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German late baroque composer who worked in both sacred and secular positions and played as an organist and violinist
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True or false: Bach was deeply religious, and this permeated his work.
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Music Test 2
| Question | Answer |
|---|---|
| German late baroque composer who worked in both sacred and secular positions and played as an organist and violinist | Johann Sebastian Bach |
| True or false: Bach was deeply religious, and this permeated his work. | True |
| Bach had a very large family. How many times was he married and how many children did he have? | Married twice, had 20 children |
| Where is the most famous place that Bach worked, and what did he do there? | St. Thomas Church. He played the organ, composed a cantata, and led the boys' church choir. He wrote a cantata each week for several years. |
| ______ wrote a prelude for every key on the chromatic scale, twice. | Bach |
| A polyphonic composition based on one main theme, or subject, written for groups of voices/instruments | Fugue |
| Main theme of a fugue | Subject |
| How is a subject normally presented in a fugue? | Through imitation - each voice enters after a previous voice has finished presenting the subject. |
| Transitional section in a fugue between presentations of the subject, which offers either new material or fragments of the subject or countersubject | Episode |
| Bach's "Little Fugue" in G minor is based on a single theme but contains a lot of variety. What are 4 ways in which he creates variety in the piece? | Subject appears 5 times; uses 4 voices; begins with long time values and then progresses to shorter ones; presents the subject in major keys twice instead of minor keys |
| German late baroque composer who studied music in Germany, opera in Italy, then created his own opera company and wrote many operas in London, becoming England's most important composer | Handel |
| Handel did not come from a musical family. What did his father want him to become? | A lawyer |
| Where is Handel buried? | Westminister Abbey |
| Handel wrote in every _____ form, but the bulk of his work was in ______ and ________. | Baroque; oratorios, operas |
| What did Handel favor as topics for his oratorios? | Old Testament stories |
| Handel's music has more changes in ________ than Bach's. | Texture |
| Give an example of how Handel's music makes extensive use of changing moods. | It shifts between major and minor keys |
| Handel's ______ were meant to showcase virtuoso singers' abilities. | Arias |
| Large-scale composition for chorus, vocal soloists, and orchestra, usually set to a narrative text, but without acting, scenery, or costumes; often based on biblical stories/sacred topics | Oratorio |
| An oratorio contains a succession of what five kinds of pieces? Which of these is especially important? | Chorus, aria, duet, recitative, orchestral interlude; chorus |
| Handel's "Messiah" is in ___ parts. What is each part about? | 3. Prophecy of Messiah's coming; sacrifice of Jesus/mankind's sinfulness; faith in the certainty of eternal life |
| The aria in Handel's "Ev'ry Valley Shall Be Exalted" from "Messiah" is based on what? | Isaiah 40:4, describing the creation of a desert highway on which God will lead his people back to their homeland. |
| What text is Handel's "Hallelujah" chorus from "Messiah" based on? | The Revelation of St. John |
| Give three ways Handel's treatment of text and musical ideas aids the listener in understanding the text in the "Hallelujah" chorus from "Messiah." | Sudden changes among monophonic, homophonic, and polyphonic textures; words and phrases repeated; voices and instruments perform in unison |
| Handel's "The Messiah" is _____ hours of music written over a period of ___ days. | 2 1/2; 24 |
| Handel's "The Messiah" played in two different places. What were they and how was it received in each place? | It premiered to wide acclaim in a theatre in Dublin, Ireland (meant as entertainment). It was poorly received in England until a performance whose proceeds benefitted an orphanage. |
| What is the overall topic of Handel's "The Messiah"? | Prophecies about Christ, His birth and death |
| Classical music and visual arts stress ________ and ________. | Balance, structure |
| The classical period can be separated into two separate periods. What/when were they, and which one do we most think of when we refer to the classical period? | Preclassical - 1730-1770; high classical - 1770-1820 (what we think of for classical) |
| Who were the three main composers of the classical period? | Joseph Haydn; Wolfgang Amadeus Mozart; Ludwig van Beethoven |
