Module 6: Music Quiz Paper
Week #6 - Quiz Total Grade: 12 (of possible 12 points)
Question 1 of 12 Score: 1 (of possible 1 point)
As the lied is mainly accompanied by the piano alone, the relationship of the pianist to the singer is one of being a(n) _____ in the total artistic effort.
A. partner
B. accompanist C. leader D. servant Answer Key: A
Question 2 of 12 Score: 1 (of possible 1 point)
When a song is composed with the same music for each stanza of the poem, it is called
A. through-composed.
B.
strophic.
C. ballade.
D. gapped chorale style. Answer Key: B
Question 3 of 12 Score: 1 (of possible 1 point)
Schubert's "Erlkönig" is an example of a
A. mazurka. B. nocturne.
C. strophic work. …show more content…
D. through-composed work. Answer Key: D
Question 4 of 12 Score: 1 (of possible 1 point)
Which is true of Schumann's Dichterliebe?
A.
The accompaniment is simple and spare.
B.
It is accompanied by piano and flute.
C.
It is about the macabre.
D. It is a song cycle. Answer Key: D
Question 5 of 12 Score: 1 (of possible 1 point)
Which composer founded the magazine Die Neue Zeitschrift für Musik("The New Music Journal") to advocate a higher level of music?
A.
Schubert
B. Schumann
C.
Mendelssohn
D.
Chopin
Answer Key: B
Question 6 of 12 Score: 1 (of possible 1 point)
The counterpart of the vocal miniature called lied is the short piano piece called the
A. fugue. B. prelude. C. character piece.
D. impromptu piece. Answer Key: C
Question 7 of 12 Score: 1 (of possible 1 point)
"Eusebius" and "Florestan," two characters featured in Carnaval, were the alter egos of
A.
Chopin.
B.
Schumann.
C.
Mendelssohn.
D.
Liszt.
Answer Key: B
Question 8 of 12 Score: 1 (of possible 1 point)
The composer whose primary musical compositions were for the piano was
A.
Schumann.
B.
Mendelssohn.
C.
Liszt.
D.
Chopin.
Answer Key: D
Question 9 of 12 Score: 1 (of possible 1 point)
The concert overture, a work that followed Classical models, used the _____ form.
A. da capo
B. sonata C. theme and variations
D. rondo
Answer Key: B
Question 10 of 12 Score: 1 (of possible 1 point)
Among the "grandiose" compositions by Berlioz are
A. lieder. B. string quartets.
C. program symphonies.
D. sonatas. Answer Key: C
Question 11 of 12 Score: 1 (of possible 1 point)
The use of a single theme to represent the musician's beloved in the Fantastic Symphony by Berlioz was called the
A. concept. B. idée fixe.
C. phrase. D. motive. Answer Key: B
Question 12 of 12 Score: 1 (of possible 1 point)
The Gregorian chant used by Berlioz in the fifth movement of the Fantastic Symphony is
A.
Qui tollis.
B.
Dies irae.
C.
Kyrie.
D. In paradisum. Answer Key: B
Week #5 - Quiz Total Grade: 13 (of possible 14 points)
Question 1 of 14 Score: 1 (of possible 1 point)
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
A. more important than literature.
B. serious yet comic in a pleasing way.
C. great entertainment.
D. taken as seriously as literature. Answer Key: D
Question 2 of 14 Score: 1 (of possible 1 point)
Although striving for an ideal state of being was at the heart of the Romantic movement, the highest artistic goal was
A. emotional expression.
B. intellectual rigor.
C. enlightened religious expression.
D. preservation of historical achievements. Answer Key: A
Question 3 of 14 Score: 1 (of possible 1 point)
Which is true of Romantic composers?
A.
They worked to break down barriers of harmony, form, and genre.
B. They worked to regulate forms and genres as much as possible.
C.
They appreciated rules as essential to their art.
D. They avoided doing anything that writers were doing in literature. Answer Key: A
Question 4 of 14 Score: 1 (of possible 1 point)
As we might expect from a movement focused on transcending the ordinary, Romantic music and literature often showed a fascination with
A. the importance of religious rules and rituals.
B. the supernatural and the macabre.
C. realistic daily life.
D. the contrast between system and calculation on one hand, pomp and extravagance on the other. Answer Key: B
Question 5 of 14 Score: 1 (of possible 1 point)
"All art aspires to the condition of music" was a sentiment expressed by
A. Richard Wagner.
B.
Arthur Schopenhauer.
C. J. M. W. Turner.
D.
Walter Pater. Answer Key: D
Question 6 of 14 Score: 1 (of possible 1 point)
"Domestic" musical genres such as _____ became well established on the concert hall stage during the nineteenth century.
A. string quartets
B. symphonies C. operas
D. concertos Answer Key: A
Question 7 of 14 Score: 0 (of possible 1 point)
Because the Romantic performer was interested in greater expressivity in the area of rhythm, the performer would use rubato, which literally means _____, in performance.
A. gradually increasing speed
B. robbed time
C. added time
D. slowing down Answer Key: B
Question 8 of 14 Score: 1 (of possible 1 point)
Romantic composers were committed to writing more and more expressive melodies. Accordingly, to make them sound more spontaneous and sensitive, melodies became
A. simpler in rhythm and phrase structure.
B. more complex in polyphony.
C. more irregular in rhythm and phrase structure.
D. more complex in form. Answer Key: C
Question 9 of 14 Score: 1 (of possible 1 point)
In order to pursue the Romantic ideal of expressivity, Romantic composers used _____ in both melodies and harmony.
