Q&A Hero

Humanities

Q: Grieg was a leading figure of The Mighty Five in Russia.
Q: Nationalism found natural expression in music, among other arts.
Q: The growth of nationalism became a decisive force within the Romantic movement.
Q: The symphonic poem was created in the nineteenth century.
Q: Incidental music to a play is generally considered to be absolute music.
Q: Nineteenth-century composers most original contribution to large forms is: a. the symphony. c. the oratorio. b. the symphonic poem. d. opera.
Q: A single-movement concert piece for orchestra that might evoke a land- or seascape or embody a patriotic or literary idea is called: a. a symphony. c. an overture. b. incidental music. d. absolute music.
Q: Griegs music is notable for: a. its lyricism. c. his nationalistic use of folk dances. b. his nationalistic use of folk music. d. all of the answers shown here
Q: Edvard Grieg was born in: a. Norway c. France b. Germany d. Sweden
Q: Which movement from Peer Gynt, Suite No. 1 was conceived as grotesque ballet music? a. In the Hall of the Mountain King c. ses Death b. Morning Mood d. Anitras Dance
Q: In which movement from Peer Gynt, Suite No. 1 did Grieg imagine the sun breaking through the clouds at the first forte? a. In the Hall of the Mountain King c. Morning Mood b. Anitras Dance d. ses Death
Q: Griegs Peer Gynt, Suite No. 1 is an example of: a. incidental music. b. absolute music. c. an overture. d. all of the answers shown here
Q: The play Peer Gynt by ______ is based on a Norwegian folk tale a. Ibsen c. Shakespeare b. Grieg d. Solveig
Q: Which Norwegian composer of the nineteenth century stands out for his ability to capture the essence of his countrys folklore and dance through music? a. Grieg c. Musorgsky b. Smetana d. de Falla
Q: The Mighty Five were composers from: a. Russia. c. Scandinavia. b. Bohemia. d. Germany.
Q: Examples of musical nationalism include: a. Liszts Hungarian Rhapsodies. c. Tchaikovskys 1812 Overture. b. Dvorks Slavonic Dances. d. all of the answers shown here
Q: Nationalistic composers expressed their nationalism by: a. employing songs and dances from their home countries in their works. b. borrowing exotic styles from other countries. c. writing absolute music. d. all of the answers shown here
Q: Which of the following is a type of orchestral program music? a. concerto c. string quartet b. symphonic poem d. piano trio
Q: Which of the following composers was the first to use the term symphonic poem? a. Berlioz c. Mendelssohn b. Liszt d. Tchaikovsky
Q: A one-movement piece of program music for orchestra that, through several contrasting sections, develops a poetic idea or suggests a scene or mood is called: a. a program symphony. c. a symphonic poem. b. an overture. d. incidental music.
Q: Had movies been invented in the nineteenth century, to which genre of program music would film soundtracks be most similar? a. program symphony c. concert overture b. incidental music d. symphonic poem
Q: Music written for plays, generally consisting of an overture and a series of pieces to be performed between acts, is called: a. incidental music. c. a program symphony. b. background music. d. a symphonic poem.
Q: The finale to the Symphonie fantastique projects a satanic character.
Q: In Berliozs Symphonie fantastique, the ide fixe melody appears only at the very end of the fourth movement, March to the Scaffold.
Q: In his Symphonie fantastique, Berlioz used a recurrent theme that he called the ide fixe, symbolizing the beloved.
Q: Berlioz, who excelled in composing orchestral works, wrote no operas.
Q: Berlioz was awarded the Prix de Rome in the year that he wrote his Symphonie fantastique.
Q: Berliozs music is intense, bold, and passionate.
Q: Beethovens Symphony No. 5 is a good example of a program symphony.
Q: Music endowed with literary or pictorial associations is called absolute music.
Q: He dreams that he has killed his beloved . . . precedes which movement of Symphonie fantastique? a. Dream of a Witches Sabbath c. Scene in the Fields b. March to the Scaffold d. Reveries, Passions
Q: The musical expansion of a theme by varying its melodic outline, harmony, or rhythm is called: a. ide fixe. c. program music. b. thematic transformation d. absolute music.
Q: The opposite of program music is: a. absolute music. c. thematic transformation. b. a program symphony. d. sonata form.
Q: The Dies irae is: a. the ide fixe in Berliozs Symphonie fantastique. b. a Lied by Schubert. c. a chant from the Mass for the Dead. d. an opera by Berlioz.
Q: In Berliozs Symphonie fantastique, what is the ide fixe? a. a chant from the Mass for the Dead appearing in the finale b. a shepherd song in the third movement c. the basic theme of the symphony, heard in every movement d. a theme and variations, heard in the march movement
Q: In Berliozs Symphonie fantastique, the ide fixe: a. symbolizes the beloved. b. recurs as required by the literary program. c. unifies the five movements, which are diverse in character and mood. d. all of the answers shown here
Q: Which of the following is true of Berliozs Symphonie fantastique? a. The program deals entirely with nature. b. The program was inspired by the composers infatuation with a model. c. The program presents a lighthearted artist in love. d. The program is thought to be autobiographical.
Q: How many movements are in Berliozs Symphonie fantastique? a. one c. three b. four d. five
Q: Berliozs Symphonie fantastique is an example of a: a. tone poem. c. program symphony. b. symphonic poem. d. concert overture.
Q: Which literary figure had a particular influence on the work of Berlioz? a. Twain c. Dante b. Shakespeare d. Goethe
