Q&A Hero

Q: The mood of an art song is often set by a brief piano introduction and summed up at the end by a piano section called a ______. A. conclusion B. postlude C. song cycle D. finale

Q: 32. Which of the following statements is not true of the romantic art song? A. The art song is restricted to strophic form. B. A song cycle is a set of romantic art songs that may be unified by a story line that runs through the poems, or by musical ideas linking the songs. C. Composers sought to make hte music bring out the meaning and atmosphere of the text. D. The accompaniment of a romantic art song is an integral part of the composer's conception, and it serves as an interpretive partner to the voice.

Q: The German composers of art songs favored, among others, the lyric poetry of Johann Wolfgang von Goethe and ______. A. Heinrich Heine B. Victor Hugo C. William Wordsworth D. Walt Whitman

Q: The word ___________ is commonly used for a romantic art song with a German text. A. lied B. durchkomponiert C. chanson D. ballade

Q: An art song is a musical composition for ______. A. solo voice and piano B. solo voice and orchestra C. multiple voices D. All answers are correct.

Q: Music criticism was a source of income for both Hector Berlioz and ______. A. Robert Schumann B. Franz Liszt C. Niccol Paganini D. Giuseppe Verdi

Q: One of the few composers fortunate enough to be supported by private patrons was ______. A. Franz Liszt B. Franz Schubert C. Hector Berlioz D. Peter Ilyich Tchaikovsky

Q: A very important musical part of every middle-class home during the romantic period was the ______. A. resident composer/performer B. piano C. violin D. flute

Q: When music conservatories were founded, women ______. A. were admitted only as vocalists B. were at first accepted only as students of performance, but by the late 1800s could study musical composition C. could only study musical composition, since performance was considered undignified D. were not admitted

Q: What did the rise of the urban middle class lead to? A. The piano becoming a fixture in every middle-class home B. The formation of many orchestras and opera groups C. The development of regular subscription concerts D. All answers are correct.

Q: A composer who earned his/her living as a violin virtuoso was ______. A. Clara Schumann B. Niccol Paganini C. Robert Schumann D. Frdric Chopin

Q: A romantic composer who earned his living as a touring virtuoso was ______. A. Franz Liszt B. Hector Berlioz C. Frdric Chopin D. Franz Schubert

Q: All of the following romantic composers were also virtuoso instrumentalists giving solo recitals except ______. A. Clara Wieck Schumann B. Franz Liszt C. Niccol Paganini D. Hector Berlioz

Q: The composer whose career was a model for many romantic composers was ______. A. Ludwig van Beethoven B. Joseph Haydn C. Johann Sebastian Bach D. Wolfgang Amadeus Mozart

Q: 19. Which of the following statements is not true? A. Romantic composers wrote primarily for a middle-class audience whose size and prosperity had increased because of the industrial revolution. B. Romantic musicians often composed to execute a commission or meet the demands of an aristocratic or church patron. C. Music conservatories were founded in Chicago, Cleveland, Boston, Oberlin, and Philadelphia during the 1860s. D. The nineteenth-century public was captivated by virtuosity.

Q: Because of the French Revolution and the __________________, many aristocrats could no longer afford to maintain private opera houses, orchestras, and "composers in residence." A. American Revolution B. Napoleonic Wars C. French and Indian War D. wages of skilled performers

Q: 17. Which of the following statements is not true? A. Romantic composers rejected the basic forms of the classical period and preferred to develop new forms of their own. B. Hector Berlioz's Treatise on Modern Instrumentation and Orchestration, published in 1844, signaled the recognition of orchestration as an art in itself. C. Musical nationalism was expressed when romantic composers deliberately created music with a specific national identity. D. To intensify the expression of the music, romantic performers made use of rubato, the slight holding back or pressing forward of tempo.

Q: Altering the character of a melody by changes in dynamics, orchestration, or rhythm is a romantic technique known as ______. A. thematic transformation B. melodic evolution C. rubato D. development

Q: A slight holding back or pressing forward of tempo in music is known as ______. A. ritardando B. rubato C. accelerando D. fermata

Q: 14. Which of the following statements is not true of the piano in the early romantic period? A. A cast-iron frame was introduced to hold the strings under greater tension. B. The use of the damper pedal allowed a sonorous blend of tones from all registers of the piano. C. The piano's range remained basically the same as in the classical period. D. The piano's hammers were covered with felt.

Q: The 1844 Treatise on Modern Instrumentation and Orchestration that signaled the recognition of orchestration as an art in itself was written by ______. A. Franz Liszt B. Robert Schumann C. Hector Berlioz D. Bed ich Smetana

Q: The orchestra in the romantic period ________. A. was basically the same as in the classical period B. ranged from twenty to sixty players C. was larger and more varied in tone color than the classical orchestra D. had a limited dynamic range due to the primitive nature of the brass instruments

Q: An orchestra toward the end of the romantic period might include close to ______ musicians. A. 24 B. 40 C. 60 D. 100

Q: How did composers express musical nationalism in their music? A. By using the rhythms of the dances of their homelands B. By using their national legends as subject matter C. By basing their music on the folk songs of their country D. All answers are correct.

