Diagnostic Exam in Music History

Name: ______________________ Class: _________________ Date: _________ ID: A Graduate Diagnostic in Music History ____ 1. The a. b. c. d. e. rise of notated instrumental music in the Renaissance can be attributed to the development of music printing. increase in music literacy. invention of new tuning systems. negative association of orally transmitted music with lower social classes. removal of a ban on playing instruments in church. ____ 2. Why did people in the Renaissance classify instruments according to the categories of haut and bas? a. to distinguish between instruments associated with improvised music and those associated with notated music b. to distinguish between instruments associated with upper and lower social classes c. to distinguish between instruments that played at higher and lower pitches d. to distinguish between instruments that played at volume levels suitable for outdoor use and those suitable for indoor use e. to distinguish between instruments that were supported by the arms and those that were supported by the legs ____ 3. All a. b. c. ____ 4. Which statement is accurate? a. Playing Renaissance music on instruments other than the ones the composers designated would violate composers’ original intents. b. Renaissance composers wrote ensemble music with specific instruments in mind. c. Renaissance instrument makers would have made more refined instruments if they had had the technology. d. Renaissance instrumental music was simple because the instruments were crude and had limited capabilities. e. Renaissance instruments were well suited for the music written for them, and the music suited the qualities of the instruments. ____ 5. Pavanes, galliards, passamezzos, and saltarellos are all examples of a. abstract instrumental pieces. d. intabulations. b. bass ostinatos. e. variation sets. c. dance types. ____ 6. Variation sets were particularly popular in which two countries? a. England and Italy d. France and Spain b. England and Spain e. Italy and France c. France and Germany of the following instruments were invented during the Renaissance EXCEPT the crumhorn. d. sackbut. harpsichord. e. viola da gamba. recorder. 1 Name: ______________________ ID: A ____ 7. Preludes, fantasias, and ricercari are all examples of a. dance pieces. b. improvisatory-sounding instrumental compositions. c. instrumental compositions modeled on the French chanson. d. types of diminutions. e. variation sets. ____ 8. Which type of composition is written to resemble an improvised piece? a. allemande d. toccata b. canzona e. variation set c. intabulation ____ 9. Which instrumental genre features a succession of themes, each developed in imitation, much like a motet? a. canzona d. ricercare b. division e. toccata c. fantasia ____ 10. Which instrumental genre is comprised of a series of light, fast-moving sections, some contrapuntal, others less so? (They typically begin with a rhythmic gesture of a long note followed by two half its value, such as a half note followed by two quarter notes.) a. canzona d. sonata b. fantasia e. toccata c. ricercare ____ 11. Giovanni Gabrieli spent most of his career at a. the cathedral in Florence. d. b. St. Mark’s Basilica in Venice. e. c. St. Peter’s Basilica in Rome. ____ 12. The a. b. c. d. e. St. Peter’s Cathedral in Bologna. the Sistine Chapel in Rome. term baroque was first applied to art and music by critics in the early 1600s who preferred the new style. critics in the mid-1700s who disliked the style. composers in the 1600s who created new genres and styles. patrons who supported seventeenth-century composers. musicians and actors who performed avant-garde works. ____ 13. How did Baroque artists, poets, and musicians evoke theatricality in their works? a. by following Greek models and forms in sculpture, poetry, and music b. by using contrasts and motion to arouse feelings c. by stressing balance, proportion, straight lines, and columns d. by emphasizing stillness, contemplation, and extended moments with few changes e. by including audience members and viewers in the entertainment in a convivial and conversational manner ____ 14. You find a music manuscript that sets a poem’s vivid words with unprepared dissonances. Who is a probable composer? a. Giovanni Maria Artusi d. Claudio Monteverdi b. Giulio Caccini e. Gioseffo Zarlino c. René Descartes 2 Name: ______________________ ID: A ____ 15. The a. b. c. d. e. practice of basso continuo reflects what trend that occurred around 1600? a preference for polyphony composers’ interest in theatricality and dramatic expression increased word painting increased dissonance and chromaticism increased emphasis on the melody and bass lines ____ 16. The a. b. c. primary purpose of the basso continuo part is to illustrate the text. d. foster cadenzas. control dissonances. e. emphasize the meter. accompany. ____ 17. Which of the following was NOT a common continuo instrument during the 1600s? a. harpsichord d. piano b. lute e. theorbo c. organ ____ 18. Which of the following does NOT follow concertato medium or concertato style? a. one or two voices, plus harpsichord and organ b. multiple voices and multiple instruments c. multiple voices, plus harpsichord or lute with viola da gamba d. multiple voices in a sacred vocal work with organ e. solo harpsichord ____ 19. By a. b. c. the end of the 1600s, which country was the dominant political and artistic power in Europe? Spain d. Italy England e. France Germany ____ 20. In music, the Baroque period lasted from approximately a. 1550–1650. d. 1650–1750. b. 1600–1700. e. 1650–1775. c. 1600–1750. ____ 21. By a. b. c. the end of the Baroque period, counterpoint became more complex. d. more reliant on augmentation. less harmonically driven. e. less reliant on augmentation. more harmonically driven. ____ 22. Early Baroque composers’ emphasis on drama and theatricality led to more of which type of performer? a. child d. eccentric b. professional e. loud c. amateur 3 Name: ______________________ ID: A ____ 23. The following excerpts show a. b. c. d. e. two contrasting renderings of a continuo part. the first