a composer to show what a character is thinking even though something else is being said in the text?

a. b. c. d.

idee fixe

bel canto style leitmotiv Gesamtkunstwerk

54.

Der Ring des Nibelungen, p. 287 The Ring of the Nibelung is based on: a. a play by Shakespeare. b. a poem by Schopenhauer. c. an original story by Richard Wagner. d. Germanic or Norse legends.

55.

Der Ring des Nibelungen, p. 287 Wagner. uses mythology in The Ring of the Nibelung to reflect on modern life, the basic

theme being: a. might makes right. b. love occurs only after death. c. greed and hunger for power bring moral decline. d. the ends justify the means.

56. The Valkyrie, Act I, scene i p. 287 What is the relationship of the two protagonists in the opening of The Valkyrie?

a. b. c. d.

mother and son wife and husband cousins brother and sister

5 7 . The Valkyrie, Act I, scene i, p. 288

What characterizes the singers' melodies in the a. lyrical song forms b. free-formed declamation of the words

first scene of The Valkyrie?

58. The The Valkyrie, Act I, scene i, p. 288 What important role does the orchestra play in the first scene of The Valkyrie?

a.

By carrying the leitmotivs, it conveys the psychological depth of


329 the characters and their feelings. b. It merely provides accompaniment for the singers. c. It repeats the leitmotivs in exactly the same way while the singers echo and transform them. d. It remains restrained at all times, allowing the singers to be more emotionally expressive.

330

Chapter 17 Romantic Opera

Essay Questions

1. Romantic Opera, p. 276

Describe the change in the purpose of opera from the eighteenth century to the nineteenth century.

2. Early Romantic Opera, p. 277

Where did Romantic opera first develop? Who was one of the first composers in this new style?

3. Early Romantic Opera, p. 277

What does b e l c a n t o mean? Briefly describe this Romantic style. How did it affect the role of the human voice in Italian opera?

4. Gaetano Donizetti, p. 277

Who was Gaetano Donizetti? Briefly describe his compositional style and name one opera he composed.

5. Vincenzo Bellini, p. 277 Who was Vincenzo Bellini? Briefly describe his compositional style and name one opera he composed. Which musical element did he treat with an especially Romantic flair?

6. Carl Maria von Weber, p. 277 What were the main contributions of Carl Maria von Weber to early Romantic opera? How is his compositional style different from the styles of Rossini, Donizetti, and Bellini?

7. Verdi and Italian Opera, p. 278

Why was Verdi considered the dominant composer in nineteenth-century opera, as opposed to Wagner?

8. Verdi and Italian Opera, p. 278

How did Verdi view drama in opera? What sorts of characters did he include in his operas? How did he handle emotional expression?

9.

Recitative and Aria: The Orchestra, p. 278 Describe the relationship between the vocal lines and the orchestra in the operas of Verdi.

10.

Recitative and Aria: The Orchestra, p. 278 Compare and contrast the recitatives of Verdi with those of earlier Italian composers of Romantic opera.

11.

Recitative and Aria: The Orchestra, p. 280 Briefly describe the style of Verdi's arias.

12.

Giuseppe Verdi, p. 279 Briefly describe the political views of Giuseppe Verdi. How was Verdi viewed by his fellow Italians? Name one opera in which his political views are evident.

13.

Aida, p. 280 Name the three main characters in A i d a and briefly


describe the plot and location of the opera.

14.

331

Aida, p. 280

Briefly describe the events of the Tomb Scene o f A i d a . Discuss how the drama is heightened with musical elements such as dynamics, orchestral tone colors, and the use of the chorus in the final duet.


15. Wagner and Music Drama, p. 283

Describe some of Richard Wagner's innovations and explain why they had far-reaching effects on composers for many years.

16. Richard Wagner, p. 284

Briefly describe the personality and political views of Richard Wagner. How did he get along with other people? Refer to Mendelssohn and King Ludwig II of Bavaria in your answer.

17.

Richard Wagner, p. 284 What is the significance of Bayreuth with regard to Wagner's operas?

18.

Wagner and Music Drama, p. 283 Briefly describe Wagner's views on French and Italian opera.

19.

The Total Work of Art, p. 285 Define Gesamtkunstwerk. Briefly describe how Wagner worked with this concept in his operas.

20.

The Total Work of Art, p. 285 What sort of material did Wagner use for the story lines of his operas?

21.

The Total Work of Art, p. 285 Discuss the growing role of the orchestra in both German and Italian opera.

22.

Leitmot ivs, p. 285 Define leitmotiv.

23.

The Valkyrie, p. 287 Name the four parts of Der Ring des Nibelungen and The Valkyrie's place in the music drama cycle.

24. The Valkyrie, p. 288


Outline and describe three primary features of Wagner's music dramas. Refer to examples from The Valkyrie in your answer.

25.

The Valkyrie, p. 288 Briefly describe the events of Act I, scene i of The Valkyrie.

C H A P T E R

18

The Late Romantics Multi ple- Choic e Question s Listening

1.

Overture-Fantasy, Romeo and Juliet, p. 295 Who composed Romeo and Juliet?

a. b. c. d. 2.

Gustav Mahler Pyotr Ilyich Tchaikovsky Modest Mussorgsky Johannes Brahms

Overture-Fantasy, Romeo and Juliet, p. 295 How many main themes are heard in the Overture-Fantasy Romeo and Juliet?

a. b. c. d.

one two three four

3.

Overture-Fantasy, Romeo and Juliet, p. 295 In the slow introduction in Romeo and Juliet, the Hymn theme is heard in the: a. low clarinets and bassoons. b. organ. c. cellos and basses. d. French horns and tubas.

4.

Overture-Fantasy, Romeo and Juliet, p. 295 The full a b a statement of the Love theme in Romeo and Juliet is ed by: a. the timpani. b. a "sighing" motive in the French horns. c. the Hymn theme in the English horn. d. the harp.

5.

Overture-Fantasy, Romeo and Juliet, p. 295 What instruments are added to enhance the mood of the most agitated theme in Romeo and Juliet?

a. b. c. d.

violins and cellos English horn and violas flute and oboe cymbals and timpani

Chapter 18 The Late Romantics 336

6.

Pictures at an Exhibition, p. 300 Who composed Pictures at an Exhibition?

a. b. c. d.

Modest Musorgsky Pyotr Ilyich Tchaikovsky Alexander Borodin Richard Wagner

7.

Pictures at an Exhibition, p. 300

8.


What element in the first piece of Pictures at an Exhibition helps to depict the composer walking through an art gallery? a. emphatic accents of the trumpet b. a steady beat with pauses c. alternating meters that create an unpredictable emphasis in the beat d. a folk melody played by a clarinet The grotesque character of the piece "Gnomus" is musically depicted through: a. deceptive cadences. b. ascending scalelike figures. c. a waltzlike rhythmic pattern. d. dissonance and a lurching rhythm.

9.


What image does the composer evoke in the last and longest piece of Pictures at an Exhibition? a. a troubadour, through the use of a lyrical flute melody b. a solemn procession, through the use of a slow steady beat c. Russian nationalism, through the inclusion of folk instruments d. the heavy jaws of a nutcracker, through a slapping stick in the orchestra

10.

Violin Concerto in D, Op. Who composed the Violin Concerto in D? a. Gustav Mahler b. Pyotr Ilyich Tchaikovsky c. Johannes Brahms d. Modest Musorgsky 7 7 , p. 305

11. Violin Concerto in D, Op.

7 7 , p. 305

The third movement of Violin Concerto in D opens with the violin playing the theme in: a. isorhythms. b. double stops. c. a free improvisation. d. imitation with the orchestra.


12. Violin Concerto in D, Op. 77, p. 305 In the third movement of the Violin Concerto in D, the rondo's second contrasting episode is a(n): a. lyrical theme played by the solo violin. b. ascending scale theme by the solo violin. c. short cadenza. d. marchlike transformation of the A theme.


13.

Symphony No. 1, "Funeral March," p. 309 Who composed Symphony No. 1? a. Pyotr Ilyich Tchaikovsky b. Modest Musorgsky c. Gustav Mahler d. Johannes Brahms

14. Symphony No. 1, "Funeral March," p. 309 What familiar tune is quoted in the third movement of Symphony No. 1, but in an unusual harmonic context? a. "Happy Birthday" b. "Frere Jacques " c. "Twinkle, Twinkle, Little Star" d. "For He's a Jolly Good Fellow"

15. Symphony No. 1, "Funeral March," p. 309 At the end of section 3 of the third movement of Symphony No. 1: a. the clarinets evoke a dance band. b. the oboes play a folk melody. c. the flutes play two new phrases. d. the violins erupt in a ionate outburst.

16. Symphony No. 1, "Funeral March," p. 309 What characterizes the orchestration style you hear in the third movement of Symphony No. 1? a. Tone colors are well blended in a typically Romantic fashion. b. One instrumental family of the orchestra is always being featured as a group at any given moment. c. Many different instruments have solos, but never for long, giving a kaleidoscopic effect. d. The string section carries the melody, and the other instrumental families provide harmonic .

17. Symphony No. 1, "Funeral March," p. 309 What percussion instrument ends the third movement of Symphony No. 1? a. gong b. cymbals c. snare drum d. triangle Topics

18.

Romanticism and Realism, p. 293 What characterizes the focus of the arts from the 1850s on?


a. b.

an increased interest in realism an increased interest in the supernatural c. an increased interest in ancient Greek myths d. a return to religious themes 19. Late Romantic Program Music, p. 295 An orchestral work composed in one movement with called a: a. Romantic symphony. b. program symphony. c. concert overture. d. symphonic poem.

a free form and with a program is

340 Chapter 18 The Late Romantics

20. Late Romantic Program Music, p. 295 Who started the idea of the symphonic poem? a. Johannes Brahms b. Hector Berlioz c. Gustav Mahler d. Franz Liszt 21. Late Romantic Program Music, p. 295 In which category is a symphonic poem different from a concert overture? a. the performing forces b. the number of movements c. form d. tone color 22. Late Romantic Program Music, p. 295 Hamlet, Les Preludes, and Orpheus are all symphonic poems composed by: a. Franz Liszt. b. Pyotr Ilyich Tchaikovsky. c. Richard Strauss. d. Johannes Brahms. 23. Pyotr Ilyich Tchaikovsky, p. 296 Swan Lake, The Nutcracker, and Sleeping Beauty are all ballets composed by: a. Franz Liszt. b. Pyotr Ilyich Tchaikovsky. c. Richard Strauss. d. Johannes Brahms. 24. Overture-Fantasy, Romeo and Juliet, p. 295 Romeo and Juliet is a(n)_________, but the composer called it a(n) a. symphonic poem; overture-fantasy b. overture to a ballet; symphonic poem c. concert overture; overture-fantasy d. program symphony; symphonic poem 25. Overture-Fantasy, Romeo and Juliet, p. 295 Tchailcovsky's Romeo and Juliet opens with: a. the hymnlike theme. b. the idee fixe for Juliet. c. the soaring love theme. d. the agitated vendetta theme. 26. Nationalism, p. 298 What is characteristic of all nationalistic music? a. the use of dissonant harmonies b. the use of religious subject matter c. the use of major and minor modes d. the use of the folk music of each country 27. Nationalism, p. 298 The rise of nationalism in music was a reflection of: a. people ing choral societies.


b. c.

people making music in their houses. people cherishing their distinctive artistic heritage. ci. an amateur musicmaking public.


28. Nationalism, p. 299

Which is an example of a country that produced Romantic nationalist music? a. b. Russia c. Italy d.


What characterizes the music of nationalist composers? a. rebellion against the traditional harmony and form of European Romantic composers b. following in the path of the German Romantic composers in of harmony and form c. following in the path of Italian Romantic composers in of opera, but not orchestral music d. following in the path of Wagner in of chromaticism, but following French composers of grand opera

30. Exoticism, p. 299

The opera Carmen, written by the French composer George Bizet and set in Spain, is an example of: a. nationalism in music. b. the blending and erasing of the unique qualities of nations. c. exoticism in music. d. political music.

31. The Russian Kuchka, p. 299 The term kucbka refers to: a. a Russian dance form. b. the "Mighty Five," a close group of Russian nationalist composers. c. a conservative Russian political movement. d. a Russian folk song form.


32. The Russian Kuchka, p. 300 The Russian kushka included: a. Tchaikovsky, Borodin, and RimskyKorsakov. Musorgsky, Tchaikovsky, b. and Balakirev. Tchaikovsky, Balakirev, and Rimsky-Korsakov. Musorgsky, c. Borodin, and Rimsky-Korsakov. d.


33. Modest Musorgsky, p. 302 Modest Musorgsky's music reflects: a. a polished skill as an orchestrator. b. an intense nationalism. c. his aristocratic origins. d. a sunny disposition.


34. Pictures at an Exhibition, p. 302 Pictures

at an Exhibition is considered:

a. b. c. d.

a theme and variations. a song cycle. program music. a concert overture.

35. Other Nationalists, p. 303

Smetana and Dvorak were nationalist composers from: a. Russia. b. Bohemia. c. Romania. d. Yugoslavia.



Grieg and Sibelius represented their countries, in nationalistic music. a. Sweden; Norway b. Norway; Denmark c. Finland; Norway d. Norway; Finland 37. Other Nationalists, p. 303

Ralph Vaughan Williams was a. Classical b. English nationalist c. English

a(n)_________ composer.


Which would you least associate with nationalism in music? a. the kushka b. Antonin Dvorak

c. d.

Slavonic Dances

Johannes Brahms

39. Responses to Romanticism, p. 302 Which important late Romantic composer responded to the unbridled emotionalism of Romanticism with a return to a Viennese Classicism? a. Johannes Brahms b. Gustav Mahler c. Pyotr Ilyich Tchaikovsky d. Ludwig van Beethoven

40. Responses to Romanticism, p. 302 Which late Romantic composer responded to late Romanticism with a bittersweet nostalgia for lost innocence? a. Johannes Brahms b. Pyotr Ilyich Tchaikovsky c. Gustav Mahler d. Ludwig van Beethoven

and_________ respectively,


41. The Renewal of Classicism: Brahms, p. 304 In which typical Romantic genre did Brahms compose? a. opera b. ballet c. miniature d. cantata 42. The Renewal of Classicism: Brahms, p. 304 The lifelong model for Brahms was: a. Johann Sebastian Bach. b. Ludwig van Beethoven. c. Robert Schumann. d. Richard Wagner. 43. Johannes Brahms, p. 304 What great Romantic-era composer was a musical friend of Johannes Brahms? a. Georges Bizet b. Robert Schumann c. Johann Strauss d. Richard Wagner 44. Johannes Brahms, p. 304 Brahms composed in many genres, but did not write any: a. choral music. b. songs. c. solo piano works. d. program symphonies. 45. Violin Concerto in D, Op. 77, p. 305 Brahms's Violin Concerto in D was composed for: a. Joseph Joachim. b. Clara Schumann. c. Franz Liszt. d. Niccolo Paganini. 46. Violin Concerto in D, Op. 77, p. 305 With regard to form, Brahms's Violin Concerto in D is more Romantic. a. Renaissance b. Baroque c. Classical d. modern

than

47. Gustav Mahler, p. 308 The musical activities of Gustav Mahler include all except that of: a. conductor. b. composer. c. musical . d. concert pianist. 48. Gustav Mahler, p. 308

348 C hapt er 18 The

Late Romantics Gustve Mahler wrote in most Romantic genres except: a. orchestral song cycles. b. program symphonies. c. operas. d. symphonies including solo vocalists and chorus.


49. Symphony No. 1, "Funeral March," p. 309 An important feature of Mahler's musical style is: a. a return to Classical forms. b. the use of counterpoint tied to momentary solos in the orchestra. c. a balance of brass and woodwinds in his orchestrations. d. a devotion to homophony. S0. Symphony No. 1, "Funeral March," p. 309 Symphony No. 1 started out as a(n)__ and became a(n) a. symphonic poem; program symphony in four movements b. opera; song cycle with orchestra c. concert overture; symphonic poem d. symphonic poem; program symphony in five movements 51. Symphony No. 1, "Funeral March," p. 310 The third movement of Symphony No. 1 is:


a. b. c. d.

in sonata form. a dance scene. a funeral march. in a major mode.

52. Symphony No. 1, "Funeral March," p. 310 In the third movement of Mahler's Symphony No. 1, a a. first; lyrical trio b. third; parody of dance music c second; funeral march. d. second; parody of dance music

the_________ section contains


Essay Questions 1.

