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Question
The metric pattern in which a strong beat alternates with a weak one is called:
a. triple meter. c. quadruple meter.
b. duple meter. d. compound meter.
Answer
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Related questions
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a. opera seria c. tragic opera
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a. plots drawn from classical antiquity
b. virtuoso display by soloists
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Beethoven set Schillers Ode to Joy in the finale of his Symphony No. 5.
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Which of the following describes the final movement of Beethovens Symphony No. 5?
a. The three-note rhythmic motive returns.
b. There is a break preceding the beginning of the movement.
c. The movement ends in despair, just like the first movement.
d. It quotes a portion of the third movement.
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a. one c. four
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The Ode to Joy is the finale of Beethovens:
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Beethoven supported himself through:
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Q:
The Trumpet Concerto in E-flat Major, composed in 1796, was Haydns last orchestral work.
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Haydns Concerto for Trumpet was written for ________.
a. the natural trumpet c. the valve trumpet
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Which of the following best depicts a rondo in its simplest form?
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What is the form of the third movement of Haydns Trumpet Concerto in E-flat Major?
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How many movements are in a Classical concerto?
a. two c. four
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In sonata-allegro form, the contrasting key is established by the statement of the:
a. development. c. second theme.
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Why is Haydn considered to be the father of the symphony?
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The Classical symphony had its origins in the Baroque concerto.
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Janissary bands are associated with:
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How many symphonies did Haydn compose?
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The Classical symphony had its roots in the:
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Describe the overall outline of a multimovement cycle. Be sure to mention the tempo and chronological character of each movement. Which genres generally follow multimovement cycles?
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Discuss how composers expand their musical ideas.
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The term multimovement cycle is applied not only to sonatas and chamber music but also to concertos and symphonies.
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Thematic development provides clarity, coherence, and logic to larger musical forms.
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The repetition of a motive at a higher or lower pitch level is called:
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Discuss the fugue, its structure, and its polyphonic devices.
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In which voice is the subject first heard in Contrapunctus I, from The Art of Fugue?
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c. the second voice from the bottom, or tenor
d. the bottom voice, or bass