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1 | |
During the twentieth century, the most influential development was __________ twelve-tone technique, which many composers have adapted to their own personal styles of composition. |
| | A) | Alban Berg's |
| | B) | Anton Webern's |
| | C) | Edgard Varèse's |
| | D) | Arnold Schoenberg's |
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2 | |
The twelve-tone technique was actually a logical extension of the extreme __________ used by Wagner in Tristan und Isolde. |
| | A) | symbolism |
| | B) | serialism |
| | C) | pointillism |
| | D) | chromaticism |
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3 | |
Schoenberg devised the twelve-tone technique as a means of replacing tonal relationships with an even more highly structured system of organization. |
| | A) | TRUE |
| | B) | FALSE |
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4 | |
In the twelve-tone method of composition, all twelve notes within an octave are |
| | A) | divided into smaller sets based on the major and minor scales. |
| | B) | randomly played without any repetition until all have been sounded. |
| | C) | arranged into a series, or row that forms the basis of the work. |
| | D) | all of the above. |
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5 | |
According to the twelve-tone technique, a twelve-tone row can undergo any of these techniques except |
| | A) | inversion. |
| | B) | retrograde. |
| | C) | transposition. |
| | D) | random sampling. |
| | E) | retrograde inversion. |
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6 | |
In his early work Pierrot Lunaire, Schoenberg broke the boundaries of tradition by employing unusual techniques such as |
| | A) | Sprechstimme. |
| | B) | extreme ranges of vocal and instrumental pitch. |
| | C) | the “emancipation” of dissonant sounds. |
| | D) | all of the above. |
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7 | |
After 1905, each of the following characteristics could be found in Schoenberg's music except |
| | A) | intensely concentrated melodic and rhythmic patterns. |
| | B) | pieces suited for relatively large ensembles. |
| | C) | fragmented melodies. |
| | D) | complex rhythms. |
| | E) | increasingly contrapuntal textures. |
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8 | |
For composers who organized various elements of composition into patterns called "rows" or "series," the term twelve-tone music no longer sufficed; this advanced technique was called |
| | A) | tonal symbolism. |
| | B) | modal symbolism. |
| | C) | tonal serialism. |
| | D) | modal serialism. |
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9 | |
The composer who transformed Schoenberg’s twelve-tone technique into total serialism was |
| | A) | Alban Berg. |
| | B) | Anton Webern. |
| | C) | Edgard Varèse. |
| | D) | Olivier Messiaen. |
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10 | |
All of the following applies to Anton Webern except |
| | A) | he was a student and close friend of Arnold Schoenberg. |
| | B) | his music was lean, concise, and delicate. |
| | C) | he felt that Schoenberg had gone too far away from traditional tonality. |
| | D) | he applied a classical love of order and logic to his music. |
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11 | |
Webern's distinct separation of sounds is reminiscent of the visual technique called |
| | A) | serialism. |
| | B) | primitivism. |
| | C) | pointillism. |
| | D) | expressionism. |
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12 | |
Although he mastered Schoenberg's twelve-tone technique, __________ illustrated his romantic inclinations in his writing; his work is more lyrical than either Schoenberg's or Webern's. |
| | A) | Alban Berg |
| | B) | Henry Cowell |
| | C) | Edgard Varèse |
| | D) | Milton Babbitt |
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13 | |
The revolutionaries who have radically altered not only the traditional methods of composing and presenting music, but also the very concept of what constitutes music as opposed to noise are called |
| | A) | Serialists. |
| | B) | Primitivists. |
| | C) | Impressionists. |
| | D) | Experimentalists. |
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14 | |
The Experimentalist composers are united by their |
| | A) | commitment to electronic music. |
| | B) | use of indeterminate form. |
| | C) | curiosity about and creativity toward sound and music. |
| | D) | none of the above. |
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15 | |
The center of Experimentalism was |
| | A) | Yugoslavia. |
| | B) | Great Britain. |
| | C) | the United States. |
| | D) | Czechoslovakia. |
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16 | |
An inventive nature, plus an unconventional upbringing, destined __________ to become an Experimentalist who made his living selling insurance. |