| What are the six main characteristics of the classical style? | Contrast of mood; flexibility of rhythm; mostly homophonic texture; tuneful, easy to sing melody; use of gradual dynamic changes; end of basso continuo |
| What does it mean that there was contrast of mood in classical style? | There was contrast both between and within movements of a piece. |
| What does it mean that there was flexibility of rhythm in classical style? | There were multiple rhythmic patterns in a piece. |
| True or false: Only homophonic texture was used in classical style. | False. Texture was mostly homophonic, but there were frequent shifts. |
| Classical melodies were tuneful, easy to sing, and _______ based. | Folk/popular |
| Classical music's use of gradual dynamic changes was related to the development of the…. | Piano |
| What led to the gradual end of the basso continuo during the classical period? | It occurred with the gradual end of the harpsichord as the piano took over. |
| What four things happened to the orchestra during the classical period? | Standardization of instrumentation (how many used); increase in size of orchestra; core of orchestra still strings; composers made use of various timbres available |
| True or false: Although the size of the orchestra grew during the classical period, it was still smaller than that of today. | True |
| Instruments in the classical period were not all treated as _____ like they were in the baroque period. | Equal |
| In classical music, ______ moved around between instruments. | Melodies |
| What five major changes in society occurred during the classical period? | Breakdown of patronage system; rise of public (consumer-driven) system; prospering middle class wanted aristocratic pleasures (theatre, literature, music); middle class kids received music lessons; serious compositions became flavored by folk/pop music |
| What two things caused the breakdown of the patronage system during the classical period? | Decline of aristocracy; rise of democracy |
| How did a rise of a public, consumer driven system during the classical period affect composers? | Haydn worked 30 years for an aristocratic family. Mozart began working at a court but then broke away and died broke in his early 30s. Beethoven was successful as an independent musician. |
| What was the effect of a prospering middle class during the classical period who wanted aristocratic pleasures like theatre, literature, and music? | Public, ticketed concerts became common. |
| What was the effect of many middle class children receiving music lessons during the classical period? | Caused the rise of the instrument manufacture industry; composers wrote playable music that would sell |
| Another term for the light, graceful style of music popular in the classical period is... | Style galant |
| While a late baroque movement may convey ____ emotion, a classical composition will ________ in mood. | One; fluctuate |
| While baroque pieces convey a sense of continuity with ______ rhythmic patterns repeated throughout, a classical composition has ________ rhythmic patterns. | Few; many |
| In contrast to the predominantly _________ texture of late baroque music, classical music has mainly _________ texture. | Homophonic |
| True or false: Classical melodies are easiest to remember. | True |
| Classical melodies sound balanced and symmetrical because they often are build of _____ phrases of the same length. | Two |
| Classical music often uses _______ dynamic change. | Gradual |
| In the classical period the ______ gradually replaced the harpsichord. | Piano |
| In the classical period, what was the accompaniment that gradually died out? | The basso continuo |
| In classical orchestra, what was the core of the instruments? | Strings |
| What percussion instrument was used during the classical period? | Two timpani |
| What classical orchestral instruments usually had the melody? | First violin |
| What family of instruments often had melodic solos during the classical period? | Strings |
| Which family of instruments brought power to the classical orchestra? | Brass |
| What was the order of tempos for a classical instrumental piece in four movements? | Fast, slow, dance-related, fast |
| Relative to musicians, which financial system began to break down during the classical period? | Patronage system |
| What sort of musical entertainment began to develop during the classical period? | Music at home |
| Which new class demanded musical instruction during the classical period? | Middle class |
| What kind of music began to be introduced into serious music during the classical period? | Folk/pop |
| What city was the music capital of the German-speaking world during the classical period? | Vienna |
| The classical symphony was an extended, ambitious work lasting _______ minutes. | 20-45 |
