Q&A Hero

Q: William Faulkner wrote the script for which of these films which Renoir made in America? a. The Southerner b. The Sound and the Fury c. Absalom, Absalom d. Light in August

Q: Martial-arts movies, popular with young males, often are comprised of improbable events and cardboard stereotypes.

Q: By definition the revisionist stage of the genre development cycle is ironic.

Q: In Grand Illusion, Jean Renoir made good use of the talents of a. Charlie Chaplin b. G. W. Pabst c. Erich von Stroheim d. Alfred Hitchcock

Q: Mexican directors like Guillermo del Toro generally make more money in Mexico than in the U.S.

Q: George Lucas stuck to classical narrative conventions in American Graffiti, which ensured the movies impressive success for a young director.

Q: What French film director called for movies which "dealt with life as it was lived in the streets of Paris"? a. Francois Truffaut b. Danielle Darrieux c. Jacques Prvert d. Marcel Carn

Q: Iranian filmmakers have become among the most admired in the world.

Q: Studios began to produce off-beat movies, entirely avoiding big-budget movies.

Q: Who financed his early movies himself using art works? a. Marcel Carn b. Jean Renoir c. Jean Cocteau d. Carl Theodore Dreyer

Q: Iraqi filmmakers have cemented their position as world-class movie makers since 2000.

Q: Movie audiences expanded as retirees, looking for something to do, began to flock to theatres.

Q: The New Wave film movement of France most admired which French film director? a. Jean Cocteau b. Jean Renoir c. Marcel Carn d. Jacques Prvert

Q: Romanian filmmakers and Islamic filmmakers share many filmmaking techniques with Italian neorealists.

Q: Blaxploitation films of the 1970s invariably featured anti-heroes as their main characters.

Q: If French civilization were destroyed today, what film, according to Richard Roud, could be used to reconstruct that civilization? a. Rules of the Game b. Beauty and the Beast c. Children of Paradise d. none of the above

Q: No German movie has won an Oscar in the 2000s.

Q: A major influence on the work of Steven Spielberg is a. Walt Disney b. D. W. Griffith c. Stanley Kubrick d. John Ford

Q: Jean Cocteau made which of the following magical tales? a. Beauty and the Beast b. The Blood of the Poet c. both a and b d. neither a and b

Q: British cinema has continued to languish in the 2000s.

Q: Woody Allen's sensibility is defined by his being a. Jewish. b. New Yorker. c. both a and b d. neither a nor b

Q: The French admired and paid homage in their surrealist films to a. American slapstick comedy as seen in Buster Keaton and Laurel and Hardy b. Russian masters Pudovkin and Eisenstein c. Alfred Hitchcock and Alexander Korda d. all of the above

Q: Many successful movies like the Lord of the Ring Trilogy have primarily been international co-productions.

Q: Robert DeNiro starred in all of the following Martin Scorsese films except a. Raging Bull b. Mean Streets c. Gangs of New York d. The King of Comedy

Q: What film did Alfred Hitchcock make in Britain which proved the precursor of later films like North by Northwest? a. Vertigo b. The 39 Steps c. Lifeboat d. Number 17

Q: The conflict between the powerful Hollywood and struggling cinemas of smaller countries has ceased in the 2000s.

Q: Martin Scorsese films are often imprinted with a. tight plots. b. logical endings. c. inconspicuous camera use. d. violence.

Q: Hitchcock in part achieved his films' effect and success through the influence and use of a. editing based on the theory of Kuleshov and Pudovkin b. German Expressionism c. innovations in sound d. all of the above

Q: The catch word of movie making in the 2000s is a. slash b. globalization c. innovate d. tradition

Q: The produce of B-films that gave many notable American directors of the 70s, including Martin Scorsese, their starts was a. Roger Corman b. Jack Warner c. Robert Altman d. none of the above

Q: Alexander Korda's problem with making his movies those he produced and directed was that a. he was not a very creative director b. he moved from country to country too often c. he let too many different people direct his movies d. he had tastes which were much too rarefied

Q: In the first movement of the New World Symphony, Dvork ______. A. used the form of the scherzo B. quoted the black spiritual Swing Low, Sweet Chariot C. composed a theme that resembles Swing Low, Sweet Chariot D. began the symphony with an allegro first theme

Q: Antonin Dvork's Symphony No. 9 ______. A. is his most famous work B. is subtitled From the New World C. glorifies both the Czech and the American folk spirit D. All answers are correct.

