Music App Test 3
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| show | C. Rousseau.
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| show | A. the salon.
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| Rousseau, writing scathingly about opera of the late Baroque era, demanded that opera | show 🗑
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| show | D. sharp, sympathetic depictions of contemporary life.
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| What was the public forum for orchestral music? | show 🗑
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| Because of the need for variety in music, Classical composers refined the rhythmic differences between musical themes, creating music that moves | show 🗑
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| show | D. gradations of volume.
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| show | C. piano
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| show | A. clearly defined, regular roles.
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| The complex, richly ornamented melodic lines of the Baroque period gave way to | show 🗑
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| Popular music and folk tunes were common sources for all of the following except | show 🗑
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| One aspect of the development of sensitivity to harmony was | show 🗑
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| The basic function of polyphony during the Classical period was to | show 🗑
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| show | C. repeated themes that become familiar to the listener.
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| show | D. ritornello form
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| show | D. the growth of public concerts.
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| show | B. four.
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| The opening movement of a Classical symphony was written in the most important form of the time, the _____ form. | show 🗑
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| show | A. contrast; slow tempo; quiet mood
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| The third movement of a Classical symphony usually gives the listener a moment of _____ due to its _____. | show 🗑
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| show | B. contrast; brilliant, quick tempos
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| Sonata form can be seen as a very large-scale A B A' form with each letter standing for the following terms: | show 🗑
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| show | C. sonata
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| Mozart wrote his greatest operas in what European city? | show 🗑
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| Whereas in the Baroque period composers cultivated variations on a bass pattern, composers in the Classical period preferred | show 🗑
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| show | B. contrasting moods with the same theme.
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| Haydn was a prolific composer. Included in the more than 100 symphonies he wrote are 12 symphonies written in the 1790s known as the _____ symphonies. | show 🗑
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| show | C. minuet
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| show | B. ternary form.
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| The critical feature of the rondo form is | show 🗑
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| show | B. private setting.
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| show | C. three
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| show | A. instrumental virtuosity.
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| show | C. double exposition.
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| In a concerto, the orchestra does not modulate during the orchestra exposition. Instead, the change of key is saved for the | show 🗑
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| Classical string quartets were intended primarily for | show 🗑
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| The interplay of a string quartet has been compared to | show 🗑
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| The Classical-period opera that promoted a more "natural," lifelike quality of comedy was called | show 🗑
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| The advantage of the ensemble, a number sung by two or more characters, is that | show 🗑
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| Mozart's opera Don Giovanni can be characterized as a | show 🗑
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| Beethoven was the model for the many great ______ composers who came after him in the nineteenth century. | show 🗑
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| Beethoven epitomizes the new view of the composer as no longer a servant-craftsman, but an artistic genius who | show 🗑
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| One of the teachers who contributed to Beethoven's roots in Classical musical expression was the composer | show 🗑
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| A political event that made an enormous impact in Beethoven's life and the lives of his contemporaries was the | show 🗑
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| show | D. maximizing all musical elements.
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| The genre that Beethoven is especially associated with is the | show 🗑
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| show | B. the Heiligenstadt Testament.
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| One element of Beethoven's writing that is immediately clear is his | show 🗑
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| show | A. motivic consistency.
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| show | B. minuet and trio
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| show | C. fragmentation.
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| In the first movement of Beethoven's Symphony No. 5, an unusual event in the recapitulation is the appearance of a | show 🗑
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| show | D. introspective and abstract
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| During the eighteenth century, literature had always been considered the most important of all the arts. However, after Beethoven, it was seen that music could be | show 🗑
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| show | C. emotional expression.
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| show | A. They worked to break down barriers of harmony, form, and genre.