edition versus the second edition of a piece. the use of smaller note heads for the accompaniment. the keyboard versus the lute version of a piece. the organ versus the harpsichord version of a piece. ____ 24. Opera originated a. ca. 1450. b. ca. 1550. c. ca. 1600. d. e. ca. 1637. ca. 1650. ____ 25. Which group intently studied the writings of the ancient Greeks about music? a. Shakespeare’s acting troupe d. the Camerata b. Henry IV’s court e. the Capella at St. Mark’s c. the Puritans ____ 26. Which person is most closely associated with Le nuove musiche? a. Count Giovanni de’ Bardi d. Jacopo Peri b. Giulio Caccini e. Vittoria Archilei c. Girolamo Mei ____ 27. Arias in the early 1600s were generally in what form? a. ABA d. rondo b. through-composed e. sonata c. strophic ____ 28. The a. b. c. d. e. first opera was Peri and Rinuccini’s Dafne. Cavalieri’s Rappresentatione di anima et di corpo. Peri and Rinuccini’s L’Euridice. Caccini and Rinuccini’s L’Euridice. Monteverdi and Striggio’s L’Orfeo. 4 Name: ______________________ ____ 29. The a. b. c. d. e. ID: A practice of castrati developed because ancient Greek texts describe a similar practice. physicians were studying anatomy. courts in Florence and Mantua were rivals. women were not allowed to appear on stage in London. women were not allowed to sing in Catholic churches or on stage in Rome. ____ 30. Why did composers such as Peri and Monteverdi sometimes employ extreme dissonances in their operas? a. to signal their rejection of madrigal traditions b. to distinguish between recitative and arias c. to distinguish between soliloquies, dialogues, and choral commentary d. to imitate speech and express the characters’ emotional reactions e. to challenge listeners ____ 31. Claudio Monteverdi wrote ________ throughout his lengthy career. a. operas d. oratorios b. madrigals e. ballettos c. masses and motets ____ 32. Which of the following is NOT a characteristic of Gabrieli’s large-scale sacred concerti? a. large polychoral ensembles d. a unified compositional style b. one or more organs playing continuo e. instrumental ensemble c. multiple soloists ____ 33. Stile antico is associated primarily with which musical technique? a. unprepared dissonances d. word-painting b. chromaticism e. counterpoint c. improvisation ____ 34. Large-scale concerti were often written for what occasions? a. rulers’ birthdays d. feast days in large churches b. commemorative events e. public parades c. public celebrations ____ 35. What type of work sets the story of Jesus’s crucifixion? a. cantata d. Mass b. historia e. Passion c. oratorio ____ 36. Why were the arts, especially dance, so important during the reign of Louis XIV? a. Dance academies established prior to his reign flourished, producing numerous dancers and musicians to accompany them. b. Louis XIV used the arts to establish his authority. c. Dance created more equality at court. d. Louis XIV was emulating English culture and government. e. Music and dance played an important role in middle-class life. ____ 37. Which of the following is NOT characteristic of the French overture? a. two distinct sections d. imitative entries in a slow tempo b. homophonic opening e. imitative entries in a fast tempo c. dotted rhythms 5 Name: ______________________ ID: A ____ 38. Which of the following was NOT typically included in a suite? a. tarantella d. sarabande b. allemande e. minuet c. gigue ____ 39. Why did other countries emulate the French style in music, arts, and architecture from the 1660s forward? a. French musicians, artists, and architects traveled more than those in other nations, leaving their stylistic mark in the countries they visited. b. French businessmen exported music, literature, and fashions more effectively than other nations. c. Other rulers admired Louis XIV for his power and his artistic patronage; French arts were considered to be highly refined. d. The academies of France accepted international students who, after receiving a French education, returned to their countries and produced music, arts, and architecture in the French fashion. e. Dignitaries who visited Versailles brought performers and artists with them; they copied the French style to win favor at Louis’s court. ____ 40. What was the leading vocal genre in Italy in the late seventeenth century? a. oratorio d. Mass b. opera e. chorale c. serenata ____ 41. Why was Corelli called the first major composer whose reputation rested exclusively on instrumental music? a. He applied standard patterns to develop the ritornello form in instrumental music. b. He introduced the three-movement plan of the Italian opera overture to instrumental forms. c. He created the concerto, which helped to establish the orchestra as a leading ensemble. d. He established a string ensemble with four to six players per part, essentially the first orchestra. e. He developed sonata forms and the progression of functional harmony in instrumental music. ____ 42. The a. b. c. d. e. superior craftsmanship of Italian-made string instruments contributed to the public demand for operas and oratorios. the development of the serenata genre. the rise of the sonata and the instrumental concerto. Scarlatti’s composing of over six hundred cantatas. the use of ornamentation found in all genres. ____ 43. The a. b. c. three-part texture of a trio sonata typically called for how many instruments? one d. four two e. ten three 6 Name: ______________________ ID: A ____ 44. One purpose of the da capo aria was to a. move the plot and narration along. b. express a sentiment or emotion. c. give singers a rigid structure. d. show how well singers followed the music. e. establish a simple form to follow. ____ 45. Vivaldi wrote most of his concerti for what instrument? a. bassoon d. oboe b. cello e. flute c. violin ____ 46. Which of the following is NOT a characteristic of the episodes in a ritornello form? a. introduction of new material b. composed of small, separable units c. combine figuration with other material d. tonal instability e. virtuosic and idiomatic writing ____ 47. To a. b. c. what cultural movement can Rameau’s interest in rational laws of music