Q&A Hero

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: Parisians were startled by Berlioz's Fantastic Symphony because of its ______. A. sensationally autobiographical program B. amazingly novel orchestration C. vivid description of the weird and diabolical D. All answers are correct.

Q: The liturgical melody quoted in the last movement of Berlioz's Fantastic Symphony is the ______. A. Ave Maria B. alleluia C. benedictus D. Dies irae

Q: The fourth movement of Berlioz's Fantastic Symphony depicts a ______. A. march to the scaffold B. ball C. dream of a witches' sabbath D. scene in the country

Q: The Fantastic Symphony reflects Berlioz's ______. A. intense nationalism B. experiences in Rome C. love for the actress Harriet Smithson D. interest in composing for small, intimate ensembles

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: In 1830 Berlioz was awarded ______. A. a graduate fellowship B. a scholarship to the Paris Conservatory C. an Oscar D. the Prix de Rome

Q: Today's movie scores may be regarded as examples of ______. A. pure music B. incidental music C. folk music D. absolute music

Q: Music intended to be performed before and during a play to set the mood for scenes or highlight dramatic action is known as ______. A. music drama B. incidental music C. absolute music D. play music

Q: The composer who developed the symphonic poem was ______. A. Franz Liszt B. Ludwig van Beethoven C. Franz Schubert D. Richard Strauss

Q: A ________________ is a one-movement orchestral composition based to some extent on a literary or pictorial idea. A. mazurka B. program symphony C. symphonic poem D. nocturne

Q: A ____________ is an instrumental composition in several movements based to some extent on a literary or pictorial idea. A. nocturne B. program symphony C. polonaise D. concert overture

Q: Nonprogram music is also known as _____________ music. A. pure B. absolute C. concert D. symphonic

Q: Which of the following statements is not true? A. Musicians and audiences in the romantic period liked to read stories into all music, whether intended by the composer or not. B. The romantic concert overture was modeled after the opera overture, but the concert overture is not intended to usher in a stage work, being instead an independent composition. C. The symphonic poem, or tone poem, is a two-movement composition in sonata-allegro form. D. Tchaikovsky's Romeo and Juliet is an example of program music.

Q: The work referred to by Beethoven as an "expression of feeling rather than painting" was his ______. A. Symphony (No. 5) B. Fidelio Overture C. Eroica Symphony D. Pastoral Symphony (No. 6)

Q: Instrumental music associated with a story, poem, idea, or scene, popular during the romantic period, is called ______. A. absolute music B. opera C. program music D. symphony

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: How is Mendelssohn's Concerto for Violin different from a typical concerto of the classical era? A. It does not have a cadenza. B. A classical concerto usually begins with an exposition while Mendelssohn's exposition includes the soloist. C. The solo violin part is not overly difficult. D. It has four movements while a classical concerto has three.

Q: In the first movement of Mendelssohn's Concerto for Violin, the cadenza ______. A. is left to the performer to improvise B. appears at the end of the recapitulation, as is common in classical concertos C. is frequently omitted in performance D. appears at the end of the development section as a transition to the recapitulation

Q: Mendelssohn earned an international reputation, and rekindled an interest in the earlier composer's music, by conducting the first performance since the composer's death of ______. A. Josquin's Ave Maria B. Bach's St. Matthew Passion C. Handel's Messiah D. Schubert's Mass in C

Q: Mendelssohn's Concerto for Violin in E Minor opens with a(n) ______. A. orchestral exposition typical in concertos B. soloist, who presents the main theme C. slow introduction by the orchestra D. single bassoon tone

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: Mendelssohn wrote in all musical forms except ______. A. symphonies B. operas C. string quartets D. oratorios

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: Mendelssohn is known as the man who rekindled an interest in the music of ______. A. Giovanni Pierluigi da Palestrina B. Johann Sebastian Bach C. George Frideric Handel D. Franz Schubert

Q: By the age of thirteen, Mendelssohn had written ____________ of astounding quality. A. vocal works B. sonatas C. symphonies and concertos D. All answers are correct.