Q: The deliberate intent to draw creative inspiration from the composer's own homeland is known as ______. A. exoticism B. individualism C. nationalism D. verismo

Q: 8. Which of the following statements is not true? A. Romantic music puts unprecedented emphasis on self-expression and individuality of style. B. Fascination with the melodies, rhythms, and colorful materials from distant lands is a romantic trend known as musical nationalism. C. Romantic composers relied upon a more prominent use of chromatic harmony, or the use of chords containing tones not found in the prevailing major or minor scale. D. A romantic composition tends to have a wide variety of keys and rapid modulations.

Q: What is program music? A. Music that depicts aspects of nature B. Vocal music that tells a story C. Instrumental music associated with a story, poem, idea, or scene D. All answers are correct.

Q: Drawing creative inspiration from cultures of lands foreign to the composer is known as ______. A. exoticism B. nationalism C. program music D. verismo

Q: Which of the following composers is not associated with the romantic period? A. Giuseppe Verdi B. Wolfgang Amadeus Mozart C. Robert Schumann D. Frdric Chopin

Q: Of all the inspirations for romantic art, none was more important than ______. A. the aristocracy B. ancient Greek art and culture C. nature D. the church

Q: Which of the following is not a characteristic aspect of romanticism in literature and painting? A. Emotional restraint B. Emotional subjectivity C. Exoticism D. Fantasy

Q: Which of the following is not characteristic of romanticism? A. A fascination with fantasy B. An emphasis on balance and clarity of structures C. An enthusiasm for the culture of the Middle Ages D. An interest in exoticism and the past

Q: Romanticism, as a stylistic period in Western music, encompassed the years ______. A. 1450-1600 B. 1600-1750 C. 1750-1820 D. 1820-1900

Q: 63. Which of the following statements is not true? A. A rondo movement features a tuneful main theme which returns several times in alternation with other themes. B. The rondo as a musical form was not used in musical compositions after the classical period. C. A common rondo pattern is ABACABA. D. Rondo form is often combined with elements of sonata form to produce the sonata-rondo.

Q: The rondo was used ______. A. only in the classical symphony and quartet B. only as an independent composition C. as late as the twentieth century D. exclusively in the classical period

Q: Because of its character, the rondo most often serves as a ______. A. slow movement B. first movement C. set of variations D. finale

Q: The main theme of the rondo does what? A. Returns only once in the movement B. Is usually slow and dignified C. Seldom ends the movement D. Is usually in the tonic key

Q: The sonata-rondo ______. A. may be outlined as ABA-development section-ABA B. combines rondo form with elements of sonata form C. usually has a lively, pleasing, and simple to remember theme D. All answers are correct.

Q: The return of the main theme in rondo form is all the more welcome because it is usually ______. A. in a contrasting key B. in the tonic key C. slow and dignified D. in varied form

Q: 57. Which of the following is not true about the rondo? A. Its use ended in the classical period. B. The main theme is usually lively, pleasing, and simple to remember. C. It features alternating and contrasting sections. D. It was often combined with elements of sonata form.

Q: The main theme in a rondo movement is usually ______. A. lively, pleasing, and simple to remember B. stately and dignified C. extremely fast D. slow, grave, and mournful

Q: The rondo may be schematically outlined as _______. A. ABACABA B. AABB C. ABBABC D. ABA

Q: When performers encounter the phrase, da capo, they ______. A. play extremely quietly B. look at the conductor C. play the written part an octave higher D. return to the beginning of the piece and repeat the music

Q: The double bass in the classical orchestra, as in Mozart's Eine Kleine Nachtmusik, often does what? A. Has a separate and distinct bass part B. Doubles the cello part in the same register C. Doubles the cello part an octave lower D. Plays only accents on stressed beats

Q: A _____________ is a musical composition that is usually light in mood, and meant for evening entertainment. A. minuet and trio B. aubade C. serenade D. rondo

Q: The scherzo differs from the minuet in that it ______. A. moves more quickly B. has a different form C. has a different meter D. All answers are correct.

Q: In many of Beethoven's works, there is a _______ movement instead of the minuet. A. presto B. scherzo C. fugato D. ritornello

Q: 49. Which of the following statements is not true? A. The minuet movement of a symphony or string quartet is almost always the last movement. B. The character of the minuet is best described as brisk and lively. C. In many of Beethoven's compositions, the third movement is not a minuet but a related form in triple meter called a scherzo. D. The scherzo differs from the minuet in that it moves more quickly, generating energy, rhythmic drive, and rough humor.