theory be attributed? the Enlightenment d. utilitarianism modernism e. absolutism constructivism ____ 48. Which statement best describes the relationship between the soloist and the orchestra in Vivaldi’s concerti? a. The soloist responds to the orchestra in a question-and-answer format. b. The soloist is the most prominent voice in the concerto, but the orchestra has the most interesting parts. c. The soloist provides all of the interest and the orchestra is the backdrop. d. The soloist has a relatively small part while the orchestra plays continuously. e. The soloist is a distinct personality that both interacts with the orchestra and stands apart from it. ____ 49. Couperin tried to synthesize which of the following composers’ styles? a. Lully and Corelli d. Rameau and Vivaldi b. Lully and Vivaldi e. Lully and Rameau c. Rameau and Corelli ____ 50. What term described overly complex or fussy music in the early eighteenth century? a. avant-garde d. gothic b. Baroque e. old-fashioned c. medieval ____ 51. Why did the music of German Baroque composers hold such broad appeal? a. Their music synthesized various traditions and musical techniques. b. They were highly trained in one specific country’s style. c. They did not employ foreign techniques. d. The Germanic tradition and Italian genres were not blended together. e. Their music was primarily instrumental. 7 Name: ______________________ ID: A ____ 52. Why do the genres of Bach’s musical output differ for each city in which he worked? a. The private students he taught required different exercises. b. He composed music solely based on what he desired to write. c. The courts in the different cities preferred different national traditions. d. He composed to fulfill the needs of the different jobs he held. e. The public dictated what type of music he should compose. ____ 53. Collections such as The Art of Fugue and The Well-Tempered Clavier reflect Bach’s ________ approach to composition. a. contrast-driven d. pictorial b. French- and Dutch-inspired e. text-driven c. systematic and comprehensive ____ 54. Instrumental sinfonias served what purpose in several of Handel’s operas? a. providing music for scene changes b. accompanying the movement of large choruses c. showing off the brass because there were no winds d. marking key moments in the plot, such as battles e. introducing contrasting moods to the opera ____ 55. Why did Bach’s music seem old-fashioned during his lifetime? a. He was writing in styles and genres from the Renaissance period. b. New styles from Italian opera were invading Europe. c. There was no variety in the styles, forms, or genres of his music. d. He wrote it in the galant style, which did not become popular until later. e. Its simplicity and lack of counterpoint made it seem dated. ____ 56. Handel invented which genre? a. Italian opera b. keyboard suite c. German oratorio ____ 57. The a. b. c. d. e. action in Handel’s operas develops through recitatives. d. choruses. e. arias. trio sonata English oratorio sinfonias. duets. ____ 58. The musical excerpt below demonstrates Handel’s use of a. b. c. chromaticism. counterpoint. long melismas. d. e. 8 French dance rhythms. word-painting. Name: ______________________ ID: A ____ 59. Handel’s most important innovation in his oratorios was his use of the a. aria. d. ballet forms. b. recitative. e. chorus. c. sinfonia. ____ 60. What was one economic change in the eighteenth century? a. The urban middle class rose in numbers. b. The urban middle class declined in wealth. c. The urban middle class declined in social prominence. d. The aristocracy gained power and importance. e. The poor benefited from the progress that helped the high classes. ____ 61. The a. b. c. end of the eighteenth century saw a growing preference for opera in which language? Italian d. Spanish German e. the vernacular French ____ 62. The a. b. c. galant style became popular for all of the following reasons EXCEPT it was considered “natural.” d. focused more on counterpoint. was easily understood. e. focused more on melody. followed Enlightenment ideas. ____ 63. Which eighteenth-century musical technique is a reaction against the complexity of Baroque music? a. melodies in short phrases over spare accompaniment b. melodies in long phrases over spare accompaniment c. melodies in short phrases over lush accompaniment d. melodies in long phrases over lush accompaniment e. melodies in long phrases with no accompaniment ____ 64. Where a. in b. in c. in did the galant style originate? French operas Italian operas French dance suites d. e. in German operas in French concertos ____ 65. Which is a quality one would expect to hear in Classic-period music? a. a single idea or emotion in a section b. no contrasts in style, texture, or mood c. a theme that “spins out” one emotion d. long phrases that develop the same material e. contrasting moods in a movement ____ 66. Harmony in the galant style a. changes frequently and irregularly. b. stresses the subdominant. c. is found in rhythmically sustained values. d. has a slower harmonic rhythm that punctuates melodic segments. e. does not punctuate or articulate phrases. 9 Name: ______________________ ID: A ____ 67. If you were to attend a dramatic performance at a public theater in the early 1700s that was sung throughout, had six or more singing characters, and had a contemporary plot centered around ordinary people, it would be an a. improvisation in commedia dell’arte style. b. opera seria. c. opera rusticana. d. opera buffa. e. intermezzo. ____ 68. The following example appears to be a(n) a. b. c. recitative from an intermezzo. aria from a comic opera. ensemble from an opera seria. d. e. chorus from an opera seria. ensemble from an intermezzo. ____ 69. In a comic opera in the late 1700s, an act would most likely end with a. a moral to the story sung by the main character. b. a sung thank-you to the audience for attending. c. an elegant aria sung by the lead female character. d. all characters onstage, singing together. e. a love duet between the leading characters. ____ 70. Which of the following is NOT a typical characteristic of Italian