Q&A Hero

Q: The prospering middle class in the classical period sought aristocratic luxuries such as ______. A. theater B. literature C. music D. All answers are correct.

Q: In the classical period, serious composition was flavored by ______. A. folk and popular music B. heroic and mythological plots C. elaborately ornamented improvisational melodies D. All answers are correct.

Q: Political and economic power shifted to the middle class from the aristocracy and the ______. A. church B. military C. colonial powers D. military-industrial complex

Q: What was social mobility like during the classical period? A. A limited sociological factor B. Ruthlessly stamped out by the aristocracy C. Promoted and encouraged by the church D. An important factor in the rise of the middle class

Q: What is a symphony? A sonata for orchestra B. A work for solo instrument C. A work for chorus and orchestra D. A work for piano solo

Q: Which of the following instruments were not normally included in the classical orchestra? A. Horns B. Trombones C. Timpani D. Trumpets

Q: What did the typical orchestra of the classical period consist of? A. A loose ensemble of available instruments B. Strings, woodwinds, horns, trumpets, and timpani C. Strings with harpsichord continuo D. Woodwinds, trombones, drums, and strings

Q: 9. Which of the following statements is not true of the music of the classical period? A. Classical composers stressed balance and clarity of structure. B. The standard orchestra, comprised of four sections, evolved during the classical period. C. The basso continuo was the nucleus of the instrumental ensemble. D. Classical melodies are among the most tuneful and easy to remember.

Q: Which of the following characteristics is not typical of the music of the classical period? A. Classical melodies are tuneful and easy to remember. B. Classical compositions fluctuate in mood. C. A classical composition has a wealth of rhythmic patterns. D. Classical music is basically polyphonic.

Q: Which of the following statements is not true? A. In the classical period, composers were influenced by folk and popular music. B. While a late baroque musical composition may convey a single emotion, a classical composition will fluctuate in mood. C. Composers in the classical period continued to use terraced dynamics in their compositions. D. The basso continuo was gradually abandoned during the classical period.

Q: Which of the following composers is not considered a master of the classical period? A. Johann Christian Bach B. Ludwig van Beethoven C. Wolfgang A. Mozart D. Joseph Haydn

Q: Carl Philipp Emanuel Bach and _____ were two of the more important preclassical composers. A. Jean Honor Fragonard B. Johann Christian Bach C. Johann Sebastian Bach D. Joseph Haydn

Q: 4. Which of the following statements is not true of the classical period? A. Philosophers and writers in the classical period believed that custom and tradition, rather than reason, were the best guides to human conduct. B. During the early eighteenth century, the heavy, monumental baroque style gave way to the more intimate rococo style, with its light colors, curved lines, and graceful ornaments. C. By the late eighteenth century, the rococo style had been superseded by the neoclassical style, which attempted to recapture the "noble simplicity and calm grandeur" of ancient Greek and Roman art. D. Philosophers and writers in the classical period saw their time as a great turning point in history and called it the "age of enlightenment."

Q: The fully developed classical style in music flourished during the period ______. A. 1600-1750 B. 1730-1770 C. 1770-1820 D. 1820-1900

Q: The preclassical period roughly encompassed the years ______. A. 1600-1750 B. 1730-1770 C. 1770-1820 D. 1820-1900

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

Q: Beethoven greatly expanded the _____________ section of the sonata-form movement and made it more dramatic. A. introduction B. exposition C. development D. recapitulation

Q: Beethoven, in comparison with earlier composers, was far more extensive and explicit in marking __________ in his scores. A. dynamics B. expressive indications C. tempos D. all of these

Q: The opening motive of Beethoven's Symphony No. 5 has a ____________ rhythm. A. short-long-short B. short-short-short-long C. long-long-short D. short-short-long

Q: Beethoven's only opera is entitled ______. A. The Magic Flute B. Madame Butterfly C. Don Giovanni D. Fidelio