A. terraced dynamics
B. chromaticism
C. irregular phrase lengths
D. irregular meters Answer Key: B
Question 10 of 14 Score: 1 (of possible 1 point)
Compared to the sharply defined sonorities of the Classical composer, the Romantic composer was interested in
A. combining the sound of the piano with the continuo section of the orchestra.
B. the varieties of sonorities concentrated in the upper register.
C. the varieties of sonorities resulting from blending new combinations of orchestral instruments.
D. the concentration of sonorities in the bass register. Answer Key: C
Question 11 of 14 Score: 1 (of possible 1 point)
Instrumental music with extramusical associations, such as a story or a poem or even a landscape, is called
A. program music.
B. theme music.
C. transcendent music.
D. absolute music. Answer Key: A
Question 12 of 14 Score: 1 (of possible 1 point)
One way for the Romantic composer to give the listener some means of following the music while still giving the impression of being free and spontaneous was to cultivate
A. fantasy pieces in sonata form.
B. rondo-like forms.
C. binary forms.
D.
songs and short piano pieces called miniatures. Answer Key: D
Question 13 of 14 Score: 1 (of possible 1 point)
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.
A. program music
B. thematic unity
C. thematic fugues
D. theme and variations form Answer Key: B
Question 14 of 14 Score: 1 (of possible 1 point)
The term thematic transformation refers to
A. writing instrumental music based on a literary source.
B. a variation-like procedure used in Romantic music.
C. irregular phrase lengths.
D. terraced dynamics. Answer Key: B Week #4 - Quiz Total Grade: 13 (of possible 13 points)
Question 1 of 13 Score: 1 (of possible 1 point)
Beethoven was the model for the many great ______ composers who came after him in the nineteenth century.
A.
Baroque
B.
Romantic
C.
Nationalist
D. Classical Answer Key: B
Question 2 of 13 Score: 1 (of possible 1 point)
Beethoven epitomizes the new view of the composer as no longer a servant-craftsman, but an artistic genius who
A. suffers and creates for humanity.
B. creates for the merchant class.
C. creates for the church fathers.
D. creates for the pleasure of it. Answer Key: A
Question 3 of 13 Score: 1 (of possible 1 point)
One of the teachers who contributed to Beethoven's roots in Classical musical expression was the composer
A. Franz Joseph Haydn.
B.
Wolfgang Amadeus Mozart.
C.
Antonio Vivaldi.
D. Johann Sebastian Bach. Answer Key: A
Question 4 of 13 Score: 1 (of possible 1 point)
A political event that made an enormous impact in Beethoven's life and the lives of his contemporaries was the
A. American Revolutionary War.
B.
Spanish-American War.
C.
French Revolution.
D.
Brussels Rebellion. Answer Key: C
Question 5 of 13 Score: 1 (of possible 1 point)
Beethoven achieved an intense mood of urgency and excitement by
A. changing meter frequently.
B. maximizing all musical elements.
C. using unpredictable modulations.
D. concentrating on resolving dissonances. Answer Key: B
Question 6 of 13 Score: 1 (of possible 1 point)
The genre that Beethoven is especially associated with is the
A. concerto.
B. symphony.
C. string quartet.
D. sonata. Answer Key: B
Question 7 of 13 Score: 1 (of possible 1 point)
When Beethoven suffered a crisis in 1802, he wrote a statement of his ideals and, partly, a not-so-subtle suicide note called
A.
Beethoven's Last Will and Testament.
B. the Eisenstadt Testament.
C. the Heiligenstadt Testament.
D. the Viennese Testament. Answer Key: C
Question 8 of 13 Score: 1 (of possible 1 point)
One element of Beethoven's writing that is immediately clear is his
A. rhythmic drive.
B. operatic style.
C. use of isorhythms.
D. atmospheric treatment of string instruments. Answer Key: A
Question 9 of 13 Score: 1 (of possible 1 point)
One of the style features of Beethoven's writing that dominates the first movement of his Symphony No. 5 is
A. motivic consistency.
B. harmonic drive.
C. rhythmic inconsistency.
D. psychological movement. Answer Key: A
Question 10 of 13 Score: 1 (of possible 1 point)
The scherzo movement of Beethoven's Symphony No. 5 is a replacement for the traditional _____ of the Classical symphony.
A. minuet and trio
B. rondo
C. sonata movement
D. theme and variations movement Answer Key: A
Question 11 of 13 Score: 1 (of possible 1 point)
In the development section of the first movement of Symphony No. 5, Beethoven plays with our sense of themes through
A. sequences in 4 different key areas.
B. a slow, lyrical treatment.
C.
fragmentation.
D. a fugal exposition. Answer Key: C
Question 12 of 13 Score: 1 (of possible 1 point)
In the first movement of Beethoven's Symphony No. 5, an unusual event in the recapitulation is the appearance of a
A. slow oboe cadenza.
B. moderate flute solo.
C. fast arpeggio section in the brass.
D. quick exposition repeat. Answer Key: A
Question 13 of 13 Score: 1 (of possible 1 point)
Beethoven's third period can be characterized as being more _____ in genres such as the piano sonata and string quartet.
A. classical and lively
B. simple and clear
C. introspective and abstract
D. heroic and serene Answer Key: C Week #3 - Quiz Total Grade: 14 (of possible 14 points)
Question 1 of 14 Score: 1 (of possible 1 point)
In keeping with an age that valued intelligence, wit, and sensitivity, the eighteenth century was a time of social inventions, one of which was
A.
the library concert.
B. the salon.
C. the chamber concert.
D. the opera lecture. Answer Key: B
Question 2 of 14 Score: 1 (of possible 1 point)
One of the major figures of European philosophy who had a direct effect on music history was
A.
Voltaire.
B.
Jefferson.
C. Rousseau.
D.
Blake.
Answer Key: C
Question 3 of 14 Score: 1 (of possible 1 point)
The characteristics shared by both Classical opera and the novel were
A. sharp, sympathetic depictions of contemporary life.
B. larger-than-life situations.
C. depictions of ancient Greek life.
D.
exaggerated emotional outpourings. Answer Key: A
Question 4 of 14 Score: 1 (of possible 1 point)
What was the public forum for orchestral music?