The Late Romantics, p. 293 In what condition did Romanticism live on in the last half of the nineteenth century? Why? Refer to the year 1848 in your answer.

2.

Romanticism and Realism, p. 293 Briefly describe the growing trend of realism in the arts in the latter part of the nineteenth century. How did music fit into this trend? What purpose did music serve?

3.

Late Romantic Program Music, p. 295 Define symphonic poem. Explain who started this genre, when, and why.

4.

5.

Late Romantic Program Music, p. 295 Compare and contrast symphonic poem, concert overture, and program symphony. Name an example of each genre. Romeo and Juliet, p. 295

How many themes does Romeo and Juliet have? Name and briefly describe each theme and explain how Tchaikovsky uses the orchestra to evoke the mood of each.

6.

Pyotr Ilyich Tchaikovsky, p. 296 Was Tchaikovsky a Russian nationalist composer? Explain.


7.

Pyotr Ilyich Tchaikovsky, p. 296 Briefly describe two facets of Tchaikovsky's musical career and name three of his compositions that are still famous today.

8.

Nationalism, p. 298 Define nationalism as it pertains to late Romantic music. Refer to musical sources and other characteristics in your answer.


What three countries were not associated with the nationalist movement in Romantic music? Explain.

10.

The Russian I
11.

Other Nationalists, p. 303 Name four countries besides Russia in which nationalism flourished in the late nineteenth century. Name one composer from each of these countries and name one composition by each composer.

12. Responses to Romanticism, p. 302 Briefly describe the two responses to Romantic music in the late nineteenth century. Name one composer for each response.

13. The Renewal of Classicism: Brahms, p. 303 Briefly characterize the musical style of Johannes Brahms. In which genres and forms did he compose? Which genres did he avoid? Why? Who was his musical model?

14. Johannes Brahms, p. 304 Briefly explain the friendships Johannes Brahms had with the Schumann family and Joseph Joachim. Describe one result of each friendship in the musical career of Brahms.

15. Violin Concerto in D, Op. 77, p. 305

Discuss the style of Brahms's Violin Concerto in D. How do the first and last movements confirm the style? Refer to the form of these movements and the character of the last movement in your answer.

16.

Violin Concerto in D, Op. 77, p. 305 Define double stop. Name a composition that requires the performer to play double stops.

17.

Romantic Nostalgia: Mahler, p. 306 Briefly characterize the musical style of Gustav Mahler with regard to Romantic nostalgia, orchestration, use of the voice, and messages evoked by his music.

18.

Gustav Mahler, p. 308 Briefly describe the various facets of the musical career of Gustav Mahler.

19.

Gustav Mahler, p. 308 Name two genres in which Mahler composed, then name two of his works in each of these genres.


20. Symphony No. 1, "Funeral March," p. 309 Briefly explain how the third movement of Mahler's Symphony No. 1 is a personal lament. Briefly describe the relationship between this work and some of Mahler's earlier vocal music.


21. Symphony No. 1, " Funeral March, " p. 310

Explain the possible source of the march music in the third movement of Mahler's Symphony No. 1.

22. Symphony No. 1, "Funeral March," p. 310

Describe the form of the third movement of Mahler's Symphony No. 1 and name the Classical form to which it bears a resemblance.

23.

Orchestral Music in the Eighteenth and Nineteenth Centuries, Chapters 8-18 How does nineteenth-century orchestral music differ from eighteenth-century orchestral music? Refer to forms, genres, and orchestration in your answer. GLOBAL PERSPECTIVES 5

Musical Drama Worldwide

Multiple-Choice Questions 1. Japanese Drama, p. 315 In Japan, one of the three main traditions of musical drama is the bunraku, which is a: a. puppet theater. b. drama steeped in Zen Buddhist philosophy. c. drama with many singers. d. musical drama accompanied by different percussion instruments. 2. Japanese Drama, p. 314 Which was particularly prized by the elite shogun and samurai culture of the fourteenth and fifteenth centuries? a. bunraku b. kabuki c. noh d. nagauta 3. Performing Kabuki Theater, p. 315 The musical forces in kabuki are particularly: a. complex. b. simple. c. limited. d. numerous. 4. Nagauta Music from Dojoji, p. 315 The nagauta, which accompanies dance, is also known as: a. a singing actor. b. offstage orchestra. c. "long song. " d. concert master. 5. Nagauta Music from Dojoji, p. 315 Dojoji is the name of: a. the king of ancient Japan.


b. c. d.

a double reed instrument. a set of drums. a kabuki play. 6. Nagauta Music from Dojoji, p. 315 from Dojoji is a complex______ carried by The main melody in Nagauta Music the singer and the_________ a. polyphony; bunraku b. homophony; kabuki c. heterophony; shamisens 7. Nagauta Music from Dojoji, p. 315 In Nagauta Music from Dojoji, the singer pauses in: a. part 2. b. part 3. c. part 4. d. part 5. 8. Beijing Opera Songs, p. 317 Beijing opera songs are like the arias of Italian opera in that: a. new text is written to old music. b. they are performed unaccompanied. c. they are interspersed with choral ensembles. d. they are the musical heart of the drama. 9. The Prince Who Changed into a Cat, p. 317 The Prince Who Changed into a Cat is known as one of the a. famous b. little known c. tragic

10. The Prince Who Changed into a Cat,

p. 317

11. The Prince Who Changed into a Cat,

p. 317

most_________of Beijing operas.

In The Prince Who Changed into a Cat, there are______ stringed instruments. a. forty b. twenty-two c. eleven d. three The interaction of the singer with the string instruments is: a. homophonic. b. heterophonic. c. monophonic. d. polyphonic.

Essay Questions 1.

Musical Drama Worldwide, p. 314 Discuss briefly the connection between music and drama, and music's contribution to drama.


2.

Japanese Drama, p. 314 Itemize and describe the main traditions of musical drama in Japan.

3.

Performing Kabuki Theater, p. 315 Describe the musical forces in kabuki, their function in the music drama and stage placement.


4. Nagauta Music from Dojoji, p. 315 What famous genre of music is involved in kabuki? What is it called and what is its function?

5. Nagauta Music from Dojoji, p. 315 Describe the musical flow of events from part 1 through part 5 in the nagauta music.

6.

Beijing Opera Songs, p. 317 Discuss how Chinese arias are composed and whether the method is different from or similar to Italian opera.

7. The Prince Who Changed into a Cat, p. 317

List the string instruments in The Prince Who Changed into a Cat, how they are played, and their interaction with the singer.

C H A P T E R .

19

Prelude Music and Modernism Multiple-Choice Questions 1.

Looking Forward and Looking Back, p. 320 The chief composers associated with the early phase of modernism, Debussy, Stravinsky, and Schoenberg, were at the forefront of modernism in music, the_______________________________________ a. Blue Rider group b. Apaches c. Symbolists d. avant-garde

2.

The Response of Modernism, p. 323 Which musical elements were questioned in the modernist movement? a. melody, rhythm, and tone color b. melody, harmony, and tonality c. harmony, tonality, and tone color d. harmony, rhythm, and tonality

3.

The Response of Modernism, p. 323 The Apaches: a. were a group of artists and intellectuals, including the composers Stravinsky and Ravel. b. is the title of an opera by Ravel. c. were a group in Paris including Claude Debussy and several symbolist poets. d. were artists, including Schoenberg, who put out a magazine called The Blue Rider.

4.

Literature and Art before World War I, p. 324 What is a way in which Stravinsky departed from the Romantic style? a. He wrote only atonal music. b. He refused to use any meters. c. He used mechanistic rhythms as opposed to rubato. d. He wrote no works for large orchestra.

5.

Impressionists and Symbolists, p. 325 Which artistic movement took its inspiration from Wagner's leitmotivs? a. impressionism b. symbolism c. expressionism d. cubism

Music and Modernism 360 Chapter 19 Prelude:

6. Impressionists and Symbolists, p. 325 Which composer was sometimes called an impressionist and sometimes a symbolist? a. Arnold Schoenberg b. Anton Webern c. Claude Debussy d. Igor Stravinsky 7. Expressionists and Fauves, p. were associated with_____ and 327 The composers Stravinsky sometimes and Bartok suggested in their works. a. impressionism; atonality b. serialism; consonance c. minimalism; rubato d. expressionism; violence 8. Modernist Music before World War I, p. 328 Modernist composers before World War I changed their approach to: a. rhythm and harmony. b. melody, rhythm, and tone color. c. melody, harmony, and tonality. d. tone color and rhythm.

9. Modernist Music before World War I, p. 328 Modernist composers after World War II changed their approach to: a. tone color and rhythm. b. melody, harmony, and tonality. c. tonality, melody, and tone color. d. tonality and harmony.

10. Experiment and Transformation: Melody, p. 329

All of the following characterize a modernist approach to melody except: a. exaggeration and distortion of folk music. b. the use of long, sweeping, inspired melodies. c. disconnection of the notes in a melody. d. suggestion of melody, but no clear tunes.

11. New Horizons, New Scales, p. 329 The five-note scale playable on the black keys of the piano is called the _______________________________________________________________________ scale. a. pentatonic b. whole-tone c. quarter-tone d. octatonic

12. New Horizons, New Scales, p. 329 The scale in which the octave is divided into six equal intervals is the

Music and Modernism 361 _____________________________________________________________________ scale. a. pentatonic b. whole-tone c. quarter-tone d. octatonic Chapter 19 Prelude:


13. New Horizons, New Scales, p. 329 The scale in which eight pitches are made to fit into the octave by alternating whole steps and half steps is the scale. a. pentatonic b. whole-tone c. quarter-tone d. octatonic

14. New Horizons, New Scales, p. 329

The scale that uses the entire chromatic scale as well as the pitches that come halfway between each pair is the scale. a. pentatonic b. whole-tone c. quarter-tone d. octatonic

15. New Horizons, New Scales, p. 329 The composer who originated serialism was: a. Arnold Schoenberg. b. Richard Wagner. c. Igor Stravinsky. d. Bela Bartok.

16. "The Emancipation of Dissonance, " p. 330 Schoenberg's reference to "the emancipation of dissonance" meant emancipation from the need to: a. be free. b. serve homophony, c. dominate. d. resolve to consonant chords.

17. "The Emancipation of Dissonance," p. 330

Atonal music is music in which no_____can be found. a. harmonic contrast b. tonal center c. incoherence d. points of imitation

18.

"The Emancipation of Dissonance, " p. 330 In the early twentieth century, harmony: a. became more consonant. b. became more dissonant. c. became less important. d. stressed resolution once again.

19. "The Emancipation of Dissonance, " p. 330 The feeling of centrality or focus toward a particular pitch is related to


a. b. c. d.

tonality texture. rhythm dissonance

364 Chapter 19 Prelude: Music and Modernism

20. "Emancipation of Dissonance," p. 330

Some atonal music, on careful listening, can a. have a regular harmonic pulse. b. hover around a general harmonic set of progressions. c. have a definite tonal center. d. evoke a slight sense of tonality.

21. "Emancipation of Dissonance," p. 330 Around 1900, some conservative composers referred to melody, harmony, and tonality as: a. the "holy trinity" of music. b. metaphors for the dramatic aspect of music. c. sacred elements in music. d. crucial for the flow of form.

Essay Questions 1.

Progress and Uncertainty, p. 321 Describe some of the events and scientific discoveries that shook the late nineteenth century's confidence in the idea of progress. What effect did these events have on music, literature, and the arts?

2.

The Response of Modernism, p. 323 Discuss the concepts in the visual arts, literature, and music that were questioned by modernists in the early twentieth century.

3.

Literature and Art before World War I, p. 324 Name or describe three groups of people in the arts before World War I and cite at least one composer member of each.

4.

Literature and Art before World War I, p. 324 Was early twentieth-century music responsive to public opinion? Was emotional expression to an audience important to early twentiethcentury composers? Explain.

5.

Literature and Art before World War I, p. 324 Contrast Stravinsky's use of rhythm and attitudes with that of nineteenthcentury music.

6.

Impressionists and Symbolists, p. 325 Briefly discuss the best-known visual arts movement dating from the 1870s.

7.

Impressionists and Symbolists, p. 325 With which nineteenth-century composer were symbolist poets fascinated? Why? Which technique of this composer intrigued them most?

8.

Impressionists and Symbolists, p. 325 With which movement in the visual arts is Debussy most often associated? Explain. Name the other artistic movement with which he

Music and Modernism 365 is also sometimes associated and explain why. Chapter 19 Prelude:

9.

Expressionists and Fauves, p. 327 Define as an early twentieth-century artistic movement. e xpre ssioni sm

10. Modernist Music before World War I, p. 328 Composers focused on certain musical elements before World War I and on other musical elements after that war. Name the elements stressed in each era.


Briefly describe the interdependent relationships among the developments of melody, harmony, and tonality.


Name three composers who contributed to the disintegration of melody in the early part of the twentieth century. How did they contribute to this change?

13.

New Horizons, New Scales, p. 329 Name and briefly describe three new kinds of scales used by composers after 1900.

14.

New Horizons, New Scales, p. 329 Define serialism. What musical element can be serialized in a composition?

15.

"The Emancipation of Dissonance," p. 330 Explain what Schoenberg meant when he spoke of "the emancipation of dissonance."

16.

"

The Emancipation of Dissonance, " p. 330 Briefly trace the shift from tonality to atonality in of the use of

dissonance and chromaticism from the nineteenth century to the twentieth century. What was meant by "the holy trinity"?

C H A P T E R

20

The Twentieth Century: Early Modernism Multiple-Choice Questions Listening

1. Three Nocturnes, Clouds (Nuages), p. 332 Who composed Clouds? a. Igor Stravinsky b. Charles Ives c. Arnold Schoenberg d. Claude Debussy 2. Three Nocturnes, Clouds (Nuages), p. 332

What instrument introduces a "haunting" motive a. flute b. French horn c. bassoon d. English horn

that occurs many times throughout Clouds?

3. Three Nocturnes, Clouds (Nuages), p. 332 The performing forces in Clouds consist of:

a. strings and woodwinds. b. strings and brass. c. strings, woodwinds, brass, and 4. Three Nocturnes, Clouds (Nuages), p. 332 What mood is created by the clarinets' and bassoons' descending chords of Clouds?

a. b. c. d.

triumphant and military angry and violent busy and intense dreamy and vague

5. Three Nocturnes, Clouds (Nuages), p. 332 The Cloud theme in Clouds is represented in the beginning by: a. parallel chords moving downward. b. a cadenza in the flute. c. a diatonic scale at the end of the theme.

d.

clear modulations throughout.

370 Chapter 20 The Twentieth Century: Early Modernism

6. Three Nocturnes, Clouds (Nuages), p. 332

Which texture(s) do you hear in Clouds? a. monophony and homophony b. homophony c. monophony and polyphony d. homophony and polyphony

7.

Three Nocturnes, Clouds (Nuages), p. 332 Which musical element is the clearest in Clouds? a. form b. tone color of solos c. motivic development d. rhythm and meter

8.

The Rite of Spring: Part I, p. 336 Who composed The Rite of Spring?

a. b. c. d.

Bela Bartok Luciano Berio Igor Stravinsky Claude Debussy

9. The Rite of Spring: Part I, p. 336 The Rite of Spring is a(n):

a. b. c. d.

opera. symphony. symphonic poem. ballet.

10. The Rite of Spring: Part I, p. 336

The opening theme of The Rite of Spring is played by the: a. bassoon, in the highest part of its range. b. alto flute. c. oboe. d. trombone, in the highest part of its range.

11. The Rite of Spring: Part I, p. 336 The performing forces in The Rite of Spring consist of: a. woodwinds, brass, and percussion. b. strings, woodwinds, brass, and percussion. c. strings, woodwinds, and brass. d. strings, woodwinds, percussion, and choir.

12.

The Rite of Spring: Part I, p. 336 What instruments seem

Chapter 20 The Twentieth Century: Early Modernism 371

to dominate the first minute of The Rite of Spring? a. strings b. brass c. woodwinds d. percussion


13.

The Rite of Spring: Part I, p. 336 The rhythms and tempo of "The Game of Abduction" in The Rite of Spring seem to create a mood that is: a. peaceful and pastoral. b. religious. c. intellectual and restrained. d. violent, surging, and frantic.

