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1 | |
Nineteenth-century writers, painters, and musicians were highly __________ in their approach to the arts, vividly expressing their most intimate and personal thoughts and experiences in the effort to assert their individual personalities. |
| | A) | objective |
| | B) | subjective |
| | C) | subjunctive |
| | D) | structured |
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2 | |
__________ was one of the outstanding characteristics of the Romantic period, for Romantics were fascinated not only with their own psyches, but also with the most personal expressions of others. |
| | A) | Capitalism |
| | B) | Collectivism |
| | C) | Individualism |
| | D) | Gregariousness |
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3 | |
A fundamental goal of the Romantic style was the blending of painting, literature, and music. |
| | A) | TRUE |
| | B) | FALSE |
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4 | |
The term romantic comes from __________, the word for a Medieval story or poem of heroic nature in one of the Latin-derived languages. |
| | A) | sonnet |
| | B) | romance |
| | C) | ballad |
| | D) | epic |
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5 | |
Each of the following terms applies to the Romantic period except |
| | A) | mythical. |
| | B) | mundane. |
| | C) | heroic. |
| | D) | supernatural. |
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6 | |
Many Romantics replaced God with nature, or saw God in nature. |
| | A) | TRUE |
| | B) | FALSE |
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7 | |
Nineteenth-century society was entirely changed by the __________ Revolution. |
| | A) | Mechanical |
| | B) | Industrial |
| | C) | Electrical |
| | D) | Musical |
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8 | |
During the Romantic period, art was largely supported by the __________ class, who were willing and generally able to pay for what they appreciated. |
| | A) | lower |
| | B) | middle |
| | C) | upper |
| | D) | collegiate |
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9 | |
No one produced "art for art's sake" during the Romantic period, when artists sought to please everyone's tastes. |
| | A) | TRUE |
| | B) | FALSE |
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10 | |
__________ became an important movement in the later part of the nineteenth century, as European countries sought to establish their political and stylistic identities. |
| | A) | Socialism |
| | B) | Capitalism |
| | C) | Nationalism |
| | D) | Marxism |
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11 | |
The Romantics were drawn to and fascinated by all of the following except |
| | A) | exotic cultures and distant places. |
| | B) | the musical forms of the Classical style. |
| | C) | supernatural tales and science fiction. |
| | D) | an idealized, mystical view of nature. |
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12 | |
During the early part of the nineteenth century, history was of great interest; later in the century, the public became more interested in __________ than history, as geology proved how brief the period of recorded history was in comparison with the time humans had lived on earth. |
| | A) | science |
| | B) | the arts |
| | C) | religion |
| | D) | literature |
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13 | |
Charles Darwin wrote the controversial book _____________ which was praised by those who loved nature but criticized by those who strongly believed in individualism. |
| | A) | Frankenstein |
| | B) | Legend of Sleepy Hollow |
| | C) | History of England |
| | D) | none of the above |
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14 | |
Romantics allowed reason to control their emotions, and thus recovered from physical or mental disorders brought about, or aggravated, by their frustrated emotional states. |
| | A) | TRUE |
| | B) | FALSE |
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15 | |
Nineteenth-century music was so closely married to __________ that consideration of one without the other is inconceivable. |
| | A) | art |
| | B) | dance |
| | C) | theater |
| | D) | literature |
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16 | |
All of the following were characteristic of Romantic architecture except |
| | A) | little was produced that was new, interesting, or even attractive. |
| | B) | builders were eclectic in their choice of styles, imitating rather than innovating. |
| | C) | churches, which often symbolized a kind of rational faith during this period, were simple and Classical in style. |
| | D) | opera houses exploited the more fantastic aspects of the Baroque. |
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17 | |
During the Romantic period, public buildings often followed classical lines, more from a sense of convention than from any artistic conviction. |
| | A) | TRUE |
| | B) | FALSE |
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18 | |
Innovation in sculpture was rather dormant, although the nineteenth century produced the great sculptor |
| | A) | Rodin. |
| | B) | Turner. |
| | C) | Constable. |
| | D) | Wordsworth. |
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19 | |
