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Music
| Question | Answer |
|---|---|
| The chief composers associated with the early phase of modernism-- Debussy, Stravinsky,and Schoenberg-- were at the forefront of modernism in music, the __________ | avant-garde |
| What is a way in which Stravinsky, early in his career, departed from the Romantic style? | He used mechanistic rhythms (cold, without passion) as opposed to rubato |
| Which composer was sometimes called an impressionist and sometimes a symbolist? | Stravinsky |
| All of the following characterize a modernist approach to melody except: | the use of long, sweeping, lyrical melodies |
| Arnold Schoenberg's reference to "the emancipation of dissonance" meant emancipation from the need to: | resolve to consonant chords |
| Atonal music is music in which no _________ can be heard | tonal center |
| The staccato chords, repeated several times at the beginning of the fourth movement of Shostakovich'd String Quartet No. 8, are said by some to represent: | The KGB knocking at the doors of artists and intellectuals in the middle of the night |
| The Romantic movement in literature first arose in: | England and Germany |
| Who provided the Romantics with the ideal of the individual discovering his potential apart from the restrictions of civilization and was considered the ideological father of The French Revolution? | Jean-Jaques Rousseau |
| Which describes the emotional goal of music in the nineteenth century? | A search for freedom of individual emotional expression |
| Which is true of the Romantic composers such as Beethoven, Liszt, and Verdi? | As rebels against the social order, they associated themselves with revolutionary and libertarian politics |
| Increasingly, the focal point for the performance of Romantic music was: | The concert hall, including chamber music and Lieder recitals were performed in concert halls |
| Robert Schumann started a music magazine to defend the music of the Romantics, symbolized by ______ against those who were indifferent or willing to accept the musically predictable. This latter group was symbolized by __________ | The biblical shepherd David; The Biblical Philistines |
| The musical term applied to flexibility in rhythm is: | rubato |
| Which statement is false? | Romantic harmonies were clearer and more diatonic, and they established a stronger sense of tonality than in earlier music periods |
| What is chromaticism? | using all twelve notes of the scale liberally, though not necessarily departing from the underlying tonal context |
| Romantic treatment of tone color (timbre) included: | combining and blending different instrumental tone colors in innovative ways |
| The first motive of Beethoven's SYmphony No. 5 in C Minor is determined by a repeated: | motive |
| What do you hear in the recapitulation of the first movement of Beethoven's Symphony No. 5 in C Minor that is unusual for that form? | an oboe cadenze |
| A surprise in the fourth movement of Symphony No. 5 in C Minor is: | the appearance of the second theme of the scherzo movement before the recapitulation |
| From what condition did Beethoven suffer? | deafness |
| Which best describes the early-nineteenth-century concept of the artist, as exemplified by Beethoven? | an inspired soul who suffers to deliver art to humanity |
| Which genre is Beethoven most closely associated? | symphony |
| Which musical characteristic of Beethoven's symphonies seems far from the Classical style of Mozart and Haydn? | rhythmic drive |
| The scherzo, a fast, triple-meter movement, evolved from the ______ and means ________ | minuet; "joke" |
| Music scholars divide Beethoven's music into ______ distinct style periods, these periods ________ | three; progressing from Classical, heroic, to introspective |
| In his last style period, Beethoven composed mostly: | symphonies and concertos |
| The form of "Erlkonig" is in ______ form. Its intro brings _______ to mind, and the singer portrays three characters: | through-composed; the pounding of a horse's hooves, a father, a son, and a malevolent elf |
| Which is true of the ending of "Im wunderschonen Monat Mai"? | The lack of harmonic resolution gives the impression of uncertainty and endless longing |
| Who is considered to be the earliest master of the lied? | Schubert |
| A concert overture is ______, an example of which is _________: | an overture not connected to any following music; Mendelssohn's Overture to A Midsummer Night's Dream |
| A program symphony is: | A Romantic symphony that is based on a program or narrative |
| Which composer was one of the first composers in the West to be admired for his ability as an orchestrator? | Berlioz |
| Chopin's Nocturne in F-sharp is a _______ and uses a technique typical of Chopin, which is __________: | character piece; a decorated melodic line with moments of rubato |
| Which statement about character pieces is false? | character pieces were always connected to novels and literature |
| "La donne e mobile" from Verdi's Rigoletto is a(n) _________ sung by __________: | aria; the duke |
| At the end of "Un bel di" from _________, the orchestra: | Puccini's Madame Butterfly; takes up the intensified melody to end the aria, showing its role in expressing the arias drama |
| In Verdi's operas the orchestra is often in fuller force in _______ and of a somewhat reduced, albeit expressive, presence in __________: | recitatives; arias |
| A style of opera developed by early Italian Romantic composers -- most notably, Vincenzo Bellini, Gaetano Donizetti, and Gioacchino Rossini -- was called: | bel canto |
| Unlike Romantic Italian opera, German Romantic opera: | favored supernatural subject matter |
| What are three important elements of Wagner's operatic style? | The concept of Gesamtkunstwerk, the use of the Leitmotiv, and the predominance of the orchestra in conveying drama |
| Leitmotivs are developed by means of | thematic transformations |
| What important role does the orchestra generally play in Wagner's music dramas? | By carrying the leitmotivs, it conveys the psychological depth of the characters and their feelings |
| Late Romantic operas labeled verismo expressed: | more realistic tendencies, using contemporary middle- or lower-class characters |
| What characterizes Debussy's treatment of melody? | fragmented themes and motives based on "exotic" scales |
| The rhythms and tempo of "The Game of Abduction" in Igor Stravinsky's, The Rite of Spring, seems to create a mood that is: | violent, surging, and frantic |
| Arnold Schoenberg's 'Pierrot lunaire,' falls into which genre: __________. Its harmonic language is ___________, and it makes use of vocal technique known as _________: | song cycle; atonal; Sprechstimme |
| Which is true of Charles Ives's "The Rockstrewn Hills Join in the People's Outdoor Meeting" from the Second Orchestral Set? | themes are generally fragmented |
| The first phase of avant-garde music lasted from ________ and emerged in _________. | 1890 to 1914 (WWI); Paris and Vienna |
| One of the devices used by Stravinsky in The Rite of Spring is: | ostinato |
| A repeating figure that serves to unify worlds by composers such as Stravinsky and Debussy (and recalls a significant contribution to Wagner) is called a(n): | Leitmotiv |
| Arnold Schoenberg invented a method that guarantees that no one pitch in the chromatic scale is more important than others. This method is called: | the twelve-tone system (serialism) |
Created by:
sjones94