14. The Rite of Spring: Part I, p. 336 What do you hear at various times in the "Round Dances of Spring" of The Rite of Spring?

a. b. c. d.

musique concrete

a tone row fragmented folk songs a acaglia

15. The Rite of Spring: Part I, p. 336 What is heard at the end of the "Round Dances of Spring" of The Rite of Spring?

a. b. c. d.

a a a a

short return of the slow introduction theme in the bassoon sequence of the three folk songs loud rhythmic age with irregular accents tender, lyrical cadenza

16. Pierrot lunaire, p. 340 Who composed Pierrot lunaire? a. Claude Debussy b. Alban Berg c. Igor Stravinsky d. Arnold Schoenberg

17. Pierrot lunaire, Op. 21, No. 8 "Night," p. 341 The performing forces in "Night" in Pierrot lunaire consist of: a. voice, bass clarinet, and piano. b. voice, cello, and piano. c. voice, cello, bass clarinet, and piano. d. voice, two violas, and piano.

18.

Pierrot lunaire, Op. 21, No. 8 "Night," p. 341 "Night" in Pierrot lunaire is:

a. b. c. d.

atonal. in a major mode. in a minor mode. based on the octatonic scale.

19. Pierrot lunaire, Op. 21, No. 8 "Night," p. 341


In "Night" in Pierrot lunaire, the image of "giant black butterflies" from the poem is evoked by the: a. muted trumpet. b. the use of sprechstimme. c. frantic clarinets. d. lowest instruments of the ensemble.


20.

Pierrot lunaire, Op. 21, No. 18 "The Moonfleck," p. 341 The vocal technique heard in "The Moonfleck" in Pierrot lunaire is:

a. b. c. d.

Sprechstimme.

vocalise. Singspiel.

pizzicato.

21. Pierrot lunaire, Op. 21, No. 18 "The Moonfleck," p. 341 The performing forces in "The Moonfleck" in Pierrot lunaire consist of: a. voice, piano, and woodwinds. b. voice, piano, and strings. c. voice, piano, woodwinds, and strings. d. voice, piano, percussion, and woodwinds.

22.

Pierrot lunaire, Op. 21, No. 18 "The Moonfleck," p. 341 The texture of "The Moonfleck" in Pierrot lunaire is: a. monophony. b. homophony. c. homophony, then monophony. d. polyphony.

23.

Wozzeck, Act III, Scene iii, p. 344 Who composed Wozzeck? a. Charles Ives b. Alban Berg c. Arnold Schoenberg d. Claude Debussy

24. Wozzeck, Act III, Scene iii, p. 344 Wozzeck is a(n):

a. b. c. d.

opera. song cycle. symphony. Mass.

25. Wozzeck, Act III, Scene iii, p. 344 The performing forces in Act III, scene iii o f Wozzeck consist of: a. full orchestra and ragtime piano. b. voices, full orchestra, and ragtime piano. c. voices, banjo, piano, and full orchestra. d. full orchestra and voices.

26. Wozzeck, Act III, Scene iii, p. 344


Act III, Scene iii, p. 344 of Act III of Wozzeck, but What seems disturbingly out of place contributes to in scene iii the mood and setting? a. the voice b. the string melody c. the French horn melody d. the piano part 28. Wozzeck, Act III, Scene iii, p. 344 Because of the murder in the previous scene, the mood of scene iii of Act III of Wozzeck is: a. confused, shocking. b. peaceful, content. c. triumphant, victorious. d. gleeful, happy.

27. Wozzeck,

29. Wozzeck, Act III, Scene iii, p. 345 In scene iii of Act III of Wozzeck, what compositional device is heard? a. a short chant b. spoken dialogue c. a flute and soprano duet d. a "master rhythm," a kind of ostinato in many different tempos

30. Wozzeck, Act III, Scene iv, p. 345 As the drama proceeds, the mood of scene iv of Act III of Wozzeck changes from_____________________________________________________________ to_________________________________________________________________________ a. shrieking sprechstimme; emotionally lamenting music in the orchestra b. light and cheerful; macabre and spooky c. lamenting; peaceful and contented d. victorious and happy; peaceful and contented

31.

Wozzeck, Act III, Scene iv, p. 345 In scene iv of Act III of

Wozzeck, when the orchestra plays alone after the voices stop, the compositional style changes from___ to_________ a. fugal; homophonic b. atonal; late Romantic c. late Romantic; atonal d. impressionist; expressionist

32. Wozzeck, Act III, Scene iv, p. 345 The innovative vocal technique heard in scene iv of Act III of Wozzeck is:

a. b. c. d.

Singspiel.

vocalise. Sprechstimme.

isorhythm.


33.

Second Orchestral Set, second movement: "The Rockstrewn Hills in the People's Outdoor Meeting, " p. 351 Who composed "The Rockstrewn Hills in the People's Outdoor Meeting"? a. Aaron Copland b. Leonard Bernstein c. Charles Ives d. George Crumb


34.

Second Orchestral Set, second movement: "The Rockstrewn Hills in the People's Outdoor Meeting," p. 351 The performing forces in "The Rockstrewn Hills in the People ' s Outdoor Meeting " consist of: a. strings, woodwinds, and piano. b. strings, woodwinds, and percussion. c. a choir, strings, woodwinds, brass, and percussion. d. strings, woodwinds, brass, percussion, and piano.

35.

Second Orchestral Set, second movement: "The Rockstrewn Hills in the People's Outdoor Meeting," p. 351 Which is true of "The Rockstrewn Hills in the People's Outdoor Meeting"? a. The meter is constant and stable. b. Themes are stated in their entirety, then varied. c. Themes are generally rudely interrupted by the trombones or drums and are rarely heard in their entirety. d. The accompaniment never intrudes on the themes, but always assumes a secondary role. To p i c s

36.

The Twentieth Century: Early Modernism, p. 331 The first phase of avant-garde music emerged in: a. Paris and Vienna. b. London and Paris. c. Berlin and London. d. Paris and Milan.

37. The Twentieth Century: Early Modernism, p. 331 The first phase of avant-garde music lasted from: a. 1850 to 1874. b. 1874 to 1890. c. 1890 to 1914. d. 1914 to 1945.

38.

The Twentieth Century: Early Modernism, p. 331 Three of the leading firstphase modernist composers were: a. Stravinsky, Debussy, and Schoenberg. b. Mahler, Stravinsky, and Debussy. c. Mahler, Schoenberg, and Stravinsky. d. Manet, Mondrian, and Braque.

39. Debussy and Impressionism, p. 331 Which statement about Debussy is false? a. Like the Romantics, he searched for new ways to express emotion in music. b. His orchestral sound was very similar to Mahler's. c. His tone colors avoid the usual heavy sonorities of the Romantic era.


d.

He developed new rich harmonies and new tone colors for orchestra and piano.

40. Debussy and Impressionism, p. 331

What characterizes Debussy's use of tone color? a. serialized combinations of tone colors b. one family of the orchestra featured at a time c. heavy, rich, Romantic sonorities d. subtle, blended, mysterious shades of tone colors


41. Debussy and Impressionism, p. 331 What characterizes Debussy's treatment of melody? a. clear themes based on major or minor scales b. symmetrical themes built on tidy phrases reminiscent of the Classical era c. fragmented themes and motives based on exotic scales d. no identifiable themes, melodies, or motives; atonality

42. Claude Debussy, p. 334

The two nonmusical influences on Debussy's style were: a. symbolist poetry and impressionist painting. b. symbolist poetry and expressionist painting. c. German Romantic literature and impressionist painting. d. Neoclassical literature and cubist painting.

43. Claude Debussy, p. 334

Debussy's enduring contributions to twentieth-century music were in the areas of: a. chamber music and piano music. b. ballet and sonatas for stringed instruments. c. piano music and orchestration. d. music criticism and serialism.

380 Chapter 20 The Twentieth Century: Early Modernism 44. Claude Debussy, p. 334 Debussy wrote music criticism. In it, his were clear. a. positive; Italian vocal b. negative; German c. positive; German d. negative; American

views concerning_____ music


45. Three Nocturnes, Clouds (Nuages), p. 332

The nationality of the composer of Clouds is: a. German. b. French. c. Hungarian. d. Russian.

46.

Three Nocturnes, p. 332 Debussy's Three Nocturnes are titled: a. C l o ud s, F e st i v al s, and Si re ns. b. Clouds, Si re ns, and P i e rrot . c. Clouds, Game s, and Si re ns. d. Clouds, P e l l e as, and Me l i sande.

47.

Three Nocturnes, Clouds, p. 332 The haunting, recurring English horn motive in Clouds is based on a(n): a. tone row. b. octatonic scale. c. pentatonic scale. d. major scale.

48.

Three Nocturnes, Clouds, p. 333 Debussy's approach to musical form in Clouds is: a. to give homage to Classical forms. b. to compose in simple, easily perceived structures. c. to use sequences. d. to shrink from clear formal outlines.

382 Chapter 20 The Twentieth Century: Early Modernism 49. Stravinsky: The Primacy of Rhythm, p. 334 The first ballet by Stravinsky was:

a. b. c. d.

T h e F i re b i rd . Petrushka. T h e R a k e ' s P ro g re s s . T h e R i t e o f S p r i n g.

50. Igor Stravinsky, p. 339 Stravinsky was influenced early in his career by: a. Gustav Mahler. b. Ludwig van Beethoven. c. Nikolai Rimsky-Korsakov. d. Modest Mussorgsky. 51. Igor Stravinsky, p. 339 The major works of Stravinsky's early period were: a. ballets. b. operas. c. symphonies. d. lieder. 52. Igor Stravinsky, p. 339 Which American musical style caught Stravinsky's ear? a. opera j h azz c. folk d. rock 53. Igor Stravinsky, p. 339 The artistic movement that came about after World War I and that signified a rejection of Romantic emotionality and a return to the styles of earlier composers was: a. expressionism. h . symbolism. c. Neoclassicism. d. serialism. 54. Igor Stravinsky, p. 339 For a time Stravinsky composed in the__ style. a. Renaissance b. neomedieval c. impressionist d. Neoclassical 55. Igor Stravinsky, p. 339 Toward the end of his career, Stravinsky wrote music in the a. Classical b. Romantic c. serialist d. impressionist

style.


56. The Rite of Spring, p. 336 The premier of T h e R i t e o f S p r i n g was famous for: a. lovely, graceful dancing. h. the riot by the audience. c. thunderous applause. d. the first audience sing-along.

384 Chapter 20 The Twentieth Century: Early Modernism 57. The Rite of Spring, p. 336 The events in The Rite of Spring involve:

a. b. c. d.

a walk in the woods in springtime. primitive fertility rites. a fairy tale about a magic spring with healing waters. true stories about life under the czar.

58. The Rite of Spring, p. 338

One of the devices used by the composer in The Rite of Spring is: a. serialism.

b. c. d.

Sprechstimnae.

the octatonic scale. ostinato.

59. The Rite of Spring, p. 338

A repeating figure that serves to unify works by composers such as Stravinsky and Debussy is called a(n): a. acaglia. b. ground bass. c. ostinato. d. leitmotiv. 60. The Rite of Spring, p. 338

Which statement about The Rite of Spring is false? a. It has a primitive quality. b. It has some complex rhythms, with irregular meters. c. It was composed for a ballet. d. It was based on a symbolist poem. 61. The Rite of Spring, p. 338 The Rite of Spring does not include:

a. b. c. d.

a tone row. irregular, shifting meters. Russian folk music. use of the extreme high and low ranges of instruments.

62. Expressionism, p. 339

The expressionist musical style took root mainly in: a. and Austria. b. and Italy. c. England and . d. Hungary and Russia. 63. Expressionism, p. 340

The leading expressionist composer was: a. Claude Debussy. b. Igor Stravinsky. c. Arnold Schoenberg. d. Alban Berg. 64. Expressionism, p. 340

The main contribution of expressionist composers was: a. a return to intellectual compositional approaches.


b. c. d.

the breakdown of tonality. their innovative orchestration technique. a return to Classical forms.

386 Chapter 20 The Twentieth Century: Early Modernism 65. Expressionism, p. 340 Schoenberg, Webern, and Berg are often referred to as: a, the Fauves. b. impressionists. c. the Apaches. d. the Second Viennese School. 66. Arnold Schoenberg, p. 343 Arnold Schoenberg was a very creative composer who also expressed himself through: a. acting. b. books on conducting. c. literary criticism. d. painting. 67. Arnold Schoenberg, p. 343 Which statement about Schoenberg is false? a. He was a great teacher, in Europe and then at UCLA. b. He was the first impressionist composer. c. He was the inventor of serialism. d. He was part of the Second Viennese School. 68. Pierrot lunaire, p. 340 Which statement about Pierrot lunaire is false? a. It includes poems written by Schoenberg himself. b. It uses a Neoclassical style. c. It features Sprechstimme. d. It uses an unconventional ensemble. 69. Pierrot lunaire, p. 340 A combination of song and speech is called:

a. b. c. d.

Sings piel.

ostinato. impressionism. Sprechstimme.

70. Pierrot lunaire, p. 340 In what genre is Pierrot lunaire?

a. b. c. d.

song cycle opera oratorio symphonic poem

71. Schoenberg and Serialism, p. 347 The two famous pupils of Schoenberg were: a. Claude Debussy and Igor Stravinsky. b. Anton Webern and Alban Berg. c. Anton Webern and Claude Debussy. d. Charles Ives and Alban Berg. 72. Schoenberg and Serialism, p. 346 Arnold Schoenberg invented a method that guarantees that no one pitch in the chromatic scale is more important than the others. This


method is called: a. the twelve-tone system (serialism). b. Neoclassicism. c. ostinato.

d.

Sprechstimme.


73. Schoenberg and Serialism, p. 346 Schoenberg'swayofimposingorderon"emancipated"elementsofmusicresultedin a. atonality b. expressionism c. the twelve-tone system (serialism) d. chromaticism

74. Schoenberg and Serialism, p. 346 The composers of the Second Viennese School believed that the chromaticism of Wagner had led them to: a. the advent of electronic music. b. the advent of aleatoric music. c. the breakdown of tonality. d. a revival of eighteenth-century harmonic practices.

75. Schoenberg and Serialism, p. 347

Webern'smusicis____________, whereas Berg 's music is a. boisterous and grandiose; quiet and concise b. brief and concentrated; slightly Romantic yet atonal c. Neoclassical; aleatoric d. atonal yet slightly Romantic; quiet and concise

76. Wozzeck, p . 343 Alban Berg's opera Wozzeck can generally be thought of as: a. Wagnerian in its use of leitmotivs. b. avoiding the use of leitmotivs. c. owing its musical style to Webern. d. retaining both recitatives and arias from the nineteenth century.

77. Wozzeck, p. 343 Alban Berg based his opera Wozzeck on: a. descriptions of ancient fertility rites. b. fragments of a play by Georg Buchner. c. a series of poems by Albert Giraud. d. a story that he wrote himself.

78. Modernism in America: Ives, p. 349 Which statement about Charles Ives's compositional style is false? a. He wrote music for pianos tuned to quarter tones. b. He quoted American folk songs and popular music in his compositions. c. He was the first important American nationalist composer. d. He used mostly consonant harmonies.

79. Charles Ives, p. 349 Which statement about Charles Ives is false? a. He was born in the South, where he was deeply moved by African-


American music. b. He had jobs in insurance and as a church organist. c. He developed unique mystical notions about music that were related to New England transcendentalism. d. Ile believed that all kinds of music and all musical experiments are equally valid.


80.

Second Orchestral Set, second movement: "The Rockstrewn Hills in the People's Outdoor Meeting," p. 351 Ives's orchestral sets can be thought of as: a. popular opera overtures. b. casual piano concertos. c. informal symphonies. d. light songs with orchestral accompaniment.

81. Ives, The Unanswered Question, p.

352

Charles Ives's The Unanswered Question is novel because of: a. its reflections of transcendentalism. b. its three distinct, independent levels of music. c. the presence of a trumpet solo d. the use of non-imitative polyphony in the woodwinds.

Essay Questions 1.

The Early Twentieth Century, p. 331 Where and when did avant-garde music get its start? Name three early leading composers of this era and style.

2.

Debussy and Impressionism, p. 331 Briefly compare and contrast the orchestral compositional styles of Claude Debussy and Gustav Mahler, particularly in light of the cities in which they practiced their art.

3.

Debussy and Impressionism, p. 331 With which musical element was Debussy most innovative in of his orchestral music? In which other genre was Debussy innovative?

4.

Claude Debussy, p. 334 Briefly describe Debussy's reaction to the music of Wagner.

5.

Debussy, Three Nocturnes, p. 332 Name each of the Three Nocturnes by Debussy and briefly describe the mood of each.

6.

