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1 | |
During the Classical period, although Italy continued to dominate the world of opera, the main centers of musical activity moved north to the following cities except |
| | A) | Berlin. |
| | B) | Vienna. |
| | C) | Mannheim. |
| | D) | Paris. |
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2 | |
Instrumental music finally surpassed vocal music in both quantity and quality during the Classical period. |
| | A) | TRUE |
| | B) | FALSE |
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3 | |
The overall design of a work is called its |
| | A) | tonality. |
| | B) | form. |
| | C) | timbre. |
| | D) | texture. |
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4 | |
The three outstanding composers of the Classical period were |
| | A) | Bach, Handel, and Haydn. |
| | B) | Mozart, Handel, and Haydn. |
| | C) | Bach, Handel, and Beethoven. |
| | D) | Mozart, Haydn, and Beethoven. |
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5 | |
The concept of form in music was of serious concern to all of the composers of the Classical period. |
| | A) | TRUE |
| | B) | FALSE |
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6 | |
Among instrumental forms, the __________ experienced the greatest development and offered composers the widest field for creativity during the mid-1700s. |
| | A) | fugue |
| | B) | sonata |
| | C) | toccata |
| | D) | symphony |
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7 | |
Classical composers changed the orchestra in all of the following ways except |
| | A) | narrowing the Baroque conception of the orchestra. |
| | B) | standardizing the number of instruments used. |
| | C) | determining certain proportions of wind instruments to strings. |
| | D) | eventually dropping the harpsichord from the ensemble. |
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8 | |
In the middle of the eighteenth century, the German city of __________ developed an outstanding orchestra which attracted attention throughout western Europe. |
| | A) | Munich |
| | B) | Vienna |
| | C) | Salzburg |
| | D) | Mannheim |
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9 | |
The Mannheim orchestra achieved all of the following except |
| | A) | soft pianissimos. |
| | B) | loud fortissimos. |
| | C) | terraced dynamics. |
| | D) | gradual dynamics. |
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10 | |
__________, an early master of the symphonic form, was employed as a court composer by the same noble family for nearly thirty years. |
| | A) | Wolfgang Amadeus Mozart |
| | B) | Ludwig van Beethoven |
| | C) | Franz Joseph Haydn |
| | D) | Giovanni Pergolesi |
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11 | |
Haydn was a vain man who called himself the "master of all" composers. |
| | A) | TRUE |
| | B) | FALSE |
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12 | |
The Classical composers expanded the Baroque concept of multimovement compositions by |
| | A) | standardizing the number of movements for certain types of works. |
| | B) | rejecting attempts to create musical forms. |
| | C) | developing and employing terraced dynamics in orchestral works. |
| | D) | all of the above. |
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13 | |
A __________ is a multimovement work played by an orchestra and originally based on the Italian overture consisting of three movements (fast-slow-fast). |
| | A) | fugue |
| | B) | sonata |
| | C) | toccata |
| | D) | symphony |
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14 | |
Classical composers expanded the sections and added a fourth movement to the symphony, organizing each "movement" according to the principles of a chosen instrumental form. |
| | A) | TRUE |
| | B) | FALSE |
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15 | |
After the Baroque period, the concerto grosso declined in importance and was replaced by the Classical concerto for orchestra and one soloist. |
| | A) | TRUE |
| | B) | FALSE |
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16 | |
A Classical concerto usually has __________ movements. |
| | A) | two |
| | B) | three |
| | C) | four |
| | D) | five |
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17 | |
A Classical concerto usually had at least one passage, called a __________, which was improvised by the soloist alone. |
| | A) | cadenza |
| | B) | credenza |
| | C) | coscienza |
| | D) | confidenza |
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18 | |
Where does the cadenza usually occur in a concerto? |
| | A) | toward the beginning of a movement |
| | B) | toward the middle of a movement |
| | C) | toward the end of a movement |
| | D) | between movements |
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19 | |
The orchestra prepares for a cadenza by playing a long decrescendo that ends quietly on the tonic chord. |
| | A) | TRUE |
| | B) | FALSE |
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20 | |
The end of the improvised solo passage in a concerto is often indicated by a __________, which summons the orchestra to join in bringing the movement to a close. |
| | A) | bell |
| | B) | trill |
| | C) | cymbal |
| | D) | triangle |
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21 | |
Since the nineteenth century, composers have written cadenzas for their concertos and have even published cadenzas for earlier concertos, including those written by Haydn, Mozart, and their contemporaries. |
