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1 | |
Opera was seen as the ideal form of Romantic expression for many composers because |
| | A) | it allowed singers an ideal setting to display their abilities. |
| | B) | it was less exaggerated in its emotional expression than program music. |
| | C) | it was the best way to integrate music, theater, and visual arts. |
| | D) | all of the above. |
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2 | |
The grand opera combined all of the following except |
| | A) | stories based on dramatic historical events. |
| | B) | spoken dialogue. |
| | C) | an emphasis on grandeur and spectacle. |
| | D) | a largely middle-class audience interested in entertainment more than art. |
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3 | |
The nineteenth-century opera comique was full of farce and comedy. |
| | A) | TRUE |
| | B) | FALSE |
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4 | |
Compared to grand opera, the opera comique was |
| | A) | shorter and more modest. |
| | B) | more humorous and light-hearted. |
| | C) | much less popular. |
| | D) | all of the above. |
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5 | |
Opera comique was originally known for using __________ in some scenes. |
| | A) | comic ballet |
| | B) | spoken dialogue |
| | C) | jovial actresses |
| | D) | orchestral comedy |
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6 | |
The opera Carmen, first performed in 1875, was composed by |
| | A) | Georges Bizet. |
| | B) | Giuseppe Verdi. |
| | C) | Richard Wagner. |
| | D) | Giacomo Puccini. |
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7 | |
The coloratura singing style features |
| | A) | rapid runs. |
| | B) | elaborate ornamentation. |
| | C) | extremely high pitches. |
| | D) | all of the above. |
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8 | |
__________, an early nineteenth-century composer, wrote the opera Lucia de Lammermoor, which has a scene famous for bel canto singing. |
| | A) | Georges Bizet |
| | B) | Giuseppe Verdi |
| | C) | Giacomo Puccini |
| | D) | Gaetano Donizetti |
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9 | |
The finest Italian composer of the nineteenth century was |
| | A) | Georges Bizet |
| | B) | Giuseppe Verdi |
| | C) | Giacomo Puccini |
| | D) | Gaetano Donizetti |
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10 | |
Verdi's style and music reflect all of the following except |
| | A) | a complete mastery of theater techniques. |
| | B) | a deep commitment to Italian nationalism. |
| | C) | a belief that the text is more important than the music in an opera. |
| | D) | a gift for beautiful melody. |
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11 | |
Verdi's famous opera __________, written for the inauguration of the Suez Canal in 1871 and set in ancient Egypt, was Verdi's version of a grand opera. |
| | A) | Aida |
| | B) | Otello |
| | C) | Nabucco |
| | D) | Falstaff |
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12 | |
Some Italian composers of the late Romantic period portrayed realistic, everyday characters in their operas. This effect was called |
| | A) | venturo. |
| | B) | venusto. |
| | C) | verboso. |
| | D) | verismo. |
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13 | |
The leader of the Romantic movement to write verismo opera was |
| | A) | Georges Bizet. |
| | B) | Giuseppe Verdi. |
| | C) | Richard Wagner. |
| | D) | Giacomo Puccini. |
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14 | |
The most important composer of German music theater in the late nineteenth century was |
| | A) | Friedrich Nietzsche. |
| | B) | Johannes Brahms. |
| | C) | Richard Wagner. |
| | D) | none of the above. |
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15 | |
In Wagner's ideal music drama |
| | A) | the Romantic doctrine of intermingling the arts was fully realized. |
| | B) | the words and the music were of equal importance. |
| | C) | the music served to enhance the drama. |
| | D) | all of the above. |
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16 | |
A poet before he became a musician, Wagner was influenced by the literary movement called |
| | A) | realism. |
| | B) | Romanticism. |
| | C) | verismo. |
| | D) | none of the above. |
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17 | |
Richard Wagner wrote all of the following operas except |
| | A) | Der Ring des Nibelungen. |
| | B) | Lucia di Lammermoor. |
| | C) | Tristan und Isolde. |
| | D) | Tannhaüser. |
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18 | |
The opera that Richard Wagner wrote that changed the course of music history was |
| | A) | Der Ring des Nibelungen. |
| | B) | Lucia di Lammermoor. |
| | C) | Tristan und Isolde. |
| | D) | La Boheme. |
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19 | |
Festivals of Wagner's Der Ring des Nibelungen are presented annually at a theater he designed in |
| | A) | Salzburg, Austria. |
| | B) | Bayreuth, Germany. |
| | C) | Berne, Switzerland. |
| | D) | Stratford, England. |
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20 | |
In Wagner's dramatic works, the orchestra was of unprecedented significance, weaving melodic fragments and chords called __________ throughout the orchestral texture. |
| | A) | themes. |
| | B) | motives. |
| | C) | subjects. |
| | D) | Leitmotifs. |
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21 | |
Wagner's melodic style had each of the following characteristics except |
| | A) | he included separate pieces, such as arias and ballets, in his operas. |
| | B) | he wrote a kind of endless melody, sometimes almost speechlike. |
| | C) | to enhance the effect of continuous music, he avoided cadences. |
| | D) | his melodies had a style all their own. |
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22 | |
During the nineteenth century, periods of reform in serious opera encouraged the composition of light operas or |
| | A) | comedies. |
| | B) | operettas. |
| | C) | music dramas. |
| | D) | music theater. |
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23 | |
While opera buffa, Singspiel, and opera comique found favor in their respective homelands, Gilbert and Sullivan created a unique operetta for __________ audiences. |
| | A) | French |
| | B) | German |
| | C) | English |
| | D) | American |
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24 | |
__________ was an Irishman who became one of England's favorite composers, mainly by composing a form of which he disapproved. |
| | A) | W. S. Gilbert |
| | B) | Georges Bizet |
| | C) | Richard Wagner |
| | D) | Arthur Sullivan |
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25 | |
__________, a talented librettist and comic poet, wrote hilarious librettos for some of the world's most beloved operettas. |
| | A) | W. S. Gilbert |
| | B) | Georges Bizet |
| | C) | Richard Wagner |
| | D) | Arthur Sullivan |
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26 | |
All of the following forms of music theater flourished in nineteenth-century America except |
| | A) | the minstrel show. |
| | B) | the Broadway musical. |
| | C) | European opera. |
| | D) | vaudeville shows. |
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27 | |
Women admitted to music conservatories newly established in this country were not allowed to participate widely in opera and concert performances. |
| | A) | TRUE |
| | B) | FALSE |
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28 | |
Throughout the nineteenth century, American music theater became increasingly independent of English styles. |
| | A) | TRUE |
| | B) | FALSE |
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2003 McGraw-Hill Higher Education