Survey
* Your assessment is very important for improving the workof artificial intelligence, which forms the content of this project
* Your assessment is very important for improving the workof artificial intelligence, which forms the content of this project
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]