| Classical symphonies are multi-movement instrumental works. How many movements do they have? | 4 |
| Describe the first movement of a classical symphony. | Fast, frequently sonata form, most serious/intense movement |
| Describe the second movement of a classical symphony. | Slow, often in sonata or theme and variation form, counteracts first movement by being simpler and more relaxed |
| Describe the third movement of a classical symphony. | Dance-related, usually minuet and trio or scherzo form, always in triple meter |
| Describe the fourth movement of a classical symphony. | Fast, frequently sonata or rondo form, lightest movement |
| Melodies of classical symphonies are called ______. | Themes |
| True or false: Themes in one movement of a classical symphony are often found in other movements as well. | False. Themes in one movement rarely appear in another movement. |
| Form of a single movement, consisting of three main sections and a concluding coda | Sonata form |
| Sonata form consists of three main sections. What are they? | Exposition, development, recapitulation |
| A movement in sonata form may be preceded by a slow ________ that creates a strong feeling of expectancy. | Introduction |
| A transitional passage that leads to a contrasting section in sonata form is called a _______. | Bridge |
| The three main sections of a sonata form movement are often followed by a concluding section known as the…. | Coda |
| Short musical ideas developed within a composition are called fragments or…. | Motives |
| ________ is one of, if not the, most common classical forms, continuing up to and including the 20th century. | Sonata form |
| What is another name for sonata form? | Sonata-allegro form |
| First section of sonata form movement, which sets up strong conflict between tonic key and new key and between first theme (or group of themes) and new theme (or group of themes) | Exposition |
| Second section of sonata form movement, in which themes from the exposition are developed and the music moves through several different keys; themes are broken into fragments/motives | Development |
| Third section of sonata form movement, in which first theme, bridge, second theme, and concluding section are presented more or less as they were in the exposition, except all principal material is now in the tonic key | Recapitulation |
| In sonata form movement, a concluding section following the recapitulation and rounding off the movement by repeating themes or developing them further | Coda |
| Form in which a basic musical idea is repeated over and over and is changed each time in melody, rhythm, harmony, dynamics, or tone color. Used either an an independent piece or as one movement of a larger work | Theme and variations |
| Theme and variations is a ______-part form. Give a diagram of the form using letters. | Single. A A' A'' A''' |
| Compositional form - derived from a dance - in 3 parts: minuet (A), trio (B), minuet (A). Often used as the third movement of classical symphonies, string quartets, and other works, it is in triple meter and usually in a moderate tempo. | Minuet and trio |
| Compositional form featuring a main theme (A) that returns several times in alternation with other themes, such as A B A C A and A B A C A B A. Often the form of the last movement in classical symphonies, string quartets, and sonatas. | Rondo |
| Rondo form is quite similar to modern _____ music. | Pop |
| The ______ movement of Haydn's "Surprise Symphony" is in theme and variations form. | Second |
| The surprise in Haydn's "Surprise Symphony" consists of…. | An unexpected loud chord |
| The minuet is generally the ________ movement of a classical symphony. | Third |
| Describe the character of a minuet emotionally. | Stately and dignified |
| Because of its character, the rondo is most often the ______ movement of a classical symphony. | Final |
| Orchestral composition, usually in four movements, typically lasting between 20-45 minutes, exploiting the expanded range of tone color and dynamics of the orchestra | Symphony |
| Fragment of a theme, or short musical idea that is developed within a composition | Motive |
| Long, agonized letter from Beethoven to his brothers on his deafness | Heiligenstadt testament |
| In his 29th year, Beethoven felt the first symptoms of... | Deafness |
| In 1803 Beethoven composed the Third Symphony. It was named ______ after ______, but Beethoven crossed out the dedication when he learned that _______ had proclaimed himself emperor of the French and instead named it _____. | Bonaparte; Napoleon; Napoleon; Eroica |
| Beethoven carried ________ everywhere, jotting down musical ideas. | Music sketchbooks |
| Beethoven bridged the ______ and _______ eras. | Classical, romantic |
