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1 | |
It is possible in the twentieth century, as it was in earlier periods, to apply one general label to the music of a significant period of time. |
| | A) | TRUE |
| | B) | FALSE |
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2 | |
Over the course of the twentieth century, which of the following took place? |
| | A) | The Nazi menace forced many notable European artists to immigrate to the U.S. in the 1930s. |
| | B) | The Communist regime in Russia closely restricted the freedom of composers for over seventy years. |
| | C) | Paris became a center of artistic creativity and independence in the 1920s. |
| | D) | all of the above. |
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3 | |
Even in this age of increased mass education in music, audiences are actually less prepared than ever before to appreciate the music of their own time. |
| | A) | TRUE |
| | B) | FALSE |
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4 | |
Post-Romanticism refers to the last stage and aftermath of __________ Romanticism, which was dominant throughout the late nineteenth century. |
| | A) | French |
| | B) | German |
| | C) | Italian |
| | D) | Russian |
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5 | |
Strauss's musical style incorporated all of the following except |
| | A) | a mastery of orchestration that surpassed even that of Berlioz. |
| | B) | an affinity for simple, tuneful melodies. |
| | C) | a complex, chromatic harmonic style. |
| | D) | use of shifting rhythm patterns that obscure the meter. |
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6 | |
__________, a leader of Post-Romantic composers, was strongly influenced by both Romanticism of Wagner and the Classicism of Mozart. |
| | A) | Alban Berg |
| | B) | Gustav Mahler |
| | C) | Igor Stravinsky |
| | D) | Richard Strauss |
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7 | |
The following were all TRUE of Post-Romantic composers except |
| | A) | they used the old Church modes. |
| | B) | they turned to Western pentatonic scales. |
| | C) | they borrowed the whole tone scale from Oriental music. |
| | D) | they based entire compositions on the chromatic scale. |
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8 | |
__________, best known for his powerful symphonies, used a huge orchestra and extensive range of orchestral colors. |
| | A) | Alban Berg |
| | B) | Gustav Mahler |
| | C) | Igor Stravinsky |
| | D) | Richard Strauss |
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9 | |
The following were all TRUE of Mahler's music except |
| | A) | he used huge orchestras. |
| | B) | he sometimes included choral sections in his symphonies. |
| | C) | he used an extensive range of orchestral colors. |
| | D) | his music expressed widely changing moods. |
| | E) | he rejected chromaticism and returned to traditional tonality. |
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10 | |
A late nineteenth- and early twentieth-century musical style that resulted from explorations of the subconscious mind was called |
| | A) | Impressionism. |
| | B) | Expressionism. |
| | C) | Primitivism. |
| | D) | Neoclassicism. |
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11 | |
A strange and tormented genius whose highly emotional style anticipated Expressionism was the Dutch painter |
| | A) | Wassily Kandinsky |
| | B) | Vincent van Gogh |
| | C) | Ernst Kirchner |
| | D) | Edvard Munch |
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12 | |
Expressionistic painters portrayed the frustration, terror, and guilt suffered by humanity. |
| | A) | TRUE |
| | B) | FALSE |
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13 | |
Music in which there is no dominance of or momentum toward a tonic pitch, like that written by Schoenberg, is called |
| | A) | tonal. |
| | B) | modal. |
| | C) | atonal. |
| | D) | bitonal. |
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14 | |
In 1912, Schoenberg wrote a __________ called Pierrot Lunaire (The Moonstruck Pierrot). |
| | A) | song cycle |
| | B) | symphony |
| | C) | quartet |
| | D) | musical |
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15 | |
Sprechstimme is |
| | A) | the German term for Impressionism. |
| | B) | a vocal technique using expressive glides from one inexact note to another. |
| | C) | an opera composed by Schoenberg. |
| | D) | the term Schoenberg preferred to atonality. |
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16 | |
A common Expressionistic technique is distortion of images for emotional effect. |
| | A) | TRUE |
| | B) | FALSE |
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17 | |
__________ wrote the opera Wozzeck. |
| | A) | Alban Berg |
| | B) | Gustav Mahler |
| | C) | Igor Stravinsky |
| | D) | Richard Strauss |
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18 | |
During the 1860s, a movement began in France that became known as Symbolism in the field of literature and as __________ in painting and music. |