comic opera in the mid-1700s? a. periodic phrasing b. tuneful melodies c. sparse accompaniment, often with continuo d. complex harmonies e. stylistic contrasts 10 Name: ______________________ ID: A ____ 71. In an opera seria, action progresses through a. arias and duets. b. choruses that comment upon the drama. c. orchestral interludes. d. large ensembles that include all the characters. e. recitative, either simple or accompanied. ____ 72. Beginning in the 1720s and 1730s, composers of Italian operas began to use contrasting musical ideas within A and B sections of arias to a. surprise audiences. d. express a succession of moods. b. depict waning emotions. e. keep performers satisfied. c. construct through-composed arias. ____ 73. Which of the following is NOT true of reform opera? a. Composers sought to make it more “natural” with more varied structures and less ornamentation. b. Composers alternated recitative and arias more flexibly to move action forward more quickly and realistically. c. Composers used accompanied recitative and ensembles less frequently. d. Composers made the orchestra more important, particularly for depicting scenes and evoking moods. e. Composers reinstated the use of chorus. ____ 74. Gluck supervised the production of his operas and wanted singers, both soloists and the chorus, to a. move more realistically and think of themselves as actors. b. draw attention to the text by standing still while singing. c. express the text through colorful and extensive ornamentation. d. draw attention to the orchestral material through coordinated gestures. e. display the agility of their voices. ____ 75. Who invented the pianoforte? a. Koch b. Galuppi c. Cristofori d. e. Wagenseil J. S. Bach ____ 76. Why were keyboard sonatas and small string ensembles common in the eighteenth century? a. They were made popular by a series of gifted performers, which sparked a sonata craze. b. Being able to play the piano or a stringed instrument was expected of members of the middle and upper classes. c. These genres were easier to compose and were the first genres taught to aspiring composers. d. The wealthy saved money by hiring a few musicians rather than a full orchestra for their social events. e. They were well suited to being played by professional musicians and their students. ____ 77. Which of the following Baroque genres remained in common use throughout the Classic period? a. fugue d. toccata b. concerto e. chorale c. dance suite 11 Name: ______________________ ID: A ____ 78. Which of the following is NOT a characteristic of empfindsam style? a. unusual melodic lines d. nervous rhythms b. sudden changes in dynamic level e. abrupt changes in harmony c. regular phrases ____ 79. Which composer was known for writing in the empfindsam style? a. C. P. E. Bach d. D. Scarlatti b. Stamitz e. Koch c. Von Dittersdorf ____ 80. What was the most prestigious instrumental genre in the late eighteenth century? a. concerto d. orchestral suite b. sonata e. symphony c. string quartet ____ 81. Who was the first composer to consistently write symphonies with four movements? a. Sammartini d. Von Dittersdorf b. Gossec e. J. C. Bach c. Stamitz ____ 82. Today Joseph Haydn is best remembered for his a. operas and oratorios. d. b. piano sonatas and concertos. e. c. masses and symphonies. string quartets and piano concertos. string quartets and symphonies. ____ 83. Why has Haydn been called the “father of the symphony”? a. He invented the genre. b. He taught Beethoven. c. He set standards and patterns that later composers emulated. d. His symphonies were more admired than Mozart’s. e. His students and coworkers called him “Papa.” ____ 84. The a. b. c. second movement of a Haydn symphony is in rondo or sonata-rondo form. d. is often in minor. e. has a slow introduction. is gentler and slower than the first. usually is highly dramatic. ____ 85. Mozart wrote three comic operas with which librettist? a. Metastasio d. da Ponte b. C. W. Gluck e. G. B. Pergolesi c. Calzabigi ____ 86. Why is Ludwig von Köchel significant? a. He invited Haydn to London. b. He was the librettist for Die Zauberflöte. c. He rediscovered and revived the cantatas of J. S. Bach. d. His harpsichord music influenced Haydn and Mozart. e. He catalogued Mozart’s compositions, and we still use his system today. 12 Name: ______________________ ID: A ____ 87. When Mozart moved to Vienna, he earned money by doing all of the following EXCEPT a. composing. d. performing as a singer. b. teaching. e. performing as a pianist. c. publishing. ____ 88. The a. b. c. d. e. third movements of Mozart’s piano concertos reflect his experience as an opera composer. frequently use rondo form. frequently use minuet and trio form. do not use wind instruments. were revised heavily. ____ 89. In the years 1792–1794 Beethoven studied counterpoint and composition with a. Neefe and Albrechtsberger. d. Lichnowksy and Razumovsky. b. Haydn and Mozart. e. Haydn and Clementi. c. Haydn and Albrechtsberger. ____ 90. Beethoven initially attracted favorable audience attention through his a. symphonies. d. piano performances. b. conducting. e. quartets. c. chamber music. ____ 91. Beethoven’s relative financial security was assured by a. a generous pension granted to him by Napoleon Bonaparte as thanks for the dedication of the Third Symphony. b. an annuity provided by aristocratic Viennese admirers of his music. c. his lifelong employment by the Catholic Church. d. the inheritance he received upon his father’s death. e. a stipend established in 1815 by the Austrian republic. ____ 92. One distinctive stylistic feature of Beethoven’s Symphony No. 3 is the a. fantasia-like slow introduction to the first movement. b. unorthodox arrangement of its seven movements. c. attacca continuity among all its movements. d. tragic conclusion of the first movement in the parallel minor tonic key. e. unprecedented length of its first movement. 