| | A) | John Cage |
| | B) | Alban Berg |
| | C) | Charles Ives |
| | D) | Henry Cowell |
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17 | |
Although Ives wrote challenging music, he enjoyed immediate acceptance from American audiences for most of his works. |
| | A) | TRUE |
| | B) | FALSE |
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18 | |
Charles Ives wrote provocative essays about important literary figures, including Ralph Waldo Emerson and Henry David Thoreau, and he portrayed some of them musically in his piano composition, the __________ Sonata. |
| | A) | Emerson |
| | B) | Thoreau |
| | C) | Concord |
| | D) | Hartford |
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19 | |
The following are all true of Ive's music except |
| | A) | his melodies are combined in dense layers. |
| | B) | his music produces mostly consonant sounds. |
| | C) | he exploited the irregularities of old American tunes. |
| | D) | he used unconventional harmonies. |
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20 | |
__________, born in California and reared in an atmosphere that precluded allegiance to musical orthodoxy, loved Oriental music and modal church music, country fiddle tunes, early American hymns, and Irish folk tunes. |
| | A) | John Cage |
| | B) | Alban Berg |
| | C) | Charles Ives |
| | D) | Henry Cowell |
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21 | |
In The Tides of Mananaun, Henry Cowell introduced ________, groups of randomly selected notes played with the flat of the hand or the arm. |
| | A) | music concrete |
| | B) | quartal harmony |
| | C) | quarter tones |
| | D) | none of the above |
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22 | |
__________ conducted far-reaching experiments that extended the range of timbres that may be produced by a grand piano. |
| | A) | Edgard Varèse |
| | B) | Alban Berg |
| | C) | Charles Ives |
| | D) | Henry Cowell |
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23 | |
Henry Cowell’s interest in timbre led him to |
| | A) | invent, with Leon Theremin, a device to play complex rhythms. |
| | B) | employ unusual techniques such as stoking the strings inside the piano. |
| | C) | apply Chinese string-playing techniques to Western instruments. |
| | D) | all of the above. |
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24 | |
__________ who was born in France but immigrated to America, considered a career in engineering before his fascination with sound led him to become a composer instead. |
| | A) | Alban Berg |
| | B) | Anton Webern |
| | C) | Edgard Varèse |
| | D) | Milton Babbitt |
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25 | |
Of all elements of music, __________ most appealed to Edgard Varèse, who was interested in the physics as well as the aesthetics of sound. |
| | A) | pitch |
| | B) | timbre |
| | C) | melody |
| | D) | rhythm |
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26 | |
Edgard Varèse scrupulously avoided reference to the major or minor scales, preferring a pitch "continuum" containing every gradation of pitch between a given interval to any scale at all. |
| | A) | TRUE |
| | B) | FALSE |
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27 | |
A definition of musique concrete is music |
| | A) | in which all sounds are considered valid. |
| | B) | for cement-factory workers in France. |
| | C) | that surpasses the definite and stable. |
| | D) | that is also known as "hard rock." |
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28 | |
An instrument that allows a composer to produce imitative, altered, or original sounds is called a(n) |
| | A) | theremin. |
| | B) | organizer. |
| | C) | synthesizer. |
| | D) | rhythmicon. |
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29 | |
Some composers combined the technological resources of the synthesizer and tape recorder with the mathematical logic of total serialism. The leader of this style of composition is the American composer |
| | A) | Karlheinz Stockhausen. |
| | B) | Henry Cowell. |
| | C) | Milton Babbitt. |
| | D) | Charles Ives. |
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30 | |
Milton Babbitt wrote |
| | A) | The Tides of Mananaun. |
| | B) | The Unanswered Question. |
| | C) | Variations for Orchestra. |
| | D) | Ensembles for Synthesizer. |
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31 | |
Because Babbitt's music was conceived and constructed in the same way as other music, it can be approached in the same way by the listener. |
| | A) | TRUE |
| | B) | FALSE |
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32 | |
Music that incorporates random choices by either the composer or the performers is called all of the following except, chance, or aleatoric music may be required to choose among many alternatives. |