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| As we might expect from a movement focused on transcending the ordinary, Romantic music and literature often showed a fascination with | show 🗑
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| "All art aspires to the condition of music" was a sentiment expressed by | show 🗑
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| "Domestic" musical genres such as _____ became well established on the concert hall stage during the nineteenth century. | show 🗑
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| Because the Romantic performer was interested in greater expressivity in the area of rhythm, the performer would use rubato, which literally means _____, in performance. | show 🗑
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| Romantic composers were committed to writing more and more expressive melodies. Accordingly, to make them sound more spontaneous and sensitive, melodies became | show 🗑
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| show | D. chromaticism
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| show | B. the varieties of sonorities resulting from blending new combinations of orchestral instruments.
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| show | A. program music.
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| show | C. songs and short piano pieces called miniatures.
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| As there was an increasing tendency to retain some of the same thematic material throughout a composition, a general principle of _____ was developed by Romantic composers. | show 🗑
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| The term thematic transformation refers to | show 🗑
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| show | C. partner
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| show | C. strophic.
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| show | A. through-composed work
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| show | A. It is a song cycle.
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| show | D. Schumann
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| The counterpart of the vocal miniature called lied is the short piano piece called the | show 🗑
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| "Eusebius" and "Florestan," two characters featured in Carnaval, were the alter egos of | show 🗑
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| show | B. Chopin.
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| show | C. sonata
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| Among the "grandiose" compositions by Berlioz are | show 🗑
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| The use of a single theme to represent the musician's beloved in the Fantastic Symphony by Berlioz was called the | show 🗑
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| show | C. Dies irae.
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| An important theme that affected nineteenth-century opera was | show 🗑
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| The serious operas by this composer established the style and form of Italian Romantic opera known as bel canto opera. | show 🗑
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| show | A. The full orchestra's role expanded to accompany passages of recitative with active music that urged the singers on.
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| show | B. Otello and Falstaff
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| show | D. Rigoletto.
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| show | B. Victor Hugo
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| The opera composer who complained that opera had degenerated into a concert in costume was | show 🗑
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| As Wagner developed his ideas and philosophy about opera, he grew to distinguish his new style of _____ from ordinary opera | show 🗑
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| Included in Wagner's anti-Semitic writings was a vicious attack on a fellow composer who had just died; that composer was | show 🗑
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| show | A. leitmotiv.
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| show | D. The Nibelung’s Ring.
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| show | D. Siegmund and Sieglinde meet and fall in love at first sight.
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| show | D. Giacomo Puccini.
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| How did opera audiences' tastes change in the period following Verdi and Wagner? | show 🗑
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| What is Cho-Cho-San singing about in the aria “Un bel dì”? | show 🗑
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| show | C. nostalgic Romanticism.
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| As in literature and art, there was a growing sense of realism in _____ at the end of the nineteenth century. | show 🗑
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| The composer who was instrumental in developing the symphonic tone poem and who inspired other composers to use this new genre was | show 🗑
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| Tchaikovsky's way of musically following the Shakespearean play Romeo and Juliet was to | show 🗑
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| For thirteen years, _____ subsidized Tchaikovsky with commissions and an annuity. | show 🗑
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| One legacy of Romanticism was the struggle for national independence, which was reflected in an effort to | show 🗑
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| Which is true of Musorgsky's compositions? | show 🗑
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| The Romantic composer whose literal move to Vienna coincided with his musical return to the Classical forms and genres of Vienna was | show 🗑
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| It was thought that Brahms waited until he was forty-three years old to write or publish a symphony because he worried about being compared with | show 🗑
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| show | C. exaggeration; distortion
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| Gustav Mahler wrote fewer compositions than any other important composer due, in part, to the fact that he | show 🗑
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| The third movement of Mahler's Symphony No. 1 is a(n) | show 🗑
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| The first group of modernists to capture the attention of the artistic world emerged during the period from | show 🗑
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| show | C. the psychological theories of Freud
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| Modernists questioned basic assumptions about | show 🗑
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| show | D. serialism
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| show | D. Wagner
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| show | C. painters.