| | A) | Expressionism |
| | B) | Impressionism |
| | C) | Primitivism |
| | D) | Neoclassicism |
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19 | |
Symbolist poets and Impressionistic painters and composers sought to achieve the most realistic effects by denying "realism" and expressing the suggestion of an object or idea. |
| | A) | TRUE |
| | B) | FALSE |
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20 | |
Symbolist poets dealt with literal meanings and effects of words. |
| | A) | TRUE |
| | B) | FALSE |
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21 | |
The leader of the Symbolist movement was __________, who used words for their "tone color." |
| | A) | Claude Monet |
| | B) | Paul Verlaine |
| | C) | Claude Debussy |
| | D) | Stephane Mallarme |
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22 | |
__________ startled the art world with an impressionistic painting of sunrise over water which he entitled Impression: Sunrise. |
| | A) | Claude Monet |
| | B) | Edvard Munch |
| | C) | Paul Gauguin |
| | D) | Vincent van Gogh |
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23 | |
The Impressionists admired and sometimes emulated aspects of Oriental, especially Japanese, art. |
| | A) | TRUE |
| | B) | FALSE |
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24 | |
The first and greatest Impressionistic composer was |
| | A) | Maurice Ravel |
| | B) | Claude Debussy |
| | C) | Charles Griffes |
| | D) | Igor Stravinsky |
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25 | |
Debussy favored the term Impressionism. |
| | A) | TRUE |
| | B) | FALSE |
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26 | |
Debussy explored all of the following musical influences except |
| | A) | the Eastern-flavored timbres and intervals of Russian music |
| | B) | the intense chromaticism of German Romantic music. |
| | C) | medieval modes and Gregorian chant. |
| | D) | the timbres of the gamelan orchestra of Java. |
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27 | |
Debussy used parallel successions of octaves, fifths, and fourths–harmonic techniques that had been forbidden in Western harmony since the advent of the tonal system. |
| | A) | TRUE |
| | B) | FALSE |
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28 | |
Debussy's __________, Pelleas et Melisande (1902), is the epitome of Impressionistic art and one of the great masterpieces of twentieth-century music. |
| | A) | symphony |
| | B) | musical |
| | C) | ballet |
| | D) | opera |
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29 | |
The following were all characteristic of French composer Debussy except |
| | A) | he employed whole-tone and pentatonic scales. |
| | B) | his harmony was imaginative and often provocative. |
| | C) | he scrupulously maintained the distinction between major and minor modes. |
| | D) | he gave most of his compositions programmatic titles. |
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30 | |
__________, an Impressionistic composer, was primarily a classicist who used clearly defined melodic phrases, strong rhythms, and functional harmonies based on traditional key relationships. |
| | A) | Igor Stravinsky |
| | B) | Charles Griffes |
| | C) | Claude Debussy |
| | D) | Maurice Ravel |
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31 | |
In America, __________ became known as the American Impressionist. |
| | A) | Maurice Ravel |
| | B) | Claude Debussy |
| | C) | Charles Griffes |
| | D) | Alban Berg |
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32 | |
"The White Peacock" and "Pleasure Dome of Kubla Khan" were written for piano by |
| | A) | Maurice Ravel. |
| | B) | Claude Debussy. |
| | C) | Igor Stravinsky. |
| | D) | Charles Griffes. |
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33 | |
The Primitivist movement in art and music was |
| | A) | the most important cultural development in the first half of the twentieth century. |
| | B) | adamantly opposed to Romanticism. |
| | C) | inspired by the Impressionist painters. |
| | D) | all of the above. |
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34 | |
The outstanding Primitivist painter was Frenchman |
| | A) | Claude Monet. |
| | B) | Paul Verlaine. |
| | C) | Stephane Mallarme. |
| | D) | Paul Gauguin. |
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35 | |
The musical masterpiece of Primitivism, Le Sacre du Printemps (The Rite of Spring), was written by Russian composer |
| | A) | Franz Kafka. |
| | B) | Igor Stravinsky. |
| | C) | Sergei Diaghilev. |
| | D) | Wassily Kandinsky. |
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36 | |
The Rite of Spring was a revolutionary ballet score about |
| | A) | the beauty of springtime. |
| | B) | an Easter celebration in medieval Paris. |
| | C) | a brutal human sacrifice to appease primitive gods in pagan Russia. |
| | D) | none of the above. |
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2003 McGraw-Hill Higher Education