| In Beethoven's works, great tension and excitement are built up through __________ and ___________. | Syncopations, dissonances |
| Beethoven's range of ______ and _______ were greater than any music before him. | Pitch, dynamics |
| Beethoven _______ his forms. | Expanded |
| To unify contrasting movements, Beethoven made one movement ___________ into the next instead of…. | Lead directly; the traditional pause between movements |
| A __________ rhythm dominates the first movement of Beethoven's Fifth Symphony. | Short-short-long |
| In Beethoven's Fifth Symphony, the basic ______ of the first movement reappears in the _______ and _______ movements. | Four-note motive; third, fourth |
| The last two movements of Beethoven's Fifth Symphony are connected by... | A bridge passage |
| In the first movement of Beethoven's Fifth Symphony, the second theme begins with _______ and then a new ________ melody. | A horn call motive; legato |
| Beethoven generates tension in the development section of the first movement of his Fifth Symphony by breaking the ________ into smaller and smaller fragments. | Orchestra |
| The recapitulation of the first movement of Beethoven's Fifth Symphony brings a new expressive ________ at the end of the first theme. | Scherzo theme |
| In the Fifth Symphony, the coda is like a second ___________ section. | Development |
| German composer of late classical/early romantic period who was the son of a court musician forced to study music; studied with Haydn in Vienna, worked as a freelance composer there, and died there | Ludwig van Beethoven |
| True or false: Beethoven was a strong believer in the societal changes of the late classical/early romantic period, such as human and civil rights. | True |
| True or false: Beethoven wrote his final pieces while totally deaf. | True |
| Beethoven wrote in all ________ genres. | Classical |
| True or false: Beethoven sometimes worked for years on a single piece of music. | True |
| Beethoven added the _______ to the orchestra. | Trombone |
| What composer sometimes used ugly, dissonant, or strange sounds in his music? | Beethoven |
| Give an example of how Beethoven expanded and unified classical forms. | He expanded the development and coda sections of sonata form. |
| Like Haydn, Beethoven developed themes through... | Fragmenting them into motives |
| The Romantic period extended from ________. | 1820-1900 |
| The classical period extended from _______. | 1730-1820 |
| Composers of the romantic period continued to use ________ of the preceding classical era. | Musical forms |
| Like some classical composers, romantic composers aimed for _________ intensity and __________ melody. | Emotional; expressive, songlike |
| Romantic music emphasizes self-expression and __________ of style. | Individuality |
| What are the five most common subjects of romantic music? | Lovers facing obstacles; the fantastic/diabolical (as in Dream of a Witches' Sabbath); aspects of nature as in shepherds' pipes and distant thunder; the Middle Ages; Shakespeare's plays |
| Other important Romantic features involve the musical use of folk songs and dances. These two features, respectively, derive from the political movement called ________ and the trend called _________. | Nationalism; exoticism |
| Instrumental music associated with a story, poem, idea, or scene | Program music |
| The romantic orchestra can include close to ______ musicians. | 100 |
| What are the four features of the romantic piano? | A cast-iron frame made the piano's tone more "singing"; its range was extended; the piano could produce more sound; damper pedal allowed a sonorous blend of tones |
| ____________ uses chords containing tones not found in the prevailing major or minor scale. | Chromatic harmony |
| The slight holding back or pressing forward in tempo common in romantic music | (Tempo) rubato |
| Rather than ff and pp, romantic composers could use ____ and ____. | ffff, pppp |
| A technique used in romantic music in which a melody returns in a later movement or section of a work with its character transformed by changes in dynamics, orchestration, or rhythm | Thematic transformation |
| What does it mean that romantic music used individuality of style? | Composers had uniquely identifiable music - you could tell one from the other just by listening |
| Music related to a composer's own national identity | Nationalism |
| Music that intentionally implies a foreign culture; frequently used in operas with foreign settings | Exoticism |
| How can you enhance the understanding of program music? | Reading the program or viewing the associated work for a piece |
| In what two ways did romantic composers try to create unique sounds? | Blending of existing instruments; addition of new instruments |