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| show | A. leitmotivs.
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| Two European centers of art, which were also centers of avant-garde music, were | show 🗑
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| show | B. pentatonic scale.
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| show | D. whole-tone scale.
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| show | A. Stravinsky.
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| Which composer spoke of “The Emancipation of Dissonance,” meaning freedom from the need to resolve to a consonant cord? | show 🗑
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| show | B. fragmentary.
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| show | C. hearing the Indonesian gamelan at the World's Fair in Paris.
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| show | A. folk tunes.
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| The first performance of The Rite of Spring | show 🗑
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| show | C. Schoenberg the serialist.
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| show | B. expressionism.
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| The leading expressionist composer was | show 🗑
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| The soprano in Pierrot lunaire performs in a style that is in between song and speech, an invention of Schoenberg's called | show 🗑
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| Schoenberg and his pupils Webern and _____ are often referred to as the Second Viennese School. | show 🗑
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| The opera Wozzeck is based on | show 🗑
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| It is unusual that Charles Ives emerged as a major modernist composer during a musically conservative time in America, and more so because Ives | show 🗑
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| Instead of making his living as a composer, Ives had a job | show 🗑
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| The first important African American composer in the concert music tradition was | show 🗑
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| Maurice Ravel's compositional style can be considered to be | show 🗑
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| Because of his deep commitment to folk music, which composer is said to have been more successful at integrating folk music into the classical music literature than any other composer? | show 🗑
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| Not only a fine pianist and composer, Bartók was was also a | show 🗑
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| show | C. Mikrokosmos
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| Because of the rise and spread of Hitler's regime, composers such as _____ and _____ fled Europe and came to the United States. | show 🗑
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| The next leading American composer in the generation after Charles Ives was | show 🗑
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| Copland's set of twenty Variations for Piano (1930) reflects the chief modernist influence on his work, namely | show 🗑
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| Like many writers, artists, and other composers of the 1930s, Copland was attracted to a leftist philosophy, which insisted that art should | show 🗑
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| In order to match musical themes to situations on the movie screen, film composers took their cue from the music of | show 🗑
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| Which Russian composer suffered ideological muzzling by the Communist Party? | show 🗑
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| show | C. modernist; Neoclassicism.
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| Inspired by Schoenberg's serialism, a tendency of some composers in the second phase of modernism after World War II was | show 🗑
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| show | B. to use new sound materials.
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| show | D. musique concrète.
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| show | A. chance music.
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| show | B. new sonorities.
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| What study did John Cage engage in that led him to a fresh, new attitude toward music, time, and life experience? | show 🗑
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| show | C. minimalism.
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| show | A. gamelan orchestras of Indonesia.
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| show | A. Sylvia Plath.
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| show | C. minimalism.
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| show | B. Minimalism
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| show | C. eclecticism.
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| John Adams's El Niño is | show 🗑
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| The text of Adams's El Niño is based mainly on | show 🗑
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| show | C. Bay Psalm Book
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| The composer and pianist Amy Beach contributed to many genres except the | show 🗑
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| show | B. Dvořák
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| Which of the following is not a feature of jazz? | show 🗑
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| show | A. the blues
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| Because of the high quality of playing by Louis Armstrong and his colleagues, what became a regular feature in early jazz? | show 🗑
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| show | D. orchestration based on the contrast between brass and "reed" groups.
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| Which is not an element of the bebop style developed in the small clubs of Harlem? | show 🗑
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| Toward the end of the big-band era, there was a need by discontented jazz musicians to return to | show 🗑
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| In 1924, Gershwin’s _____, billed as “An Experiment in Modern Music,” was one of many attempts to bridge the canyon between vernacular and cultivated music. | show 🗑
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| _______ were so called to distinguish them from their European counterparts, operettas. | show 🗑
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| The first rock’n’roll style to emerge after World War II was called | show 🗑
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| show | B. country music with rhythm and blues.
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