| | A) | TRUE |
| | B) | FALSE |
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22 | |
Music performed by a relatively small number of people in a small room is called _________ music. |
| | A) | salon |
| | B) | church |
| | C) | chamber |
| | D) | intimate |
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23 | |
In a chamber music performance, each player must be an accomplished performer since each is responsible for one line of music. |
| | A) | TRUE |
| | B) | FALSE |
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24 | |
The Classical period's appreciation for clarity of thought, purity of sound, and emotional restraint made chamber music one of the favorite means of expression. |
| | A) | TRUE |
| | B) | FALSE |
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25 | |
Most Classical chamber ensembles consisted of several instruments belonging to |
| | A) | different families. |
| | B) | the same family. |
| | C) | the woodwind family. |
| | D) | the percussion family. |
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26 | |
The most popular Classical small ensemble was the |
| | A) | piano trio. |
| | B) | brass quintet. |
| | C) | string quartet. |
| | D) | voice and piano. |
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27 | |
The Classical string quartet consisted of |
| | A) | violin, two violas, and cello. |
| | B) | violin, viola, cello, and bass. |
| | C) | two violins, viola, and cello. |
| | D) | two violins, viola, and bass. |
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28 | |
In a Classical string quartet, the person playing __________ serves as the leader of the group. |
| | A) | first violin |
| | B) | second violin |
| | C) | viola |
| | D) | bass |
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29 | |
A Classical string quartet usually consists of __________ movements. |
| | A) | two |
| | B) | three |
| | C) | four |
| | D) | five |
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30 | |
Another Classical multimovement composition to be "sounded" by one or two instruments is called a |
| | A) | sonata. |
| | B) | toccata. |
| | C) | concerto. |
| | D) | symphony. |
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31 | |
In a sonata for two instruments, such as a violin and a piano, each of the instruments is of equal importance. |
| | A) | TRUE |
| | B) | FALSE |
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32 | |
All of the following were common forms in the Classical period except |
| | A) | sonata-allegro form. |
| | B) | rondo form. |
| | C) | minuet and trio. |
| | D) | toccata-allegro form. |
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33 | |
The Classical sonata-allegro form was generally conceived as a three-part structure. |
| | A) | TRUE |
| | B) | FALSE |
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34 | |
The three main sections of the Classical sonata-allegro form are the |
| | A) | introduction, development, and recapitulation. |
| | B) | introduction, recapitulation, and transition. |
| | C) | exposition, development, and recapitulation. |
| | D) | thematic material, transition, and coda. |
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35 | |
The most significant difference between the exposition and the recapitulation in sonata-allegro form is that |
| | A) | the recapitulation changes key and the exposition does not. |
| | B) | the exposition changes key but the recapitulation does not. |
| | C) | the exposition has an extra theme. |
| | D) | the recapitulation has an extra theme. |
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36 | |
An extended closing section in the Classical sonata-allegro form is called the |
| | A) | coda. |
| | B) | bridge. |
| | C) | finale. |
| | D) | cadenza. |
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37 | |
Unlike Baroque composers, who typically confined one section of a work to one mood or "affection," Classical composers often considered the two tonal areas of the sonata-allegro exposition an opportunity to present two melodies of a contrasting nature. |
| | A) | TRUE |
| | B) | FALSE |
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38 | |
Classical sonata-allegro form has been nicknamed the "fourth movement form" because it has been used as the fourth movement for so many symphonies, concertos, sonatas, and string quartets. |
| | A) | TRUE |
| | B) | FALSE |
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39 | |
The third movement of many Classical symphonies, sonatas, and string quartets is a |
| | A) | through-composed form. |
| | B) | theme and variations. |
| | C) | minuet and trio. |
| | D) | strophic form. |
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40 | |
The minuet was a stately dance introduced at the seventeenth-century court of Louis XIV. |
| | A) | TRUE |
| | B) | FALSE |
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41 | |
The Classical rondo form was used for any multimovement work, but often seemed particularly appropriate for the last movement. |
| | A) | TRUE |
| | B) | FALSE |
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42 | |
One form of a Classical rondo is |
| | A) | A B A |
| | B) | A B |
| | C) | A B A C A |
| | D) | A B C D E |
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2003 McGraw-Hill Higher Education