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: Liszt typified the romantic movement because he ______. A. had a charismatic personality B. was a stupendous performer C. was an innovative composer D. All answers are correct.

Q: In many of his works, Liszt unified contrasting moods by a process known as ______. A. motivic repetition B. thematic transformation C. sequential restatement D. cohesive unification

Q: The writer whose literary works greatly inspired Franz Liszt was ______. A. William Shakespeare B. Johann Wolfgang von Goethe C. Robert Schumann D. Marie d'Agoult

Q: Liszt's piano works are characterized by ______. A. an unprecedented range of dynamics B. rapid octaves and daring leaps C. arpeggios D. All answers are correct.

Q: Liszt abandoned his career as a traveling virtuoso to become court conductor at __________, where he championed works by contemporary composers. A. Rome B. Weimar C. Paris D. Budapest

Q: Until the age of thirty-six, Franz Liszt toured Europe as a virtuoso ______. A. pianist B. conductor C. cellist D. All answers are correct.

Q: During his teens and twenties, Franz Liszt lived in ______. A. Rome B. Weimar C. Paris D. Budapest

Q: As a youth, Franz Liszt was influenced by the performances of ______. A. Richard Wagner B. Hector Berlioz C. Robert Schumann D. Niccol Paganini

Q: 68. Which of the following statements is not true? A. To display his incomparable piano mastery, Liszt composed his Transcendental Etudes and made piano transcriptions of Paganini's violin pieces. B. During the last years of his life, Liszt settled in Rome to devote himself to his religious duties and stopped composing. C. As a stupendous performer, innovative composer, and charismatic personality, Franz Liszt typified the romantic movement. D. The literary works of Johann Wolfgang von Goethe were among Franz Liszt's favorite inspirations.

Q: The ___________ is a dance in triple meter that originated as a stately processional for the Polish nobility. A. polka B. mazurka C. waltz D. polonaise

Q: Which of the following statements is not true? A. In the 1830s Paris was a center of romanticism and the artistic capital of Europe. B. Chopin was a shy, reserved man who disliked crowds and preferred to play in salons rather than in public concert halls. C. Many of Chopin's most poetic effects come from the sensitive exploitation of the piano's pedals. D. Chopin's piano tudes, compositions designed to help a performer master specific technical difficulties, are primarily technical exercises without much musical value.

Q: A study piece, designed to help a performer master specific technical difficulties, is known as ______. A. a nocturne B. an tude C. a polonaise D. a lied

Q: Chopin's Revolutionary tude develops the pianist's left hand because _______. A. the left hand must play rapid passages throughout B. it is played only by the left hand C. it takes nearly an hour to perform D. the left hand plays the main melody

Q: A slow, lyrical, intimate composition for piano, associated with evening and nighttime, is the ______. A. etude B. mazurka C. waltz D. nocturne

Q: Most of Chopin's pieces ______. A. are exquisite miniatures B. are composed for a wide variety of ensembles C. have a limited variety of moods D. have literary programs or titles

Q: While in Paris, Chopin ______. A. married the famous writer Aurore Dudevant B. earned a good living by teaching piano to the daughters of the rich C. gave a great number of successful public concerts D. All answers are correct.

Q: Chopin expressed his love of Poland by composing polonaises and ______. A. polkas B. folk songs C. waltzes D. mazurkas

Q: In the 1830s, Paris was ______. A. a center of romanticism B. the artistic capital of Europe C. the home of Victor Hugo, Honor de Balzac, and Heinrich Heine D. All answers are correct.

Q: A leading pianist of the nineteenth century, Clara Schumann ______. A. never composed any music B. did some composing, but considered herself primarily a performer C. was discovered to have composed some works for Brahms D. performed only the music of her husband Robert

Q: The cimbalom is ______. A. a form of primitive cymbal, struck with a stick B. the baton a European conductor uses to beat time C. a Hungarian instrument in which strings are struck by handheld hammers D. an end-blown ethnic flute

Q: Clara Schumann was a ______.8 A. virtuoso pianist B. composer C. touring performer D. All answers are correct.