A. the opera house
B. the court
C. the salon
D. the concert hall Answer Key: D
Question 5 of 14 Score: 1 (of possible 1 point)
Because of the need for variety in music, Classical composers refined the rhythmic differences between musical themes, creating music that moves
A. less predictably than Baroque music.
B. in an obvious manner.
C. in a consistent meter.
D. with a steady drive. Answer Key: A
Question 6 of 14 Score: 1 (of possible 1 point)
In contrast with Baroque treatment of dynamics, the Classical composer explored
A. the extreme ranges of dynamics.
B. steady-state dynamics.
C. terraced dynamics.
D. graduations of volume. Answer Key: D
Question 7 of 14 Score: 1 (of possible 1 point)
In the Classical orchestra, certain families of instruments were given
A. polyphonic roles.
B. interchangeable parts.
C. clearly defined, regular roles.
D. evenly distributed solos. Answer Key: C
Question 8 of 14 Score: 1 (of possible 1 point)
The prominence of the Classical symphony was due in part to
A. the predominant polyphonic texture enjoyed by audiences.
B. the growth of public concerts.
C. the dance forms that permeated each movement.
D. the inclusion of references to the court.
Answer Key: B
Question 9 of 14 Score: 1 (of possible 1 point)
The number of movements in a symphony usually is
A. five.
B. six. C. three. D. four. Answer Key: D
Question 10 of 14 Score: 1 (of possible 1 point)
The opening movement of a Classical symphony was written in the most important form of the time, the _____ form.
A. sonata B. rondo C. theme and variations
D. minuet and trio Answer Key: A
Question 11 of 14 Score: 1 (of possible 1 point)
The third movement of a Classical symphony usually gives the listener a moment of _____ due to its _____.
A. contrast; fast tempos
B. continuity; slow tempos
C. persistent repetition of a main theme
D. contrast; persistent dance rhythms Answer Key: D
Question 12 of 14 Score: 1 (of possible 1 point)
Works with four movements, such as symphonies and string quartets, always included a ______, usually as a light contrast after a slow movement.
A. sonata B. dance suite
C. minuet D. trio Answer Key: C
Question 13 of 14 Score: 1 (of possible 1 point)
Sonata form can be seen as a very large-scale A B A' form with each letter standing for the following …show more content…
terms:
A. A-exposition, B-development, A'-recapitulation.
B. A-rondo, B-trio, A'-rondo
C.
A-exposition, B-development, A'-coda.
D.
. A-minuet, B-trio, A'-minuet. Answer Key: A
Question 14 of 14 Score: 1 (of possible 1 point)
The first movement of Mozart's Symphony No. 40 in G minor is a fine example of Classical _____ form.
A. minuet and trio
B. rondo C. theme and variations
D. sonata Answer Key: D Week #2 - Quiz Total Grade: 21 (of possible 21 points)
Question 1 of 21 Score: 1 (of possible 1 point)
The Middle Ages spans a time period of nearly _____ years of European history.
A.
500
B.
1500
C.
1000
D.
800
Answer Key: C
Question 2 of 21 Score: 1 (of possible 1 point)
The official music of the Catholic Church in the Middle Ages is called
A. anthems B. chorales C. hymn tunes
D. plainchant Answer Key: D
Question 3 of 21 Score: 1 (of possible 1 point)
Because plainchant lacks a distinctive beat, it is referred to as
A. asymetrical B. irregular C. non-metrical D. unmelodic Answer Key: C
Question 4 of 21 Score: 1 (of possible 1 point)
Which of the following statements about plainchant is false?
A.
Plainchant is sacred music.
B.
Plainchant is based on the major/minor system.
C.
Plainchant is sung
unaccompanied.
D.
Plainchant is monophonic. Answer Key: B
Question 5 of 21 Score: 1 (of possible 1 point)
Abbess Hildegard of Bingen, famous for her book of mystical visions, was also a
A.
jongleur.
B. troubadour. C. Minnesinger.
D. poet and composer. Answer Key: D
Question 6 of 21 Score: 1 (of possible 1 point)
Troubadour songs, like hymns and most folk songs, set all stanzas of the poem to the same melody, resulting in a form known as
A.
recitation.
B. strophic.
C. antiphon. D. sequence. Answer Key: B
Question 7 of 21 Score: 1 (of possible 1 point)
The structural technique of repeating long rhythmic patterns over and over at different pitch levels each time is called
A. sequence.
B.
motet.
C. isorhythm.
D. non-imitative polyphony. Answer Key: A
Question 8 of 21 Score: 1 (of possible 1 point)
The Renaissance procedure of embellishing chants with extra notes, creating graceful rhythms, and smoothing out awkward passages is known as
A.
declamation.
B. paraphrase. C.
imitation.
D. homophony. Answer Key: B
Question 9 of 21 Score: 1 (of possible 1 point)
Renaissance composers using paraphrase emphasized the _____ aspect of the chant
A. sonorous B. functional C. sacred D. structural Answer Key: A
Question 10 of 21 Score: 1 (of possible 1 point)
The compositional problem that confronted Renaissance composers was how to write music that would somehow unify the _____, a large-scale sacred composition.
A. mass B. motet C. paraphrased chant
D. chanson Answer Key: A
Question 11 of 21 Score: 1 (of possible 1 point)
The chief characteristic of the High Renaissance style was a careful blend of
A.
homophony and harmonization.
B. monophony and non-imitative polyphony.
C. imitative counterpoint and homophony
D.
imitative homophony and heterophony. Answer Key: C
Question 12 of 21 Score: 1 (of possible 1 point)
The first master of the High Renaissance style was
A.
Josquin Desprez.
B. Roland de Lassus.
C. Guillaume Dufay.
D.