Q: Beethoven is often credited as being ______. A. the pioneer of light classical music B. the bridge between the classical and romantic periods C. the inventor of the symphony D. the first musician to incorporate folk tunes into serious compositions

Q: Beethoven's sixteen __________ are generally considered among the greatest music ever composed. A. piano concertos B. string quartets C. piano sonatas D. symphonies

Q: What following technique did Beethoven use more extensively in his late works? A. Fugal counterpoint B. Monophony C. Operatic form D. Basso continuo

Q: Beethoven's late works, composed after he was totally deaf, include ______. A. Missa solemnis B. String quartets C. The Ninth Symphony D. All answers are correct.

Q: We have a record of Beethoven's struggle with his musical material because he did what? A. Described his struggles in letters to friends B. Showed his workflow in musical sketchbooks C. Told his troubles to his biographer D. Kept a diary

Q: 114. Which of the following statements is not true? A. The finale of Beethoven's Ninth Symphony is based on Schiller's poem about human brotherhood, Ode to Joy. B. Beethoven opened new realms of musical expression that profoundly influenced composers throughout the nineteenth century. C. Like Haydn and many other composers of the classical period, Beethoven depended on the aristocracy for his financial well-being. D. In the finale of his Ninth Symphony, Beethoven took the unprecedented step of using a chorus and four solo vocalists.

Q: Beethoven ______. A. was a brilliant pianist B. was self-educated and had read widely, but was weak in elementary arithmetic C. began to feel the first symptoms of deafness in his twenty-ninth year D. All answers are correct.

Q: The Third Symphony of Beethoven was originally composed to commemorate the deeds of _________ as the embodiment of heroism and democratic ideals. A. George Washington B. Napoleon Bonaparte C. the Marquis de Lafayette D. the Duke of Wellington

Q: Mozart's Symphony No. 40 ______. A. is in G major B. has only three movements C. featured an emotional intensity uncommon for the time D. All answers are correct.

Q: Don Giovanni, in Mozart's opera of that name, is _____. A. a despotic Italian nobleman B. the legendary Spanish lover C. Sir John Falstaff D. the servant to Leporello

Q: Why did Mozart's music fall out of favor with Vienna audiences towards the end of this life? A. The Viennese thought that it was too complicated and contained too many dissonances. B. The nobility prohibited performances of his music because of his politics. C. Many people thought that his music was old-fashioned. D. The Viennese were very musically intelligent and thought Mozart's music was not well crafted.

Q: Which of the following is not one of Mozart's three masterpieces of Italian opera? A. Cos fan tutte B. The Marriage of Figaro C. Orfeo D. Don Giovanni

Q: Mozart's Requiem was ______. A. composed by a nobleman using Mozart's name B. a high point in his career C. an early work D. finished by one of his pupils

Q: Mozart composed his Requiem ______. A. for his own funeral B. as an exercise for his composition teacher C. on commission from a stranger D. to help his pupil Sssmayr

Q: Mozart tried to find fame and fortune by moving to _________, at the age of twenty-five. A. Vienna B. Salzburg C. London D. Paris

Q: Between the ages of six and fifteen, Mozart ______. A. received an excellent formal education in Salzburg B. went to Vienna to study with Haydn C. was continually on tour in England and Europe D. played in the archbishop's orchestra in Salzburg

Q: Which of the following statements is not true? A. Mozart wrote masterpieces in all the musical forms of his time. B. Between the ages of six and fifteen, Mozart was continually on tour in England and Europe. C. In his later years, Mozart was financially well off, widely acclaimed, and sought after by an adoring public. D. Mozart's trips to Italy enabled him to study and master the current operatic style.

Q: By the age of six, Mozart could ______. A. play the harpsichord and violin B. improvise fugues and write minuets C. read music perfectly at sight D. All answers are correct.