Igor Stravinsky, p. 339 Briefly describe two influences on the music of Igor Stravinsky.

7.

Igor Stravinsky, p. 339 Define Neoclassicism and name a composer who wrote music in this style.

8.

Igor Stravinsky, p. 339 Name three different styles in which Stravinsky composed.

9.

The Rite of Spring, p. 338 Define ostinato. Name one twentieth-century work that makes use of this

technique, and name the work's composer.

10.

The Rite of Spring, p. 338 Briefly characterize Stravinsky's use of folk melodies, rhythm, and ostinato in The Rite of Spring.


11. Expressionism, p. 339

Where and when did expressionism take root in music? Who was the leading composer in this style?

12.

Expressionism, p. 339 Briefly describe the expressionist style in music.

13.

Arnold Schoenberg, p. 343 Name and define the compositional technique invented by Schoenberg that served to organize pitches in atonal music.

14. Arnold Schoenberg, p. 343 Name three of Schoenberg's compositions and briefly describe one of the following for each: the style, an innovative musical technique used, or the story behind the composition.

15.

Arnold Schoenberg, p. 343 Name three facets of Schoenberg's career besides composing.

16.

Pierrot lunaire, p. 340 Briefly describe the character of Pierrot in Pierrot lunaire.

17.

Pierrot lunaire, p. 340 Name and define the innovative vocal technique featured in Pierrot lunaire.

18.

Wozzeck, p. 343 Briefly describe two ways in which Wozzeck can be considered Wagnerian.

19.

Wozzeck, p. 344 Briefly relate the story of Wozzeck.

20.

Wozzeck, p. 345

Name the innovative vocal technique used in Wozzeck. Briefly describe how it adds to the drama and mood of the opera.

21.

Charles Ives, p. 349 Briefly explain what Charles Ives thought was the most important thing about music.


22.

Charles Ives, p. 349 Briefly explain three ways in which Charles Ives was not a typical American composer of his time.

C H A P T ER

21

Alternatives Modernism Multiple-Choice Questions Listening

1.

Piano Concerto in G, p. 356 Who composed Piano Concerto in G? a. Claude Debussy b. Maurice Ravel c. Sergei Prokofiev d. Aaron Copland

2.

Piano Concerto in G, p. 356 Piano Concerto in G was composed in the: a. 1910s. b. 1920s. c. 1930s. d. 1940s.

3.

Piano Concerto in G, p. 356 The first movement of Piano Concerto in G opens with a: a. lively, folklike tune played by the piccolo. b. dreamy chord progression in the string section. c. romantic torch song played by a solo trumpet. d. blues melody played by the piano.

4.

Piano Concerto in G, p. 356 The second and third themes heard in the first movement of Piano Concerto in G are reminiscent of: a. patriotic marches. b. blues and jazz. c. atonal music. d. Classical techniques.

5.

Piano Concerto in G, p. 356 The end of the first movement of Piano Concerto in G is: a. in a waltz tempo. b. a dreamlike sequence in the clarinet.

c. d.

signaled by an oboe and flute duet. a long series of parallel chords.

Chapter 21 Alternatives to Modernism 396

6. Music for Strings, Percussion, and Celesta, p. 360 Who composed Music for Strings, Percussion, and Celesta? a. Bela Bartok b. Maurice Ravel c. Sergei Prokofiev d. Aaron Copland 7. Music for Strings, Percussion, and Celesta, p. 360 Music for Strings, Percussion, and Celesta was composed in the: a. 1910s. b. 1930s. c. 1950s. d. 1970s. 8. Music for Strings, Percussion, and Celesta, p. 360 The second movement of Music for Strings, Percussion, and Celesta is in ________________________________________________________________________ form. a. rondo b. through-composed c. arch d. sonata 9. Music for Strings, Percussion, and Celesta, p. 360 The second movement of Music for Strings, Percussion, and Celesta opens with: a. pizzicato strings. b. bowed strings. c. piano articulating octaves. d. a triple-meter dance tune. 10. Music for Strings, Percussion, and Celesta, p. 360 The development of the second movement of Music for Strings, Percussion, and Celesta is introduced by the: a. strings. b. timpani. c. piano. d. celesta. 11. Appalachian Spring, p. 363 Who composed Appalachian Spring? a. Charles Ives b. Claude Debussy c. Maurice Ravel d. Aaron Copland 12. Appalachian Spring, p. 363 Section 5 of Appalachian Spring ("Simple Gifts") is in____ form. a. sonata b. rondo c. theme and variations


d.

through-composed

13. Alexander Nevsky, p. 368 Who composed Alexander Nevsky? a. Dmitri Shostakovich b. Sergei Prokofiev c. Igor Stravinsky d. Sergei Raclunaninov


14.

Alexander Nevsky, p. 368 Alexander Nevsky was composed in

the:

a. b. c. d.

1910s. 1920s. 1930s. 1940s.

15. Alexander Nevsky, p. 368 What breaks the ominous mood in the opening of Cantata 5 of Alexander Nevsky?

a. b. c. d.

drum rolls by the timpani scraping noises from the violas a battle call played by a muted trombone backstage a rising motive in the cellos

16. Alexander Nevsky, p. 368

What is heard just before the armies meet at the climax of Cantata 5 of Alexander Nevsky?

a. b. c. d.

a a a a

chorus singing a homophonic phrase three-note motive from the trumpet and tuba melody of staccato eighth notes series of ominous drum rolls

Topics

17. Twentieth-Century Traditionalism, p. 353 In the early twentieth century: a. atonal compositions were the norm. b. serialized compositions were the norm. c. most composers wrote in the style of Igor Stravinsky. d. there was no compositional norm.

18. Opera in the Early Twentieth Century, p. 354 Who was the leading Italian opera composer after Verdi? a. Giacomo Puccini b. Georges Bizet c. Gioacchino Rossini d. Pietro Mascagni

19. Opera in the Early Twentieth Century, p. 354 Which is an opera by Puccini?

a. b. c. d.

Elektra Aida Salome La Boheme

20. Opera in the Early Twentieth Century, p. 354


Which statement about Puccini's compositional style is false? a. He avoided the modernist techniques being used by his contemporaries. b. He was able to incorporate certain modernist techniques for striking effects. c. His melodies could stand comparison with those of his countryman Verdi. d. He made a careful study of Japanese and Chinese music for use in two of his operas, Madame Butterfly and Turandot.

400

Chapter 21 Alternatives to Modernism

21. Opera in the Early Twentieth Century, p. 354 Which statement about Richard Strauss is false? a. He evolved from Neoclassical to modernist in his style. b. He evolved from modernist to Neoclassical in his style. c. He sometimes used Greek myths in his operas. d. He was the leading modernist composer in the 1890s. 22. Opera in the Early Twentieth Century, p. 354 Who composed the opera Der Rosenkavalier?

a. b. c. d.

Igor Stravinsky Richard Strauss Johann Strauss Giacomo Puccini

23. Opera in the Early Twentieth Century, p. 354 What pair of operas of Richard Strauss still have the power to shock audiences? a. Marriage of Figaro and Don Giovanni b. Tannha and Lohengrin c. Der Rosenkavalier and Erwartung d. Salome and Elektra 24. Opera in the Early Twentieth Century, p. 354 Which statement about Richard Strauss is false? a. He pulled back from modernism with his opera Der Rosenkavalier. b. He wrote some sensational symphonic tone poems. c. He was the brother of Johann Strauss, "The Waltz King." e. His opera Elektra sometimes verges on atonality. 25. Maurice Ravel, p. 355 Maurice Ravel's harmonic language is reminiscent of the music of: a. Wagner. b. Debussy. c. Puccini. d. Strauss. 26. Maurice Ravel, Piano Concerto in G, p. 356 Maurice Ravel's Piano Concerto in G is a tribute to: a. American jazz. b. his mother's Basque roots. c. southern . d. city life in Paris. 27. Bela Bartok, p. 359 Bela Bartok had many careers. He was a composer as well as a(n): a. painter. b. journalist. c. economist. d. codirector of the Budapest Academy of Music. 28. Bela Bartok, p. 359


Which style did Bartok embrace? a. expressionism b. nationalism c. serialism d. impressionism

402

Chapter 21 Alternatives to Modernism 29. Copland, Appalachian Spring, p. 363 Appalachian Spring is a(n):

a. b. c. d.

opera about colonial days in America. ballet about a pioneer celebration in Pennsylvania. piano concerto including jazz themes. religious work for chorus and orchestra.

30. Aaron Copland, p. 363

What composition by Aaron Copland is a ballet score?

a. b. c. d.

A Lincoln Portrait The Red Pony Appalachian Spring El salon Mexico

31. Aaron Copland, p. 364

Which statement about Aaron Copland is false? a. He was greatly influenced by Igor Stravinsky. b. He was a great promoter of American music and started a Composers' Alliance. c. He was a great avant-garde innovator and was not interested in writing music "for the people." d. His style was eclectic; he sought inspiration from American music of all kinds.

32. The Rise of Film Music, p. 366

Pianists' or organists' improvisations for silent films of the 1910s and1920s were often based on: a. folk music. b. published catalogues of Romantic musical repertoire. c. opera music from the Baroque era. d. the avant-garde, modernist composers of the day.

33. The Rise of Film Music, p. 366 Matching music to onscreen action or situations is similar to: a. word painting techniques. b. program music. c. the use of isorhythms. d. Wagner's use of leitmotivs.

34. Composers for Film: Prokofiev, p. 366 Composers who have devoted their careers to film music include: a. Sergei Eisenstein and Francis Ford Coppola. b. Nino Rota and John Williams. c. Igor Stravinsky and Maurice Ravel. b. Richard Strauss and Giacomo Puccini.

35. Composers for Film: Prokofiev, p. 366


Two important American composers who contributed to film music are: a. Max Steiner and Nino Rota. b. Charles Ives and Max Steiner. c. Kurt Weill and Sergei Eisenstein. d. Aaron Copland and Leonard Bernstein. 36. Music and Totalitarianism, p. 367 European modernist composers in Nazi and Stalinist Russia were considered: a. folk heroes. b. employees of the state. c. elitist. 37. Music and Totalitarianism, p. of_________ and_________ were 367 In Nazi , the promoted. musical works a. Bartok; Weill b. Schoenberg; Berg c. Berlioz; Mahler d. Beethoven; Wagner 38. Music and Totalitarianism, p. 367 In the Soviet Union, the most famous composer to suffer state oppression was: a. Dmitri Shostakovich. b. Bela Bartok. c. Igor Stravinsky. d. Alexander Borodin.

39. Sergei Prokofiev, p. 369 Much of Prokofiev's music can be characterized as: a. a modernist exploration of atonality. b. having clear tonality and using Russian folk themes. c. relying on frequently changing meters. d. an elegant style, influenced by his years in Vienna.


40. Alexander Nevsky, p. 368 The soundtrack of Alexander Nevsky refashioned by Prokofiev as a(n)__ for was concert performances. a. opera b. ballet c. piano concerto d. cantata


Essay Questions 1.

Twentieth-Century Traditionalism, p. 353 List and briefly describe the various ways composers embraced or reacted against modernism in the early twentieth century.

2.

Opera in the Early Twentieth Century, p. 354 Who was Verdi's successor in Italian opera? Was this successor able to incorporate modernist techniques? Name one technique he used.

3.

Opera in the Early Twentieth Century, p. 354 Who was the most important composer of German operas after 1900? In which other genres did this composer write? Briefly characterize the sort of plot material this composer chose for one of his most shocking operas, Elektra.

4.

Maurice Ravel, p. 355 Compare and contrast the musical contributions and significance of Maurice Ravel and Claude Debussy.

5.

Maurice Ravel, Piano Concerto in G, p. 356 Describe Maurice Ravel' s connection with American jazz.

6.

Bela Bartok, p. 359 Name three different facets of the career of Bela BartOk.

7.

Bela Bartok, p. 359 What was Bartok's opinion of the Nazis? What did this mean for him in of performing and publishing his music?

8. BartOk, Music for Strings, Percussion, and Celesta, p. 360

What makes Music for Strings, Percussion, and Celesta resemble a Classical-style symphony? Describe the second movement to your answer.

9. Aaron Copland, p. 364 Name one composition teacher and one composer who each influenced the work of Aaron Copland.

10. Aaron Copland, p. 364 Briefly describe Aaron Copland's philosophy of the purpose of music in general and American music in particular.

11. Aaron Copland, p. 364 Name three genres in which Aaron Copland composed. Name one of his compositions for each genre.

12.

Copland, Appalachian Spring, p. 363 Briefly describe the setting and events of Copland's Appalachian Spring.

13.

The Rise of Film Music, p. 366 Discuss the influence of Romantic-era music on film music. Name two composers for film, and name one film score composed by each.

14. Music and Totalitarianism, p. 367 Briefly analyze the oppression that modernist composers suffered in totalitarian regimes during the first half of the twentieth century. List three composers who were affected.

15. Sergei Prokofiev, p. 369

Discuss Prokofiev's compositional style in relation to those of modernist composers of the first phase of modernism.

C H A P T E R

22

The Late Twentieth Century Multiple-Choice Questions Listening

1.

Five Orchestral Pieces, IV, p. 374 Which is true of the fourth of Webern's Five Orchestral Pieces? a. It uses a large orchestra to produce masses of sound. b. It is in sonata form. c. It is concise and atonal. d. It is predictable and repetitive.

2.

Lux aeterna, p. 377 Who composed Lux aeterna?

a. b. c. d. 3.

Arnold Schoenberg Anton Webern Alban Berg Gyorgy Ligeti

Lux aeterna, p. 377 The performing forces in Lux aeterna consist of: a. organ and several vocal soloists. b. many voices: some soloists, the rest singing together. c. a flute, a recorder, and many voices. d. many voices: some soloists, the rest singing together, and mnusique concrete.

4.

Lux aeterna, p. 377

Which is fairly clear in Lux aeterna? a. tone color b. form c. the text d. rhythm

5.

Lux aeterna, p. 377

Which provides contrast m Lux aeterna? a. the changes in sections of text accompanied by sudden tempo changes b. sudden changes of key or modality

c. d.

gradual changes in tone color matching the text changes addition or subtraction of ranges of pitches to the sound clusters

410 Chapter 2 2

The Late Twentieth

Century

6.

7.

Poeme electronique, p. 379

Who composed Poeme electronique? a. George Crumb b. Edgard Varese c. Anton Webern d. John Cage Poeme electronique, p. 379

In Poeme electronique many interesting sounds are heard, including: a. a harpsichord. b. a celesta. c. a solo soprano. d. a violin.

8.

Music for 18 Musicians, p. 382 Who composed Music for 18 Musicians?

a. b. c. d. 9.

John Adams George Crumb John Cage Steve Reich

Music for 18 Musicians, p. 382

The performing forces in Music for 18 Musicians include, among others: a. a vibraphone, two clarinets, and four singers. b. recorded nature sounds and strings. c. piccolo, violin, viola, and cello. d. musique concrete, flutes, and piccolo.

10. Music for 18 Musicians,

p. 382

11. Music for 18 Musicians,

p. 382

The Introduction of Music for 18 Musicians features: a. a canon between the four voices. b. lingering harmony over a regular, repeating pulse. c. a pizzicato duet between violinist and cellist. d. music concrete sounds.

In section 1 of Music for 18 Musicians, a melodic theme is built up first by the_________________________________________________________________________ then by the________________________________________________________________ a. vibraphone; bass clarinet b. violin; cello c. xylophone; violin d. clarinets; voices

12.

Music for 18 Musicians, p. 382 In section 1 of Music for 18 Musicians,

Chapter 22 The Late Twentieth Century 411

changes in the theme's pitch level are cued by the: a. voices. b. clarinets. c. vibraphone. d. cello.

412 Chapter 2 2

The Late Twentieth

Century

13.

From the Grammar of Dreams, p. 385 Song 1 of From the Grammar of Dreams begins with a(n):

a. b. c. d.

orchestral section. violin solo. soprano voice. small group of players.

14. From the Grammar of Dreams, p. 385

Which do the performers demonstrate throughout From the Grammar of Dreams?

a. b. c. d.

wide, leaping melodies to a regular rhythmic pulse many unorthodox vocal techniques coloratura technique reminiscent of the Baroque a return to a bel canto style

15. From the Grammar of Dreams, p. 385 What can be heard in Song 3 of From the Grammar of Dreams? a. a panting rhythm b. a blueslike harmony c. a dance rhythm d. imitative polyphony

16. From the Grammar of Dreams, p. 385 In Song 4 of From the Grammar of Dreams, the rhythm in the return of A' evokes a: a. sense of unease. b. light playfulness. c. beating heart. d. sense of brilliant triumph.

