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1 | |
With romantic appreciation for opposite extremes, nineteenth-century composers divided their attention between increasing the size and the effects of the __________ and writing music for solo voice or piano. |
| | A) | pianoforte |
| | B) | song cycles |
| | C) | string quartet |
| | D) | symphony orchestra |
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2 | |
The close link between literature and music during the Romantic period made the _______ attractive to composers. |
| | A) | sonata |
| | B) | overture |
| | C) | art song |
| | D) | symphony |
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3 | |
The __________ composers excelled in the composition of Romantic art songs. |
| | A) | French |
| | B) | German |
| | C) | Italian |
| | D) | Russian |
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4 | |
__________ was an influential and gifted Romantic composer whose life was marred by depression and mental instability. |
| | A) | Franz Schubert |
| | B) | Hector Berlioz |
| | C) | Robert Schumann |
| | D) | Johannes Brahms |
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5 | |
__________ was a famous violinist who impressed Robert Schumann with his astonishing virtuosity. |
| | A) | Stradivari |
| | B) | Paganini |
| | C) | Guarneri |
| | D) | Rossini |
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6 | |
Robert Schumann discovered that the mating of __________ and music in the art song was his ideal mode of expression. |
| | A) | words |
| | B) | rhythm |
| | C) | harmony |
| | D) | texture |
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7 | |
Compared to the art songs of Schubert, the songs of Schumann are somewhat less emotional and more conservative. |
| | A) | TRUE |
| | B) | FALSE |
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8 | |
Robert Schumann wrote several beautiful sets of songs called |
| | A) | chants. |
| | B) | masses. |
| | C) | cycles. |
| | D) | Lieder. |
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9 | |
Romantic songs in a song cycle are related in all of these ways except through the use of |
| | A) | key relationships. |
| | B) | thematic material. |
| | C) | chorus and orchestra. |
| | D) | contrasts in mood or tempo. |
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10 | |
Robert Schumann wrote in all of the following genres except |
| | A) | piano music. |
| | B) | chamber music. |
| | C) | opera. |
| | D) | symphony. |
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11 | |
The piano part in Schubert's songs is more important than the piano part in Robert Schumann's songs. |
| | A) | TRUE |
| | B) | FALSE |
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12 | |
In Robert Schumann's songs, the piano part provides each of the following except |
| | A) | vocal significance. |
| | B) | dramatic significance. |
| | C) | preludes and postludes. |
| | D) | interludes. |
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13 | |
Schumann's brief career was nonetheless varied, including all of the following achievements except |
| | A) | he founded an influential journal of music criticism. |
| | B) | he wrote a total of four symphonies. |
| | C) | he was a brilliant and well-known concert pianist. |
| | D) | he wrote several highly regarded song cycles. |
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14 | |
__________ was a child prodigy who was carefully trained as a pianist by Schumann's piano instructor and who established a highly successful career as a concert pianist and teacher at a prestigious conservatory of music. |
| | A) | Amy Beach |
| | B) | Clara Wieck |
| | C) | Franz Schubert |
| | D) | Johannes Brahms |
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15 | |
The United States experienced a great deal of musical activity around the time of the Civil War (the 1860s). |
| | A) | TRUE |
| | B) | FALSE |
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16 | |
__________ featured the antics of white men in black face imitating plantation songs and dances. |
| | A) | Minstrel shows |
| | B) | Vaudeville |
| | C) | Burlesque |
| | D) | Revues |
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17 | |
__________, one of the world's greatest melodists, was born into the musically unsophisticated society of the mid-nineteenth-century America. |
| | A) | Francis Scott Key |
| | B) | William Billings |
| | C) | Stephen Foster |
| | D) | Clara Wieck |
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18 | |
The following songs were all written by Stephen Foster except |
| | A) | "Beautiful Dreamer." |
| | B) | "Old Folks at Home." |
| | C) | "De Camptown Races." |
| | D) | "Star-Spangled Banner." |
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19 | |
Stephen Foster wrote songs about love, home, and the Civil War; all his songs were about serious topics. |
| | A) | TRUE |
| | B) | FALSE |
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20 | |
Although the Romantic era was fascinated with mysticism, it was also essentially a secular period that did not produce a great deal of choral music for either Catholic or Protestant worship. |