Q: Johannes Brahms ______. A. was an admirer of Robert Schumann, but never met him B. was a violinist who performed Clara Schumann's compositions C. was a close friend of Clara and Robert Schumann D. married Clara Schumann after her husband died

Q: Robert Schumann's Fantasiestcke is a(n) ______. A. etude for piano students B. song cycle C. composition for orchestra D. cycle of piano pieces

Q: Robert Schumann founded and edited the New Journal of Music in order to do what? A. Promote musical originality and combat the commercial trash that flooded the market B. Promote his own music C. Encourage the composition of works for piano D. Promote the recording of music

Q: During the first ten years of his creative life, Schumann published only ______. A. songs B. piano pieces C. symphonies D. musical criticism

Q: Clara Wieck was _______. A. the daughter of Schumann's piano teacher B. a virtuoso pianist C. Schumann's wife D. All answers are correct.

Q: Which of the following is not true of Robert Schumann's works? A. They are intensely autobiographical. B. They are usually linked with descriptive titles, texts, or programs. C. They are frequently lyrical in nature. D. They are all written for the piano.

Q: The piano's relentless rhythm in Erlknig (The Erlking) unifies the episodes of the song and suggests the ______. A. galloping horse B. joy of the child C. steadiness of the father D. approach of death

Q: The Erlking, in Schubert's song of that name, is a romantic personification of _______. A. ghosts B. death C. a galloping horse D. nature

Q: The instrumentation of Schubert's Trout Quintet is unusual because of the inclusion of a(n) ______. A. double bass B. second violin C. additional viola D. oboe

Q: The form of The Erlking is ______. A. strophic B. modified strophic C. through-composed D. None of these

Q: Schubert was eighteen years old when he composed the song Erlknig, set to a poem by ______. A. Schubert himself B. Heinrich Heine C. Victor Hugo D. Johann Wolfgang von Goethe

Q: Schubert wrote compositions in every musical genre except ______. A. string quartets B. piano concertos C. symphonies D. operas

Q: Schubert's song Die Forelle is an example of __________ form. A. modified strophic B. through-composed C. AABA D. strophic

Q: Schubert's songs number more than ______. A. 50 B. 100 C. 250 D. 600

Q: 41. Which of the following statements is not true? A. Franz Schubert led a bohemian existence, living with friends because he had no money to rent a room of his own. B. Schubert labored at great length over each of his compositions, which accounts for his small output. C. At the time of his death, Schubert's reputation was mainly that of a fine song composer. D. In addition to symphonies, operas, string quartets and other chamber works, Schubert composed over six hundred songs.

Q: Schubert ______. A. was widely acknowledged as a composer in his lifetime B. was very self-critical, which accounts for his meager output C. produced his greatest works after the age of forty D. was the first great master of the romantic art song

Q: Schubert wrote a number of symphonies and chamber works that are comparable in power and emotional intensity to those of his idol, ______. A. Beethoven B. Berlioz C. Mozart D. Haydn .

Q: What was Schubert's primary source of income? A. His position as music director to a noble court B. Touring as a virtuoso performer C. Performing as church organist D. His musical compositions

Q: Schubert was born in ______. A. Vienna B. London C. Paris D. Berlin

Q: Schuberts Winterreise and Schumanns Dichterliebe are examples of ______. A. song cycles B. Romantic symphonies C. character pieces D. Romantic operas

Q: Which of the following forms was not used in composing art songs? A. Strophic B. Modified-strophic. C. Through-composed. D. Concerto

Q: When the same music is repeated for two or more stanzas of a poem, leading to new music for other stanzas, the form is known as ______. A. song form B. modified strophic C. through-composed D. repetitious