Giovanni Pierluigi da Palestrina. Answer Key: A
Question 13 of 21 Score: 1 (of possible 1 point)
Two methods of illustrating or enhancing words through the music in Renaissance vocal music are
A. declamation and word painting.
B. narrative and declamation.
C. cantus firmus and declamation.
D. imitative polyphony and isorhythm. Answer Key: A
Question 14 of 21 Score: 1 (of possible 1 point)
While the madrigal was the most "advanced" form in the late Renaissance, there was a group of intellectuals in _____ who criticized the madrigal and its use of word painting.
A. Venice
B.
Paris
C.
Vienna
D. Florence Answer Key: D
Question 15 of 21 Score: 1 (of possible 1 point)
The significance of bar lines being used for the first time is that
A. meter becomes more vague, with increased polyphony.
B. the beat was rarely emphasized by specific instruments
C. bar lines were an experiment, soon to become an evolutionary dead end.
D.
meter is clearly and systematically evident. Answer Key: D
Question 16 of 21 Score: 1 (of possible 1 point)
In music from the early Baroque period, the basso continuo can be played by the
A. cello, bassoon, or harpsichord.
B. lute or trumpet.
C. oboe or flute.
D.
viola or violin. Answer Key: A
Question 17 of 21 Score: 1 (of possible 1 point)
In the Baroque form of ground bass, the music is constructed
A. monodically. B. homophonically. C. as melody plus accompaniment.
D. from the bottom up.
Answer Key: D
Question 18 of 21 Score: 1 (of possible 1 point)
Functional harmony during the Baroque period makes us feel as if the chords
A. are unfocused in direction.
B. are interchangeable.
C. could shift surprisingly.
D. are predictable and purposeful. Answer Key: D
Question 19 of 21 Score: 1 (of possible 1 point)
The earliest operas were
A. court entertainments for royal celebrations.
B. part of the Mass.
C. a form of public entertainment.
D. purely instrumental, with no singing. Answer Key: A
Question 20 of 21 Score: 1 (of possible 1 point)
In a recitative, the composer tries to have the singing voice
A. follow the rhythm of highly emotional speech.
B.
soar above an elaborate orchestral accompaniment.
C. rhythmically chant the dialogue.
D. meditate on the situation at hand. Answer Key: A
Question 21 of 21 Score: 1 (of possible 1 point)
During the early Baroque, Frescobaldi was the foremost
A.
organ virtuoso.
B.
composer of Masses.
C. cellist.
D. violinist. Answer Key: A Week #1 - Quiz Total Grade: 16 (of possible 16 points)
Question 1 of 16 Score: 1 (of possible 1 point)
A pattern of strong beats and weak beats is called a
A. decibel B. durational unit
C. meter D. tempo Answer Key: C
Question 2 of 16 Score: 1 (of possible 1 point)
A single unaccompanied melody is the simplest texture, called
A. monophony B. heterophony C. homophony D. polyphony Answer Key: A
Question 3 of 16 Score: 1 (of possible 1 point)
Dynamics are usually described in what European language?
A.
French
B.
English
C.
German
D.
Italian
Answer Key: D
Question 4 of 16 Score: 1 (of possible 1 point)
Each occurrence of the strong beat/weak beat pattern is called
A. a tempo
B. meter C. a rhythm
D. a measure Answer Key: D
Question 5 of 16 Score: 1 (of possible 1 point)
If rhythm refers to the time aspect of music, then a rhythm concerns the
A. a simple durational pattern surrounding the music's beat.
B. actual arrangement of long and short durations in a tune.
C. emphasis of strong beats and weak beats.
D. lack of emphasis of strong and weak beats. Answer Key: B
Question 6 of 16 Score: 1 (of possible 1 point)
One person singing the tune while playing chords on a guitar is demonstrating the texture called
A. monophony B. polyphony C. heterophony D. homophony Answer Key: D
Question 7 of 16 Score: 1 (of possible 1 point)
The art of music, while containing many elements, can basically be characterized as ....
A. melody and harmony
B. tone color and pitch
C. sound in time
D. vibrations in scale patterns Answer Key: C
Question 8 of 16 Score: 1 (of possible 1 point)
The children's tune “Three Blind Mice” starts with
A. two descending half steps
B. descending octaves
C. descending semitones
D. two descending whole steps. Answer Key: D
Question 9 of 16 Score: 1 (of possible 1 point)
The chromatic scale is represented by
A. all the black piano keys from C to one octave higher.
B. the diatonic scale plus three black piano keys.
C. all the white piano keys from C to C.
D. all the white and black piano keys Answer Key: D
Question 10 of 16 Score: 1 (of possible 1 point)
The sense of focusing around a single "home" pitch that seems more important than the rest of the notes in the scale is called
A. heterophony B. tonality C. modulation D. modality Answer Key: B
Question 11 of 16 Score: 1 (of possible 1 point)
The term that refers to the highness or lowness of sound is
A. time B. tone color
C. dynamics D. a pitch Answer Key: D
Question 12 of 16 Score: 1 (of possible 1 point)
The time aspect of music is commonly called
A. rhythm B. tempo C. accent D. movement Answer Key: B
Question 13 of 16 Score: 1 (of possible 1 point)
What is the criterion for organizing the instruments of the orchestra in their present families?
A. the capacity for dynamic contrasts
B. rhythmic characteristics
C. the method of production of sound vibrations
D. the range of pitches possible Answer Key: C
Question 14 of 16 Score: 1 (of possible 1 point)
When folk singers play _____ on their guitars to accompany their singing, they are enriching their melody with
A. chords; harmony
B. repetition; contrast
C. consonance; dissonance
D. themes; motives Answer Key: A
Question 15 of 16 Score: 1 (of possible 1 point)
When one sings the series do re mi fa sol la ti do, one is also singing the
A. diatonic scale
B. beat C. chord D. octaves Answer Key: A
Question 16 of 16 Score: 1 (of possible 1 point)
Which shows the correct order from the highest range to the lowest range in the violin family?