17. El Nino, "Pues mi Dios ha nacido a penar, " p. 390 Who composed El Nino? a. John Cage b. Charles Ives c. John Adams d. George Crumb

18.

El

Nino, "Pues mi Dios ha nacido a penar,"

p. 390 In "Pues mi Dios ha nacido a penar," the singer and chorus: a. alternate lines of poetry in the beginning. b. sing each stanza together. c. use unorthodox vocal techniques. d. compete with the orchestra.

19. El Nino, "Pues mi Dios ha nacido a penar," p. 390


In "Pues mi Dios ha nacido a penar," a___ contributes to a sense of conflict. a. short fugue section b. baritone solo c. brief section of electronic music d. skittery, staccato melody by the violin

414 Chapter 2 2

The Late Twentieth

Century

20.

El

21.

El

Nino, "When Herod Heard, " p. 390

In "When Herod Heard, " the "speech " by the Three Wise Men (three countertenors) is introduced by: a. loud brass. b. a bassoon playing near the top of its range. c. pizzicato strings. d. the chorus.

Nino, "Woe unto Them That Call Evil Good," p. 390 In "Woe unto Them That Call Evil Good," a conflict can be heard between: a. the chorus and the baritone. b. the baritone and the countertenors. c. the chorus and the mezzo-soprano. d. the orchestra and the chorus.

.Vopics

22.

Modernism in Music: The Second Phase, p. 372 Which musical elements, besides pitch, are most commonly serialized? a. rhythm and dynamics b. tempo and meter c. texture and melody d. tone color and dynamics

23.

New Sound Materials, p. 372 Post World War II composers were intent on: a. exploring the modernist music techniques of Debussy. b. searching for new sound materials. c. developing more possibilities with the standard Romantic orchestra. d. discarding serialism in favor of Neoclassicism.

24.

New Sound Materials, p. 372 Which of these sound techniques existed before the post-World War II era? a. multiphonics for woodwind players b. the use of "nonmusical" noises c. electronically produced sound d. plucking stringed instruments instead of bowing them

25.

New Sound Materials, p. 372 Which family of the orchestra underwent the most growth and innovation in the post World War II era? a. strings b. woodwinds c. percussion d. brass


26.

Electronic Music, p. 373 Which cannot generate sound? a. the human voice b. an electronic sound synthesizer c. an electric guitar d. electronic recording equipment

416 Chapter 2 2

The Late Twentieth

Century

27. Electronic Music, p. 373

The use of recorded sounds from life is called: a. symbolism. b. serialism.

c. d.

musique concrete.

synthesizing.


Electronically produced sound can be generated by a: a. synthesizer. b. speaker. c. voice. d. piano.


In electronic music, it is possible to eliminate the: a. audience. b. performer. c. composer. d. publisher.

30.

Chance Music, p. 375 Another term for chance music is: a. dice music. b. symbolism.

c. d.

musique concrete.

aleatoric music.

31. Chance Music, p. 375 An example of aleatoric music is: a. instructing the performer to place his or her hands inside the lid of the piano and strum or strike the strings. b. throwing dice to determine the order of sections to be performed in a composition. c. using a synthesizer to produce sounds. d. using the twelve tones of the chromatic scale in a fixed order.

32. Gyorgy Ligeti, p. 376 Gyorgy Ligeti is considered: a. an aleatoric composer. b. a part of the postwar avant-garde. c. a strict serialist. d. a modernist nationalist.

33. Lux aeterna, p. 377

Chapter 22 The Late Twentieth Century 417 '

In Lux aeterna, Ligeti s use of pitches results in: a. a chantlike texture. b. imitative polyphony. c. pulsing harmonies. d. slowly moving sound complexes.

418 Chapter 2 2

The Late Twentieth

Century

34.

Edgard Varese, p. 379 Varese was known as an innovative composer in the area(s) of: a. bebop and blues. b. rhythm and electronic music. c. vocal techniques such as Sprechstimme. d. orchestral tone color and melody.

35. Modernist Music and Architecture, p. 378 The first performance of Poeme electronique by Varese included: a. piano, seven wind instruments, 425 loudspeakers, and voice. b. only a tape player and 425 loudspeakers. c. a tape player, 425 loudspeakers, and the projection of colored lights and images. d. live voices, a tape player, a piano, and a film being projected in a pavilion.

36. John Cage, p. 380 The father of chance music is: a. John Cage. b. Philip Glass. c. William Billings. d. George Crumb.

37. 4'33", p. 380 John Cage 's 4'33" consists of: a. an atonal fugue based on a twelve-tone row. b. any sounds and silences occurring in the performance hall. c. a combination of several different styles of jazz into one "serious" work. d. chance music played by stringed instruments.

38.

Minimalism, p. 381 Music in which simple melodies, motives, and harmonies are repeated many times and change in small increments over long periods of time is called: a. aleatoric music. b. expressionism. c. minimalism. d. serialism.

39. Minimalism, p. 381 Which aspect of modernist experimentation did minimalists continue? a. the presentation of long, slowly changing musical blocks of time b. the inclusion of quotations of past musical repertoire c. the use of n zusique concrete d. serialism of elements that include rhythm and dynamics


40.

Steve Reich, p. 382 With which musical style is Steve Reich associated? a. serialism b. minimalism c. tonal music d. chance music

420 Chapter 2 2

The Late Twentieth

Century 41. Music for 18 Musicians, p. 382 The sound of Music for 18 Musicians is reminiscent of: a. a concerto grosso. b. the gamelan orchestras of Indonesia. c. chamber music. d. Chinese opera. 42. A New Expressionism, p. 385 Ancient Voices of Children was which composer's response to the Vietnam War?

a. b. c. d.

John Adams Steve Reich George Crumb Kaija Saariaho

43. Kaija Saariaho, p. 385 Which statement about Kaija Saariaho is false? a. She is a European composer born after World War II. b. She composes in a neoromantic style. c. She combines live performers with electronic music. d. She is especially interested in vocal music, particularly the soprano voice. 44. Kaija Saariaho, p. 385 Kaija Saariaho 's special interest is composing: a. "music for the state." b. impressionist music. c. vocal music. d. Finnish nationalist music. 45. From the Grammar of Dreams, p. 385 From the Grammar of Dreams consists of songs set to the words of:

a. b. c. d.

Sylvia Plath. George Crumb. Psalm 50. Kaija Saariaho.

46. From the Grammar of Dreams, p. 385 From the Grammar of Dreams is a:

a. b. c. d.

stage play. cycle of five songs. minimalist work. chance piece.

47. Back to the Future, p. 387 One characteristic of postmodern compositions is: a. a return to strict Classical forms. b. a self-conscious and free mixing of many different styles and techniques. c. an avoidance of all earlier styles and genres. d. great restraint in emotional expression. 48. El N i no, p. 388 John Adams's El N i no is a return to an older genre:


a. b. c. d.

the the the the

oratorio. Mass. cantata. opera.

422 Chapter 2 2

The Late Twentieth

Century 49. El Nino, p. 388

The model for El Nino was:

The Late Twentieth Century a. the music of minimalism. b. Bach's Magnificat. c. the Korean War. d. Handel's Messiah. 423 Chapter 2 2

50. El Nino, p. 388

Which can be found in the text of a. traditional folk songs El Nino? b. poems by Sylvia Plath c. Bible ages and Spanish and Mexican female poets poems by d. fragments of a German play

The Late Twentieth Century Essay Questions 424 Chapter 2 2

1.

Modernism in Music: The Second Phase, p. 372 Name two musical trends that composers followed after World War II. Briefly explain them.

2.

New Sound Materials, p. 372 Define multiphonics.

3.

New Sound Materials, p. 372 Briefly explain the new sound sources discovered and used by composers in the post-World War II era.

4.

Electronic Music, p. 373 Define musique concrete. Contrast musique concrete with electronically generated sounds in music.

5.

Electronic Music, p. 374 What are some of the musical capabilities of the synthesizer?

6.

On the Boundaries of Time, p. 374 Compare and contrast the way Anton Webern uses the time elements of music with the way Terry Riley uses them.

7.

Chance Music, p. 375 Define aleatoric music. Describe a possible example of this style of composition.

8.

Gyorgy Ligeti, p. 376 Briefly describe how Ligeti has contributed new sonorities and new ways of dealing with time in twentieth-century music.

9.

Gyorgy Ligeti, p. 376 Briefly explain Ligeti' s innovative approach to pitch.

10.

Gyorgy Ligeti, p. 377 How does Ligeti approach meter and rhythm?

11. Lux aeterna,

p. 377

Is it important that the text be clearly understood in L u x aeterna? Why or why not? What is the source of the text?


12. Edgard Varese, p. 379 Briefly explain the approach Edgard Varese took to rhythm and sonority. What was his reaction to the introduction of electronic composition equipment? 13. John Cage, p. 380 Briefly describe the musical philosophy this philosophy.

of John Cage. Name two nonmusical influences on

14. 4'33", p. 380 Briefly explain how 4 '33" is music. 15. Minimalism, p. 381 Does minimalism conform to modernist compositional techniques? If so, how, and if not, why not?

16.

Music for 18 Musicians, p. 382 How does Reich's Music for 18

Musicians demonstrate characteristics of minimalism?

17. From the Grammar of Dreams, p. 385

Briefly describe how I
18. Back to the Future, p. 387 Discuss briefly the state of current compositional practice, including three contributing tendencies.

19.

El N i no, p. 388 Briefly compare and contrast Adams's El Nino and Handel's Messiah.

214

C H A P T E R

23


1.

"If You Ever Been Down" Blues, p. 398 The two famous artists featured in "If You Ever Been Down " Blues are:

a. b. c. d. 2.

3.

Sippie Wallace and Louis Armstrong. Mamie Smith and Scott Joplin. Bessie Smith and Duke Ellington. Louis Armstrong and Miles Davis.

"If You Ever Been Down" Blues, p. 398

What instrument plays a solo for an entire twelve-bar blues stanza in "If You Ever Been Down " Blues? a. piano b. clarinet c. bass d. trumpet "If You Ever Been Down" Blues,

p.

398

What happens in between lines of text in "If You Ever Been Down " Blues?

a. b. c. d.

The The The The

trumpet and clarinet play short breaks. drums play a solo. piano plays a long solo. trumpet echoes the text.

4.

"Conga Brava," p. 402 Who composed Conga Brava? a. George W. Thomas and Sippie Wallace b. Glenn Miller and Benny Goodman c. Duke Ellington and Juan Tizol d. Sippie Wallace and Louis Armstrong

5.

"Conga Brava," p. 402 What solo instrument plays in the introduction of Conga Brava? a. guitar b. saxophone

c. d.

214

trumpet trombone

Chapter 23 Music in America: Jazz and Beyond 429

6.

"Conga Brava," p. 402 In which part of Conga Brava do you hear a Latin beat? a. during the saxophone improvisation b. during the reed choir section c. during the trombone solo d. during the brass choir section

7.

"Out of Nowhere," p. 406 What is the style of Out of Nowhere? a. blues b. swing c. ragtime d. bebop

8.

"Out of Nowhere," p. 406 What instruments are featured in solos in Out of Nowhere? a. trumpet, saxophone, and piano b. trombone, saxophone, and piano c. trumpet, trombone, and piano d. trumpet, clarinet, and saxophone

9. Bitches Brew,

407 Bitches Brew contains elements of styles. a. baroque and jazz b. jazz and rock c. rock and folk d. romantic and rock p.

10.

Bitches Brew, p. 407 Besides the electric bass guitar, what other electric instrument is heard in this excerpt of Bitches Brew? a. amplified violin b. amplified tenor saxophone c. electric piano d. electric vibraphone

11. Bitches Brew,

407 Bitches Brew features: a. Miles Davis on trumpet. b. Sippie Wallace on drums. c. Dizzy Gillespie on trumpet. d. Duke Ellington on piano.

12.

p.

Prelude No. 1, p. 410 Who composed Piano Prelude No. 1?

in America: Jazz and Beyond Aaron Copland George Gershwin Dukc Ellington Leonard Bernstein

430 Chapter 23 Music

a. b. c. d.

214


13. Prelude No. 1, p. 410

What is the genre of Piano Prelude No. 1? a. miniature b. tone poem c. ballet d. symphony

14.

Prelude No. 1, p. 410 What element borrowed from jazz is heard in the main theme of Piano Prelude No. 1? a. a pentatonic scale b. a blues scale c. an octatonic scale d. a chromatic scale 1S. Prelude No. 1, p. 410 Which rhythmic characteristic do you hear in Piano Prelude No. 1? a. ostinatos b. metrical modulation c. syncopation d. serialized rhythms

16. Prelude No. 1, p. 410

What is the main style influence in Piano Prelude No. 1? a. Renaissance music b. rock c. blues d. jazz

17.

West Side Story, p. 412 Who composed West Side Story?

a. b. c. d.

Duke Ellington Leonard Bernstein Aaron Copland Stephen Sondheim

18. West Side Story, p. 412 For which dance was this first quiet selection from West Side Story written? a. cha-cha b. mazurka c. conga d. waltz

19. West Side Story, Meeting Scene, p. 413 In the Meeting Scene, the romantic moment is enhanced by the: a. timpani solos. b. lyrical soprano solo. c. violin solos. J. guitar line.

20. West Side Story, "Cool," p. 413


in America: Jazz and Beyond

What rhythmic device is heard in "Cool"? a. isorhythm b. syncopation c. metrical modulation d. serialized rhythms


21. We s t

S i d e S t o r y, "Cool," p. 413 What American jazz style is heard in "Cool"? a. ragtime b. twelve-bar blues style c. a big band "swing" style d. a New Orleans "Dixieland" style

To p i c s

22. Early American Music: An Overview, p. 392

The first American composer, according to most sources, was: a. Aaron Copland. b. Charles Ives. c. Benjamin Franklin. d. William Billings.

23. Early American Music: An Overview, p. 392

A genre of eighteenth-century American sacred music is the: a. anthem. b. oratorio. c. Mass. d. motet.

24. Early American Music: An Overview, p. 392 An early American inventor and diplomatic figure of the eighteenth century who tried composing was: a. Benjamin Franklin b. Louis Moreau Gottschalk c. Aaron Copland d. Stephen Foster

25. The Cultivated Tradition, p. 392 Americans tended to import the classical music of in the nineteenth century. a. b. England c. Italy d.

26. The Cultivated Tradition, p. 393 Which statement about Amy Beach is f a l s e ? a. She was the first American woman to compose a symphony. b. She was the first known female American conductor of an orchestra. c. She was a fine concert pianist. d. She composed a piano concerto and a piano quintet.

27. Music in the Vernacular, p. 394 StephenCollinsFosterwrote_____________, and John Philip Sousa wrote


a. b. c.

in America: Jazz and Beyond

symphonies; piano sonatas songs; church music church music; woodwind chamber music cl. songs; marches


28. African American Music, p. 395 What characteristic of African music is still used in African American church music today? a. the pentatonic scale b. complex rhythmic patterns c. call and response singing d. use of the piano

29. African American Music, p. 395

What is the term for a religious folk song that came into being outside any established church? a. fuguing tune b. spiritual c. call and response d. hymn

30. Jazz: The First Fifty Years, p. 396 The two key features of jazz performance style are: a. improvisation and highly developed syncopation. b. call and response. c. ragging and improvisation. d. improvisation and breaks.

31. Jazz Syncopation, p. 397

The rhythm section of a jazz ensemble includes: a. trumpet. b. clarinet. c. piano. d. trombone.

32. Jazz Syncopation, p. 397 When the accents are moved slightly ahead of the beat, the effect is called: a. metrical modulation. b. beat syncopation. c. back beat. d. isorhythm.

33. Ragtime: Scott Joplin, p. 399 Who was the leading composer of ragtime in the early 1900s? a. William Billings b. Stephen Foster c. Duke Ellington d. Scott Joplin

34. Ragtime: Scott Joplin, p. 399

"To rag" means: a. the right hand of the piano plays on the beat while the left

in America: Jazz and Beyond hand plays syncopated rhythms. b. the left hand of the piano plays on the beat while the right hand plays syncopated rhythms. to sing in a "rough" vocal style. to swing the rhythm.


c. d.


35.

36.

