Q&A Hero

Q: Expressionist painters, writers, and composers used ______________ to assault and shock their audience. A. pastel colors B. deliberate distortions C. clearly defined forms D. vague nature scenes

Q: The operas of Richard Strauss use chromaticism and dissonance to depict ______. A. peace and harmony B. perversion and murder C. joy and sadness D. fear and trembling

Q: Richard Strauss's operas Salome and Elektra were known for their ______. A. chromatic and dissonant music B. rhythmic and dynamic simplicity C. rhythmic and dynamic complexity D. lack of harmony and rhythm

Q: One of the immediate predecessors of expressionism was the composer _______. A. Edvard Munch B. Claude Debussy C. Charles Ives D. Richard Strauss

Q: Twentieth-century musical expressionism grew out of the emotional turbulence in the works of late romantics such as ______. A. Richard Wagner B. Richard Strauss C. Gustav Mahler D. All answers are correct.

Q: Expressionism grew out of the same intellectual climate as Freud's studies of _______. A. hysteria and the unconscious B. anatomy C. the past D. mystical literature Expressionists sought to communicate the tensions and anguish of the human psyche.

Q: Expressionism as an artistic movement was largely centered in ______. A. the United States B. Germany and Austria C. Spain D. Norway

Q: The twentieth-century artistic movement that stressed intense, subjective emotion was called ______. A. impressionism B. primitivism C. expressionism D. neoclassicism

Q: The expressionist movement in music and art flourished in the years ______. A. 1890-1914 B. 1905-1925 C. 1914-1941 D. 1920-1950

Q: Why is Stravinsky's Symphony of Psalms unconventional in its orchestration? A. There are no violins, violas, or clarinets. B. It is scored only for chorus, brass, and percussion. C. There are no cellos or basses. D. It includes a chorus with full symphonic orchestra.

Q: In the 1950s Stravinsky dramatically changed his style to favor ______. A. the twelve-tone system B. neoclassicism C. primitivism D. jazz

Q: Igor Stravinsky's Rite of Spring is scored for ______. A. a small chamber group B. vocal soloists and orchestra C. an enormous orchestra D. a wind ensemble

Q: 78. Which of the following statements is not true? A. Stravinsky's ballet The Rite of Spring may be considered an example of his neoclassical style. B. Stravinsky's early ballets, Firebird, Petrushka, and The Rite of Spring, call for very large orchestras and draw on Russian folklore and folk tunes. C. Stravinsky drew on a vast range of styles, from Russian folk songs to baroque melodies, from Renaissance madrigals to tango rhythms, to create original music. D. Stravinsky's extensive output includes compositions of almost every kind, for voices, instruments, and the stage.

Q: Le Sacre du printemps (The Rite of Spring) is an example of ______. A. neoclassicism B. primitivism C. serialism D. romanticism

Q: The deliberate evocation of primitive power through insistent rhythms and percussive sounds is known as _______. A. ostinato B. Africanism C. barbarism D. primitivism

Q: In the 1950s Stravinsky dramatically changed his style, drawing inspiration from ______. A. Claude Debussy B. Richard Wagner C. Anton Webern D. Russian folk music

Q: During the period from about 1920 to 1951, Stravinsky drew inspiration largely from ______. A. eighteenth-century music B. Webern's serial techniques C. Russian folklore D. African sculpture

Q: Stravinsky's second phase is generally known as ______. A. neoclassical B. primitive C. postromantic D. serial

Q: Which of the following ballets is not from Stravinsky's Russian period? A. The Rite of Spring B. The Firebird C. Pulcinella D. Petrushka

Q: Stravinsky's enormous influence on twentieth-century music is due to his innovations in ______. A. rhythm B. harmony C. tone color D. All answers are correct.

Q: The famous riot in 1913 was caused by the first performance of Stravinsky's ballet ______. A. Pulcinella The Rite of Spring C. The Fairy's Kiss D. Agon Feedback: Stravinsky's third ballet, The Rite of Spring, had its premiere in Paris in 1913. At this premiere, a riot erupted in the audiencespectators were shocked and outraged by its pagan primitive, harsh dissonance, percussiveness, and pounding rhythms.

Q: The immense success of Stravinsky's 1910 ballet ________ established him as a leading young composer. A. The Firebird B. The Rite of Spring C. Petrushka D. Pulcinella

Q: Sergei Diaghilev was a famous ______. A. writer B. composer C. ballet impresario D. pianist

Q: Stravinsky's life took a sudden turn in 1909, when he met the director of the Russian Ballet, ______. A. Michel Fokine B. Sergei Diaghilev C. Vaclav Nijinsky D. George Balanchine

Q: Igor Stravinsky studied composition with ______. A. Claude Debussy B. Nikolai Rimsky-Korsakov C. Maurice Ravel D. Arnold Schoenberg

Q: The painter who designed the sets for Stravinsky's Pulcinella, and who went through a phase that showed the influence of ancient Greek art, was ______. A. Pablo Picasso B. Henri Matisse C. Edvard Munch D. Ernst Kirchner

