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| 1 | |
If Schubert was the outstanding symphonist of the beginning of the Romantic period, ________________ deserves that honor for the latter part of the century. |
| | A) | Bruckner |
| | B) | Dvorák |
| | C) | Mahler |
| | D) | Brahms |
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| 2 | |
How did Dvorák become familiar with African American spirituals? |
| | A) | By visiting Native American tribes in the United States. |
| | B) | By studying written examples of African American spirituals before he came to the United States. |
| | C) | Dvorák first heard African American spirituals when traveling in the Southern United States. |
| | D) | A composer at the National Conservatory of Music in New York introduced Dvorák to African American spirituals. |
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| 3 | |
How was Dvorák thrust into musical prominence? |
| | A) | As a virtuoso violin soloist. |
| | B) | Brahms convinced a music publisher to print some of Dvorák's compositions. |
| | C) | By touring the United States conducting his music. |
| | D) | By being selected for the directorship of the Prague Conservatory. |
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| 4 | |
Who is the most important church composer of the late nineteenth century? |
| | A) | Gustav Mahler |
| | B) | Anton Bruckner |
| | C) | Johannes Brahms |
| | D) | Antonin Dvorák |
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| 5 | |
Which composer disagreed with the popular Romantic notion that literature, the visual arts, and philosophy should be united with music? |
| | A) | Hector Berlioz |
| | B) | Johannes Brahms |
| | C) | Richard Wagner |
| | D) | Richard Strauss |
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| 6 | |
Which of the following statements does NOT apply to Gustav Mahler's symphonies? |
| | A) | His symphonies are not unified by the use of recurring themes and motives. |
| | B) | His symphonies contain long, lyrical melodies. |
| | C) | He tried to make each symphony a complete world in itself. |
| | D) | Themes from his songs are often quoted in his symphonic works. |
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| 7 | |
Which Native American or African American music was quoted in Dvorák's Symphony no. 9, subtitled "From the New World?" |
| | A) | No Native American and African American music was quoted in Dvorák's Symphony no. 9. |
| | B) | Swing Low, Sweet Chariot. |
| | C) | Goin' Home |
| | D) | Hiawatha |
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| 8 | |
Which symphonic composer influenced all of the early Romantic composers? |
| | A) | Mozart |
| | B) | Beethoven |
| | C) | J. S. Bach |
| | D) | Haydn |
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| 9 | |
Franz Schubert's Symphony no. 8 has how many movements? |
| | A) | 4 |
| | B) | 3 |
| | C) | 2 |
| | D) | 5 |
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| 10 | |
What is the difference in the way that Dvorák uses recurring themes throughout Symphony No. 9 and the way that Berlioz used the idée fixe throughout Symphonies fantastique? |
| | A) | In Dvorák's Symphony no. 9 the recurring themes are changed or "transformed" each time they return, whereas in Berlioz's Symphonie fantastique the idée fixe remains relatively unchanged each time it returns. |
| | B) | In Dvorák's Symphony no. 9 the rhythmic motive returns in each movement, whereas in Berlioz's Symphonie fantastique the idée fixe is changed or "transformed" each time it returns. |
| | C) | In Dvorák's Symphony no. 9 the recurring themes remain relatively unchanged, whereas in Berlioz's Symphonie fantastique the idée fixe is changed or "transformed" each time it returns. |
| | D) | In Dvorák's Symphony no. 9 the recurring themes are changed or "transformed" each time they return, whereas in Berlioz's Symphonie fantastique the rhythmic motive returns in each movement. |
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| 11 | |
Although Bruckner's nine symphonies display similarities to classical tradition in terms of formal design, what marks them as Romantic works? |
| | A) | The symphonies are programmatic. |
| | B) | The symphonies are melodramatic. |
| | C) | The symphonies are very long and the orchestration is heavy. |
| | D) | The symphonies were composed quickly. |
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| 12 | |
Triplet is... |
| | A) | the last name of French composer, Jean Triplet, composer of "Song of Belleville." |
| | B) | a term indicating that three notes are to be played in the time normally devoted to two. |
| | C) | a term indicating a change of tempo in a 3 to 2 ratio to the previous tempo. |
| | D) | a term indicating that the music that follows is to be played in triple meter. |
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