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Question
Transitional sections of a fugue that offer either new material or fragments of the subject or countersubject are called ______.
A. answers
B. episodes
C. preludes
D. strettos
Answer
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Related questions
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________ gained international fame for his film score of Ang Lees Crouching Tiger, Hidden Dragon (2000), which earned him an Oscar and Grammy in 2001.
A. Danny Elfman
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C. Toru Takemitsu
D. Tan Dun
Q:
The idea of musical themes for characters (leitmotifs) was developed by which nineteenth-century composer?
A. Debussy
B. Brahms
C. Mozart
D. Wagner
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Since the 1960's most film music is composed by _______. A. dead white European males B. studio staff composers C. freelance composers D. directors and actors
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A. Richard Rodgers
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The typical form of a swing composition is ______.
A. 32-bar AABA
B. 12-bar ABA
C. 16-bar AB
D. 24-bar AAB
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The jazz style called swing flourished in America from ______. A. 1900 to 1917 B. 1917 to 1935 C. 1935 to 1945 D. 1945 to 1955
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City Scape is a work for orchestra composed by ______.
Jennifer Higdon
B. Kaija Saariaho
C. John Adams
D. Astor Piazzolla
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Eric Whitacre's choral music often does what? A. Incorporates the rhythms of rock and roll B. Alternates consonant chords with sweetly dissonant tone clusters C. Quotes passages from the masters of European classical music D. Uses African rhythmic patterns
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George Crumb's song cycle Ancient Voices of Children is based on the poetry of ______. A. Anna Magdalena Bach B. Federico Garca Lorca C. Jorge Guilln D. A. R. Ammons
Q:
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:
The choice of musical instruments in nonwestern cultures frequently depends on what?
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
Q:
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
C. movie contracts
D. All answers are correct.
Q:
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:
A style of rock music described as a return to a primal form of rock is called _______. A. punk B. funk C. reggae D. new wave
Q:
During most of his lifetime, Charles Ives's musical compositions _______. A. were enthusiastically received in public performances B. were quickly published by a major firm C. accumulated in the barn of his Connecticut farm D. were sought after by musicians eager to perform them in public
Q:
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"
Q:
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
B. received its title because it was written for an orchestra of virtuosi
C. is romantic in spirit because of its emotional intensity, memorable themes, and vivid contrasts of mood
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
B. twentieth-century sounds
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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
Q:
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