Q: Neoclassicism was a reaction against _______. A. romanticism and impressionism B. humanism C. classicism D. traditional forms

Q: Neoclassical composers modeled many of their works after the compositions of ______. A. Richard Wagner B. Guillaume de Machaut C. Johann Sebastian Bach D. Franz Liszt

Q: Neoclassical compositions are characterized by ______. A. forms and stylistic features of earlier periods B. whole-tone scales C. harsh dissonances D. the use of the twelve-tone system

Q: Neoclassical composers favored ______. A. unusual and exotic scales B. clear polyphonic textures C. programmatic music D. homophonic textures

Q: Which of the following is not characteristic of neoclassicism? A. Emotional restraint B. Clarity C. Misty atmosphere D. Balance

Q: 59. Which of the following statements concerning neoclassicism is not true? A. Neoclassical composers reacted against twentieth-century harmonies and rhythms, and preferred to revive old forms and styles exactly as they were. B. Neoclassical compositions use the musical forms and stylistic features of earlier periods, particularly of the eighteenth century. C. Since many neoclassical compositions were modeled after Bach's music, the term neobaroque might have been more appropriate. D. Neoclassicism was an important trend in other art forms such as painting and poetry.

Q: The neoclassical movement in music roughly encompassed the years ______. A. 1890-1915 B. 1900-1920 C. 1920-1950 D. 1945-1970

Q: Ravel's Bolero originated as a(n) ______. A. piano composition commissioned by Paul Wittgenstein B. ballet commissioned by the dancer Ida Rubinstein C. entrance composition for the Prix de Rome D. student exercise in modulation and key relationships

Q: 56. Which of the following statements is not true of Ravel? A. He was a brilliant orchestrator. B. He composed a large number of works in all genres. C. He was a master craftsman. D. He had a taste for exotic musical idioms.

Q: While some of Ravel's music has the fluid, misty, atmospheric quality associated with impressionism, he does not fit neatly into any stylistic category because of what reason? A. His music is too clearly defined in form and tonality. B. His melodies are more closely related to nineteenth-century French composers. C. His music is too classically balanced in phrase structure. D. All answers are correct.

Q: Why did Ravel perhaps harbor a lingering resentment toward the French musical establishment? A. He was not permitted to attend the Paris Conservatory as a student. B. He disliked his teachers at the Paris Conservatory. C. Although already a recognized composer, he was never awarded the Prix de Rome in spite of five attempts. D. They persisted in calling him an impressionist composer.

Q: The faun evoked in Debussy's famous composition is a ______. A. baby deer B. creature who is half man, half goat C. beautiful young maiden D. sensitive musician

Q: The poem that inspired the Prelude to "The Afternoon of a Faun" was written by ______. A. Paul Verlaine B. Arthur Rimbaud C. Maurice Maeterlinck D. Stphane Mallarm

Q: In which of the following areas did Debussy not create masterpieces? A. Symphonies B. Art songs C. Chamber music D. Piano music

Q: Debussy's opera Pellas et Mlisande is an almost word-for-word setting of the symbolist play by ______. A. Paul Verlaine B. Arthur Rimbaud C. Maurice Maeterlinck D. Stphane Mallarm

Q: A scale made up of six different notes each a whole step away from the next is called a ________ scale. A. pentatonic B. octatonic C. whole-tone D. Gypsy

Q: A five-tone scale, such as that produced by the five black keys of the piano in succession, is called a _______________ scale. A. pentatonic B. hexatonic C. whole-tone D. pentagon

Q: In order to "drown the sense of tonality," Debussy did what? A. Turned to the medieval church modes B. Borrowed pentatonic scales from Javanese music C. Developed the whole-tone scale D. All answers are correct.

Q: Lingering vibrations and hazy sounds in Debussy's piano music are the result of what? A. Sloppiness in transcribing the sounds he wanted B. Inability to write proper chord progressions C. Frequent use of the damper pedal D. All answers are correct.

Q: Impressionism in music is characterized by _______. A. the recurrence of strong accents on the downbeat B. a stress on tone color, atmosphere, and fluidity C. an adherence to traditional harmonic chord progressions D. All answers are correct.

Q: Debussy's music tends to ______. A. sound free and almost improvisational B. have a strong sense of tonality C. affirm the key very noticeably D. use the full orchestra for massive effects He uses successions of dissonant chords that do not resolve. One must drown the sense of tonality, Debussy wrote.

Q: Which of the following characteristics is not usually associated with impressionism? A. Fleeting mood B. Clearly delineated forms C. Misty atmosphere D. Symbolism

Q: At the Paris International Exhibition of 1889 Debussy was strongly influenced by ______. A. the advantages of modern technology B. performances of the music of J. S. Bach C. the Eiffel Tower D. performances of Asian music

Q: A dramatic turning point in Debussy's career came in 1902 when ______. A. his opera Pellas et Mlisande was premiered B. he undertook a series of concert tours C. he went to Italy to study D. he went to Bayreuth to hear Wagner's music

Q: Many of Debussy's songs are set to poems by the symbolist poet ______. A. Stphane Mallarm B. Paul Verlaine C. Jean Paul Sartre D. Arthur Rimbaud

Q: Which of the following statements is not true? A. Both impressionist painting and symbolist poetry were catalysts for many developments during the twentieth century. B. Symbolist writers emphasized the purely musical, or sonorous, effects of words. C. When viewed closely, impressionist paintings are made up of tiny colored patches. D. The impressionist painters were particularly obsessed with portraying scenes of ancient French glories.

