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| 1 | |
The French Revolution began in |
| | A) | 1759. |
| | B) | 1769. |
| | C) | 1779. |
| | D) | 1789. |
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| 2 | |
Initially, the goals of the French Revolution included all of the following except |
| | A) | respect for the rights of the individual. |
| | B) | political and religious freedom. |
| | C) | a powerful monarch to rule the country by divine right. |
| | D) | democratic reforms. |
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| 3 | |
Napoleon Bonaparte was the political and military leader who eventually achieved the goals and reforms of the Enlightenment. |
| | A) | True |
| | B) | False |
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| 4 | |
Napoleon was defeated in |
| | A) | 1789. |
| | B) | 1795. |
| | C) | 1805. |
| | D) | 1815. |
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| 5 | |
The French intellectual, called the "father of Romanticism," who turned from a rational to an emotional approach to life and art was |
| | A) | Eugene Delacroix. |
| | B) | Jean-Jacques Rousseau. |
| | C) | Johann Wolfgang von Goethe. |
| | D) | Napoleon Bonaparte. |
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| 6 | |
Around the turn of the nineteenth century, painters turned from classical subjects and styles to a subjective and highly emotional artistic expression. |
| | A) | True |
| | B) | False |
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| 7 | |
The artist who was called the Great Romantic but considered himself a classicist was Eugene Delacroix. |
| | A) | True |
| | B) | False |
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| 8 | |
All of the following were TRUE regarding the Romantic period around the turn of the nineteenth century except |
| | A) | even as music performance moved from the private chamber to the public concert hall, the quality and quantity of music remained unchanged. |
| | B) | the range of volume increased significantly as composers called for the very softest and very loudest effects. |
| | C) | "monster," grandiose performances were greatly appreciated. |
| | D) | oratorios were sometimes given festival performances with over five hundred people participating. |
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| 9 | |
The orchestra used in the first performance of Haydn's Creation in 1798 had _____ pieces. |
| | A) | 20 |
| | B) | 50 |
| | C) | 180 |
| | D) | 500 |
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| 10 | |
Because Beethoven's piano music was lighter and more refined than that of Mozart, the Viennese piano was redesigned to be quieter in the early nineteenth century. |
| | A) | True |
| | B) | False |
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| 11 | |
Between 1800 and 1830, metal braces were added to the piano to increase the amount of tension the strings could bear, and a cast-iron frame was added, making the piano essentially like our modern instrument. |
| | A) | True |
| | B) | False |
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| 12 | |
During the early nineteenth century, the harp was improved, acquiring "double __________," that allowed it to play flat as well as sharp notes. |
| | A) | resonators |
| | B) | pedals |
| | C) | action |
| | D) | strings |
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| 13 | |
In the transition from the Classical to the Romantic periods, the role and number of wind instruments was greatly reduced to make room for the expanding brass section. |
| | A) | True |
| | B) | False |
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| 14 | |
The effort to increase the capacity of the various brass instruments to produce rapid changes in pitch led to the addition of __________, which greatly enhanced their melodic capabilities. |
| | A) | valves and pistons |
| | B) | bells and crooks |
| | C) | metal composites |
| | D) | mouthpieces |
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| 15 | |
The __________ was invented in 1816, enabling composers to indicate exactly the tempo they desired for any composition. |
| | A) | fortepiano |
| | B) | wristwatch |
| | C) | valve |
| | D) | metronome |
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| 16 | |
__________ was one of the first major composers to use metronome markings. |
| | A) | Franz Schubert |
| | B) | Frederic Chopin |
| | C) | Robert Schumann |
| | D) | Ludwig van Beethoven |
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| 17 | |
Beethoven and his younger contemporary, Schubert, inherited all of the following musical traditions except |
| | A) | solo and orchestral forms that had been developed by Haydn and further explored by Mozart and could now be carried to the limits of expression. |
| | B) | a variety of instruments to provide the range of colors Romantics desired in their orchestras. |
