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PART FIVE
1.
A poem that has visual as well as intellectual
value is __________.
a. a sonnet
b. a shape poem
c. a tone poem
d. pop art
[b]
2.
Andy Warhol’s paintings of advertisements
and familiar objects are related to the
musical style called __________.
a. Impressionism
b. Serialism
c. Pointillism
d. Minimalism
[d]
3.
Op art is short for optical art.
a. true
b. false
[a]
CHAPTER 18
1.
2.
3.
The experimentlist who shared many ideas
of the Transcendentalists was __________.
6.
a. Henry Cowell
a. “The Tides of Mananaun”
b. Edgard Varèse
b. “The Banshee”
c. Charles Ives
c. Ionisation
d. Léon Thérémin
d. “The Unanswered Question”
[c]
[d]
One of the first composers to consider music
simply as “organized sound” was
__________.
7.
a. Charles Ives
b. Léon Thérémin
b. Edgard Varèse
c. Henry Cowell
c. Henry Cowell
d. Edgard Varèse
d. Léon Thérémin
[d]
[c]
The composer who first wrote compositions
requiring the pianist to directly manipulate
the strings of the piano was __________.
8.
b. thirds
c. fourths
c. Henry Cowell
d. fifths
d. Edgard Varèse
[c]
Music experimentalists are particularly
interested in exploring __________.
a. forms
b. sounds
c. rhythms
d. tempos
[b]
Charles Ives is best described as an
inveterate __________.
A tone cluster is a chord built upon __________.
a. seconds
b. Léon Thérémin
5.
The first significant American composer to
turn to the Orient for inspiration was
__________.
a. Charles Ives
a. Charles Ives
4.
Which one of the following pieces is an
early example of chance music?
[a]
9.
Tone clusters were invented at about the
same time by __________.
a. Ives and Varèse
b. Varèse and Thérémin
c. Thérémin and Cowell
d. Cowell and Ives
[d]
10. Which one of the following was not among
the important influences upon Henry
Cowell’s music?
a. Romantic
a. Irish folklore
b. Classicist
b. German Romanticism
[a]
c. modal music
d. Oriental music
[b]
11. Musical quotations are an inherent part of
the compositions of __________.
a. Henry Cowell
b. Edgard Varèse
c. Charles Ives
d. Léon Thérémin
[c]
12. The term New Music, meaning music of an
advanced or experimental nature, was
adopted from a journal founded by
__________.
16. Which one of the following composers
wrote several compositions for such
unconventional percussion instruments as
anvils, chains, and sleighbells?
a. Charles Ives
b. Léon Thérémin
c. Henry Cowell
d. Edgard Varèse
[d]
17. Most of Charles Ives’s music was written in
the __________ century.
a. Charles Ives
a. late nineteenth
b. Léon Thérémin
b. early twentieth
c. Henry Cowell
c. mid-twentieth
d. Edgard Varèse
d. recent twentieth
[c]
[b]
13. Henry Cowell and his wife became friends
with, and eventually wrote a book about, the
music of __________.
18. The instrument with which Henry Cowell
performed most of his experiments was the
__________.
a. Charles Ives
a. trumpet
b. Léon Thérémin
b. piano
c. Edgard Varèse
c. violin
[a]
d. theremin
14. Edgard Varèse was born and educated in
__________.
a. New York City
[b]
19. Most of Ives’s instrumental music is
programmatic.
b. Paris
a. true
c. Boston
b. false
d. Philadelphia
[a]
[b]
15. Which one of the following may not vary
from one performance to another of “The
Unanswered Question”?
a. the length of performance time
b. the notes
c. the instrumentation
d. the combination of pitches
[b]
20. When singers select pitches from an octave
higher or lower than the one they are in for
the purpose of singing more comfortably,
they use the technique called __________.
a. twelve-tone
b. Primitive
c. Impressionist
d. octave displacement
[d]
21. The process of performing a twelve-tone
row backwards and upside down is called
__________.
26. The elements of music that have become of
particular significance in the twentieth
century are __________.
a. inversion
a. rhythm and harmony
b. retrograde
b. rhythm and timbre
c. reverse
c. melody and harmony
d. retrograde inversion
d. melody and rhythm
[d]
[b]
22. The arrangement of the twelve pitches upon
which a particular composition is based is
called the twelve-tone __________.