A. cello violin, viola
B. violin, viola, cello
C. viola, violin, cello
D. violin, cello, double bass Answer Key: B
Question 1 of 12 Score: 1 (of possible 1 point)
As the lied is mainly accompanied by the piano alone, the relationship of the pianist to the singer is one of being a(n) _____ in the total artistic effort.
A. partner
B. accompanist C. leader D. servant Answer Key: A
Question 2 of 12 Score: 1 (of possible 1 point)
When a song is composed with the same music for each stanza of the poem, it is called
A. through-composed.
B.
strophic.
C. ballade.
D. gapped chorale style. Answer Key: B
Question 3 of 12 Score: 1 (of possible 1 point)
Schubert's "Erlkönig" is an example of a
A. mazurka. B. nocturne.
C. strophic work. …show more content…
D. through-composed work. Answer Key: D
Question 4 of 12 Score: 1 (of possible 1 point)
Which is true of Schumann's Dichterliebe?
A.
The accompaniment is simple and spare.
B.
It is accompanied by piano and flute.
C.
It is about the macabre.
D. It is a song cycle. Answer Key: D
Question 5 of 12 Score: 1 (of possible 1 point)
Which composer founded the magazine Die Neue Zeitschrift für Musik("The New Music Journal") to advocate a higher level of music?
A.
Schubert
B. Schumann
C.
Mendelssohn
D.
Chopin
Answer Key: B
Question 6 of 12 Score: 1 (of possible 1 point)
The counterpart of the vocal miniature called lied is the short piano piece called the
A. fugue. B. prelude. C. character piece.
D. impromptu piece. Answer Key: C
Question 7 of 12 Score: 1 (of possible 1 point)
"Eusebius" and "Florestan," two characters featured in Carnaval, were the alter egos of
A.
Chopin.
B.
Schumann.
C.
Mendelssohn.
D.
Liszt.
Answer Key: B
Question 8 of 12 Score: 1 (of possible 1 point)
The composer whose primary musical compositions were for the piano was
A.
Schumann.
B.
Mendelssohn.
C.
Liszt.
D.
Chopin.
Answer Key: D
Question 9 of 12 Score: 1 (of possible 1 point)
The concert overture, a work that followed Classical models, used the _____ form.
A. da capo
B. sonata C. theme and variations
D. rondo
Answer Key: B
Question 10 of 12 Score: 1 (of possible 1 point)
Among the "grandiose" compositions by Berlioz are
A. lieder. B. string quartets.
C. program symphonies.
D. sonatas. Answer Key: C
Question 11 of 12 Score: 1 (of possible 1 point)
The use of a single theme to represent the musician's beloved in the Fantastic Symphony by Berlioz was called the
A. concept. B. idée fixe.
C. phrase. D. motive. Answer Key: B
Question 12 of 12 Score: 1 (of possible 1 point)
The Gregorian chant used by Berlioz in the fifth movement of the Fantastic Symphony is
A.
Qui tollis.
B.
Dies irae.
C.
Kyrie.
D. In paradisum. Answer Key: B
Week #5 - Quiz Total Grade: 13 (of possible 14 points)
Question 1 of 14 Score: 1 (of possible 1 point)
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
A. more important than literature.
B. serious yet comic in a pleasing way.
C. great entertainment.
D. taken as seriously as literature. Answer Key: D
Question 2 of 14 Score: 1 (of possible 1 point)
Although striving for an ideal state of being was at the heart of the Romantic movement, the highest artistic goal was
A. emotional expression.
B. intellectual rigor.
C. enlightened religious expression.
D. preservation of historical achievements. Answer Key: A
Question 3 of 14 Score: 1 (of possible 1 point)
Which is true of Romantic composers?
A.
They worked to break down barriers of harmony, form, and genre.
B. They worked to regulate forms and genres as much as possible.
C.
They appreciated rules as essential to their art.
D. They avoided doing anything that writers were doing in literature. Answer Key: A
Question 4 of 14 Score: 1 (of possible 1 point)
As we might expect from a movement focused on transcending the ordinary, Romantic music and literature often showed a fascination with
A. the importance of religious rules and rituals.
B. the supernatural and the macabre.
C. realistic daily life.
D. the contrast between system and calculation on one hand, pomp and extravagance on the other. Answer Key: B
Question 5 of 14 Score: 1 (of possible 1 point)
"All art aspires to the condition of music" was a sentiment expressed by
A. Richard Wagner.
B.
Arthur Schopenhauer.
C. J. M. W. Turner.
D.
Walter Pater. Answer Key: D
Question 6 of 14 Score: 1 (of possible 1 point)
"Domestic" musical genres such as _____ became well established on the concert hall stage during the nineteenth century.
A. string quartets
B. symphonies C. operas
D. concertos Answer Key: A
Question 7 of 14 Score: 0 (of possible 1 point)
Because the Romantic performer was interested in greater expressivity in the area of rhythm, the performer would use rubato, which literally means _____, in performance.
A. gradually increasing speed
B. robbed time
C. added time
D. slowing down Answer Key: B
Question 8 of 14 Score: 1 (of possible 1 point)
Romantic composers were committed to writing more and more expressive melodies. Accordingly, to make them sound more spontaneous and sensitive, melodies became
A. simpler in rhythm and phrase structure.
B. more complex in polyphony.
C. more irregular in rhythm and phrase structure.
D. more complex in form. Answer Key: C
Question 9 of 14 Score: 1 (of possible 1 point)
In order to pursue the Romantic ideal of expressivity, Romantic composers used _____ in both melodies and harmony.
