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Question
Which of the following composers was not a member of the Venetian school of the sixteenth century?
A. Andrea Gabrieli
B. Giovanni Gabrieli
C. Carlo Gesualdo
D. Adrian Willaert
Answer
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Related questions
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:
Expressionism is an art concerned with ______. A. depicting the beauties of nature B. emotional restraint, clarity, and balance C. social protest D. All answers are correct.
Q:
91. Which of the following statements is not true? A. Twentieth-century musical expressionism grows out of the emotional turbulence in the works of late romantics like Wagner, Richard Strauss, and Gustav Mahler. B. Expressionist artists favored pleasant subjects, delicate pastel colors, and shimmering surfaces. C. A stress on harsh dissonance, an exploitation of extreme registers, fragmentation, and unusual instrumental effects are all characteristics of expressionistic compositions. D. Expressionist painters reacted against French impressionism; they often used jarring colors and grotesquely distorted shapes to explore the subconscious.
Q:
Twentieth-century musical expressionism grew out of the emotional turbulence in the works of late romantics such as ______.
A. Richard Wagner
B. Richard Strauss
C. Gustav Mahler
D. All answers are correct.
Q:
The twentieth-century artistic movement that stressed intense, subjective emotion was called ______. A. impressionism B. primitivism C. expressionism D. neoclassicism
Q:
Igor Stravinsky's Rite of Spring is scored for ______. A. a small chamber group B. vocal soloists and orchestra C. an enormous orchestra D. a wind ensemble
Q:
78. Which of the following statements is not true? A. Stravinsky's ballet The Rite of Spring may be considered an example of his neoclassical style. B. Stravinsky's early ballets, Firebird, Petrushka, and The Rite of Spring, call for very large orchestras and draw on Russian folklore and folk tunes. C. Stravinsky drew on a vast range of styles, from Russian folk songs to baroque melodies, from Renaissance madrigals to tango rhythms, to create original music. D. Stravinsky's extensive output includes compositions of almost every kind, for voices, instruments, and the stage.
Q:
In the 1950s Stravinsky dramatically changed his style, drawing inspiration from ______. A. Claude Debussy B. Richard Wagner C. Anton Webern D. Russian folk music
Q:
In order to support his family, Schumann turned to ______. A. medicine B. musical journalism C. arranging concerts D. teaching
Q:
The writer whose works had the greatest impact on the young Berlioz was ______. A. Victor Hugo B. William Shakespeare C. Honor de Balzac D. Heinrich Heine
Q:
Today's movie scores may be regarded as examples of ______. A. pure music B. incidental music C. folk music D. absolute music
Q:
Mendelssohn's Violin Concerto was inspired by ______. A. his friendship the famous violinist Ferdinand David B. Napoleon Bonaparte's conquest of Europe C. Hector Berlioz's Symphonie fantastique D. a performance of the great violin virtuoso Niccol Paganini
Q:
The three movements of Mendelssohn's Concerto for Violin ______.
A. are unified by the process of thematic transformation
B. are all in the same key
C. all have separate cadenzas
D. are played without pause
Q:
The high point of Mendelssohn's career was the triumphant premiere of his oratorio _____________ in England. A. Elijah B. Hebrides C. A Midsummer Night's Dream D. Fingal's Cave
Q:
Liszt created the ______________, a one-movement orchestral composition based to some extent on a literary or pictorial idea. A. concert overture B. symphonic poem C. piano concerto D. sonata
Q:
At the Paris International Exhibition of 1889 Debussy was strongly influenced by ______.
A. the advantages of modern technology
B. performances of the music of J. S. Bach
C. the Eiffel Tower
D. performances of Asian music
Q:
Which of the following statements is not true?
A. Both impressionist painting and symbolist poetry were catalysts for many developments during the twentieth century.
B. Symbolist writers emphasized the purely musical, or sonorous, effects of words.
C. When viewed closely, impressionist paintings are made up of tiny colored patches.
D. The impressionist painters were particularly obsessed with portraying scenes of ancient French glories.
Q:
A fourth chord is ______. A. a combination of four tones B. the chord built on the fourth step of the scale C. a chord in which the tones are a fourth apart, instead of a third D. All answers are correct.
Q:
A piano is often used in twentieth-century orchestral music to ______.
A. "sing" a beautiful melody
B. play important cadenzas in slow movements
C. provide a nucleus for the orchestra similar to the baroque basso continuo
D. add a percussive edge
Q:
The glissando, a technique widely used in the twentieth century, is ______. A. the combination of two traditional chords sounding together B. a rapid slide up or down a scale C. a motive or phrase that is repeated persistently at the same pitch throughout a section D. a chord made up of tones only a half step or a whole step apart
Q:
Which of the following composers was not stimulated by the folklore of his native land? A. Igor Stravinsky B. Anton Webern C. Bla Bartk D. Charles Ives
Q:
The most famous riot in music history occurred in Paris in 1913 at the first performance of ______. A. Arnold Schoenberg's Gurrelieder B. Igor Stravinsky's The Rite of Spring C. Richard Wagner's Siegfried D. Igor Stravinsky's Les Noces
Q:
Which of the following statements is not true?
A. The "emancipation of the dissonance" does not prevent composers from differentiating between chords of greater or lesser tension.
B. By the early twentieth century, the traditional distinction between consonance and dissonance was abandoned in much music.
C. The general principle that determines whether a chord is stable or not remains the same in the twentieth century as it did in the nineteenth.
D. Up to about 1900, all chords except the three-tone triad were considered dissonant.
Q:
Which of the following is not true about Inura? A. It was composed by Astor Piazzolla. B. The vocal text is in the language of Yoruba/Brazilian Portuguese. C. It was composed in 2009 for DanceBrazil. D. It is written for mixed chorus, strings, and percussion.
Q:
Giuseppe Verdi mainly composed his operas ______.
A. for the Italian musical elite
B. to glorify the singers
C. for his fellow composers
D. to entertain a mass public
Q:
142. Which of the following statements is not true? A. One of Brahms's musical trademarks is his exotic orchestration. B. When he was thirteen, Brahms studied piano, music theory, and composition during the day, and played dance music for prostitutes and their clients in waterfront bars at night. C. Brahms was a romantic who breathed new life into classical forms. D. As conductor of a Viennese musical society, Brahms introduced many forgotten works of Bach, Handel, and Mozart.
Q:
In Vienna, Johannes Brahms ______.
A. conducted a Viennese musical society
B. edited baroque and classical compositions
C. collected music manuscripts
D. All answers are correct.
Q:
Peter Ilyich Tchaikovsky ______.
A. was a child prodigy, learning music at an early age
B. preferred his government position to music
C. studied music theory and violin as a teenager
D. began to study music theory at the age of twenty-one