Q: Characteristics of Berliozs music include: a. brilliant orchestration. b. programmatic implications. c. use of huge orchestral and choral forces. d. all of the answers shown here
Q: Hector Berlioz was born and spent most of his career in: a. Italy. c. Germany. b. France. d. Hungary.
Q: Which of the following composers is considered the first great proponent of musical Romanticism in France? a. Schubert c. Liszt b. Berlioz d. Chopin
Q: A multimovement, programmatic work for orchestra is called a: a. symphonic poem. c. concert overture. b. program symphony. d. sonata.
Q: Which of the following compositions is LEAST likely to be an example of program music? a. Don Juan c. The Sorcerers Apprentice b. Romeo and Juliet d. String Quartet in B-flat Major
Q: Instrumental music endowed with literary, philosophical, or pictorial associations is called: a. absolute music. c. background music. b. program music. d. pure music.
Q: What is Romantic about the program and music of Berliozs Symphonie fantastique?
Q: Describe the difference between program and absolute music, citing examples of each.
Q: Symphonie fantastique is unified through thematic transformation.
Q: Describe the extra-musical connections in Fanny Mendelssohn Hensels The Year.
Q: Describe the different roles that women played in music of the nineteenth century. Which roles were socially acceptable? Cite examples of successful women musicians from this era.
Q: The music of Fanny Mendelssohn Hensel was widely celebrated during her lifetime.
Q: During the nineteenth-century, some women broke away from tradition and overcame social stereotypes to become successful composers.
Q: The flute provided women of the middle and upper classes with a socially acceptable performance outlet.
Q: In the nineteenth-century, women made great strides in establishing careers as professional musicians.
Q: Fanny Mendelssohn was born into a highly cultured family.
Q: Fanny Mendelssohn Hensels cycle The Year has extramusical connections.
Q: Fanny Mendelssohn Hensel is known for her large-scale orchestral compositions.
Q: Fanny Mendelssohn Hensels cycle The Year is her only symphonic poem.
Q: Despite her gender, Fanny Mendelssohn Hensel was encouraged by her family to pursue a career in music.
Q: Nineteenth-century society saw a few women make careers as professional musicians.
Q: During the nineteenth century, women became increasingly accepted as piano teachers.
Q: Which instrument provided women of the middle class and upper classes with a performance outlet that was socially acceptable? a. the piano c. the flute b. the guitar d. the violin
Q: Each piece in Hensels The Year is prefaced with: a. a poetic epigram and a painting. c. nothing. b. a poem written by the composer. d. precise performance instructions.
Q: Fanny Mendelssohn Hensel was especially close with ________, her younger brother. a. Wilhelm Hensel c. Felix Mendelssohn b. Carl Fridrich Zelter d. Moses Mendelssohn
Q: Fanny Mendelssohn Hensels piano cycle The Year is unified through: a. recurring motives. b. tonal schemes. c. references to the works of other composers. d. all of the answers shown here
Q: The manuscript for Fanny Mendelssohn Hensels September: At the River, from The Year, has poetic lines by: a. Wilhelm Hensel. c. Johann Wolfgang von Goethe. b. Heinrich Heine. d. Friedrich Schiller.
Q: Fanny Mendelssohn Hensel wrote her cycle The Year for: a. voice. c. piano. b. orchestra. d. choir.
Q: Who composed the piano cycle The Year? a. Frdric Chopin c. Clara Schumann b. Fanny Mendelssohn Hensel d. Franz Liszt
Q: Fanny Mendelssohn Hensels output is dominated by: a. piano music and chamber music. b. Lieder and chamber music. c. Lieder and orchestra music. d. Lieder, choral part songs, and piano music.
Q: Fanny Mendelssohn Hensel was discouraged from pursuing a career as a composer because: a. she was a woman. c. she had no talent. b. she was primarily a performer. d. all of the answers shown here
Q: Which of the following women presided over musical salons? a. Carolyne Sayn-Wittgenstein c. Clara Schumann b. Nadezhda von Meck d. Fanny Mendelssohn Hensel
Q: Which of the following was a noted woman composer of the Romantic era? a. Carolyne Sayn-Wittgenstein c. George Sand b. Clara Schumann d. Nadezhda von Meck
Q: Which of the following best describes the role of women in nineteenth-century music? a. None pursued careers in music. b. Women were leaders in innovative changes of style. c. The piano provided women with a socially acceptable performance outlet. d. all of the answers shown here
Q: Describe why Chopin has been called the poet of the piano.
Q: Describe the role of the piano in nineteenth-century life. What new types of works were developed to support this role?
Q: Composers of character pieces chose more descriptive titles that depicted a mood or scene.
Q: The character piece was equivalent to the song.
Q: Chopins Mazurka in B-flat Minor, Op. 24, No. 4 is in duple meter.
Q: The mazurka is a Hungarian folk dance.
1 2 3 … 391

Subjects

Accounting Anthropology Archaeology Art History Banking Biology & Life Science Business Business Communication Business Development Business Ethics Business Law Chemistry Communication Computer Science Counseling Criminal Law Curriculum & Instruction Design Earth Science Economic Education Engineering Finance History & Theory Humanities Human Resource International Business Investments & Securities Journalism Law Management Marketing Medicine Medicine & Health Science Nursing Philosophy Physic Psychology Real Estate Science Social Science Sociology Special Education Speech Visual Arts