Q: Which of the following is not considered a symbolist poet? A. Stphane Mallarm B. Paul Verlaine C. Auguste Renoir D. Arthur Rimbaud

Q: The impressionist painters were particularly obsessed with portraying ______. A. water B. religious scenes C. scenes of ancient glories D. battle scenes

Q: Impressionist painters were primarily concerned with the effect of light, color, and ______. A. rhythm B. atmosphere C. detail D. clarity

Q: When viewed closely, impressionist paintings are made up of ______. A. fine lines B. large bands of color C. tiny black dots D. tiny colored patches

Q: The term impressionist derived from a critic's derogatory reaction to Impression: Sunrise, a painting by ____. A. Claude Debussy B. Camille Pissarro C. Claude Monet D. Auguste Renoir

Q: The most important impressionist composer was ______. A. Richard Wagner B. Bla Bartk C. Arnold Schoenberg D. Claude Debussy

Q: Impressionist painting and symbolist poetry as artistic movements originated in ______. A. Bohemia B. England C. France D. Austria

Q: One of the most important teachers of musical composition in the twentieth century was ______. A. Amy Beach B. Nadia Boulanger C. Sergei Diaghilev D. Igor Stravinsky

Q: When did the first pairing of music and film take place? A. 1895 B. 1908 C. 1922 D. 1930

Q: The first opera created for television was Gian Carlo Menotti's ______. A. Turandot B. Amahl and the Night Visitors C. Trouble in Tahiti D. The Telephone

Q: Radio broadcasts of live and recorded music began to reach large audiences during the ______. A. 1900s B. 1920s C. 1940s D. 1960s

Q: A motive or phrase that is repeated persistently at the same pitch throughout a section is called ______. A. polytonality B. glissando C. ostinato D. atonality

Q: To what does ostinato refer? A. A rapid slide through different pitches B. A chord made of tones only a half step or whole step apart C. A combination of two traditional chords sounding together D. A motive or phrase that is repeated persistently at the same pitch throughout a section

Q: The use of two or more contrasting and independent rhythms at the same time is known as ______. A. polyrhythm B. jazz C. polytonality D. ostinato

Q: The first significant atonal pieces were composed around 1908 by ______. A. Igor Stravinsky B. Claude Debussy C. Arnold Schoenberg D. Aaron Copland

Q: Using all twelve tones without regard to their traditional relationship to major or minor scales, avoiding traditional chord progressions, is known as ______. A. polytonality B. bitonality C. freetonality D. atonality

Q: The absence of key or tonality in a musical composition is known as ______. A. polytonality B. ostinato C. a tone cluster D. atonality

Q: The technique of using two or more tonal centers at the same time is called ______. A. expanded tonality B. polytonality C. atonality D. twelve-tone

Q: To create fresh sounds, twentieth-century composers used ______. A. scales borrowed from nonwestern cultures B. scales they themselves invented C. ancient church modes D. All answers are correct.

Q: A chord made of tones only a half step or a whole step apart is known as ______. A. polytonality B. a polychord C. bitonality D. a tone cluster

Q: A fourth chord is ______. A. a combination of four tones B. the chord built on the fourth step of the scale C. a chord in which the tones are a fourth apart, instead of a third D. All answers are correct.

Q: The combination of two traditional chords sounding together is known as ______. A. polytonality B. bitonality C. a tone cluster D. a polychord

Q: Which of the following is not an alternative to the traditional organization of pitch used by twentieth-century composers? A. Bitonality B. Tonic-dominant harmonies C. Atonality D. Polytonality

Q: A piano is often used in twentieth-century orchestral music to ______. A. "sing" a beautiful melody B. play important cadenzas in slow movements C. provide a nucleus for the orchestra similar to the baroque basso continuo D. add a percussive edge

Q: In modern music ______. A. instruments are played at the very top or bottom of their ranges B. uncommon playing techniques have become normal C. noiselike and percussive sounds are often used D. All answers are correct.

Q: Among the unusual playing techniques that are widely used during the twentieth century is the _______, a rapid slide up or down a scale. A. buzz B. glissando C. slip D. ostinato

Q: The glissando, a technique widely used in the twentieth century, is ______. A. the combination of two traditional chords sounding together B. a rapid slide up or down a scale C. a motive or phrase that is repeated persistently at the same pitch throughout a section D. a chord made up of tones only a half step or a whole step apart

Q: In twentieth-century music ______. A. string players are sometimes called on to use the wood instead of the hair on their bows B. percussion instruments have become very prominent and numerous C. dissonance has been emancipated D. All answers are correct.