Q: Which of the following is not a characteristic of the minuet? A. Triple meter B. Moderate tempo C. Quick, lively tempo D. ABA form

Q: The minuet is in _______ meter. A. duple B. triple C. quadruple D. common

Q: The character of the minuet is best described as ______. A. brisk and lively B. quiet and relaxed C. heavy and ponderous D. stately and dignified

Q: The minuet first appeared around 1650 as a(n) ______. A. instrumental composition for concert performance B. prayer in Germany at the end of the Thirty Years War C. dance at the court of Louis XIV of France D. country dance in England

Q: The movement of a symphony that is often patterned after a dance is the ______. A. first B. second C. third D. fourth

Q: The minuet-and-trio movement of a classical symphony, string quartet, or other work, is in ____________ form. A. ABA B. AABB C. AA'A''A'''A'''' D. ABACABA

Q: The _________ movement of Haydn's Surprise Symphony is in theme-and-variations form. A. first B. second C. third D. fourth

Q: Which of the following elements is usually not changed in varying the theme in theme-and-variations form? A. Melody B. Harmony C. Length D. Rhythm

Q: 40. Which of the following statements is not true? A. Each variation in a theme-and-variations form is unique and may differ in mood from the theme. B. The form called theme and variations is widely used in the classical period, either as an independent piece or as one movement of a symphony, sonata, or string quartet. C. The recapitulation section is an important way for a composer to develop variations in a theme-andvariations form. D. In a theme-and-variations movement, a basic musical idea is repeated over and over and is changed each time.

Q: Theme-and-variations form may be schematically outlined as ______. A. AABB B. AA'A''A'''A'''' C. ABA D. ABACADA

Q: Each successive variation in a theme with variations ______. A. retains some elements of the theme B. is usually in a new key C. is usually in the same key D. presents a new melodic idea

Q: How should the sonata form be viewed as? A. A rigid mold into which musical ideas are poured B. Another term for the symphony C. A set of principles that serve to shape and unify contrasts of theme and key D. A set of variations on a theme

Q: The three main sections of a sonata-form movement are often followed by a concluding section known as the ______. A. coda B. theme C. bridge D. motive

Q: Short musical ideas or fragments of themes that are developed within a composition are called ______. A. codas B. rides C. melodies D. motives

Q: A feeling of harmonic tension and forward motion is created in the exposition of a sonata form movement by ______. A. the conflict of tonalities between the first and second themes B. the introduction of a new theme in the bridge C. retaining the same tonality for both themes D. changing the meter of the second theme

Q: A modulation from the home key to a new key in the exposition of a sonata form movement takes place in the ______. A. coda B. theme C. bridge D. motive

Q: A transitional passage that leads to a contrasting section is called a ______. A. coda B. theme C. bridge D. motive

Q: 31. Which of the following statements is not true? A. The development section of a sonata form almost always takes the main thematic material through several different keys. B. The second theme returns in the recapitulation of a sonata form movement in an exact repetition of its statement in the exposition. C. The coda of a sonata form movement rounds off the movement by repeating themes or developing them further. D. A fast movement in sonata form is sometimes preceded by a slow introduction that creates a strong feeling of expectancy.

Q: At the end of a classical exposition there usually is a ______. A. new tempo indication B. new time signature C. repeat sign D. coda sign

Q: In the recapitulation of a sonata-form movement, what happens? A The closing section is in the tonic key. B. A new theme is presented in the bridge. C. The second theme is in a new key. D. There is no second theme.

Q: In the exposition of a sonata-form movement, what happens? A. The closing theme is in the tonic key. B. A new theme is always presented in the bridge. C. The second theme is in a new key. D. A new meter enters with the second theme.

Q: Sonata form consists of three main sections: exposition, development, and ______. A. introduction B. recapitulation C. motives D. transition

Q: Which of the following is not part of a sonata form movement? A. Recapitulation B. Exposition C. Development D. Rondo

Q: Sonata form is used frequently as the form for the ________ movement of a multimovement work. A. first B. slow C. final fast D. All answers are correct.

Q: In Vienna, Haydn and Mozart ______. A. avoided each other B. became close friends C. were jealous of each other D. never met

Q: In the classical period, comic operas sometimes ______. A. were based on the Old Testament B. ridiculed the aristocracy C. were in Latin D. All answers are correct.

Q: Composers in the classical period took middle-class tastes into account by doing what? A. Flavoring their serious compositions with folk and popular music B. Writing comic operas that sometimes ridiculed the aristocracy C. Writing dance music for public balls D. All answers are correct.

Q: Vienna, when Haydn, Mozart, and Beethoven were active, ______. A. was the fourth-largest city in Europe B. was the seat of the Holy Roman Empire C. had a population of almost 250,000 D. All answers are correct.

Q: Haydn's contract of employment shows that he was considered ______. A. a skilled servant B. a freelance musician C. a visiting guest composer D. an equal by his employer

Q: Joseph Haydn was content to spend most of his life as what? A. An independently wealthy composer B. A professional free-lance musician C. An employee of a wealthy aristocratic family D. A church musician and organist

Q: 18. Which of the following statements is not true? A. Political and economic power shifted during the classical period from the middle class to the aristocracy and the church. B. Joseph Haydn's contract of employment shows that he was considered a skilled servant, like a gardener or gamekeeper. C. Townspeople organized public concerts where, for the price of admission, they could hear the latest symphonies and concertos. D. Comic operas in the classical period treated middle-class subjects, had folklike tunes, and sometimes even ridiculed the aristocracy.

Q: Public concerts presented by the Concert des Amateurs in Paris in the 1770s were conducted by ______. A. Ludwig van Beethoven B. Joseph Haydn C. the Chevalier de Saint-Georges D. Johann Christian Bach