| | A) | TRUE |
| | B) | FALSE |
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21 | |
Romantic composers often treated the chorus as an integral part of an instrumental ensemble rather than as a separate entity. |
| | A) | TRUE |
| | B) | FALSE |
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22 | |
Berlioz wrote two gigantic works for chorus, soloists, and orchestra, a Requiem and a |
| | A) | Mass. |
| | B) | cycle. |
| | C) | Gloria. |
| | D) | Te Deum. |
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23 | |
The Italian composers Gioacchino Rossini and Giuseppe Verdi are sometimes accused of having imbued their religious choral music with too many elements of the Italian opera. |
| | A) | TRUE |
| | B) | FALSE |
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24 | |
Russian composers developed a new style of religious composition during the nineteenth century, using the __________ melodies and __________ rhythms of Russian Orthodox Chant. |
| | A) | tonal, free |
| | B) | modal, free |
| | C) | tonal, metered |
| | D) | modal, metered |
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25 | |
During the nineteenth century, interest in the writing of oratorios centered in |
| | A) | Italy and France. |
| | B) | Italy and England. |
| | C) | England and France. |
| | D) | England and Germany. |
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26 | |
__________ and __________ shared the distinction of making the best use of the choral ensemble during the Romantic period. |
| | A) | Brahms, Schubert |
| | B) | Brahms, Schumann |
| | C) | Chopin, Schumann |
| | D) | Brahms, Mendelssohn |
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27 | |
The founder of American public music education was |
| | A) | John Knowles Paine. |
| | B) | Lowell Mason. |
| | C) | Dudley Buck. |
| | D) | Amy Beach. |
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28 | |
The ideal solo Romantic instrument was the |
| | A) | orchestra. |
| | B) | clarinet. |
| | C) | violin. |
| | D) | piano. |
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29 | |
The most important composer of piano music in the Romantic period and style was |
| | A) | Liszt. |
| | B) | Schumann. |
| | C) | Mendelssohn. |
| | D) | none of the above. |
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30 | |
During the nineteenth century, concert pianists were in great demand. |
| | A) | TRUE |
| | B) | FALSE |
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31 | |
__________, the "poet of the piano," was born in Poland, but lived most of his life in Paris, France. |
| | A) | Franz Schubert |
| | B) | Hector Berlioz |
| | C) | Robert Schumann |
| | D) | Frederic Chopin |
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32 | |
Chopin's reputation was built on his brilliant piano technique and his astonishing, virtuosic performances. |
| | A) | TRUE |
| | B) | FALSE |
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33 | |
__________ created the symphonic poem. |
| | A) | Franz Liszt |
| | B) | Franz Schubert |
| | C) | Hector Berlioz |
| | D) | Robert Schumann |
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34 | |
Short, highly subjective piano compositions are called __________ pieces. |
| | A) | cyclic |
| | B) | program |
| | C) | concrete |
| | D) | character |
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35 | |
All of the following are important features of Chopin's style except |
| | A) | chromatic harmonies and unusual modulations. |
| | B) | use of rubato. |
| | C) | short, motivic melodies designed for intense development. |
| | D) | almost exclusive attention to piano music. |
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36 | |
Chopin wrote all of the following stylized Polish dance pieces except |
| | A) | polkas. |
| | B) | mazurkas. |
| | C) | waltzes. |
| | D) | polonaises. |
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37 | |
A term for a romantic rhythmic technique that means "robbing" is |
| | A) | rubato. |
| | B) | portato. |
| | C) | ostinato. |
| | D) | obligato. |
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38 | |
__________ was the first American composer/performer to establish an important reputation in Europe. |
| | A) | Amy Beach |
| | B) | Dudley Buck |
| | C) | Lowell Mason |
| | D) | Louis Gottschalk |
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39 | |
__________ was a brilliant American pianist, a member of the Second New England School of composers, who is remembered today for impressive compositions for various solo and combined instruments. |
| | A) | Amy Beach |
| | B) | Dudley Buck |
| | C) | Lowell Mason |
| | D) | Louis Gottschalk |
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40 | |
__________ studied painting and music in Paris, completed his music education in Germany, and returned to America to teach, perform, and write music, becoming the first director of the new music department at Columbia University in 1896. |
| | A) | Amy Beach |
| | B) | Dudley Buck |
| | C) | Louis Gottschalk |
| | D) | Edward MacDowell |
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2003 McGraw-Hill Higher Education