A. terraced dynamics
B. chromaticism
C. irregular phrase lengths
D. irregular meters Answer Key: B
Question 10 of 14 Score: 1 (of possible 1 point)
Compared to the sharply defined sonorities of the Classical composer, the Romantic composer was interested in
A. combining the sound of the piano with the continuo section of the orchestra.
B. the varieties of sonorities concentrated in the upper register.
C. the varieties of sonorities resulting from blending new combinations of orchestral instruments.
D. the concentration of sonorities in the bass register. Answer Key: C
Question 11 of 14 Score: 1 (of possible 1 point)
Instrumental music with extramusical associations, such as a story or a poem or even a landscape, is called
A. program music.
B. theme music.
C. transcendent music.
D. absolute music. Answer Key: A
Question 12 of 14 Score: 1 (of possible 1 point)
One way for the Romantic composer to give the listener some means of following the music while still giving the impression of being free and spontaneous was to cultivate
A. fantasy pieces in sonata form.
B. rondo-like forms.
C. binary forms.
D.
songs and short piano pieces called miniatures. Answer Key: D
Question 13 of 14 Score: 1 (of possible 1 point)
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.
A. program music
B. thematic unity
C. thematic fugues
D. theme and variations form Answer Key: B
Question 14 of 14 Score: 1 (of possible 1 point)
The term thematic transformation refers to
A. writing instrumental music based on a literary source.
B. a variation-like procedure used in Romantic music.
C. irregular phrase lengths.
D. terraced dynamics. Answer Key: B Week #4 - Quiz Total Grade: 13 (of possible 13 points)
Question 1 of 13 Score: 1 (of possible 1 point)
Beethoven was the model for the many great ______ composers who came after him in the nineteenth century.
A.
Baroque
B.
Romantic
C.
Nationalist
D. Classical Answer Key: B
Question 2 of 13 Score: 1 (of possible 1 point)
Beethoven epitomizes the new view of the composer as no longer a servant-craftsman, but an artistic genius who
A. suffers and creates for humanity.
B. creates for the merchant class.
C. creates for the church fathers.
D. creates for the pleasure of it. Answer Key: A
Question 3 of 13 Score: 1 (of possible 1 point)
One of the teachers who contributed to Beethoven's roots in Classical musical expression was the composer
A. Franz Joseph Haydn.
B.
Wolfgang Amadeus Mozart.
C.
Antonio Vivaldi.
D. Johann Sebastian Bach. Answer Key: A
Question 4 of 13 Score: 1 (of possible 1 point)
A political event that made an enormous impact in Beethoven's life and the lives of his contemporaries was the
A. American Revolutionary War.
B.
Spanish-American War.
C.
French Revolution.
D.
Brussels Rebellion. Answer Key: C
Question 5 of 13 Score: 1 (of possible 1 point)
Beethoven achieved an intense mood of urgency and excitement by
A. changing meter frequently.
B. maximizing all musical elements.
C. using unpredictable modulations.
D. concentrating on resolving dissonances. Answer Key: B
Question 6 of 13 Score: 1 (of possible 1 point)
The genre that Beethoven is especially associated with is the
A. concerto.
B. symphony.
C. string quartet.
D. sonata. Answer Key: B
Question 7 of 13 Score: 1 (of possible 1 point)
When Beethoven suffered a crisis in 1802, he wrote a statement of his ideals and, partly, a not-so-subtle suicide note called
A.
Beethoven's Last Will and Testament.
B. the Eisenstadt Testament.
C. the Heiligenstadt Testament.
D. the Viennese Testament. Answer Key: C
Question 8 of 13 Score: 1 (of possible 1 point)
One element of Beethoven's writing that is immediately clear is his
A. rhythmic drive.
B. operatic style.
C. use of isorhythms.
D. atmospheric treatment of string instruments. Answer Key: A
Question 9 of 13 Score: 1 (of possible 1 point)
One of the style features of Beethoven's writing that dominates the first movement of his Symphony No. 5 is
A. motivic consistency.
B. harmonic drive.
C. rhythmic inconsistency.
D. psychological movement. Answer Key: A
Question 10 of 13 Score: 1 (of possible 1 point)
The scherzo movement of Beethoven's Symphony No. 5 is a replacement for the traditional _____ of the Classical symphony.
A. minuet and trio
B. rondo
C. sonata movement
D. theme and variations movement Answer Key: A
Question 11 of 13 Score: 1 (of possible 1 point)
In the development section of the first movement of Symphony No. 5, Beethoven plays with our sense of themes through
A. sequences in 4 different key areas.
B. a slow, lyrical treatment.
C.
fragmentation.
D. a fugal exposition. Answer Key: C
Question 12 of 13 Score: 1 (of possible 1 point)
In the first movement of Beethoven's Symphony No. 5, an unusual event in the recapitulation is the appearance of a
A. slow oboe cadenza.
B. moderate flute solo.
C. fast arpeggio section in the brass.
D. quick exposition repeat. Answer Key: A
Question 13 of 13 Score: 1 (of possible 1 point)
Beethoven's third period can be characterized as being more _____ in genres such as the piano sonata and string quartet.
A. classical and lively
B. simple and clear
C. introspective and abstract
D. heroic and serene Answer Key: C Week #3 - Quiz Total Grade: 14 (of possible 14 points)
Question 1 of 14 Score: 1 (of possible 1 point)
In keeping with an age that valued intelligence, wit, and sensitivity, the eighteenth century was a time of social inventions, one of which was
A.
the library concert.
B. the salon.
C. the chamber concert.
D. the opera lecture. Answer Key: B
Question 2 of 14 Score: 1 (of possible 1 point)
One of the major figures of European philosophy who had a direct effect on music history was
A.
Voltaire.
B.
Jefferson.
C. Rousseau.
D.
Blake.
Answer Key: C
Question 3 of 14 Score: 1 (of possible 1 point)
The characteristics shared by both Classical opera and the novel were
A. sharp, sympathetic depictions of contemporary life.
B. larger-than-life situations.
C. depictions of ancient Greek life.
D.
exaggerated emotional outpourings. Answer Key: A
Question 4 of 14 Score: 1 (of possible 1 point)
What was the public forum for orchestral music?