| ________ is important to the emotional content of romantic music. | Tone color |
| In romantic music, changes in mood are frequently underlined by…. | (Sometimes subtle) shifts in tempo |
| How could romantic forms be both miniature and monumental? | Some composers went on for hours and their works required hundreds of performers. Others' music lasted only a few minutes and was written for a single instrument. |
| True or false: With all the new styles and forms of the romantic period, composers for the most part abandoned classical forms. | False. Composers continued to write symphonies, sonatas, string quartets, concertos, operas, and many other traditional works. |
| What two effects did the total demise of the patronage system in the romantic period have on composers and their public? | Composers regarded themselves as "free spirits." There was also a decline in aristocratic fortune caused by the Napoleonic Wars. |
| New _____ classes emerged in the romantic period, leading to new musical ______. | Urban; topics |
| In the romantic period, the public was entranced by virtuosity. What effect did this have for composers? | They gained celebrity status. |
| _______ music-making increased in the romantic period, leading to the _____ becoming a fixture in most homes. | Private; piano |
| In the _______ period, composers and their audience actually came from the same class. | Romantic |
| Few romantic composers were financially successful from composition alone. What else did they do to support themselves? | Performing, teaching lessons, and/or writing about music |
| The word _____ is commonly used for a romantic art song with German text. | Lied |
| Romantic form in which music is repeated for each stanza of a song | Strophic form |
| Romantic form in which new music is written for each stanza of a song | Through-composed form |
| The mood of an art song is often set by a brief ________, and then summed up at the end by a ________, both performed on the accompanying instrument, the _______. | Introduction; postlude; piano |
| ______ was the first great master of the romantic song. | Schubert |
| Erlkonig (Erlking) is a poem by…. | Goethe |
| Schubert's songs number more than…. | 600 |
| The Erlking, in Schubert's song of that name, is a romantic personification of…. | Death |
| The piano's relentless rhythm in Erlking unifies the song's episodes and suggests what idea? | The gallop of a horse |
| What is the form of The Erlking? | Through-composed |
| Who are the four characters in The Erlking? | Narrator, father, song, Erlking |
| Name three criteria that make Schubert's "Erlking" romantic in style. | Subject is supernatural; uses aspects of nature (horse galloping); uses thematic transformation |
| Romantic composition for solo voice and piano in which the accompaniment is an integral part of the song; linked to the vast amount of poetry of the period (poems were translated into music) | Art song |
| Romantic form in which the same music is used for all verses except for one | Modified strophic form |
| Group of songs unified in some manner, such as storyline or a musical idea | Song cycle |
| Early romantic composer born in Vienna who was regarded as a prodigy with his own unique style and wrote many songs, symphonies, string quartets, other chamber music, sonatas, masses, operas, and piano works | Franz Schubert |
| In the 1830s, _____ was the center of romanticism, an artistic capital of Europe, and home of what three famous authors? | Paris; Victor Hugo, Balzac, Heine |
| Chopin's personality was…. | Shy/reserved |
| Chopin's output of music was relatively _____ in size. | Small |
| Chopin's "Revolutionary" étude develops the pianist's left hand because... | It must play rapid passages throughout |
| Most of Chopin's pieces are exquisite ________ in size. | Miniatures |
| A study piece, designed to help a performer master specific technical difficulties | Etude |
| A slow, lyrical, intimate composition for piano, associated with nighttime | Nocturne |
| A dance in triple meter that originated as a stately processional for the Polish nobility | Polonaise |
| Chopin expressed his love of Poland by composing _______ and _______. | Polonaises, mazurkas |
| Early-to-mid Romantic composer born in Poland who moved to Paris at age 21, wrote almost exclusively for piano, and composed mostly for chamber concerts as opposed to concert halls | Frederic Chopin |
| Chopin had an affair with _______, a French aristocrat who wrote under the pen name __________. | Aurore Dudevant; George Sand |
| True or false: Chopin wrote a lot of program music. | False. It wasn't program music, but it still evoked an image in the way program music did. |
| _______ was known as the "poet of the piano." | Chopin |