Q: In 1892, Dvork went to ___________, where he spent almost three years as director of the National Conservatory of Music. A. London B. Prague C. New York D. Leipzig

Q: Dvork "found a secure basis for a new national [American] musical school" in ______. A. the music of New York B. African American spirituals C. western art music as taught at the National Conservatory of Music D. the traditional folk music of European immigrants

Q: Antonin Dvork's music was first promoted by ______. A. Hector Berlioz B. Richard Wagner C. Johannes Brahms D. Franz Liszt

Q: The German master _____________ recommended Dvork's music to his own publisher, resulting in a rapid spread of Dvork's fame. A. Joseph Haydn B. Richard Wagner C. Franz Liszt D. Johannes Brahms

Q: Even though Smetana was deaf at the time, he composed a musical work depicting Bohemia's main river as it flows through the countryside. The name of the river, and the musical composition, is the ______. A. Moldau B. Seine C. Danube D. Thames

Q: Smetana grew up when Bohemia was under ____________ domination. A. German B. Austrian C. Polish D. Russian

Q: The founder of Czech national music was ______. A. Csar Cui B. Antonin Dvork C. Bed ich Smetana D. Boris Godunov

Q: The opera that laid the groundwork for a Russian national style, A Life for the Tsar, was composed by ______. A. Modest Mussorgsky B. Csar Cui C. Nikolai Rimsky-Korsakov D. Mikhail Glinka

Q: Who laid the groundwork for a nationlist style in Russian music? A. Mily Balakirev B. Modest Mussorgsky C. Mikhail Glinka D. Nikolai Rimsky-Korsakov

Q: The strongest impact of musical nationalism was felt in ______. A. Russia B. the Scandinavian countries C. Poland and Bohemia D. All answers are correct.

Q: Which of the following statements is not true? A. During the nineteenth century, Europeans felt strongly that their homelands merited loyalty and self-sacrifice. B. In the romantic era, it was felt that the "national spirit" of a people resided in the "folk," the peasantry. C. Composers used folk tunes in their serious compositions to give their works a national identity. D. The strongest impact of musical nationalism was felt in Italy, France, Germany, and Austria.

Q: The folk music of Russia sounds different from that of western Europe because it is often based on ______. A. ancient church modes B. pentatonic scales C. minor scales D. hexatonic scales

Q: The citizen's sense of national identity and patriotic feelings were intensified by ______. A. romanticism, which glorified love for one's national heritage B. common bonds of language, culture, and history C. military resistance to Napoleon D. All answers are correct.

Q: Which of the following instruments is not part of the orchestra for Symphonie fantastique? A. Organ B. Cello C. Cornet D. Bells

Q: The contrasting episodes of Berlioz's Fantastic Symphony are unified by the recurrence of a theme known as the ______. A. subject B. Smithson theme C. leitmotif D. ide fixe

Q: Berlioz was extraordinarily imaginative in treating the orchestra, creating ____________ never before heard. A. tone colors B. rhythms C. harmonies D. forms

Q: Outside France, Berlioz enjoyed a great career as a(n) ______. A. conductor B. concert pianist C. singer D. impresario

Q: In order to support his family, Schumann turned to ______. A. medicine B. musical journalism C. arranging concerts D. teaching

Q: Which of the following statements is not true? A. Berlioz was an extraordinarily imaginative and innovative orchestrator. B. All of Berlioz's major works are dramatic in nature and relate either to a literary program or to a text. C. In 1830 Berlioz won the Paris Conservatory's Prix de Rome which granted him two years' subsidized study in Rome. D. Berlioz's reputation outside France was even lower than it was in his homeland.