A. the opera house
B. the court
C. the salon
D. the concert hall Answer Key: D
Question 5 of 14 Score: 1 (of possible 1 point)
Because of the need for variety in music, Classical composers refined the rhythmic differences between musical themes, creating music that moves
A. less predictably than Baroque music.
B. in an obvious manner.
C. in a consistent meter.
D. with a steady drive. Answer Key: A
Question 6 of 14 Score: 1 (of possible 1 point)
In contrast with Baroque treatment of dynamics, the Classical composer explored
A. the extreme ranges of dynamics.
B. steady-state dynamics.
C. terraced dynamics.
D. graduations of volume. Answer Key: D
Question 7 of 14 Score: 1 (of possible 1 point)
In the Classical orchestra, certain families of instruments were given
A. polyphonic roles.
B. interchangeable parts.
C. clearly defined, regular roles.
D. evenly distributed solos. Answer Key: C
Question 8 of 14 Score: 1 (of possible 1 point)
The prominence of the Classical symphony was due in part to
A. the predominant polyphonic texture enjoyed by audiences.
B. the growth of public concerts.
C. the dance forms that permeated each movement.
D. the inclusion of references to the court.
Answer Key: B
Question 9 of 14 Score: 1 (of possible 1 point)
The number of movements in a symphony usually is
A. five.
B. six. C. three. D. four. Answer Key: D
Question 10 of 14 Score: 1 (of possible 1 point)
The opening movement of a Classical symphony was written in the most important form of the time, the _____ form.
A. sonata B. rondo C. theme and variations
D. minuet and trio Answer Key: A
Question 11 of 14 Score: 1 (of possible 1 point)
The third movement of a Classical symphony usually gives the listener a moment of _____ due to its _____.
A. contrast; fast tempos
B. continuity; slow tempos
C. persistent repetition of a main theme
D. contrast; persistent dance rhythms Answer Key: D
Question 12 of 14 Score: 1 (of possible 1 point)
Works with four movements, such as symphonies and string quartets, always included a ______, usually as a light contrast after a slow movement.
A. sonata B. dance suite
C. minuet D. trio Answer Key: C
Question 13 of 14 Score: 1 (of possible 1 point)
Sonata form can be seen as a very large-scale A B A' form with each letter standing for the following …show more content…
terms:
A. A-exposition, B-development, A'-recapitulation.
B. A-rondo, B-trio, A'-rondo
C.
A-exposition, B-development, A'-coda.
D.
. A-minuet, B-trio, A'-minuet. Answer Key: A
Question 14 of 14 Score: 1 (of possible 1 point)
The first movement of Mozart's Symphony No. 40 in G minor is a fine example of Classical _____ form.
A. minuet and trio
B. rondo C. theme and variations
D. sonata Answer Key: D Week #2 - Quiz Total Grade: 21 (of possible 21 points)
Question 1 of 21 Score: 1 (of possible 1 point)
The Middle Ages spans a time period of nearly _____ years of European history.
A.
500
B.
1500
C.
1000
D.
800
Answer Key: C
Question 2 of 21 Score: 1 (of possible 1 point)
The official music of the Catholic Church in the Middle Ages is called
A. anthems B. chorales C. hymn tunes
D. plainchant Answer Key: D
Question 3 of 21 Score: 1 (of possible 1 point)
Because plainchant lacks a distinctive beat, it is referred to as
A. asymetrical B. irregular C. non-metrical D. unmelodic Answer Key: C
Question 4 of 21 Score: 1 (of possible 1 point)
Which of the following statements about plainchant is false?
A.
Plainchant is sacred music.
B.
Plainchant is based on the major/minor system.
C.
Plainchant is sung
unaccompanied.
D.
Plainchant is monophonic. Answer Key: B
Question 5 of 21 Score: 1 (of possible 1 point)
Abbess Hildegard of Bingen, famous for her book of mystical visions, was also a
A.
jongleur.
B. troubadour. C. Minnesinger.
D. poet and composer. Answer Key: D
Question 6 of 21 Score: 1 (of possible 1 point)
Troubadour songs, like hymns and most folk songs, set all stanzas of the poem to the same melody, resulting in a form known as
A.
recitation.
B. strophic.
C. antiphon. D. sequence. Answer Key: B
Question 7 of 21 Score: 1 (of possible 1 point)
The structural technique of repeating long rhythmic patterns over and over at different pitch levels each time is called
A. sequence.
B.
motet.
C. isorhythm.
D. non-imitative polyphony. Answer Key: A
Question 8 of 21 Score: 1 (of possible 1 point)
The Renaissance procedure of embellishing chants with extra notes, creating graceful rhythms, and smoothing out awkward passages is known as
A.
declamation.
B. paraphrase. C.
imitation.
D. homophony. Answer Key: B
Question 9 of 21 Score: 1 (of possible 1 point)
Renaissance composers using paraphrase emphasized the _____ aspect of the chant
A. sonorous B. functional C. sacred D. structural Answer Key: A
Question 10 of 21 Score: 1 (of possible 1 point)
The compositional problem that confronted Renaissance composers was how to write music that would somehow unify the _____, a large-scale sacred composition.
A. mass B. motet C. paraphrased chant
D. chanson Answer Key: A
Question 11 of 21 Score: 1 (of possible 1 point)
The chief characteristic of the High Renaissance style was a careful blend of
A.
homophony and harmonization.
B. monophony and non-imitative polyphony.
C. imitative counterpoint and homophony
D.
imitative homophony and heterophony. Answer Key: C
Question 12 of 21 Score: 1 (of possible 1 point)
The first master of the High Renaissance style was
A.
Josquin Desprez.
B. Roland de Lassus.
C. Guillaume Dufay.
D.
