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1 | |
In twentieth-century art, although there has been a significant return to __________ ideals, certain individuals have chosen to express raw emotion to an extent unprecedented in Western history. |
| | A) | gothic |
| | B) | baroque |
| | C) | romantic |
| | D) | classical |
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2 | |
All of the following were artistic styles that reflected the uncertainties and alienation of the early twentieth century except |
| | A) | Cubism |
| | B) | Surrealism |
| | C) | Experimentalism |
| | D) | Dadaism |
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3 | |
The outstanding sculptors of the early twentieth century moved away from the exaggerated expression of the late Romantic period and embraced a simpler, more classical style. |
| | A) | TRUE |
| | B) | FALSE |
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4 | |
The famous and influential twentieth-century school of architecture called the __________ was devoted to the maxim that "form follows function." |
| | A) | Rathaus |
| | B) | Bierhaus |
| | C) | Oberhaus |
| | D) | Bauhaus |
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5 | |
The twentieth-century nihilistic movement that expressed a violent and bitter protest against the horrors of World War I was called |
| | A) | Cubism. |
| | B) | Dadaism. |
| | C) | Surrealism. |
| | D) | Expressionism. |
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6 | |
A viable and lasting twentieth-century movement in literature and painting that juxtaposed the most unlikely images upon one another in an attempt to achieve a "super" realism was called |
| | A) | Cubism. |
| | B) | Dadaism. |
| | C) | Surrealism. |
| | D) | Expressionism. |
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7 | |
In the United States during the 1920s, a movement known as the Harlem Renaissance attempted to |
| | A) | promote racial advancement through artistic creativity. |
| | B) | combine African effects with the techniques of modern art. |
| | C) | depict scenes from African American life. |
| | D) | all of the above. |
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8 | |
The career of the great painter Pablo Picasso ran parallel to that of the composer Stravinsky in that both |
| | A) | were important figures in the Expressionist style. |
| | B) | spent most of their adult lives in the United States. |
| | C) | were innovators who returned periodically to the principles of Classicism. |
| | D) | reflected a strong African influence in their work. |
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9 | |
The painting called Les Demoiselles d'Avignon (The Young Ladies of Avignon) heralded the beginning of __________, one of the most significant movements in twentieth-century art. |
| | A) | Cubism |
| | B) | Dadaism |
| | C) | Surrealism |
| | D) | Expressionism |
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10 | |
_________, painted by Picasso in 1937, depicts the agony and terror of the Spanish Civil War. |
| | A) | Les Demoiselles d'Avignon |
| | B) | Guernica |
| | C) | Le Sacre du Printemps |
| | D) | none of the above. |
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11 | |
The __________ were so interested in form that they imposed geometric planes upon subjects of every nature, creating an unrealistic, but curiously expressive, style of art. |
| | A) | Cubists |
| | B) | Dadaists |
| | C) | Surrealists |
| | D) | Expressionists |
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12 | |
All of the following are TRUE of twentieth-century music except |
| | A) | many composers continue to write tonal music. |
| | B) | other composers have abandoned traditional techniques. |
| | C) | long-established concepts of melody, harmony, form, and timbre have been challenged or denied by certain composers. |
| | D) | most twentieth-century music lacks creativity and the diversity of new styles and techniques. |
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13 | |
Due to the increased importance of rhythm, timbre, and harmony, melody is absent from most twentieth-century music. |
| | A) | TRUE |
| | B) | FALSE |
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14 | |
New melodies can be based on major and minor scales, modes, whole tone scales, Eastern scales, and artificial scales. |
| | A) | TRUE |
| | B) | FALSE |
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15 | |
Many twentieth-century melodies are __________ in contour, when compared to melodies of the Romantic period. |
| | A) | conjunct |
| | B) | angular |
| | C) | circular |
| | D) | bell-shaped |
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16 | |
In twentieth-century music, a melody split over several octaves is called |
| | A) | conjunct motion. |
| | B) | homophonic texture. |
| | C) | octave displacement. |
| | D) | octave transposition. |
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17 | |
The twentieth-century composers who built on the chromaticism of Wagner and the atonality of Schoenberg have most often been from |
| | A) | Germany and Eastern Europe |
| | B) | Italy and France |
| | C) | the United States |
| | D) | England |
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18 | |
Twentieth-century harmony can include a wide variety of harmonies, with chords constructed of intervals of seconds, thirds, fourths, fifths, or a mixture of any of these. |
| | A) | TRUE |
| | B) | FALSE |
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19 | |
It is the __________ of much twentieth-century music that many listeners find particularly challenging. |
| | A) | disjunct form |
| | B) | conjunct motion |
| | C) | consonant melodies |
| | D) | dissonant harmonies |
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20 | |
The use of extreme dissonance by some contemporary composers is a logical continuation of a long-established trend in Western music. |
| | A) | TRUE |
| | B) | FALSE |
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21 | |
The revitalized rhythm of twentieth-century musicians reflects all of the following except |
| | A) | an awareness of the music of other cultures. |
| | B) | an interest in polymeter. |
| | C) | an exploration of "rhythms" created in nature. |
| | D) | the use of mixed and irregular meters. |
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22 | |
When two or more meters are combined at one time, the technique is called |
| | A) | polychoral. |
| | B) | polyrhythm. |
| | C) | polymeter. |
| | D) | polyphony. |
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23 | |
Some composers write rhythmic patterns that are so complex they are beyond the capacity of human beings to reproduce and must be "performed" using computers and tape. |
| | A) | TRUE |
| | B) | FALSE |
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24 | |
The unprecedented interest in sonority and timbre in modern music has led to |
| | A) | the abandonment of vocal music as composers focus on instrumental sounds. |
| | B) | increased attention to the difference between consonance and dissonance. |
| | C) | new compositions for older instruments such as the harpsichord and lute. |
| | D) | all of the above. |
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25 | |
Interest in the qualities and effects of sound around the middle of the twentieth century led to the invention of the electronic |
| | A) | piano. |
| | B) | organ. |
| | C) | computer. |
| | D) | synthesizer. |
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26 | |
The twentieth-century orchestra is generally __________ than in the Romantic period. |
| | A) | smaller |
| | B) | larger |
| | C) | more emotional |
| | D) | none of the above |
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27 | |
In the twentieth century, there has been a strong interest in chamber music of many kinds. |
| | A) | TRUE |
| | B) | FALSE |
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28 | |
Some twentieth-century composers, inspired by jazz techniques, require instrumentalists to perform __________, expressive slides from one tone to another. |
| | A) | arpeggios |
| | B) | glissandos |
| | C) | staccatos |
| | D) | portatos |
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29 | |
__________ have created new sounds from traditional instruments by playing upon unusual parts, such as the strings of the piano or the bridge of the violin. |
| | A) | Impressionists |
| | B) | Expressionists |
| | C) | Experimentalists |
| | D) | Cubists |
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30 | |
The twentieth century has witnessed a renewed appreciation for __________ texture. |
| | A) | monophonic |
| | B) | polyphonic |
| | C) | homophonic |
| | D) | heterophonic |
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31 | |
The return to classical interests has led many composers to rely upon principles of __________ music. |
| | A) | absolute |
| | B) | program |
| | C) | experimental |
| | D) | synthesized |
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32 | |
When the form of a composition is dependent upon the circumstances of each performance it is said to be |
| | A) | independent |
| | B) | intelligible |
| | C) | indeterminate |
| | D) | indiscriminate |
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2003 McGraw-Hill Higher Education