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Question
A classical concerto is a three-movement work for ______.
A. instrumental soloist and orchestra
B. symphonic orchestra
C. instrumental soloist and piano
D. vocal soloist and orchestra
Answer
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Related questions
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A. Debussy
B. Brahms
C. Mozart
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B. 12-bar ABA
C. 16-bar AB
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15. Which of the following statements is not true with regard to sub-Saharan Africa? A. Many African languages are "tone languages," in which the meaning of a word is determined by the relative pitch at which it is spoken. B. Vocalists in Africa often use the pressure drum to accompany themselves. C. Sub-Saharan Africa includes several thousand peoples with different religions, social customs, and ways of life, speaking over 700 different languages. D. African drummers are among the most sophisticated in the world, producing not only complicated rhythms but a wide range of tone colors and pitches as well. However, drums are not usually used to accompany vocalists as they do produce a little sense of harmony.
Q:
What is the mbira?
A. An hourglass-shaped drum
B. An African form of string instrument
C. A form of xylophone used in orchestras
D. A melodic idiophone with tongues of metal or bamboo attached to a sounding board
Q:
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A. The musical style of a culture
B. The culture's geography
C. Religion
D. All answers are correct.
Q:
Nonwestern music is most often transmitted through which means? A. Orally from parent to child or teacher to student. B. Through the imitation of radio broadcasts. C. Through music notation. D. From recordings.
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The Beatles's recording _________ can be considered a unified song cycle. A. Sgt. Pepper's Lonely Hearts Club Band B. Abbey Road C. The Beatles D. Lucy in the Sky with Diamonds
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Rock performances have taken place in _______.
A. auditoriums
B. sports arenas
C. open fields
D. All answers are correct.
Q:
Rock superstars struck it rich through _______.
A. astronomical concert fees
B. record royalties
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A type of basic rock popular in the 1980s characterized by pounding drums, heavily amplified bass, and unrestrained guitars played at peak volume, is known as _______. A. reggae B. punk rock C. heavy metal D. funk rock
Q:
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Shostakovich's Fifth Symphony has been described as _______.
A. "a blatant example of all that is wrong with twentieth-century music"
B. "a sinister combination of evil intent and discordant harmonies"
C. "a ridiculous parody of eighteenth-century form"
D. "a Soviet artist's practical creative response to just criticism"
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As a Soviet composer, Shostakovich was required to _______.
A. follow the dictates of the Communist Party
B. write music that was accessible and melodic
C. reject modernism
D. All answers are correct.
Q:
Bla Bartk's Concerto for Orchestra _______.
A. is his most popular work
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D. All answers are correct.
Q:
Bla Bartk evolved a completely individual style that fused folk elements with _______.
A. changes of meter and a powerful beat
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D. All answers are correct.
Q:
Bla Bartk was a leading authority on ______. A. peasant music B. twelve-tone music C. American jazz D. the music of ancient Greece
Q:
Which of the following statements is not true? A. Typical of expressionist composers, Berg scored his opera Wozzeck for a small chamber orchestra. B. The vocal line in Berg's opera Wozzeck includes speaking, shrieking, Sprechstimme, distorted folk songs, and melodies with wide leaps that are difficult to sing. C. Though written in the early 1830s, Georg Bchner's play Woyzeck is amazingly modern in its starkly realistic dialogue and disconnected scenes. D. A novel feature of Berg's opera Wozzeck is that the music for each scene is a self-contained composition with a particular form or of a definite type.
Q:
Schoenberg acquired his profound knowledge of music by ______.
A. going to concerts
B. playing in amateur chamber groups
C. studying scores
D. All answers are correct.
Q:
The expressionists rejected _______. A. conventional prettiness B. reality C. imagination D. morality
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Minimalist music is characterized by ______. A. the development of musical materials through random methods B. rapidly changing dynamics and textures C. a steady pulse, clear tonality, and insistent repetition of short melodic patterns D. the use of twelve-tone techniques to organize the dimensions of music