a. scale
b. row
c. inversion
d. form
[b]
23. A twelve-tone row differs from a scale in
that the tones of a row __________
stepwise.
a. are
b. are not
[b]
24. Any interval smaller than a half step is
called a __________.
a. microtone
b. quarter tone
c. mini tone
[a]
25. The elements of music most Western
listeners best understand and appreciate are
__________.
a. rhythm and harmony
b. rhythm and timbre
c. melody and harmony
d. melody and rhythm
[c]
27. Experimentalism is basically a __________
concept.
a. Classical
b. Romantic
[b]
28. Interest in concrete music first developed in
__________.
a. America
b. Germany
c. France
d. Russia
[c]
29. Composers of musique concrète work with
__________.
a. musical sounds only
b. natural sounds only
c. machinery sounds only
d. all kinds of sounds
[d]
30. The process of “cutting and pasting” a tape
to establish the form of a piece of concrete
music is called __________.
a. mixing
b. matching
c. montage
d. aleatory
[c]
31. The composer who invented the prepared
piano was __________.
33. A gamelan is an orchestra consisting
primarily of __________ instruments.
a. Milton Babbitt
a. string
b. John Cage
b. woodwind
c. Charles Ives
c. brass
d. Henry Cowell
d. percussion
[b]
[d]
32. John Cage’s ideas are most closely related to
those of __________.
34. Which one of the following is not affected
by preparing the strings of a piano?
a. Milton Babbitt
a. timbre
b. Charles Ives
b. dynamic level
c. Aaron Copland
c. rhythm
d. Samuel Barber
d. pitch
[b]
[c]
CHAPTER 19
1.
In the 1920s, young American composers
traveled to __________ to study music.
5.
a. Germany
a. Arnold Schoenberg
b. England
b. Nadia Boulanger
c. France
c. William Grant Still
d. the Orient
d. Roger Sessions
[c]
2.
The teacher to whom many Americans and
other young composers turned for
instruction beginning in the 1920s was
__________.
[d]
6.
b. suite
b. Arnold Schoenberg
c. fanfare
c. Nadia Boulanger
d. sonata
d. Aaron Copland
3.
[c]
7.
Boulanger encouraged Aaron Copland to
develop a nationalistic American style by
using some of the techniques of
__________.
The Appalachian Spring Suite is best
described as a(n) __________.
a. classical ballet
b. modern dance
a. American folk music
c. folk dance
b. psalmody
d. orchestral piece
c. Impressionism
[d]
d. jazz
8.
[d]
4.
A short, dramatic piece for brass instruments
may be called a __________.
a. tone poem
a. Igor Stravinsky
[c]
During the early Depression years, Copland
and __________ sponsored a series of
concerts to promote American music.
Which one of the following was not a strong
influence upon the music of Aaron Copland?
a. choreographer
b. composer
a. jazz
c. designer
b. Impressionism
d. arranger
c. cowboy music
[a]
d. Mexican music
[b]
The individual who determines the steps and
positions of dancers is called the
__________.
9.
Hart Crane was a famous American
__________.
a. choreographer
b. poet
c. singer
d. composer
[b]
10. The theme upon which Copland wrote a set
of variations for Appalachian Springs is an
American __________ tune.
15. Aaron Copland believed that composers
should write some music that served a useful
purpose.
a. hymn
a. true
b. cowboy
b. false
c. folk
[a]
d. dance
[a]
11. Martha Graham was a choreographer in the
style called __________.
16. The Harlem Renaissance flourished during
the __________.
a. 1920s
b. 1940s
a. classical ballet
c. 1960s
b. folk dance
[a]
c. jazz dance
d. modern dance
[d]
12. Choreography may be set to __________.
a. an existing piece of art music
b. music newly composed for a particular
dance
c. either of the above
[c]
13. Barber’s Adagio for Strings was originally
the slow movement of one of his
__________.
a. symphonies
b. string quartets
c. sonatas
d. concertos
[b]
14. William Grant Still identified most closely
with the experience of the __________.
a. American Negro
b. European immigrant
c. Native American
d. Latin American
[a]
17. The Harlem Renaissance is treated primarily
as a movement in the __________ arts.
a. musical
b. dance
c. literary
[c]
18. The nontraditional orchestral instrument
included in William Grant Still’s AfroAmerican Symphony is the __________.
a. guitar
b. banjo
c. harmonica
[b]
CHAPTER 20
1.