The Blues, p. 397 The blues emerged around: a. 1860. b. 1920. c. 1880. d. 1900. The Blues, p. 397 Which statement about the blues is false? a. The blues is sometimes called "twelve-bar blues." b. The mood of the blues is often lonely, troubled, or depressed. c. The form is generally a a b, repeated for various verses. d. The left hand of the pianist plays on the beat while the right hand plays syncopated rhythms.

37. " I f Yo u Ever Been Down " Blues, p. 397

What is the form of a blues song such as "If You Ever Been Down"? a. theme and twelve bars of variations b. a b a a b a and so on c. a a b a a b and so on d. rondo form 38. "I f You Ever Been Down " Blues, p. 397 Sippie Wallace was primarily known for:

a. b. c. d.

gospel and blues singing, and songwriting. her symphony and piano concerto. innovative jazz compositions using dissonance. ragtime piano playing.

39. "I f You Ever Been Down " Blues, p. 397

Gospel music evolved at the same time as: a. fuguing tunes. b. the Mass and the motet. c. ragtime and blues. d. swing.

40. Louis Armstrong, p. 400 What is Louis Armstrong best known for? a. the ability to switch from trumpet to saxophone b. imaginative breaks and variations on the trumpet c. prolific compositions for Broadway d. improvisational skill at the piano 41. New Orleans Jazz, p. 399 In a typical early jazz band, the melody instruments included a: a. string bass. b. banjo.

c. d.

tuba. clarinet.


220 Chapter 23 Music in

America: Jazz and Beyond

42. New Orleans Jazz, p. 399

Collective improvisation in early jazz was called: a. ornamentation. b. ragtime. c. jamming. d. an interlude.

43. New Orleans Jazz, p. 399 What was the first important center of jazz? a. Los Angeles b. New Orleans c. Chicago d. New York

44.

New Orleans Jazz, p. 401 The earliest recordings of jazz, lasting only three minutes each, were referred to by people in the recording business as: a. race records. b. black records. c. African-American records. d. compact discs.

45. Swing, p. 401 Big bands were made up of_____ players. a. three to four b. five to seven c. about twelve d. ten to twenty-five 46. Swing, p. 401 Big band jazz is called: a. bebop. b. swing. c. blues. d. ragtime. 47. "Conga Brava," p. 402 "Conga Brava" includes a. Afro-Cuban b. Mexican

a dance rhythm of______ origin.

48. Duke Ellington, p. 403 Which statement about Duke Ellington is false? a. He composed music for, arranged music for, and conducted his own jazz band.

b.

He during c. He d. He

was recognized as one of America's most important composers his lifetime. went commercial and wrote "Top 40" hits. wrote religious music later in his career.


49. Bebop, p. 406 What characterizes bebop? a. ten to twenty in the band b. little opportunity for improvisation c. origins in black American churches d. combos featuring virtuosic improvisation

50. "Out of Nowhere," p. 407 "Out of Nowhere" is representative of: a. big band swing. b. gospel. c. bebop. d. blues.

51.

Bitches Brew, p. 408 Fusion is a combination of: a. swing and ragtime. b. jazz and rock. c. atonal and tonal music. d. blues and rock.

52. Bitches Brew, p. 408 Which statement about Miles Davis is false? a. He played in bebop style throughout his career. b. He favored high squeals at times in his improvisations. c. He worked with Charlie Parker early in his career. d. He worked with many different jazz artists, changing his style many times.

53. Jazz in the Concert Hall, p. 409 George Gershwin was known for: a. including jazz in "serious " compositions. b. writing atonal music that had popular appeal. c. his successful big band tours and recording career. d. his orchestral conducting career and television programs.

54. Jazz in the Concert Hall, p. 409 A composition of George Gershwin's that imports jazz and blues styles into the concert hall genres is:

a. b. c. d. 55.

A Poet's Love.

Sonata for Jazz Quintet. Requiem. An American in Paris.

Piano Prelude

442

Chapter 23 Music in America: Jazz and Beyond No. 1, p. 410 Piano Prelude No. 1 is: a. in sonata form. b. in variation form. c. in a simple A B A' form. d. a scherzo.


56. The American Musical, p. 410

One of the main sources of American popular music in the form of musical theater around 1900 was: a. south Chicago. b. Broadway in New York City. c. Bourbon Street in New Orleans. d. Market Street in San Francisco.

57. The American Musical, p. 410

Light operas of the nineteenth century containing spoken dialogue, light tunes, and dancing were called: a. ragtime. b. shows. c. operettas. d. music dramas.

58. The American Musical, p. 411 The most important American composer of operettas was: a. John Philip Sousa. b. Arthur Sullivan. c. Stephen Foster. d. Victor Herbert.

59. Musical Comedy and Popular Song, p. 411 The two leading composers of early American musical comedy were: a. Duke Ellington and Sippie Wallace. b. Jerome Kern and George Gershwin. c. Aaron Copland and Leonard Bernstein. d. Amy Beach and Steve Reich.

60. Musical Comedy and Popular Song, p. 411 One of the early hits in American musical comedy of the 1930s was:

a. b. c.

The Mikado. Babes in Toyland. The Bat.

cl. Of Thee I Sing. 61. West Side Story, p. 412 West Side Story includes three outstanding a moving story, music, great and: features: a. a powerful epilogue. b. avant-garde techniques in orchestration. c. superb dances. 62. West Side Story, p. 412 The plot of West Side Story bears a resemblance to which of Shakespeare's plays?

a.

Romeo and Juliet

444

Chapter 23 Music in America: Jazz and Beyond b. c. d.

A Midsummer Night's Dream Henry V Macbeth


63. West Side Story, p. 412

Which technique was used by Bernstein in West Side Story?

a. b. c. d.

Sprechstimme

thematic transformation theme and variations serialism

64. West Side Story, p. 414

Which Baroque form is used in "Cool" from West Side Story? a. binary form b. minuet form c. fugue d. concerto grosso ritornello form 65. Rock: The First Fifty Years, p. 416

Early Rock is described by some as a. gospel b. bebop

an appropriation of_____ by white musicians.

Essay Questions 1.

Early American Music: An Overview, p. 391 How did the Puritans' views on music affect the beginning of American music?

2.

Early American Music: An Overview, p. 392 Define fuguing tunes. Name one composer who wrote some fuguing tunes.

3.

Early American Music: An Overview, p. 392 Define anthem and briefly explain how anthems relate to fuguing tunes.

4.

The Cultivated Tradition, p. 392 Briefly describe the state of music in America in the eighteenth and early nineteenth centuries.

5.

Music in the Vernacular, p. 394

Name two composers of early American popular music. Briefly describe their musical styles and musical activities.

6.

African American Music, p. 395 Briefly describe Antonin Dvoiak 's attitude toward early African American music.

7.

Jazz: The First Fifty Years, p. 396 Define improvisation.

8.

Jazz: The First Fifty Years, p. 397

446

Chapter 23 Music in America: Jazz and Beyond Name the three styles of jazz, in chronological order, from its beginnings to just after World War II.

9.

Ragtime: Scott Joplin, p. 399 Define ragtime. Name one composer famous for ragtime music.


10. Jazz Syncopation, p. 397 Name the typical instruments in the rhythm section of an early jazz ensemble. Briefly explain the function of the rhythm section.

11.

Jazz Syncopation, p. 397 Name four instruments most likely to be playing the melody in an early jazz ensemble.

12.

Jazz Syncopation, p. 397 What is beat syncopation? Contrast beat syncopation with regular syncopation. Which instruments in an early jazz ensemble would be most likely to play beat syncopation?

13.

The Blues, p. 397 Define blues in of its form, origin, and mood.

14.

Louis Armstrong, p. 400 Briefly describe the musical contributions of Louis Armstrong.

15.

Louis Armstrong, p. 400 How did Louis Armstrong react to the commercialization of jazz in the 1930s?

16.

" I f You Ever Been Down" Blues, p. 398 Briefly describe the musical contributions of Sippie Wallace.

17.

The Blues, p. 397 Define gospel music.

18.

New Orleans Jazz, p. 399 Briefly describe the makeup of a typical New Orleans jazz band.

19.

New Orleans Jazz, p. 399 What was the approach to improvisation in New Orleans jazz?

20.

New Orleans Jazz, p. 401 Briefly describe two outcomes of the recording of early jazz.

21.

Swing, p. 401 Briefly describe the makeup of a typical big band.

22.

Swing, p. 401 Briefly describe the style of composition and performance called swing. Refer to improvisation in your answer.

23. Duke Ellington, p. 403 Briefly describe the main features of the musical career of Duke Ellington. What musical style influenced his early compositions? What kind of ensemble did he compose for and organize? For what other media and genres did Ellington compose?

24.

Bepop, p. 406 Define bebop. Contrast the New

448

Chapter 23 Music in America: Jazz and Beyond

Orleans, swing, and bebop styles.

25.

Jazz after Bebop, p. 407 Briefly describe some of the elements of avant-garde jazz.

26.

Miles Davis, p. 407 Which instrument did Miles Davis play? Which jazz movement did he lead?


27.

Miles Davis, p. 408 Which musical styles were combined to form fusion jazz?

28.

Jazz in the Concert Hall, p. 409 Briefly describe the career of George Gershwin and name three of his major works.

29. Jazz in the Concert Hall, p. 409

How were George Gershwin's musical aspirations different from those of other composers of musicals?

30.

Musical Comedy and Popular Song, p. 411 Define musical comedy and contrast it with operetta.

31.

Musical Comedy and Popular Song, p. 411 Name the two most important composers of early American musical comedy.

32.

The Musical After 1940, p. 412 Briefly describe the change in musicals after World War II.

33. West Side Story, p. 412 Summarize the plot of West Side Story. Then briefly describe the similarity between West Side Story and a certain play by Shakespeare.

34. West Side Story, p. 414 Name a compositional technique used in West Side Story, and give an example of how this adds to the drama of the work.

35.

Rock: the First Fifty Years, p. 415 Briefly describe two ways in which technology is important to rock music.

36.

After the 1960s, p. 419 Briefly describe how music videos have influenced a shift in emphasis in popular music.

37.

Trends Since 1980: Punk, Rap, and Post-Rock, p. 421 Briefly explain three important elements of rap.

38. Trends Since 1980: Punk, Rap, and Post-Rock, p. 420 Compare and contrast rock and rap with country, folk, and vocal jazz. Refer to the relative importance of lyrics and melody in your answer. GLOBAL PERSPECTIVES 6

Multiple-Choice Questions 1. African Drumming, p. 404

African D r u m m i n g

450


Who is performing the African drumming selection? a. a minstrel from the Sudan b. a drum ensemble from Benin c. a gourd-trumpet orchestra from the Sudan d. a chorus of Mbuti pygmies


2.

African Drumming, p. 404 Which is true of African drumming? a. It is always done as a solo. b. It swings similarly to American jazz. c. It fulfills a variety of social and religious functions. d. It accompanies stage dramas.

3.

African Drumming, p. 404 Drumming is associated with the religions of: a. West Africa. b. the South Afrikaners. c. Hungarian gypsies. d. Bali gamelans.

4.

Syncopation and Polyrhythms, p. 404 The rhythms heard in the African drumming selection can be said to: a. be distinctively regular. b. be connected to some European traditions. c. have staggered entrances on pitched timpani-like instruments. d. show complex rhythms not found in European traditions of the nineteenth century.

5.

Syncopation and Polyrhythms, p. 405 The function of the other drums, aside from the main drum, in the drum ensemble of Benin is to: a. provide countermelodies. b. play with the main drum softly. c. play a variety of different rhythms. d. play in triple meter constantly.

6.

Syncopation and Polyrhythms, p. 405 When the main drum and the other drums are playing together in the drum ensemble of Benin, more complex and varied rhythms result, including: a. staggered entrances in counterpoint. b. extensive syncopation. c. long periods of silence in contrast. d. irregular main pulse of the main drum.

7.

Syncopation and Polyrhythms, p. 405 What contributes to the special richness and vitality of the African drum ensemble piece? a. blurring of the main pulse b. extensive homophony in the foreground c. consistency of the main pulse d. overlapping of various rhythmic patterns with the main pulse

452

8.


Syncopation and Polyrhythms, p. 405 The overlapping of several rhythmic formulas at once is called: a. polyrhythm. b. polyespressivo. c. rhythm weaving. d. periodic ostinato.


Essay Questions 1.

Syncopation and Polyrhythms, p. 404 How is the almost "swing" rhythm effect created between the drums in African drumming?

2.

Syncopation and Polyrhythms, p. 405 Define polyrhythm in regard to West African drumming.

3.

A Closer Look, p. 405 Note that one ensemble drummer plays with a timbre that is more wooden-sounding in the higher . Describe what this drummer plays in relation to the main drum.

GLOBAL PERSPECTIVES 7

Global Music

Multiple-Choice Questions 1. Global Music, p. 422 An Andean chorus singing church polyphony with Quechua words and Incan instruments as accompaniment demonstrates: a. pride. b. ambition. c. a complex mix of cultures. d. homophony. 2. Complexities and Globalism, p. 422 The growth of technology and music has encouraged two opposing tendencies. The first is a tendency toward_________________________while the second is a tendency toward___________________________________ a. homogenization; localizing music-making b. differentiation; extreme polyphony c. slow growth; more uniformity d. pasteurization; internationalism 3. South African Choral Song: Isicathamiya, p. 423 Isicathamiya is known as a: a. prehistoric musical form. b. South African vocal tradition. c. way of accompanying South African music. d. syncopation to a main beat. 4. South African Choral Song: Isicathamiya, p. 423 A famous singing group that has brought isicathamiya to a worldwide audience is: a. Henry Blacksmith Quartet. b. South African Choral Allstars. c. Ladysmith Black Mambazo. d. Ladysmith Black Adder.

5. South African Choral Song: Isicathamiya, p. 423 The first recording stars of the local Zulu singing scene were Solomon Linda and the Evening Birds. Their greatest hit, "Mbube," was known to English-speaking listeners as: a. "The Lion Sleeps Tonight." b. "The Lion King." c. "Walking With the Lion." d. "The Lion in Hiding. " Essay Questions

Refer to 1. p. 25 2. p. 26 3. p. 26 4. p. 27 5. p. 27 a; 28 p. 6.1. p. 37 7. p. 28 c; 29 p. 8.2. p. 37 3. b; p. 37 4. b; p. 37 5. a; p.

9. 10. 11. 12. 13. 14. 15. 16. 17.

p. p. p. p. p. p. p. p. p.

29 30 32 32 33 33 33 35 34

Interlude B: Questions

c; p. 40 c; p. 40

d; p. 41 b; p. 41 c; p. 42 b ; p . 4 1 c; p. 45 d; p. 45 c; p. 46 Essay Questions

Refer to 1. p. 37 2. p . 3 7 3. p. 38 4. p. 39 5. p. 39

6. 7. 8. 9. 10.

p. p. p. p. p.

40 41 42 45 47

Chapter 4: Musical Form and Musical Style Multiple-Choice Questions

1. 2. 3. 4. 5.

b; p. 48 a; p. 48 d; p. 50 c; p. 49 b; p. 49

Essay Questions

6. b; 7. c; 8. a; 9. c; 10. d;

p. p. p. p. p.

50 51 50 51 52

Musical Instruments Multiple-Choice


p. 50 p. 49

Refer to 1. p. 48 p.48 3. p. 4. p. 5. p. 6. p.