| Symphony (a composition for orchestra in several movements) related to a story, idea, or scene, in which each movement usually has a descriptive title; often found in romantic music | Program symphony |
| Music intended to be performed before and during a play, setting the mood for the drama | Incidental music |
| Program music found its most varied expression in the coloristic resources of the... | Romantic orchestra |
| Today's ______ may be regarded as examples of incidental music. | Movie scores |
| Nonprogram music is also known as ______ music. | Absolute |
| In order to support his family, Berlioz urned to…. | Musical journalism |
| More than any earlier composer, Berlioz made ________ a basic part of his musical language. | Tone color |
| Berlioz's "Fantastic Symphony" is startling because of its _________ program, _______ orchestration, and vivid description of…. | Autobiographical; novel; the weird and diabolical |
| In real life the Beloved of Berlioz's "Fantastic Symphony" was…. | Harriet Smithson |
| The fourth movement of Berlioz's "Fantastic Symphony" depicts... | A march to death |
| Berlioz's "Fantastic Symphony" is unified by the recurrence of a theme known as the…. | Idee fixe |
| In Berlioz's "Fantastic Symphony," what specifically does the return of the idee fixe represent in the fifth movement? | The theme becomes a grotesque dance tune, representing the beloved being found to be a witch. |
| The sacred chant melody quoted in the last movement of Berlioz's "Fantastic Symphony" is the…. | Dies irae (Day of wrath) |
| The third important melody in the fifth movement of Berlioz's "Fantastic Symphony" is called the…. | Witches' dance |
| At the climax of the fifth movement of Berlioz's "Fantastic Symphony," which two melodies are played against each other? | The witches' dance and the Dies irae |
| List a few of the playing techniques Berlioz incorporated into the fifth movement of the "Fantastic Symphony" for musical effects. Describe how those effects help to create a sense of the macabre and strangeness for the listener. | The larghetto (intro) evokes groans and shrieks of laughter with tremolos in high muted strings and low cellos/basses. The idee fixe becomes a grotesque dance tune played by a high-pitched clarinet with many trills. |
| Some critics accused Berlioz of heresy because of his use and treatment of the Dies irae in his "Fantastic Symphony." Why did he choose to include it? | It makes the piece very eerie and morbid. He uses it to represent to eternal damnation of the main character. |
| Hungarian-born Romantic composer who was a virtuoso pianist; was a touring concert pianist and "pop star" but eventually retired and took a court position, giving him more time to compose | Franz Liszt |
| Liszt's later music foreshadowed the style of the _________ period. | 20th century |
| How was Liszt's music considered extremely controversial? | Some called it "bombastic" and "vulgar," while others argued it was the ideal music. |
| ______ was a romantic composer who broke away from strict classical forms. | Liszt |
| Composer who created the symphonic poem/tone poem | Liszt |
| Central note, scale, and chord within a piece, in relationship to which all other tones in the composition are heard | Key/tonality |
| Central tone of a melody or larger piece of music | Tonic/keynote/home key |
| Series of pitches arranged in order from low to high or high to low | Scale |
| Series of seven different tones within an octave, with the eighth tone repeating the first tone an octave higher, consisting of a specific pattern of whole and half steps; the whole step between the second and third tones is characteristic | Major scale |
| Series of seven tones within an octave, with an eight tone repeating the first tone an octave higher, composed of a specific pattern of whole and half steps; the half step between the second and third tones is characteristic | Minor scale |
| Smallest interval traditionally used in western music | Half step |
| Interval twice as large as the half step | Whole step |
| Shift from one key to another within the same piece | Modulation |
| Who is the composer of the Little Fugue in G Minor? | Bach |
| Who is the composer of Messiah, with excerpts including "Ev'ry Valley Shall Be Exalted" and "Hallelujah"? | Handel |
| Who is the composer of Symphony No. 94 in G Major (the "Surprise" symphony)? | Haydn |
| Who is the composer of Symphony No. 40 in G Minor? | Mozart |
| Who is the composer of String Quartet in C Minor? | Beethoven |
| Who is the composer of Symphony No. 5 in C Minor? | Beethoven |
| Who is the composer of Erlkonig? | Schubert |
| Who is the composer of Nocturne in E Flat Major, Op. 9, No. 2? | Chopin |
| Who is the composer of Etude in C Minor ("Revolutionary" etude)? | Chopin |
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