13 Name: ______________________ ID: A ____ 93. Beethoven shows his personality in this early quartet by a. b. c. d. e. exploiting extreme contrast of registers. writing an introspective, contemplative scherzo. humorously emphasizing offbeats. using unorthodox treatment of form. paralleling operatic techniques. ____ 94. Beethoven’s late style is characterized by all the following EXCEPT a. fugal passages or movements. b. extreme contrasts of dynamics and register. c. frequent juxtaposition of different styles and musical topics. d. frequent use of variation technique and form. e. simplified performance challenges aimed at amateur players. ____ 95. Beethoven departs from symphonic tradition in his Ninth Symphony by a. using more than the traditional four movements. b. including a text from the Ordinary of the Mass. c. abandoning sonata form. d. omitting the scherzo movement. e. including a choral movement. ____ 96. Beethoven’s Symphony No. 5 and String Quartet, Op. 132 a. both begin with fugal movements. b. are in the same key. c. were both written in the same year. d. both contain motives shared among several movements. e. both have irregular numbers of movements. ____ 97. Romantic composers’ emphases on the expression of individuality in their works is most closely related to the a. social mobility engendered by the French Revolution. b. technological advancements of the Industrial Revolution. c. gradual shift from government-sponsored patronage to private patronage of musicians. d. increasing influence of non-Western cultures on European musicians. e. liberalizing reforms of the Congress of Vienna. 14 Name: ______________________ ID: A ____ 98. The piano emerged as an important and widely used instrument in the early nineteenth century largely because a. it was the most affordable instrument. b. it could produce an extremely wide variety of sonorities and textures. c. it was much easier to tune than other instruments. d. all the popular virtuosi of the early nineteenth century were pianists. e. solo piano music was the most popular genre of the nineteenth century. ____ 99. Settings of lyric poetry in the early nineteenth century tend to a. contain dialogues among characters. b. depict dramatic struggles. c. express personal reactions to ideas and images. d. express rapid, frequent changes of emotional states. e. be composed as ballads. ____100. Chopin’s piano music invokes the styles and techniques of all the following EXCEPT a. Polish folk music. d. bel canto opera. b. Bach’s preludes and fugues. e. Afro-Caribbean folk dance. c. Viennese dance music. ____101. Who was principally responsible for the idea of the solo recital? a. Franz Liszt d. Fryderyk Chopin b. Robert Schumann e. Friedrich Wieck c. Franz Schubert ____102. The first repertoire of the eighteenth century to be absorbed into a permanent canon of admired works in the nineteenth century was the a. chamber music of Corelli. b. keyboard suites of François Couperin and Jean-Phillipe Rameau. c. keyboard music of Bach. d. oratorios of Handel and Haydn. e. operas of Vivaldi and Scarlatti. ____103. Over the course of the nineteenth century, average orchestra sizes increased by approximately ________ percent. a. 15 d. 250 b. 45 e. 375 c. 125 ____104. The composer whose legacy most broadly influenced musical developments during the nineteenth century was a. J. S. Bach. d. Beethoven. b. Handel. e. Mozart. c. C. P. E. Bach. 15 Name: ______________________ ID: A ____105. Romantic composers like Schubert and Mendelssohn used lyrical, long themes in their symphonic works. How did this tendency affect their treatment of sonata form? a. They focused in their development sections not on the lyrical material but on new or secondary motivic material. b. They elided the exposition with the recapitulation so as not to disfigure the lyrical material. c. They separated their lyrical themes into short motivic components that were amenable to development. d. They wrote exceptionally long development sections that could accommodate prolonged contrapuntal presentations of their lyrical themes. e. They avoided sonata form in the outer movements of their symphonies and leaned toward ternary form, which was more amenable to lyrical thematic material. ____106. After Beethoven, the most important model for Robert Schumann’s orchestral compositions was a. Clara Schumann. d. Schubert. b. Berlioz. e. Chopin. c. Liszt. ____107. The a. b. c. most influential nineteenth-century treatise on orchestration was written in the early 1840s by Berlioz. d. Mendelssohn. Hans von Bülow. e. Robert Schumann. Wagner. ____108. The a. b. c. d. e. early chamber works of Schubert and Mendelssohn were modeled on the late string quartets of Beethoven. the chamber music of Haydn and Mozart. the chamber music of Berlioz. Renaissance polyphonic vocal music. no previous composers’ works; Schubert and Mendelssohn created radically new styles severed from the past. ____109. In the 1820s and 1830s, Mendelssohn played a pivotal role in reviving the vocal music of a. Beethoven. d. J. S. Bach. b. Palestrina. e. Pergolesi. c. Haydn. ____110. In the first half of the nineteenth century, nationalism in Italy and Germany emerged differently than in France mainly because a. neither Italy nor Germany were cohesive nation-states until the second half of the century. b. France was ruled by a stable monarchy during this period, while Germany and Italy experienced frequent political upheavals. c. Italy and Germany were fighting French occupation until 1848, and so had no opportunity to foster native unification movements. d. France had been a republic since 1793, while Italy and Germany were ruled by hereditary monarchies during this period. e. until 1848, the politics of Italy and Germany were controlled by the Holy Roman Empire, which governed from Vienna. 