1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. 32. 33. 34. 35. 36. 37. 38. 39. 40. 41. 42. 43.

d; p. 61

b; p. 61 c; p. 61 d; p. 62 b; p. 62 c; p. 62 b; p. 63 a; p. 63 d; p. 63 a; p. 63 d; p. 63 c; p. 63 b; p. 66 a; p. 66 d; p. 66 b; p. 66 d; p. 66 c; p. 66 a; p. 66 a; p. 66 a; p. 68 b; p. 68 c; p. 68 b; p. 68 d; p. 68 c; p. 68 a; p. 70 d; p. 70 c; p. 70 a; p. 70 a; p. 58 b; p. 58 c; p. 58 d; p. 58 c; p. 58 b; p. 59 a; p. 60 d; p. 60 c; p. 60 b; p. 60 a; p. 60 c; p. 60 b; p. 60

p. 50 p. 5 48. 49. 50. 51. 52. 53. 54. 55. 56. 57. 58. 59. 60. 61. 62. 63. 64.

c; a; a; b; b; a;

p. 60 p. 61 p. 61 p. 61 p. 62 p. 63 d; p. 63 a; p. 63 b; p. 63 d; p. 63 b; p. 63 a; p. 63 d; p. 63 c; p. 64 b; p. 64 a; p. 64 b; p. 64 65. c; p. 64 66. c; p. 64 67. d; p. 66 68. a; p. 65 69. a; p. 66 70. d; p. 66 71. c; p. 66 72. b; p. 66 73. c; p. 66 74. c; p. 67 75. b; p. 67 76. d; p. 68 77. b; p. 68 78. d; p. 68 79. c; p. 70 80. a; p. 70 81. b; p. 70 82. d; p. 70 83. c; p. 70 84. b; p. 70 85. a; p. 70 86. c; p. 70 87. d; p. 70 88. b; p. 70 89. a; p. 70 90. b; p. 70

2, 48 48 48 49

Chapter 5: The Middle Ages Multiple-Choice Questions

44. 45. 46. 47.

a; p. 60 c; p. 60 d; p. 60 b; p. 60

91. 92. 93. 94.

b; p. 71 c; p. 71 d; p. 71 b; p. 71

Answer Key 457

43. a; p.

p. 83

p. 65

44. c; p.

p. 84

p. 66

p. 65

Essay Questions Refer to 1. p. 58 2. p. 5 9 3. p. 59 4. p. 60 5. p. 60 6. p. 61 7. p. 63 8. p. 64 9. p. 64 10. p. 64

11. 12. 13. 14. 15. 16. 17. 18. 19. 20.

p. 67 p. 67 p. 68 p.

80 81

b; p. 81 d; p. 81

p. 86

c; p. 89

p. 67

p. 87

p. 68

p. 88

d; p. 81

b; p. 82

p. 70

d; p. 89 a; p. 89

p. 89

c; p. 89

p. 90 d; p. 91

d; p. 82

p. 91

p. 71

p. 92

a; p. 83

p. 72 b; p. 83

p. 73 c; p. 83

p. 74

c; p. 92 d; p. 92

p. 93 b; p. 91

p. 94

c; p. 91

d; p. 84

p. 95

p. 75

p. 96

c; p. 84

p. 76 d; p. 84 Multiple-Choice Questions

p. 85

p. 66

p. 69

Sacred Chant

b; p. 88 b; p. 89

b; p. 81

GLOBAL PERSPECTIVES 1:

a; p. 88

p. 77 a; p. 85

p. 78 b; p. 85

p. 79 c; p. 85

p. 80 a; p. 86

p. 81 b; p. 87

p. 82 c; p. 87

a; p. 91 c; p. 91

p. 97 b; p. 91

p. 98 d; p. 92

458 Answer

Key

1. 2. 3. 4.

73 73 73 74

b; a; a; d;

p. p. p. p.

5. 6. 7. 8.

b; b; c; d;

p. p. p. p.

74 74 75 75

Essay Questions Refer to 1. p. 73 2. p. /3

3. p. 73 4. p. 74 5. p. /4

Chapter 6: The Renaissance MultipleChoice Questions

1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21.

a; b; d; c; c; a; d; d; a; b; a; c; d; b; d; d; c; d; a; b; d;

p. p. p. p. p. p. p. p. p. p. p. p. p. p. p. p. p. p. p. p. p.

78 78 78 78 78 83 83 83 83 83 83 83 85 87 87 87 87 87 89 89 89

22. 23. 24. 25. 26. 27. 28. 29. 30. 31. 32. 33. 34. 35. 36. 37. 38. 39. 40. 41. 42.

c; b; a; b; a; c; d; c; b; a; d; a; b; d; c; c; b; b; c; b; d;

p. p. p. p. p. p. p. p. p. p. p. p. p. p. p. p. p. p. p. p. p.

89 91 91 91 92 92 92 77 77 77 77 77 77 78 78 79 80 80 80 80 80

Essay Questions Refer to 1. p. 2. p. 3. p. 4. p. 5. D. 77 6. p. 7. p. 8. p. 9. p. 10. p. 11. p. 12. p. 13. p. 14. p. 15. p. 81

16. p. p. 17. p. p. 18. p. 19. 20. 21. 22. 23.

82 83 84 85 86 D. 86 p. 87 p. 88 p. 89 p. 89 p. 89 p. 90 p. 92 p. 92 p. 92

GLOBAL PERSPECTIVES 2 : M u s i c

and Early European Colonialism Multiple-Choice Questions

1. d; p. 93 94 2. c; p. 93 94 3. a; p. 93 94 4. b; p. 93

5. c; p. 6. c; p. 7. a; p.

Essay Questions Refer to 1. p. 93 2. p. 93

3. 4. 5.

p. 93 p. p. 94

Answer Key 459

Chapter 7: The Early Baroque Period Multiple-Choice Questions

1. a ; p. 9 7 2. b; p. 9 7 3. c ; p. 9 7 4. d; p. 9 7 5. c ; p. 9 7 6. d; p. 9 7 7. c ; p. 9 7 8. c ; p. 9 7 9. a ; p . 9 7 10. d; p. 102 11. a ; p. 102 12. b; p. 1 0 2 13. a ; p. 102 14. b; p. 102 15. d; p. 102 16. c ; p. 106 17. b; p. 106 18. d; p. 106 19. b; p. 106 20. c ; p. 106 21. a ; p. 106 22. d; p. 106 23. b; p . 106 24. c ; p. 106 25. d; p. 109 26. c ; p. 1 0 9 27. a ; p. 109 28. d; p. 109 29. c ; p. 109 30. d; p. 109 31. a ; p . 109 32. b; p. 109 33. a ; p. 9 5 34. c ; p. 9 5 35. d; p. 9 5 36. a ; p. 9 6 37. b; p . 9 6 38. d; p. 9 7 39. b; p. 9 7 40. c ; p. 9 7

Essay Questions Refer to 1. p. 9 5 2. p. 9 5

3. p. 9 5 4. p. 9 5 5. p. 9 6

4 4 . c ; p. 9 8 4 5 . a ; p. 9 9 4 6 . c ; p. 9 9 47. a ; p. 9 9 48. b; p. 9 9 4 9 . d; p. 9 9 5 0 . a ; p. 100 51. c ; p. 101 5 2 . d; p. 101 5 3 . b; p. 101 5 4 . c ; p. 101 5 5 . a ; p. 1 0 2 56. 57. 58. 59. 60.

c ; p. 102

p. 102 p. 102 p. 102 p. 102 61. c ; p. 102 6 2 . a ; p. 102 6 3 . c ; p. 103 6 4 . b; p. 103 6 5 . d; p. 105 6 6 . c ; p . 105 6 7 . b; p. 106 6 8 . c ; p. 107 6 9 . a ; p. 1 0 8 7 0 . c ; p. 108 71. b; p. 108 7 2 . d; p. 108 7 3 . c ; p. 108 74. b; p. 108 7 5 . a ; p. 108 7 6 . c ; p. 108 7 7 . d; p. 108 7 8 . b; p. 108 7 9 . a ; p. 109 8 0 . c ; p . 109 81. a ; p. 109 8 2 . b; p. 109 8 3 . b ; p. 1 0 9 6. 7. 8. 9.

b; d; b; d;

p. p. p. p. p. p.

97 97 97 98 99

100

12. p. 101 13. p. 101 14. p. 101 15. p . 102 16. p. 102 17. p. 105 1 8 . p. 1 0 6 GLOBAL PERSPECTIVES

19. 20.

21. 22. 23.

p. p. p. p.

108 p. 24. p. 25. p. 111 3: Ostinato Forms


1. 2. 3. 4.

d; p. 112 c ; p. 112 c ; p. 112 a ; p. 112

5 . b; 6. a; 7 . d; 8 . b;

p. p. p. p.

113 113 113 113

Essay Questions R e f e r to 1. p. 11 2

2.

p. 112

3 . p. 112 4 . p. 113 5 . p. 113

Chapter 8: P r e l u d e : The Late Baroque Period Multiple-Choice Questions

1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 1.

2. 3.

4. 5. 6. 7. 8.

c ; p . 116 a ; p. 116

b; p. 116 d; p. 11 6 a ; p. 116 b; p. 117 d; p. 117 c ; p. 118 b; p. 118 a ; p. 119 c ; p. 120 b; p. 122 d; p. 123 c ; p. 123 b; p . 123

16. a ; 17. c ; 18. b; 1 9 . c; 2 0 . d; 21. a ; 2 2 . b; 23. c;

24. b; 2 5 . d; 2 6 . d; 2 7 . c; 2 8 . b; 29. a;

p. p. p. p. p. p. p. p. p. p. p. p. p. p.

124 125 126 126 126 127 127 127 128 128 129 129 129 130

Essay Questions

p. p. Refer to p. 10. p. p. 11. p. p. 12. p. p. 13. p. p. 14. p. p. 120 15. p.

9 . p. 122

122 122 123 123 123 125

460 Answer

Key

16. p. 126 17. p. 126

Answer Key 461

18. 19. 20. 21. 22. 23. 24.

p. p. p. p. p. p. p.

126 127 127 127 127 128 128

25. 26. 27. 28. 29. 30.

p. p. p. p. p. p.

Chapter 9: Baroque Instrumental Music MultipleChoice Questions

1. c; p.

22. d; p.

134 2. c; p. 134 3. d; p. 134 4. d; p. 134 5. a; p. 134 6. b; p. 138 7. a; p. 138 8. b; p. 138 9. c; p. 138 10. a; p. 139 11. a; p. 139 12. c; p. 139 13. c; p. 139 14. d; p. 139 15. a; p. 139 16. b; p. 139 17. c; p. 146 18. d; p. 149 19. b; p. 146 20. a; p. 150 21. b; p. 150

150 23. b; p. 150 24. c; p. 150 25. a; p. 150 26. c; p. 133 27. a; p. 133 28. c; p. 133 29. d; p. 133 30. b; p. 134 Essay Questions

Chapter 10: Baroque Vocal Music Multiple-Choice Questions

31. a; 32. a; 33. c; 34. b; 35. d; 36. c; 37. b; 38. d; 39. b; 40. a; 41. c; 42. c; 43. b; 44. d; 45. d; 46. b; 47. c; 48. a; 49. b; 50. d; 51. c; 52. c; 53. d; 54. c; 55. d; 56. a; 57. b;

p. p. p. p. p. p. p. p. p. p. p. p. p. p. p. p. p. p. p. p. p. p. p. p. p. p. p.

Refer to 1. 2. 3. 4. 5. 6. 7. 8. 9. 10.

p. p. p. p. p. p. p. p. p. p. 139

15. p. 16. 160 17. p. 18. 160 19. p. 160 p. 20. 1 21. 6 22. 4 23. p. 24. 1 25. 6 26. 4 27. 28. p.

157 157 157 157 157 157 159 159 159 160 160 159 164 164 161 161 161 162 162 162 163 164 165 165 166 166 167

462 Answer

Key

1. b; p.

31. b; p.

134 1. a; p. 134 2. b; p. 134 3. a; p. 136 4. c; p. 136 5. c; p. 136 6. c; p. 137 7. b; p. 138 8. c; p. 139 9. c; p. 140 10. d; p. 140 11. b; p. 143 12. a; p. 143 13. c; p. 143 14. d; p. 142 15. a; p. 142 16. b; p. 144 17. d; p. 145 18. c; p. 146 19. a; p. 147 20. b; p. 146

21. a; p. 146

22. b; p. 147 23. c; p. 148 24. a; p. 148 25. b; p. 148 26. c; p. 149 27. a; p. 150 28. b; p. 150

11. p. 140 12. p. 143 13. p. 143 14. p. 140 15. p. 142 16. p. 145 17. p. 145 18. p. 147 19. p. 148 20. p. 149 21. p. 150

158 2. d; p. 158 3. c; p. 158 4. a; p. 158 5. b; p. 158 6. d; p. 161 7. c; p. 162 8. c; p. 162 9. d; p. 162 10. c; p. 162 11. b; p. 162 12. b; p. 162 13. d; p. 162 14. a; p. 165 15. c; p. 166 16. d; p. 165 1. p. 2. p. 3. p. 4. p. 5. p. 6. p. 7. p. 8. p. 9. p. 10. p. 11. p. 12. p. 13. p. 14. p. 160

Answer Key 463

Chapter 11: Prelude: Music and the Enlightenment Multiple-Choice Questions

1. d; p. 169 2. a; p. 169 3. c; p. 169 4. c; p. 171 5. b; p. 171 6. c; p. 171 7. a; p. 172 8. b; p. 172 9. c; p. 173 10. d; p. 173 11. c; p. 173 12. b; p. 173 13. a; p. 173 14. d; p. 174 15. b; p. 175 16. c; p. 175 17. d; p. 175 18. a; p. 175 19. d; p. 175 Essay Questions

Refer to 1. 2. 3. 4. 5.

p. p. p. p. p.

6. 7. 8. 9. 10. 11.

p. p. p. p. p. p. 175

464 Answer

Key 21. d; p. 182

22. d; p.

20. c; p.

175 21. c; p. 175 22. b; p. 176 23. a; p. 176 24. c; p. 176 25. b; p. 177 26. d; p. 177 27. c; p. 177 28. b; p. 178 29. a; p. 178 30. b; p. 178 31. b; p. 178 32. c; p. 179 33. d; p. 179 34. d; p. 179 35. a; p. 180

36. b; p. 180

37. c; p. 181

38. d; p. 181

12. p.

176 13. p. 176 14. p. 176 15. p. 177 16. p. 178 17. p. 178 18. p. 179 19. p. 179 20. p. 180 21. p. 180 22. p. 180 23. p. 181

42. b; p. 189

43. c; p.

182 191 23. a; p. 44. c; p. 183 191 24. c; p. 45. a; p. 183 192 25. b; p. 46. c; p. p. 195 189 Refer 183 to 47. p. 1. 26. d; p. p. p. b; 195 183 2. p. p. 195 195 3. 27. d; p. p. 48. p. p. b; 195 4. p. 183 p. 195 195 5. 28. b; p. p. 49. p. p. c; 197 6. p. 183 p. 196 197 7. 29. c;p.p. p. a; 199 50. p. 8. p. p. 196 199 183 9. 30. c;p.p. 51. c; p. 186 184 Chapter 13: Other Classical 31. b; p. 184 Genres Multiple-Choice Questions

Answer Key 465

1. 2. 3. 4. 5. 6. 7. 8. 9. 1 0.

a; p

b;

c;

d;

b;

. 1 8 6 p . 1 8 6 p . 1 8 6 p . 1 8 6 c ; p . 1 8 6 p . 1 8

Chapter 12: The Symphony MultipleChoice Questions 6

a ; p . 1 8 6 c; p . 1

.91 d; p. 191 c; p. 191

11. b ;

p . 1 . 9 1 12. c ; p . 1 9 1 13. a ; p . 1 9 1 14. d ; p . 1 9 7 15. b ; p . 1 9 7 16. d

; p . 1 9 9 17. b ; p . 1 9 9 18. a ; p . 1 9 9 19. c ; p . 1 9 9 20. a ; p . 1 9 9

1 . 2 . 3 . 4 . 5 . 6 . 7 . 8 . 9 . 1 0 . 1 1 . 1 2 . 1 3 . 1 4 .

a; p. 203 a; p. 203 d; p . 2 0 3 a; p . 2 0 6 b; p . 2 0 6 c; p . 2 0 6 d; p . 2 0 6 c; p. 206 a; p. 206 c; p . 2 1 3 d; p . 2 1 3 a; p . 2 1 3 b; p

466 Answer

. 2 1 3 c; p . 2 1 5

Key

15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28.

d; p. 215 c; p. 214 a; p. 215 a; p. 202 b; p. 202 c; p. 203 c; p. 204 b; p. 204 d; p. 205

c; p. 20 5 b; p. 20 5 a; p . 2 0 5

b; p . 2 0 5 c; p . 2 0 5

Answer Key 467

29. d; p. 206 30. a; p. 206 31. c ; p. 209 32. a; p. 209 33. d; p. 209 34. a; p. 209 35. d; p. 209 36. c ; p. 210

37. 38. 39. 40.

41. 42. 43. 44.

Essay Quest i ons Ref er to 1. p. 202 2. p. 203 3. p. 205 4. p. 205 5. p. 205 6. p. 205 7. p. 205 GLOBAL PERSPECTIVES

8. 9.

b; p. 210

c; p. 210 d; p. 211 c; p. 211 b; p. p. 209

10. p. 11. 209 12. p. 13. 210 14. p. 15. 210 p. 4: Musi cal Form :

Tw o C ase S tu di es f rom Asi a Mul t i pl e-C hoi ce Quest i ons

6. 7. 8. 9.

1 0.