Q: The first and last movements of the concerto grosso are often in ____________ form. A. theme and variations B. sonata C. ritornello D. ternary

Q: The concerto grosso most often has three movements whose tempo markings are ______. A. fast, slow, fast B. fast, fast, slow C. slow, fast, slow D. slow, slow, fast

Q: The large group of players in a concerto grosso is known as the ______. A. concertino B. orchestra C. soloists D. tutti

Q: A concerto grosso most often has ____________ movement(s). A. one B. two C. three D. four

Q: During the baroque period, _________ were not allowed to be employed as music directors. A. sons of musicians B. orphans C. commoners D. women

Q: In Italy, music schools were often connected with ______. A. orphanages B. courts of the nobility C. public schools D. universities

Q: In the baroque period, the ordinary citizen's opportunities for hearing music usually came from the ______. A. corner tavern B. church C. concert hall D. court

Q: The position of the composer during the baroque period was that of ______. A. a free agent working on commissions B. an equal to the nobility, based on merit C. a high-class servant with few personal rights D. a low-class wandering minstrel

Q: Frederick the Great, king of Prussia, was a ______. A. flutist B. general C. composer D. All answers are correct.

Q: The music director of a baroque court was usually not responsible for ______. A. supervising and directing the musical performances B. composing much of the music desired C. the discipline of the other musicians D. publicity in reaching an audience

Q: A large court during the baroque period might employ about ____________ performers. A. 18 B. 24 C. 80 D. 120

Q: 36. Which of the following statements is not true? A. A large court during the baroque might employ more than eighty performers, including the finest opera singers of the day. B. Audiences in the baroque period were most anxious to hear old familiar favorites, and did not care for new music. C. In Italy, music schools were often connected with orphanages. D. Church musicians in the baroque period earned lower pay and had less status than court musicians.

Q: To what does the word movement in music normally refer? A. Music for the ballet B. A piece that sounds fairly complete and independent but is part of a larger composition C. The rising and falling of the melodic contour D. The rhythm of a piece

Q: The orchestra evolved during the baroque period into a performing group based on instruments of the ____________ family. A. string B. woodwind C. brass D. percussion

Q: A bass part together with numbers that specify the chords to be played above it is called ______. A. figured bass B. sequenced bass C. basso profundo D. counterpoint

Q: The most characteristic feature of baroque music is its use of ______. A. gradual dynamic changes B. monophonic texture C. basso continuo D. simple singable melodies

Q: A popular keyboard instrument in which sound was produced by means of brass blades striking the strings was the ______. clavichord B. harpsichord C. basso continuo D. organ Feedback: The clavichord produced sound by means of brass blades striking the strings, allowing for a dynamic range.

Q: The main keyboard instruments of the baroque period were the organ and the ______. A. clavichord B. harpsichord C. piano D. accordion

Q: In the baroque era, dynamics consisted mainly of sudden alterations between loud and soft called ______. A. cantus firmus B. terraced dynamics C. basso continuo D. basso ostinato

Q: To what does terraced dynamics refer? A. A gradual change from soft to loud B. A gradual change from loud to soft C. The sudden alternation from one dynamic level to another D. Dynamics that are not written in the music but added by the performer

Q: What is one characteristic often found in baroque melodies? A. One long continuous phrase with long sustained notes B. One short phrase followed by continuous repetition of the same phrase C. A symmetrical frame with two long phrases of equal length D. A short opening phrase followed by a longer phrase with an unbroken flow of rapid notes

Q: A _______________ is an apparatus that produces ticking sounds or flashes of light at any desired musical speed. A. clock B. beat metronome D. stopwatch

Q: A gradual slowing-down of tempo is indicated by the term ______. A. accelerando B. andante C. ritardando D. crescendo

Q: Which of the following is the slowest tempo indication? A. Adagio B. Andante C. Allegro D. Vivace

Q: The Italian term _____________ is a tempo marking to indicate a lively pace. A. andante B. allegro C. adagio D. vivace

Q: The Italian term __________ is a tempo marking to indicate a moderately slow or walking pace. andante B. allegro C. adagio D. largo

Q: The term ___________ refers to the speed of the beat of the music. A. meter B. syncopation C. tempo D. dynamics

Q: Which of the following is a characteristic feature of jazz music? A. A metronome B. Syncopation C. Expiation D. A ritardando