__________ has replaced pitch as the
element of primary interest for many
contemporary composers.
6.
a. silence can only be achieved in a
soundproof chamber
a. Melody
b. music involves both sound and silence
b. Meter
c. silence is more important than sound
c. Harmony
d. there is no such thing as silence
d. Timbre
[d]
2.
[d]
7.
Mallet instruments are of particular appeal
to composers who desire __________.
b. should improvise
c. should watch the director
b. rich harmonies and extreme dynamic
changes
d. should not play at all
c. long, lyrical melody lines
[d]
8.
[a]
3.
b. chance music
a. keyboard
c. random music
b. string
d. indeterminate music
c. mallet
[a]
[c]
Compositions that require musicians to act
as well as play instruments and sing are
called __________.
a. cantatas
b. operas
c. theater scores
d. shaped poems
[c]
5.
Which one of the following is not a kind of
aleatoric music?
a. concrete music
The marimba, xylophone, and glockenspiel
are all __________ instruments.
d. wind
4.
The term tacet indicates that musicians
__________.
a. should play very softly
a. resonant timbres and precise rhythmic
effects
d. the element of chance in their music
John Cage believes that __________.
Pauline Oliveros is fascinated particularly
with the qualities of __________.
9.
The word “aleatory” is derived from the
Latin word for __________.
a. ladder
b. soft
c. dice
d. circular
[c]
10. Abstract Expressionist painters share many
ideals with the composers of __________
music.
a. concrete
b. symphonic
a. colors
c. program
b. rhythms
d. aleatoric
c. sounds
[d]
[c]
11. Jackson Pollock was a famous twentiethcentury __________.
16. On a synthesizer, electronic oscillators
determine the __________ that will sound.
a. writer
a. rhythms
b. composer
b. timbres
c. painter
c. pitches
d. poet
d. dynamic levels
[b]
[c]
12. Which one of the following composers
prefers to write music that exists only on
tape?
17. By changing the shape of the sound waves,
one may change the __________ produced
by the synthesizer.
a. Harry Partch
a. rhythms
b. Milton Babbitt
b. timbres
c. John Cage
c. pitches
d. Aaron Copland
d. dynamic levels
[b]
[b]
13. A metallophone is a __________
instrument.
18. It is possible to play a continuum of pitches
by using the __________ on a synthesizer.
a. percussion
a. oscillators
b. string
b. filters
c. brass
c. fingerboards
d. woodwind
d. keyboard
[a]
[c]
14. The composer who invented several
instruments to produce original timbres was
__________.
19. The American composer who particularly
appreciates the mathematical precision of
the twelve-tone technique is __________.
a. Charles Ives
a. Harry Partch
b. Milton Babbitt
b. Milton Babbitt
c. John Cage
c. John Cage
d. Harry Partch
d. Aaron Copland
[d]
[b]
15. Interest in the electronic synthesizer first
developed in __________.
a. America
20. “Ensembles for Synthesizer” __________.
a. is a twelve-tone composition
b. Germany
b. uses all twelve-tones but not according to
Schoenberg’s row technique
c. France
c. is in a major key
d. Russia
d. is in a minor key
[b]
[b]
21. Serialism is an extension of __________.
a. tonality
b. modality
c. twelve-tone technique
d. electronic techniques
[c]
22. Which one of the following composers was
most involved with early electronic music?
a. Charles Ives
b. Henry Cowell
c. Edward MacDowell
d. Edgard Varèse
[d]
CHAPTER 21
1.
2.
Metric modulation is a rhythmic technique
introduced by __________.
The composer who writes process music
using loops of tape is __________.
a. Steve Reich
a. Philip Glass
b. Philip Glass
b. Elliott Carter
c. George Crumb
c. Lukas Foss
d. Elliott Carter
d. Steve Reich
[d]
[d]
Modern melodies are often more
__________ in contour than the melodies of
the nineteenth century.
a. angular
b. smooth
[a]
3.
4.
Music based upon the repetition and gradual
variation of simple melodic fragments is
called __________ in style.
a. Impressionistic
b. minimalist
c. expressionistic
d. indeterminate
[b]
5.
Most contemporary compositions have no
melody.
a. true
b. false
[b]