Giovanni Pierluigi da Palestrina. Answer Key: A
Question 13 of 21 Score: 1 (of possible 1 point)
Two methods of illustrating or enhancing words through the music in Renaissance vocal music are
A. declamation and word painting.
B. narrative and declamation.
C. cantus firmus and declamation.
D. imitative polyphony and isorhythm. Answer Key: A
Question 14 of 21 Score: 1 (of possible 1 point)
While the madrigal was the most "advanced" form in the late Renaissance, there was a group of intellectuals in _____ who criticized the madrigal and its use of word painting.
A. Venice
B.
Paris
C.
Vienna
D. Florence Answer Key: D
Question 15 of 21 Score: 1 (of possible 1 point)
The significance of bar lines being used for the first time is that
A. meter becomes more vague, with increased polyphony.
B. the beat was rarely emphasized by specific instruments
C. bar lines were an experiment, soon to become an evolutionary dead end.
D.
meter is clearly and systematically evident. Answer Key: D
Question 16 of 21 Score: 1 (of possible 1 point)
In music from the early Baroque period, the basso continuo can be played by the
A. cello, bassoon, or harpsichord.
B. lute or trumpet.
C. oboe or flute.
D.
viola or violin. Answer Key: A
Question 17 of 21 Score: 1 (of possible 1 point)
In the Baroque form of ground bass, the music is constructed
A. monodically. B. homophonically. C. as melody plus accompaniment.
D. from the bottom up.
Answer Key: D
Question 18 of 21 Score: 1 (of possible 1 point)
Functional harmony during the Baroque period makes us feel as if the chords
A. are unfocused in direction.
B. are interchangeable.
C. could shift surprisingly.
D. are predictable and purposeful. Answer Key: D
Question 19 of 21 Score: 1 (of possible 1 point)
The earliest operas were
A. court entertainments for royal celebrations.
B. part of the Mass.
C. a form of public entertainment.
D. purely instrumental, with no singing. Answer Key: A
Question 20 of 21 Score: 1 (of possible 1 point)
In a recitative, the composer tries to have the singing voice
A. follow the rhythm of highly emotional speech.
B.
soar above an elaborate orchestral accompaniment.
C. rhythmically chant the dialogue.
D. meditate on the situation at hand. Answer Key: A
Question 21 of 21 Score: 1 (of possible 1 point)
During the early Baroque, Frescobaldi was the foremost
A.
organ virtuoso.
B.
composer of Masses.
C. cellist.
D. violinist. Answer Key: A Week #1 - Quiz Total Grade: 16 (of possible 16 points)
Question 1 of 16 Score: 1 (of possible 1 point)
A pattern of strong beats and weak beats is called a
A. decibel B. durational unit
C. meter D. tempo Answer Key: C
Question 2 of 16 Score: 1 (of possible 1 point)
A single unaccompanied melody is the simplest texture, called
A. monophony B. heterophony C. homophony D. polyphony Answer Key: A
Question 3 of 16 Score: 1 (of possible 1 point)
Dynamics are usually described in what European language?
A.
French
B.
English
C.
German
D.
Italian
Answer Key: D
Question 4 of 16 Score: 1 (of possible 1 point)
Each occurrence of the strong beat/weak beat pattern is called
A. a tempo
B. meter C. a rhythm
D. a measure Answer Key: D
Question 5 of 16 Score: 1 (of possible 1 point)
If rhythm refers to the time aspect of music, then a rhythm concerns the
A. a simple durational pattern surrounding the music's beat.
B. actual arrangement of long and short durations in a tune.
C. emphasis of strong beats and weak beats.
D. lack of emphasis of strong and weak beats. Answer Key: B
Question 6 of 16 Score: 1 (of possible 1 point)
One person singing the tune while playing chords on a guitar is demonstrating the texture called
A. monophony B. polyphony C. heterophony D. homophony Answer Key: D
Question 7 of 16 Score: 1 (of possible 1 point)
The art of music, while containing many elements, can basically be characterized as ....
A. melody and harmony
B. tone color and pitch
C. sound in time
D. vibrations in scale patterns Answer Key: C
Question 8 of 16 Score: 1 (of possible 1 point)
The children's tune “Three Blind Mice” starts with
A. two descending half steps
B. descending octaves
C. descending semitones
D. two descending whole steps. Answer Key: D
Question 9 of 16 Score: 1 (of possible 1 point)
The chromatic scale is represented by
A. all the black piano keys from C to one octave higher.
B. the diatonic scale plus three black piano keys.
C. all the white piano keys from C to C.
D. all the white and black piano keys Answer Key: D
Question 10 of 16 Score: 1 (of possible 1 point)
The sense of focusing around a single "home" pitch that seems more important than the rest of the notes in the scale is called
A. heterophony B. tonality C. modulation D. modality Answer Key: B
Question 11 of 16 Score: 1 (of possible 1 point)
The term that refers to the highness or lowness of sound is
A. time B. tone color
C. dynamics D. a pitch Answer Key: D
Question 12 of 16 Score: 1 (of possible 1 point)
The time aspect of music is commonly called
A. rhythm B. tempo C. accent D. movement Answer Key: B
Question 13 of 16 Score: 1 (of possible 1 point)
What is the criterion for organizing the instruments of the orchestra in their present families?
A. the capacity for dynamic contrasts
B. rhythmic characteristics
C. the method of production of sound vibrations
D. the range of pitches possible Answer Key: C
Question 14 of 16 Score: 1 (of possible 1 point)
When folk singers play _____ on their guitars to accompany their singing, they are enriching their melody with
A. chords; harmony
B. repetition; contrast
C. consonance; dissonance
D. themes; motives Answer Key: A
Question 15 of 16 Score: 1 (of possible 1 point)
When one sings the series do re mi fa sol la ti do, one is also singing the
A. diatonic scale
B. beat C. chord D. octaves Answer Key: A
Question 16 of 16 Score: 1 (of possible 1 point)
Which shows the correct order from the highest range to the lowest range in the violin family?
A. cello violin, viola
B. violin, viola, cello
C. viola, violin, cello
D. violin, cello, double bass Answer Key: B