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| 1 | |
A conductor is not used for chamber music because |
| | A) | A conductor is too expensive to hire. |
| | B) | Instrumentalists dislike conductors telling them what to do. |
| | C) | Wealthy patrons who commissioned chamber music enjoyed conducting the instrumentalists themselves. |
| | D) | The instrumentalists can communicate among themselves. |
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| 2 | |
Why is it important to indicate whether a note should be played with an up bow or a down bow? |
| | A) | Because others in the chamber group look at the down bows to signal the tempo of the music. |
| | B) | Because down bows tend to sound a bit heavier than up bows, which can affect the phrasing of the music. |
| | C) | Because the musicians sit close together when playing and could bump into each other if one musician is playing an up bow and another musician is playing a down bow. |
| | D) | Because it looks better to an audience if all of the bows move in unison. |
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| 3 | |
What was the name of the wealthy family that employed Haydn for 30 years? |
| | A) | Brandenburg. |
| | B) | Esterhazy. |
| | C) | Morzin. |
| | D) | Nikolaus. |
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| 4 | |
Which of the following statements about chamber music is not true? |
| | A) | Most chamber music is intended to be performed without rehearsal. |
| | B) | Chamber music is performed with a single player on each part. |
| | C) | Chamber music sometimes begins with a single musician playing solo. |
| | D) | Chamber music is intended to be performed in a small room (chamber). |
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| 5 | |
Why do chamber musicians tune onstage, when they could do it backstage? |
| | A) | Tuning is difficult in the low light backstage. |
| | B) | Tuning onstage creates a more informal atmosphere. |
| | C) | Tuning typically does not take place onstage. |
| | D) | The temperature of the stage may be different than the temperature backstage. That could affect instrument tuning. |
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| 6 | |
Who was Haydn's composition and theory teacher? |
| | A) | Mozart. |
| | B) | Beethoven. |
| | C) | Haydn was largely self-taught. |
| | D) | J.S. Bach. |
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| 7 | |
What is the correct order of terms to describe works of music composed for 2, 3, 4, 5, 6, 7, 8, and 9 instruments? |
| | A) | Duet, trio, quartet, quintet, septet, sextet, octet, nonet. |
| | B) | Duet, trio, quartet, sextet, septet, nonet, octet. |
| | C) | Duet, trio, quintet, quartet, sextet, septet, octet, nonet. |
| | D) | Duet, trio, quartet, quintet, sextet, septet, octet, nonet. |
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| 8 | |
The standard instrumentation for the string quartet is |
| | A) | Two violins, a viola, and a cello. |
| | B) | A violin, a viola, a cello, and a double bass. |
| | C) | Two violins and two cellos. |
| | D) | There is no standard instrumentation for a string quartet. |
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| 9 | |
What happens during the last movement of Haydn's Symphony no. 45? |
| | A) | The conductor stops conducting. |
| | B) | Musicians snuff out their candles and leave the stage. |
| | C) | The cello players put down their bows and finish the movement by playing pizzicato. |
| | D) | The percussionists strike anvils rhythmically. |
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| 10 | |
Which statement is false? |
| | A) | A piano quintet is written for violin, viola, cello, double bass, and piano. |
| | B) | A piano trio is written for violin, cello, and piano. |
| | C) | A piano quartet is written for violin, viola, cello, and piano. |
| | D) | A piano quintet is written for two violins, viola, cello, and piano. |
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| 11 | |
What is one way chamber music instrumentalists communicate with each other during a performance? |
| | A) | They tap their feet. |
| | B) | They give verbal directions to each other while performing. |
| | C) | They nod their heads. |
| | D) | Instrumentalists do not communicate with each other; there is a conductor. |
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| 12 | |
The order in which themes appear in the most common rondo form is |
| | A) | ABABA or ABABABA |
| | B) | ABAC or ABACAD |
| | C) | ABACA or ABACABA |
| | D) | ABCDA or ABCDCBA |
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| 13 | |
Most chamber music is composed for how many instrumentalists? |
| | A) | 3-9 |
| | B) | 3-10 |
| | C) | 2-15 |
| | D) | 2-9 |
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