16 Name: ______________________ ID: A ____111. The principle musico-theatrical strength of the early nineteenth-century Italian scene form is its a. ability to depict character and plot development through contrasting musical themes and affects. b. development of a continuous arioso style of singing accompanied by orchestral music. c. capacity to accommodate modulations between keys. d. emphasis on the orchestral development of thematic material. e. continuous succession of orchestrally accompanied recitatives, solo arias, duets, ensembles, and choruses. ____112. A typical Rossini overture comprises a a. two-part form, with a slow introduction followed by a fast binary pair resembling an exposition and recapitulation. b. two-part form, with a slow, ceremonial section dominated by dotted rhythms followed by a fast imitative polyphonic section. c. three-part sonata form, with an exposition, development, and recapitulation. d. three-part form, with a fast sonatina section; a lyrical slow section; and a fast, dancelike section in triple meter. e. multisection orchestral suite comprising no less than four or five important themes that are heard later in the opera. ____113. Rossini spent his last four decades in Paris mainly a. writing several important grand operas. b. teaching composition at the Paris Conservatoire. c. in comfortable retirement, mostly withdrawn from composing. d. composing his last operas, for which he returned to the style of his early Neapolitan opere buffe. e. as director of the Paris Opéra. ____114. A distinguishing feature of early nineteenth-century German opera was its a. nationalistic expurgation of foreign—especially French—musical elements. b. emphasis on lyrical and coloratura vocal technique and subordinate accompanimental role for the orchestra. c. lack of spoken dialogue. d. cutting-edge treatment of contemporary political and social subject matter. e. integration of folk or folklike melodies. ____115. German Romantic opera is distinguished most sharply from contemporary French and Italian opera by its a. use of spoken dialogue. b. focus on natural and supernatural landscapes as important dramaturgical elements. c. use of orchestral color and diverse instruments. d. use of large performing forces and the absence of stagecraft. e. use of recurring motives identified with situations or characters presented earlier. ____116. In Wagner’s view of music history, the most important precedent for his own synthesis of drama and music was a. J. S. Bach’s cantatas. d. Weber’s operas. b. Mozart’s operas. e. Schubert’s symphonies. c. Beethoven’s symphonies. 17 Name: ______________________ ID: A ____117. Wagner’s Ring cycle is about a. conflicting desires for power and love among mythological and human characters. b. the defeat of a monstrous race of gnomes by the gods of German mythology. c. the adulterous love of a knight and a princess, torn apart by political loyalties. d. a magical ring that will be the reward of a hero who defeats an evil dwarf. e. the captain of an enchanted ship who sails the oceans in eternal pursuit of the magical ring that can lift his curse. ____118. As opposed to reminiscence motives, Wagnerian leitmotives a. connote change in character and drama through their musical development and combination with other leitmotives, while reminiscence motives tend to have singular, static connotations. b. are most often first introduced in the orchestra, while reminiscence motives most often appear first in the vocal part. c. are usually long, lyrical melodic themes, while reminiscence motives tend to be short, harmonic progressions. d. are never transposed, while reminiscence motives may appear in any key. e. refer to abstract ideas rather than concrete things, while reminiscence motives refer to concrete characters or objects. ____119. Contrasting diatonic and chromatic musical idioms in Wagner laid the foundation for their prominent use to symbolize a. a heroic character. d. the embodiment and beauty of nature. b. contrasts of reality and fantasy. e. concrete objects or places. c. the presence of evil. ____120. In Tristan und Isolde, the central idea of erotic desire is most directly conveyed by a. diatonic chord progressions. b. a recurring leitmotive that represents female beauty. c. the delay or avoidance of harmonic resolution. d. the alliteration of particular consonants in the poetry. e. the use of specific keys that symbolize erotic longing. ____121. Verdi’s early operas were modeled largely on a. Donizetti bel canto operas. b. French grand operas of the 1830s. c. German Romantic operas of the 1820s. d. classical Italian operas by Haydn and Mozart. e. opéras comiques. 18 Name: ______________________ ID: A ____122. What was Wagner and Verdi’s main common achievement? a. They both created radically new forms of musical theater that were completely independent of the opera traditions of the past. b. They both advocated and experimented with alternative kinds of poetry in their opera librettos. c. They both achieved an unprecedented unity of word and music by composing the scores and writing the poetry of their operas. d. They both developed new ways of using the orchestra as an expressive rather than merely accompanimental device in opera. e. They both celebrated their respective national cultures by composing operas based mainly on their own nation’s histories and mythologies. ____123. The a. b. c. so-called Mighty Five Russian composers included all the following EXCEPT Balakirev. d. Musorgsky. Borodin. e. Tchaikovsky. Rimsky-Korsakov. ____124. The most popularized, divisive aesthetic conflict among musicians and composers in the second half of the nineteenth century was that between adherents of a. Beethoven and Brahms. d. Bach and Mozart. b. Wagner and Liszt. e. Berlioz and Liszt. c. Wagner and Brahms. ____125. A canon of composers and masterpieces in the nineteenth century emerged due to a. the steady decline in amateur music-making. b. the divergence between music thought to embody values and music meant for ephemeral pleasure. c. the increasing size of orchestras. d. the growing dominance of opera as a genre. e. Richard Wagner’s advocacy of orchestral composers and their music. ____126. The aesthetic differences between the New German School and the adherents of absolute music lay fundamentally in their different a. understandings of the role of Renaissance and Baroque musical styles in modern music. b. ideas of how to create an authentic musical nationalism. c. ideas of how to represent poetry or narratives in music. d. interpretations of the implications of Beethoven’s mature works. e. ideas about whether to use or reject thematic transformation techniques. ____127. Which statement regarding Brahms’s output is NOT true? a. His symphonies follow the standard established by Beethoven. b. He wrote over 200 Lieder looking to Schubert as a model. c. His highly individual piano style is evident in his sonatas, waltzes, rhapsodies, and numerous other works. d. He wrote no choral works but instead focused his vocal compositions on large-scale opera. e. Comparison of his string quartets to Beethoven is inescapable. 