Q: Mozart was born in ______. A. Salzburg, Austria B. Eisenach, Germany C. Bonn, Germany D. Rohrau, Austria

Q: Along with his symphonies, Haydn's ___________ are considered his most important works. A. operas B. string quartets C. baryton trios D. serenades

Q: Which of the following is not a characteristic of Haydn's music? A. The music is robust and direct, radiating a healthy optimism. B. The minuets often romp and stomp rather than bow and curtsy. C. It is mostly static, showing few changes in texture and orchestration. D. Many works have a folk flavor, due to the use of actual peasant tunes and original melodies in folklike style.

Q: Haydn was a prolific composer, as demonstrated in part by his 68 string quartets and 104 ______. A. operas B. serenades C. songs D. symphonies

Q: Haydn's two popular oratorios are entitled The Seasons and ______. A. The Creation B. The Magic Flute C. Judas Maccabaeus D. Elijah

Q: Although Haydn spent most of his time in Hungary, he often traveled to ________, where his music was performed often and greatly admired. A. Paris B. Venice C. Florence D. London

Q: Which of the following was not one of Haydn's duties while in the service of the Esterhzys? A. Composing all the music requested by his patron B. Conducting the orchestra C. Coaching the singers for operatic performances D. Writing a cantata each week for Sunday services.

Q: Haydn was fortunate in having a long and fruitful, as well as financially stable, relationship with the noble Hungarian family of ______. A. Esterhzy B. Stefanhzy C. Liszt D. Kadar

Q: The piano trio is a musical composition for ______. A. three pianos B. violin, piano, and continuo C. violin, cello, and piano D. piano and two violins

Q: The usual order of movements in a classical string quartet is ______. A. fast, slow, minuet or scherzo, fast B. fast, slow, fast, slow C. slow, fast, slow, fast D. fast, rondo, fast

Q: 90. Which of the following statements is not true? A. Classical chamber music does not need a conductor. B. The piano trio is a musical composition for three pianos. C. Chamber music is subtle and intimate, intended to please the performer as much as the listener. D. String quartet is the most important form of chamber music.

Q: The classical string quartet is a musical composition for ______. A. violin, viola, cello, and bass B. two violins, viola, and cello C. violin, guitar, viola, and cello D. All answers are correct.

Q: The string quartet ______. A. usually consists of four movements B. is the most important form in classical chamber music C. is written for two violins, viola, and cello D. All answers are correct.

Q: A major factor that distinguishes chamber music from the symphony or concerto is that chamber music ______. A. does not use sonata form B. is performed in concert halls C. does not have difficult parts D. is performed by one player per part

Q: The most important form of classical chamber music is the ______. A. piano trio B. string quintet C. string quartet D. violin and piano sonata

Q: Classical chamber music is designed ______. A. to display the virtuosity of the players B. for the intimate setting of a small room C. exclusively for performance by paid professional musicians D. to be conducted by experienced orchestral directors

Q: A pause in the score of a concerto, preceding a cadenza, is indicated by a ______. A. signal from the soloist B. signal from the concertmaster C. signal from the conductor D. fermata

Q: A brilliant solo section in a concerto designed to display the performer's virtuosity is called ______. A. a cadenza B. a fermata C. a pause D. da capo

Q: A classical concerto greatly relies on a soloist's ______. A. education B. independence C. virtuosity D. ability to conduct

Q: The classical concerto differs from the symphony in that it does not have a ___________ movement. A. sonata form B. slow C. minuet or scherzo D. rondo finale

Q: The first movement of a classical concerto ______. A. is in the same form as a classical symphony B. has two expositions C. is usually a long cadenza D. does not have a development section

Q: A typical sequence of movements in a classical concerto is ______. A. fast, slow, fast B. slow, fast, slow C. fast, dance-related, fast D. fast, slow, dance-related, fast

Q: What is the essence of a classical concerto? A. Development of a single theme over the course of the work B. Dance-related third movement C. Use of fugal techniques D. Interplay between a soloist and the orchestra