Two Englishmen, Constable and Turner, were the greatest of all __________ painters, in accordance with their romantic love and reverence for nature. |
| | A) | animal |
| | B) | portrait |
| | C) | landscape |
| | D) | architecture |
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20 | |
It was during the nineteenth century that music first became a lucrative business. |
| | A) | TRUE |
| | B) | FALSE |
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21 | |
All of the following were TRUE of the Romantic period except |
| | A) | music entrepreneurs, including P. T. Barnum, brought music to a wider-than-ever audience. |
| | B) | virtuoso musicians, who were in great demand during this age which exalted the individual, finally had the services of managers. |
| | C) | as the public became more musically aware, choral societies were organized. |
| | D) | printed music was expensive and not widely available. |
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22 | |
Romantic composers generally preferred long, lyrical melody lines to the motivic melodies associated with the Classical composers. |
| | A) | TRUE |
| | B) | FALSE |
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23 | |
The varied repetition of expressive melodies, often associated with extra-musical ideas, is called |
| | A) | transposition. |
| | B) | translocation. |
| | C) | transformation. |
| | D) | transfiguration. |
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24 | |
When the same thematic material recurs in two or more movements of a multimovement composition, the work is |
| | A) | binary. |
| | B) | ternary. |
| | C) | strophic. |
| | D) | cyclic. |
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25 | |
All of the following were characteristic of Romantic harmony except |
| | A) | the concept of tonal harmony was greatly expanded during the nineteenth century. |
| | B) | chromaticism was used more freely, and increasingly dissonant chords provided colorful and dramatic effects. |
| | C) | the orchestra decreased in size. |
| | D) | for the first time, orchestration became an art in itself. |
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26 | |
The Romantics were more interested in __________ than in form, and most of them considered the Classical rules of formal design confining. |
| | A) | oppression |
| | B) | exposition |
| | C) | modulation |
| | D) | expression |
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27 | |
The orchestral compositions built upon literary or other extra-musical ideas used by Romantics were called |
| | A) | fancies. |
| | B) | programs. |
| | C) | requiems. |
| | D) | cycles. |
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28 | |
Romantic music to be played during the performance of plays was called __________ music. |
| | A) | interlude |
| | B) | intermedii |
| | C) | incidental |
| | D) | accidental |
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29 | |
Examples of incidental music are Edvard Grieg's __________ and the Mendelssohn's A Midsummer Night's Dream. |
| | A) | Peer Gynt Suite |
| | B) | Peter and the Wolf |
| | C) | Romeo and Juliet |
| | D) | "The Moldau" |
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30 | |
A new symphonic form that mated literary and musical concepts was called the |
| | A) | cyclic sonata. |
| | B) | concert overture. |
| | C) | symphonic poem. |
| | D) | lyrical verse. |
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31 | |
__________, a Russian composer who studied law as a young man, became a cosmopolitan composer more influenced by the West than by his native land. |
| | A) | Alexander Borodin |
| | B) | Modest Mussorgsky |
| | C) | Mikhail Glinka |
| | D) | Peter Tchaikovsky |
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32 | |
Romantic multimovement symphonic compositions which had literary and programmatic orientations were called __________ symphonies. |
| | A) | prose |
| | B) | poetic |
| | C) | program |
| | D) | literary |
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33 | |
__________, who originally studied to become a doctor, later entered the Paris Conservatory and won the Prix de Rome, whereupon he left Paris for a year of study in Italy. |
| | A) | Georges Bizet |
| | B) | Hector Berlioz |
| | C) | Maurice Ravel |
| | D) | Paul Dukas |
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34 | |
Each of the following was a feature of Berlioz's Symphonie Fantastique except |
| | A) | the symphony quotes a plainchant called the Dies irae. |
| | B) | it is a program symphony. |
| | C) | the music closely follows the forms of the Classical symphony. |
| | D) | he used a melody called the idée fixe to represent his beloved. |
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35 | |
The program (storyline) of the Fantastic Symphony includes all of the following except |
| | A) | the Artist sees his beloved at a ball. |
| | B) | the Artist eventually kills his beloved. |
| | C) | the Artist witnesses a Witches' Sabbath. |
| | D) | the Artist finally kills himself. |
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36 | |
Berlioz had an enormous influence on orchestral music, due to all of the following except |
| | A) | he had a long career as a composition teacher at the Paris Conservatory. |