| | C) | less precise notation than was used previously. |
| | D) | the opportunity to indicate exactly the manner in which they wanted their music performed. |
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| 18 | |
Like Mozart before him, Beethoven was a talented prodigy who received a careful and thorough musical education. |
| | A) | True |
| | B) | False |
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| 19 | |
Beethoven developed a close relationship with Haydn because their personalities were so closely matched. |
| | A) | True |
| | B) | False |
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| 20 | |
__________, who had the reputation of being the best pianist in Vienna, was afflicted in his late twenties with an ear disease that eventually led to total deafness. |
| | A) | Franz Schubert |
| | B) | Frederic Chopin |
| | C) | Robert Schumann |
| | D) | Ludwig van Beethoven |
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| 21 | |
Although Beethoven mastered the forms of the Classical style, he also altered them by |
| | A) | disguising the dividing points between large sections. |
| | B) | extending the length of the development section in sonata-allegro movements. |
| | C) | expanding the length and role of the coda to that of a second development. |
| | D) | all of these. |
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| 22 | |
For the third movement of his symphonies, Beethoven often replaced the traditional minuet and trio with the lighter, faster __________, altering the tempo and mood of the movement while preserving the three-part design. |
| | A) | da capo aria |
| | B) | sonata-allegro |
| | C) | scherzo and trio |
| | D) | sonata-rondo |
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| 23 | |
Beethoven made frequent use of the sonata-allegro design, and he always kept its traditional proportions. |
| | A) | True |
| | B) | False |
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| 24 | |
Beethoven liked to combine forms: the __________ retains the key relationship of the sonata-allegro but alternates themes in the fashion of a rondo. |
| | A) | da capo aria |
| | B) | sonata-allegro |
| | C) | scherzo and trio |
| | D) | sonata-rondo |
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| 25 | |
All of the following are TRUE of Beethoven's music except |
| | A) | his music reflects the conflicts of his personality and experience. |
| | B) | his music shows a lack of sudden mood changes, to the point of being static. |
| | C) | his robust humor is apparent in his music. |
| | D) | his intense suffering is expressed in his music. |
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| 26 | |
It is customary to divide Beethoven's work into _____ periods. |
| | A) | two |
| | B) | three |
| | C) | four |
| | D) | five |
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| 27 | |
Beethoven's Ninth Symphony has a choral fourth movement based upon Schiller's "Ode to Joy," that continues to thrill audiences today. |
| | A) | True |
| | B) | False |
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| 28 | |
__________, a transitional figure who composed in both the Classical and Romantic styles, was the only "Viennese" composer who was actually from Vienna. |
| | A) | Franz Schubert |
| | B) | Frederic Chopin |
| | C) | Robert Schumann |
| | D) | Ludwig van Beethoven |
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| 29 | |
Schubert absorbed the Classical appreciation of __________, and his chamber pieces are beautifully organized according to Classical principles. |
| | A) | form |
| | B) | melody |
| | C) | rhythm |
| | D) | texture |
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| 30 | |
When Schubert died in 1828, he was just 31 years old and not widely known as a composer. |
| | A) | True |
| | B) | False |
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| 31 | |
The term universally applied to German art songs is |
| | A) | Leader. |
| | B) | Lieder. |
| | C) | Gesäenge. |
| | D) | Kunstwerke. |
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| 32 | |
Some of Schubert's most effective songs are included in song sets or song __________, which had texts by the same poet. |
| | A) | arias |
| | B) | lieder |
| | C) | cycles |
| | D) | groups |
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| 33 | |
An outstanding trait of Beethoven's Ninth Symphony is the use of the |
| | A) | rhythmic drive. |
| | B) | overall length. |
| | C) | chorus and orchestra. |
| | D) | harmonic scheme. |
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| 34 | |
In the "Erlkönig" Schubert uses the piano to suggest |
| | A) | the father's calm authority. |
| | B) | the child's fear. |
| | C) | the Elf-king's charm. |
| | D) | the galloping horse. |
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