Quiz 6 The Twentieth Century and Beyond

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

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

C  natural outgrowth of the late romantic style.

D  simplification of nonwestern thought and musical styles.

A  Alban Berg.

B  Anton Webern.

C  Arnold Schoenberg.

D  Milton Babbitt.

A  a solo clarinet.

B  the full orchestra.

C  a solo flute.

D  a muted trumpet.

A  series.

B  tone row.

C  set.

D  All answers are correct.

A  serialism.

B  Klangfarbenmelodie.

C  atonality.

D  Sprechstimme.

A  stile rappresentativo.

B  Sprechstimme.

C  bel canto.

D  Pierrot Lunaire.

A  imagination.

B  morality.

C  reality.

D  conventional prettiness.

A  Edvard Munch.

B  Richard Strauss.

C  Debussy.

D  Charles Ives.

A  a small chamber group.

B  a wind ensemble.

C  an enormous orchestra.

D  vocal soloists and orchestra.

A  percussion instruments have become very prominent and numerous.

B  All answers are correct.

C  dissonance has been emancipated.

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

A  expressionism.

B  impressionism.

C  primitivism.

D  neoclassicism.

A  Pulcinella.

B  Agon.

C  The Fairy’s Kiss.

D  The Rite of Spring.

A  Vaclav Nijinsky.

B  Michel Fokine.

C  George Balanchine.

D  Sergei Diaghilev.

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

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

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

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

A  have a strong sense of tonality.

B  use the full orchestra for massive effects.

C  affirm the key very noticeably.

D  sound free and almost improvisational.

A  Claude Debussy.

B  Arnold Schoenberg.

C  Richard Wagner.

D  Béla Bartók.

A  France.

B  Bohemia.

C  England.

D  Austria.

A  1922

B  1908

C  1930

D  1895

A  the same as earlier popular music.

B  quite simple.

C  extremely complex.

D  limited to only two chords.

A  the first and third beats

B  the second and fourth beats

C  the first beat

D  all four beats

A  new electronic effects.

B  “classical” and nonwestern instruments.

C  unconventional scales, chord progressions, and rhythms.

D  All answers are correct.

A  Gospel

B  Country and western

C  Motown

D  Rhythm and blues

A  glissando.

B  atonality.

C  polytonality.

D  ostinato.

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

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

C  a blend of rhythm and blues and popular music.

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

A  I Got Rhythm.

B  Embraceable You.

C  La, La, Lucille.

D  Swanee.

A  Sweeney Todd.

B  Cats.

C  On Your Toes.

D  West Side Story.

A  polytonality.

B  ostinato.

C  jazz.

D  polyrhythm.

A  All answers are correct.

B  conductor.

C  author-lecturer.

D  composer of orchestral and vocal works.

A  Joe Zawinul and Wayne Shorter.

B  John Coltrane and Ornette Coleman.

C  Dave Brubeck and Lennie Tristano.

D  Charlie Parker and Thelonious Monk.

A  All answers are correct.

B  used traditional jazz instrumental combinations.

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

D  consisted of short pieces freely improvised.

A  improvisational sections by the soloists.

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

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

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

A  Dizzy Gillespie.

B  Charlie Parker.

C  Thelonious Monk.

D  Buddy Rich.

A  cornet.

B  saxophone.

C  guitar.

D  tuba.

A  4/4

B  3/4

C  6/8

D  2/4

A  All answers are correct.

B  may be vocal or instrumental.

C  can be happy or sad, fast or slow.

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

A  performed at a moderate march tempo.

B  generally in duple meter.

C  All answers are correct.

D  a style of composed piano music.

A  director.

B  brass section.

C  clarinet section.

D  rhythm section.

A  an avant-garde experiment.

B  an American art form.

C  an outdated form of music.

D  a form of orchestral music.

A  scales borrowed from nonwestern cultures.

B  All answers are correct.

C  ancient church modes.

D  scales they themselves invented.

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

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

C  prepared piano.

D  large symphonic orchestra and two synthesizers.

A  Steve Reich.

B  Ellen Taaffe Zwilich.

C  John Cage.

D  Edgard Varèse.

A  white tones.

B  macrotones.

C  microtones.

D  tone clusters.

A  polytonality.

B  a tone cluster.

C  a polychord.

D  bitonality.

A  “new Classicists”.

B  “new impressionists”.

C  “new Expressionists”.

D  “new Romantics”.

A  George Crumb

B  Steve Reich

C  Philip Glass

D  Terry Riley

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

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

C  a combination of four tones.

D  All answers are correct.

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

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

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

D  writes music that is considered impossible to perform.

A  chance music.

B  minimalism.

C  Klangfarbenmelodie.

D  serialism.

A  they were bored with tonal music.

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

C  it was easier to write twelve-tone music.

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

A  taken many new directions and changes.

B  remained relatively stable.

C  concentrated on perfecting the twelve-tone system.

D  returned to the styles of the nineteenth century.