19 Name: ______________________ ID: A ____128. The careers of Anton Bruckner and Johann Strauss Jr. most clearly reflect the growing division between ________ music. a. church and concert d. instrumental and vocal b. serious and light e. program and absolute c. orchestral and operatic ____129. The proponents of the New German School and those of absolute music both believed that a. medieval polyphony could provide a model for the composition of modern church music. b. the four-movement Classical symphony was the ideal orchestral genre. c. folk music was the foundation and best resource of modern composition. d. their aesthetic positions were based on the proper understanding of Beethoven’s music. e. a chromatic harmonic language was always required for composing modern music. ____130. Strauss’s tone poems were heavily influenced by a. Liszt. d. b. Brahms. e. c. Bruckner. Wolf. Schütz. ____131. The term New German School refers to a. German-speaking composers of the late nineteenth century. b. late-nineteenth-century composers who were newly inspired by the works of J. S. Bach and Handel. c. late-nineteenth-century composers who were German in spirit because they took Beethoven as their model. d. midcentury composers writing Beethoven-inspired German Lied. e. late-nineteenth-century composers who continued the new harmonic paths forged by Robert Schumann and Mendelssohn. ____132. The a. b. c. d. e. description of much early twentieth-century music as “post-tonal” refers to the complete rejection of functional harmony and progressions. the diverse new ways in which composers organized pitch. the restoration of the medieval church modes. the incorporation of nonmusical sounds such as industrial noise into musical compositions. composers’ preference for unpitched percussion instruments over traditional pitched instruments. ____133. Over the course of his career, Mahler a. provided his symphonies with increasingly detailed commentary to explain their programmatic meaning. b. abandoned large-scale, discursive symphonic movements in favor of more concise forms. c. incorporated settings of early nineteenth-century poetry in his symphonies. d. rejected the mimetic use of nature sounds and the use of musical topics. e. increasingly focused on opera composition. 20 Name: ______________________ ID: A ____134. Debussy and Mahler shared a common interest in a. the use of folk songs as compositional elements. b. setting symbolist poems to music. c. incorporating styles of American popular music into their own works. d. creating variety of tone color and texture through orchestration. e. creating synesthetic experiences with their music. ____135. What predecessors strongly influenced Richard Strauss’s techniques of opera composition? a. Haydn and Beethoven d. Lully and Rameau b. Brahms and Liszt e. Wagner and Mozart c. Mussorgsky and Rimsky-Korsakov ____136. Which of the following aesthetic principles is NOT among those most valued by French modernist composers? a. diversity of timbres d. contrasting textures b. pleasure e. motivic development c. ornamentation ____137. Which of the following propositions was among Debussy’s aesthetic views? a. The French musical tradition must be protected and isolated from foreign musical practices. b. The structure of musical themes is independent of orchestral color. c. Program music is obsolete and need no longer be composed. d. Parallel perfect intervals are permissible, but only in the context of traditional harmonic progressions. e. A composer need not be bound by traditional rules of harmonic progression. ____138. Many of Debussy’s compositions, such as his Nocturnes, were especially influenced by a. French folk song. d. Baroque counterpoint. b. gamelan music. e. atonal music. c. Beethoven’s symphonies. ____139. Schoenberg’s argument for atonality was based in part on his observation that a. the principle of developing variation necessarily eliminated the traditional functions of tonal harmony. b. Austrian folk music displayed atonal characteristics that should be emulated. c. traditional pitches could be replaced by pitch-class sets. d. modern instrument tunings had weakened traditional harmonic functions and relationships. e. nineteenth-century chromaticism and wide-ranging modulations had weakened the pull of tonic pitches. ____140. Klangfarbenmelodie is a. the coordination of changes in pitch with changes of tone color. b. an opera by Schoenberg. c. a vocal technique in which a singer approximates the timbre and rhythm of speech. d. a song cycle by Berg. e. a contrapuntal technique used in twelve-tone compositions. 21 Name: ______________________ ID: A ____141. Unlike his contemporaries Schoenberg and Berg, Webern a. never adopted the twelve-tone method, but pursued other techniques of atonality. b. composed mainly vocal works. c. composed extremely concentrated and concise music. d. believed that his musical processes were grounded on abstract mathematical principles rather than natural laws. e. sought a middle ground between twelve-tone technique and tonal harmonic functions. ____142. Prominent characteristics of Stravinsky’s pre–World War I works include all the following EXCEPT a. rapidly changing meters and rhythmic patterns. b. frequent use of ostinatos. c. frequent use of pre-Romantic instrumental forms such as sonata and concerto forms. d. use of octatonic pitch collections. e. layering of static blocks of sound. ____143. Bartók believed that the use of so-called peasant music solved the problem of how a. to counteract the excessive abstraction and complexity of the twelve-tone method. b. twentieth-century composers might advance beyond