| | B) | he wrote the first important book on orchestration. |
| | C) | he expanded the size of the orchestra and the variety of instrumental sonorities within it. |
| | D) | none of the above. |
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37 | |
A one-movement orchestral work conceived as a kind of "poem without words" was called |
| | A) | a symphonic poem. |
| | B) | incidental music. |
| | C) | a song without words. |
| | D) | occidental music. |
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38 | |
Examples of symphonic or tone poems are Liszt's "Les Preludes" and Smetana's "The Moldau." |
| | A) | TRUE |
| | B) | FALSE |
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39 | |
__________ was born in Hungary, was a contemporary of Tchaikovsky, and toured Europe as a virtuoso pianist at age eleven. |
| | A) | Paul Dukas |
| | B) | Franz Liszt |
| | C) | Edvard Grieg |
| | D) | Bedrich Smetana |
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40 | |
Franz Liszt created the __________, a major innovation in the field of Romantic orchestral music. |
| | A) | symphonic poem |
| | B) | song without words |
| | C) | incidental piece |
| | D) | cyclic symphony |
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41 | |
In 1836, a Russian composer named __________ wrote an opera called A Life for the Tsar, with music based upon Russian folk tunes and Byzantine religious chant. |
| | A) | Alexander Borodin |
| | B) | Modest Mussorgsky |
| | C) | Mikhail Glinka |
| | D) | Mili Blakirev |
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42 | |
Nikolai Andreyevich Rimski-Korsakov and the following Russian composers were all associated with the nationalistic movement known as The Five except |
| | A) | Mili Balakirev. |
| | B) | Alexander Borodin. |
| | C) | Modest Mussorgsky. |
| | D) | Peter Tchaikovsky. |
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43 | |
All of the following were ardent musical nationalists except |
| | A) | Brahms. |
| | B) | Smetana. |
| | C) | Dvoràk. |
| | D) | Grieg. |
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44 | |
Instrumental music based upon abstract principles of music rather than upon a text or program is called __________ music. |
| | A) | program |
| | B) | absolute |
| | C) | abstract |
| | D) | incidental |
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45 | |
All of the following were characteristic of the nineteenth-century concerto except |
| | A) | like other forms of symphonic music, the concerto reflected the change from the Classical to the Romantic style. |
| | B) | more lyrical melodies and colorful orchestration were evident. |
| | C) | nineteenth-century composers continued to leave their cadenzas to the improvisation of the performer. |
| | D) | virtuosity of the performer was emphasized. |
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46 | |
__________ was born in Hamburg, Germany, in the same year that Abraham Lincoln was born in Hardin, Kentucky, but had every advantage of education and experience his wealthy family could offer. |
| | A) | Franz Schubert |
| | B) | Johannes Brahms |
| | C) | Robert Schumann |
| | D) | Felix Mendelssohn |
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47 | |
When Mendelssohn was only twenty years old, he organized and conducted J. S. Bach's __________ in its first performance in a hundred years. |
| | A) | Goldberg Variations |
| | B) | St. Matthew Passion |
| | C) | Songs without Words |
| | D) | Brandenburg Concertos |
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48 | |
Felix Mendelssohn wrote a set of piano pieces called Songs without Words. |
| | A) | TRUE |
| | B) | FALSE |
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49 | |
__________ was an outstanding pianist and composer, as was her more famous brother. |
| | A) | Fanny Mendelssohn |
| | B) | Sylvia Schubert |
| | C) | Inge Brahms |
| | D) | Clara Schumann |
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50 | |
All of the following composers continued to compose in the Classical symphonic form except |
| | A) | Brahms. |
| | B) | Mendelssohn. |
| | C) | Liszt. |
| | D) | Schumann. |
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51 | |
Although Brahms was a conservative composer who admired the style of Bach and Mozart, he disdained the emotionalism of Beethoven. |
| | A) | TRUE |
| | B) | FALSE |
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52 | |
Like seventeenth- and eighteenth-century Americans, late nineteenth-century Americans made no great distinction between "popular" and "art" music. |
| | A) | TRUE |
| | B) | FALSE |
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53 | |
During the late nineteenth century, bands provided popular entertainment in the United States. |
| | A) | TRUE |
| | B) | FALSE |
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54 | |
The American composer who directed the United States Marine Band, wrote many famous marches for band, and eventually became known as the "March King". |
| | A) | William Billings |
| | B) | John Philip Sousa |
| | C) | Theodore Thomas |
| | D) | Thomas Hardy |
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2003 McGraw-Hill Higher Education