11

p. 229

p. 229

p. 231 p.

468 Answer

Key 13. b; p. 235 14. c; p. 235 15. a; p. 235 16. d; p. 235 17. a; p. 235 18. b; p. 235 19. c; p. 235 20. d; p. 235 21. b; p. 237 22. d; p. 237 23. a; p. 237 24. c; p. 237 25. b; p. 227 26. c; p. 227 27. a; p. 227 29. a; p.

30. c; p. 230 31. d; p. 230 32. c; p. 230 33. b; p. 230 34. c; p. 230 35. d; p. 229 36. b; p. 231 37. c; p. 231 38. a; p. 231 39. c; p. 235 40. d; p. 235 41. b; p. 237 42. a; p. 237 43. b; p. 237 44. a; p. 237

229 Essay Questions

1. 2. 3. 4.

a; p. 219

1.

b; p. 219 d; p. 219 c ; p.

220

5.

10. d; p.

a; p.

217 11. c; p. 218 12. b; p.

222

6.

c ; p.

222

7.

a; p.

220

223

8.

13. d; p.

a; p.

220

217 9. b; p. 217 Ref er to

1.

p. 217 2. p. 218 3. p. 218 4. p. 219 5. p. 219 Chapter 14: Beethoven MultipleChoice Questions

14. d; p.

6.

p.

220

7.

p. 221 8. p. 221

b; p . 2 3 1 . a; p

a; p. 231 2. d; p. 231 3. b; p. 231

4.

a; p.

5.

c; p.

6.

c; p.

231 231 231

18. a; p. 247 19. d; p. 248 20. d; p. 248 21. b; p. 248 22. a; p. 248 23. b; p. 248 24. c; p. 248 25. d; p. 248 26. d; p. 249 27. c; p. 250 28. b; p. 250 29. a; p. 250 30. c; p. 251 31. b; p. 251 32. b; p. 252 33. a; p. 252

Answer Key 469

Ref er to 1. p. 227 2. p. 227 3. p. 227 4. p. 227 5. p. 228

1. b; p. 239 2. a; p. 239 3. c ; p. 239 4. d; p. 239 5. a; p. 240 6. c ; p. 240 7. d; p. 241 8. a; p. 241 9. b; p. 242 10. a; p. 242 11. d; p. 244 12. a; p. 244 13. c ; p. 245 14. c ; p. 246 15. b; p. 246 16. c ; p. 246 17. c ; p. 246

Chapter 15: Prel u de: Music after Beethoven: Romanticism Mul ti pl e- C hoi c e Quest i ons

Essay Quest i ons

470 Answer

Key

Essay Questions

Refer to 1. p. 239 2. p. 239 3. p. 239 4. p. 240 5. p. 241 6. p. 241 7. p. 241 8. p. 242 9. p. 242 10. p. 243 11. p. 243 12. p. 243 13. p. 244 14. p. 245 15. p. 245 16. p. 246 17. p. 246

18. p. 246 19. p. 20. p. 21. p. 22. p. 23. p. 24. p. 25. p. 26. p. 27. p. 28. p. 29. p. 30. p. 31. p. 32. p. 33. p. 34. p.

61. c; p. 259

73. c; p.

268

62. a; p. 259 270 63. c; p. 265 269 64. b; p. 265 269 65. c; p. 265 269 66. c; p. 267 271

74. d; p. 75. d; p. 76. c; p. 77. c; p. 78. a; p.

Essay Questions

Refer to 1. p. 254 2. p. 254 3. p. 254 4. p. 257 Chapter 16: The Early Romantics Multiple-Choice Questions 5. p. 255 6. p. 258 7. p. 259 8. p. 259 9. p. 262 10. p. 264 11. p. 264

13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24.

p. p. p. p. p. p. p. p. p. p. p. p.

267 266

268 268 270 269 269

271 271 271 269

270

Chapter 17: Romantic Opera Multiple-Choice

1. d; p. 280 Questions 277 b; p. 280 277 3. c; p. 280 277 4. a; p. 280 277 5. b; p. 280 277 6. a; p. 280 277 7. b; p. 280 277 8. c; p. 280 277 9. d; p. 280 277 10. c; p. 280 278

2.

23. d; p. 24. a; p. 25. c; p. 26. c; p. 27. b; p. 28. b; p. 29. a; p. 30. d; p. 31. c; p. 32. c; p.

471 Answer

1. 2. 3. 4. 5. 6. 7. 8. 9. 10 . 11 . 12 . 13 .

Key

b; p

b;

c;

c;

14. as.

16. 17.

d;

18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30.

. 2 5 5 p . 2 5 5 p . 2 5 5 p . 2 5 5 p . 2 5 5

a; p. 255

d; p

. 2 5 5 d; p . 2 5 9 c; p. 259 b; p. 259 a; p . 2 5 9 b; p . 2 5 9 c; p . 2

6 0 d; p .

c;

2 6 0 c; p. 26 0 b; p . 2 6 3 a; p . 2 6 3 d; p. 26 3 c; p . 2 6 3 d; p . 2 6 5 a; p . 2 6 5 b; p . 2 6 5 a; p .

b;

c;

b;

c;

2 6 5 p . 2 6 5 p . 2 6 5 p . 2 6 6 p . 2 6 6 p . 2 6 6 b ; p . 2 6 6 a ; p . 2 6 6

472 Answer

31. 32. 33. 34. 35. 36. 37. 38. 39. 40. 41. 42. 43. 44. 45. 46.

Key

47. 48. 49. 50. 51. 52. 53. 54. 55. 56. 57. 58. 59. 60.

d; p. 266 a; p. 266 b; p. 270 c; p. 270 a; p. 273 c; p. 273 b; p. 273 d; p. 273 b; p. 254 c; p. 254 b; p. 254 a; p. 254 c; p. 254 b; p. 254 c; p. 255

c; p. 255 d; p. 256

a; p. 256 b; p. 256 b; p. 257 c; p. 257 a; p. 257 c; p. 258 c; p. 259 d; p. 259 a; p. 262 a; p. 263 b; p. 263 a; p. 259 b; p. 259

A n swer I Cey 2 3 7

45. d; p.

52. b; p.

284 46. b; p. 284 47. d; p. 285 48. c; p. 285 Essay Questions

285 53. c; p. 285 54. d; p. 287 55. c; p.

Refer 1. to p. 2. p. 3. p. 4. p. 5. p. 6. p. 7. p. 8. p. 9. p. 10. p. 11. p. 12. p. 279

13. p. 280 14. p. 280 15. p. 283 16. p. 284 17. p. 284 18. p. 283 19. p. 285

Chapter 18: The Late Romantics Multiple-Choice Questions

p. 302 Refer to p. 303 1. p. 304 p. p. 305 2. p. 3. p. 305 p. 4. p. 306 p. 5. p. 308 p. 6. p. 308 p. 7. p. 309 p. 8. p. 310 p. 9. p. 310 p. 10. Chapters p. 8p. 11. 303 G LO BA L P ERS P E CTI V ES

5:

Musical Drama Worldwide MultipleChoice Questions

1. a; p. 315 7. b; p. 315 2. c; p. 314 8. d; p. 317 3. a; p. 315 9. a; p. 317 4. c; p. 315 10. d; p. 317 5. d; p. 315 11. b; p. 317 6. c; p. 315

12 . 13 14 15 16 17 18 19 20 21 22 23 .

474 Answer

Key

1. b; p. 295 2. c; p. 295 3. a; p. 295 4. b; p. 295 5. d; p. 295 6. a; p. 300 7. c; p. 300 8. d; p. 300 9. b; p. 300 10. c; p. 305 11. b; p. 305 12. a; p. 305 13. c; p. 309 14. b; p. 309 15. c; p. 309 16. c; p. 309 17. a; p. 309 18. a; p. 293 19. d; p. 295 20. d; p. 295 21. b; p. 295 22. a; p. 295 23. d; p. 296 24. a; p. 295 25. a; p. 295 26. d; p. 298 27. c; p.

2 9 8

28. 29. 30. 31. 32. 33. 34. 35. 36. 37. 38. 39. 40. 41. 42. 43. 44. 45. 46. 47. 48. 49. 50. 51. 52.

b; p. 299 a; p. 298 c; p. 299 b; p. 299 d; p. 300 b; p. 302 c; p. 300 b; p. 303 d; p. 303 b; p. 303 d; p. 303 a; p. 302 c; p. 302 c; p. 304 b; p. 304 b; p. 304 d; p. 304 a; p. 305 c; p. 305 d; p. 308 c; p. 308 b; p. 309 a; p. 309 c; p. 310 d; p. 310

Essay Questions

Refer to 1. p. 315 2. p. 314 3. p. 315

Chapter 19: Prelude: Music and Modernism Multiple-Choice Questions

1. d; p. 320 2. b; 323 3. a; 323 4. c; 324 5. b; 325 6. c; 325 7. d; 327 8. c; 328 9. a; 328 10. b; 329 11. a; 329

p. p. p. p. p. p. p. p. p. p.

4. 5. 6. 7.

315 315 317 317

13. d

12. b; p.

3 2

p. p. p. p.

329

; p .

9

14. c

; p . 3 2 9

15. a; p. 329 16. d; p. 330 17. b; p. 330 18. b; p.

330

19. a; p.

330 20. d; p. 330 21. a; p. 330

476 Answer

Key

Essay Questions

Refer to 1. 2. 3.

4. 5. 6. 7. 8.

p. p. p. p. p. p. p. p.

321 323

324 324 324 325 325 325

b; p. 343 d; p. 349 a; p. 349

77. 78. 79. 9.

10. 11. 12. 13. 14. 15. 16.

p. p. p. p. p. p. p. p.

Essay Questions

Refer to 1. 4. 5. 6. 7. 8. 9.

330


2. 3. 4. 5. 6. 7. 8. 9.

331 d; p. 332 331 c; p. 332 331 d; p. 332 334 a; p. 332 334 a; p. 333 334 b; p. 333 c; p. 336 d; p. 336

14. 15. 16. 17. 18. 19. 20. 21. 22. 23.

339 c; p. 336 a; p. 336 d; p. 340 c; p. 341 a; p. 341

d; p. 341 a; p. 341 c; p. 341 d; p. 341 b; p. 344 338 a; p. 344

24. 25. b; p. 344 26. c; p. 344

13. p. 14. p. 15. p. 16. p. 340 17. p. 340 18. p. 19. p. 20. p. 345 21. p. 349 22. p. 349

10. p. 338 11. p. 339

40. d; p.

Chapter 21: Alternatives to Modernism

41. c; p.


2.

43. c; p.

3.

44. b; p.

5.

47. b; p.

6.

48. d; p.

62. a; p. 339 63. c; p. 340 64. b; p. 340

22. b; p. 354

23. d; p. 354

24. c; p.

356 d; p. 356 a; p. 360

25. 26.

7. b; p.

49. a; p. 334 50. c; p. 339 51. a; p.

b; p. 339 c; p. 339 d; p. 339 c; p. 339 b; p. 336 b; p. 336 d; p. 338 c; p. 338 d; p. 338 61. a; p.

354

356 c; p. 356 a; p. 356

4. b; p.

45. b; p. 332 46. a; p. 332

52. 53. 54. 55. 56. 57. 58. 59. 60.

21. a; p.

1. b; p.

42. a; p.

333

11. b; p. 336 12. c; p. 336 13. d; p. 336

12. p. 339

39. b; p.

332

10. a; p. 336

p. p. p. p. p. p. p. p. p.

2. 3.

Chapter 20: The Twentieth Century: Early Modernism 1. d; p. 332

c; p. 351 b; p. 352

80.

81.

27. d; p.

360

359

8. d; p. 9.

28. b; p.

360 a; p. 360

359

29. b; p. 363

10. b; p.

30. c; p.

360

31.

Essay Questions

Refer to 1. p. 353

2.

p.

354

3.

p.

354

4.

p.

354 b; p. 355 a; p. 356

8. 9.

10. 11. 12. 13. 14.

15.

363 c; p. 364

p. 360 p. 3 64

p. 364

p. 364

p.

27. d; p. 344 28. a; p. 344

65. d; p. 340 66. d; p.

29. d; p. 345

67. b; p.

343

343 30. a; p. 345 31. b; p. 345 32. c; p. 345 33. c; p. 351 347 34. d; p. 351 35. c; p. 351 36. a; p. 331

68. c; p. 340 69. d; p. 340 70. a; p. 340

71. b; p. 72. a; p. 346 73. c; p. 346 74. c; p.

346

37. c; p. 331

75. b; p.

347 38. a; p. 331

76. a; p. 343

478 Answer

Key

Answer Key 239

480 Answer

Key

1. c; p.

3

26. Chapter 22: The Late Twentieth Century Multiple-Choice Questions 374

2. d; p. 377

3. b; p. 377 4. a; p. 377 5. d; p. 377 6. b; p. 379 7. c; p. 379 8. d; p. 382 9. a; p. 382 10. b; p. 382 11. d; p. 382 12. c; p. 382 13. c; p. 385 14. b; p. 385 15. d; p. 385 16. c; p. 385 17. c; p. 390 18. a; p. 390 19. d; p. 390 20. b; p. 390 21. a; p. 390 22. a; p. 372 23. b; p. 372 24. d; p. 372 25. c; p.

7 2

27. 28. 29. 30. 31. 32. 33. 34. 35. 36. 37. 38. 39. 40. 41. 42. 43. 44. 45. 46. 47. 48. 49. 50.

d; p. 373 c; p. 373 a; p. 374 b; p. 374 d; p. 375 b; p. 375 b; p. 376 d; p. 377 b; p. 379 c; p. 378 a; p. 380 b; p. 380 c; p. 381 a; p. 381 b; p. 382 b; p. 382

c; p . 3 8 5 b; p . 3 8 5 c; p . 3 8 5 a; p . 3 8 5 b; p .

3 8 5 b ; p . 3 8 7 a ; p . 3 8 8 d; p . 3 8 8 c; p . 3 8 8

13. a; p.

410 14. b; p. 410 15. c; p. 410 16. d; p. 410 17. b; p. 412 18. a; p. 412 19. c; p. 413 20. b; p. 413 21. c; p. 413 22. d; p. 392 23. a; p. 392 24. a; p. 392 25. d; p. 392 26. b; p. 393

40. b; 41. d; 42. c; 43. b; 44. a; 45. d; 46. b; 47. a; 48. c; 49. d; 50. c; 51. b; 52. a; 53. a; 54. d; 55. c; 56. b; 57. c; 58. d; 59. b; 60. d; 61. c; 62. a; 63. b;

p. p. p. p. p. p. p. p. p. p. p. p. p. p. p. p. p. p. p. p. p. p. p. p.

400 399 399 399 401 401 401 402 403 406 407 408 408 409 409 410 410 410 411 411 411 412 412 412

482 Answer

Key

10. p.

Essay

377

Questions

p. 420

Refer 1. 2. 3. 4. 5. 6. 7. 8. 9.

p. 421

to p. p. p. p. p. p. p. p. p. 376

1. 2. 3. 4.

a; p. 398 d; p. 398 a; p. 398 c; p. 402 S. d; p. 402 6. c; p. 402

p. 377 p. 379

p. 422 p. 380

p. 423

p. 380

p. 424

p. 381

p. 425

p. 382

p. 426 p. 385

p. 427 p. 387

p. 428 p. 388

d; p. 406

a; p. 4 b; c; a; b;

Chapter 23: Music in America: Jazz and Beyond Multiple-Choice Questions

06 p. 407 p. 407 p. 407 p. 410

Refer to 1. p. 2. p. 3. p. 4. p. 5. p. 6. p. 7. p. 8. p. 9. p. 10. p. 11. p. 12. p. 13. p. 14. p. 15. p. 16. p. 17. p. 18. p. 19. p. 399

20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. 32. 33. 34. 35. 36. 37.

38.

p. 401 p. 401 p. 401 p. 403 p. 406

p. 407 p. 40 7 p. 408

p. 409 p. 40

484 Answer

Key

GLOBAL PERSPECTIVES 6:

African Drumming


1. 2.

b; p. 404 c; p.

5. a; p. 423

5. 6.

c; p. 405 b; p.

It. c; p. 422 2. a; p. 422 3. b;

6. b; p. 424 7. d; p. 424

Essay Questions

Essay Questions Refer to 1. p. 404

Global Music Multiple-Choice Questions GLOBAL PERSPECTIVES 7:

2.

p. 40 5

Refer to It. p. 422 2. p. 422

3. p. 423 4. p. 424 5. p. 424

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