Q: The favored solo instrument in the classical concerto was the ______. A. harpsichord B. cello C. piano D. clarinet

Q: 76. Which of the following statements is not true? A. A classical concerto combines the virtuosity and interpretive abilities of a soloist with the wide range of tone color and dynamics of the orchestra. B. Cadenzas in a classical concerto were indicated in the score by a fermata, and the soloist was expected to improvise, there being no music in the score at that point. C. A typical sequence of movements in a classical concerto is fast, slow, dance-related, fast. D. The first movement of a classical concerto is in sonata form, but has two expositions, one for the orchestra and one for the soloist.

Q: A classical concerto is a three-movement work for ______. A. instrumental soloist and orchestra B. symphonic orchestra C. instrumental soloist and piano D. vocal soloist and orchestra

Q: A classical concerto usually lasts around _______. A. 5 minutes B. 20 to 45 minutes C. an hour D. 10 to 20 minutes

Q: One way that unity is often achieved in the classical symphony is by the use of the same ______. A. key in three of its four movements B. theme in each of its four movements C. key in all four movements D. rhythm in all four movements

Q: The last movement of a classical symphony ______. A. is most often in sonata or sonata-rondo form B. is usually fast, lively, and brilliant, but somewhat lighter in mood than the opening movement C. is always in the tonic key of the symphony D. All answers are correct.

Q: The slow movement of a classical symphony ______. A. is usually in theme and variations form B. is generally not in the tonic key C. tends to be more heroic and triumphant in character D. All answers are correct.

Q: The lyrical slow movement of a symphony is most often the ______. A. first B. second C. third D. fourth

Q: 69. Which of the following statements is not true? A. In most classical symphonies, each movement is a self-contained composition with its own themes. B. Beethoven's concluding movement of a symphony tends to be triumphant and heroic in character and sometimes is meant as the climax of the whole symphony. C. The opening movement of a classical symphony is almost always slow and in ABA form. D. A classical symphony usually consists of four movements that evoke a wide range of emotions through contrasts of tempo and mood.

Q: The slow movement of a symphony is usually not ______. A. the second movement B. likely to feature broad, songlike melodies C. in the tonic key D. All answers are correct.

Q: Which of the following is not true of the symphony? A. It is a musical composition for orchestra, usually in four movements. B. It is a sonata for orchestra. C. It is an extended, ambitious composition exploiting the expanded range of the color and dynamics of the classical orchestra. D. It is a musical composition for solo instrument and orchestra.

Q: The first movement of a classical symphony is almost always fast, and in _____ form. A. sonata B. rondo C. minuet D. ABA

Q: The usual order of movements in a classical symphony is ______. A. fast, dance-related, slow, fast B. fast, slow, dance-related, fast C. fast, slow, fast, slow D. slow, fast, slow, fast

Q: What is a symphony? A. A musical composition for orchestra, usually in four movements B. A work typically lasting between 20 and 45 minutes C. An extended, ambitious composition exploiting the expanded range of tone color and dynamics of the classical orchestra D. All answers are correct.

Q: A typical baroque operatic form was the da capo aria in ABA form in which the singer ______. A. would make a literal repetition of the opening A section after the B section B. was expected to embellish the returning melody with ornamental tones C. would insert recitatives between the sections for added variety D. would improvise new words for the returning A section

Q: Speechlike melody accompanied only by a basso continuo is called ______. A. basso ostinato B. accompanied recitative C. secco recitative D. congregational singing

Q: The respect given Henry Purcell by his fellow Englishmen is evidenced by his burial in ______. A. Potter's Field B. Westminster Abbey C. Buckingham Palace D. Canterbury Cathedral

Q: 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

Q: Some of Vivaldi's instrumental concertos were arranged by ______. A. Arcangelo Corelli B. Johann Sebastian Bach C. George Frideric Handel D. Claudio Monteverdi