| | A) | indeterminate music |
| | B) | chance music |
| | C) | aleatoric music |
| | D) | serial music |
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33 | |
The word aleatoric is derived from alea, the Latin word for |
| | A) | nice. |
| | B) | rice. |
| | C) | dice. |
| | D) | lice. |
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34 | |
John Cage wrote random music to be "played" by several radios. The title of this composition is |
| | A) | The Tides of Mananaun. |
| | B) | Sunday Afternoon Radio. |
| | C) | The Unanswered Question. |
| | D) | Imaginary Landscape no. 1. |
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35 | |
__________ studied composition with three important revolutionaries: Schoenberg, Varèse, and Cowell. |
| | A) | John Cage |
| | B) | Alban Berg |
| | C) | Charles Ives |
| | D) | Henry Cowell |
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36 | |
In the 1940s, John Cage devised an economical means of expanding the range of a piano's sound by inventing the __________ piano. |
| | A) | repaired |
| | B) | impaired |
| | C) | compared |
| | D) | prepared |
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37 | |
John Cage combines the tape recorder with a live vocalist in one of his best-known compositions, Aria and Fontana Mix. |
| | A) | TRUE |
| | B) | FALSE |
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38 | |
John Cage demonstrated the fact that absolute silence is an absurd concept in the composition 4'33", a piece written for four performers playing thirty-three different instruments. |
| | A) | TRUE |
| | B) | FALSE |
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39 | |
Jazz musicians such as Ornette Coleman and John Coltrane have also incorporated random music into their work. |
| | A) | TRUE |
| | B) | FALSE |
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40 | |
Like other innovative composers, __________ derived his "new" ideas from such influential composers as Messiaen, Stravinsky, Webern, and Schoenberg. |
| | A) | Lukas Foss |
| | B) | Elliott Carter |
| | C) | Pierre Boulez |
| | D) | Karlheinz Stockhausen |
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41 | |
__________ forms the basis for Pierre Boulez's approach to composition. |
| | A) | Symbolism |
| | B) | Serialism |
| | C) | Minimalism |
| | D) | Primitivism |
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42 | |
Rejecting the tone row as the basis for composition, Pierre Boulez prefers a(n) __________ (themeless) style, organized according to the ideals of total serialism. |
| | A) | thematic |
| | B) | athematic |
| | C) | monothematic |
| | D) | polythematic |
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43 | |
Although __________ was among the most revolutionary of composers, he derives many ideas from older traditions and earlier styles. |
| | A) | Lukas Foss |
| | B) | Pierre Boulez |
| | C) | Krzysztof Penderecki |
| | D) | Karlheinz Stockhausen |
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44 | |
One of Stockhausen's most famous scores, __________, is written for three orchestras and involves spatial relationships reminiscent of the Venetians' sixteenth-century polychoral style. |
| | A) | Gruppen |
| | B) | Music in Fifths |
| | C) | Holiday Overture |
| | D) | Gesange der Juenglinge |
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45 | |
With three sound generators, Stockhausen produced a combination of sounds called __________, so named because it represented a spectrum of sounds as white includes the spectrum of colors. |
| | A) | pink music |
| | B) | white music |
| | C) | white noise |
| | D) | black noise |
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46 | |
The first published electronic music score was Stockhausen's "Electronic Studies" of 1953-54. |
| | A) | TRUE |
| | B) | FALSE |
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47 | |
Stockhausen has been involved in all phases of electronic music, including musique concrete, but he avoids combinations of live and taped music. |
| | A) | TRUE |
| | B) | FALSE |
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48 | |
__________ combines traditional folk elements from his native Poland with various "mainstream" procedures and provocative avant-garde concepts. |
| | A) | Lukas Foss |
| | B) | Steve Reich |
| | C) | Krzysztof Pendereck |
| | D) | Karlheinz Stockhausen |
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49 | |
Penderecki's composition, Threnody for the Victims of Hiroshima, concerns itself with the Nazi persecution of Jews in Poland. |
| | A) | TRUE |
| | B) | FALSE |
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50 | |
The influence of Medieval and other early styles is apparent in much of Penderecki's music. |
| | A) | TRUE |
| | B) | FALSE |
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2003 McGraw-Hill Higher Education