the excesses of Romanticism. c. to replace traditional contrapuntal techniques with new ones. d. to advance the cultural agenda of postwar eastern European Marxists. e. to oppose the dominance of non-Hungarian composers like Debussy and Stravinsky. ____144. The a. b. c. d. e. modernist techniques of atonality, dissonance, layering, and juxtaposition have especially influenced contemporary vocal pop music. electronic dance music. jazz. film music. nothing; they have had no significant impact on later genres. ____145. In the late 1920s, Hindemith engaged with contemporary society most directly in his cultivation of a. neoclassicism. d. Gebrauchsmusik. b. jazz. e. folk music styles. c. extended techniques. ____146. An a. b. c. d. e. important challenge for composers in Russia and Germany in the 1930s was how to compose modern music in a regressive, tradition-oriented aesthetic climate. adapt twelve-tone techniques to a popular idiom. cultivate the officially sanctioned formalist style. create new national styles independent of their countries’ past styles. create music that was autonomous and divorced from political and economic issues. ____147. Zoltán Kodály and Carl Orff were both a. wartime émigrés to the United States. b. persecuted by the Nazi regime. c. Hollywood film composers in the 1940s and 1950s. d. inventors of music pedagogy techniques. e. members of the Union of Soviet Composers. 22 Name: ______________________ ID: A ____148. Which of the following statements is true of Krenek, Gershwin, Copland, and Milhaud? a. They were all Jewish refugees from Nazi-occupied Europe. b. They all used twelve-tone techniques in the 1950s. c. They were all self-taught as composers. d. They all incorporated jazz idioms in their music. e. They all composed Broadway musicals. ____149. Varèse’s concept of sound mass fundamentally challenged traditional ideas of musical rhetoric because it deemphasized a. orchestration. d. thematic development. b. texture. e. form. c. dynamics. ____150. During the Depression and New Deal eras, Ruth Crawford Seeger and Aaron Copland both a. integrated serial techniques into their music. b. took interest in indigenous American musical traditions. c. experimented with electronic music. d. studied with Nadia Boulanger. e. taught at the University of Berlin. ____151. An a. b. c. African American musician first conducted a major American professional orchestra in 1913. d. 1948. 1922. e. 1955. 1936. ____152. In the mid-twentieth century, composers of art music in the Western tradition, no matter their country of origin or individual musical style, shared all the following priorities and goals EXCEPT a. assimilating elements from vernacular and non-Western musical traditions. b. challenging performers technically and artistically. c. experimenting with new techniques, sounds, textures, and technology. d. maintaining the primacy of the Western tonal system in their work. e. demanding attentive, engaged listening from audiences. ____153. The idea that avant-garde methods or products of composition that are incomprehensible or imperceptible to average listeners are analogous to specialist theories and methods of modern scientific research is associated with a. Lev Termen. d. Milton Babbitt. b. John Cage. e. Michael Tippett. c. Iannis Xenakis. ____154. Although different in many ways, Benjamin Britten and George Crumb had in common their a. use of electronics to alter musical sounds. b. contemplation of contemporary political and social issues in their compositions. c. commitment to traditional tonality. d. commitment to serial techniques. e. work as film composers during the 1930s. 23 Name: ______________________ ID: A ____155. Olivier Messiaen’s compositions were strongly influenced by his a. socialist political convictions. b. fervent Catholic faith. c. homosexuality. d. status as a refugee in the United States. e. background in science and engineering. ____156. In Messiaen’s music, the concept of additive rhythm refers to a. the lengthening of rhythmic durations by small amounts to create a succession of irregular durations. b. the use of cross-rhythms among different instrumental parts. c. gradual changes in tempo to adjust the relationship of rhythmic values to meter. d. the gradual subdivision of long durations into proportionally smaller durations. e. the use of rubato to cause subtle rhythmic fluctuations. ____157. Milton Babbitt’s concept of time point describes a. the placement of musical events within a temporal duration divided into twelve parts. b. the downbeat in a measure of irregular meter. c. the smallest unit into which a rhythmic value can be divided before it is imperceptible by the ear. d. moments in a serial composition when all the transpositions of a twelve-tone row converge in a simultaneous twelve-pitch chord. e. transitional passages in a composition that change the proportional value of a durational unit. ____158. Metric modulation is a technique associated with a. Krzysztof Penderecki. d. Iannis Xenakis. b. Elliot Carter. e. Benjamin Britten. c. Luciano Berio. ____159. John Cage’s radical rethinking of the ontology of musical sound was inspired by his encounter with a. the spiritual aspects of Messiaen’s music. b. Morton Feldman’s ideas about composition. c. the research conducted at the Columbia-Princeton Electronic Music Center. d. Robert Moog’s synthesizer. e. Luciano Berio’s pastiche techniques. ____160. John Cage’s mature ideas about music led to the problematic proposal that a. musical sounds are independent of time and space. b. musical compositions need not be permanent or fixed things. c. musical compositions could express the intentions of machines as well as humans. d. musical works are best executed by machines rather than humans. e. all parameters of musical performance could be established by predetermined ordering of musical events. ____161. John Cage shows the strongest affinity to the aesthetics and procedures of performance art in which of the following works? a. Music of Changes d. Musicircus b. Cheap Imitation e. Sonatas and Interludes c. 4’33” 24 Name: ______________________ ID: A ____162. Indeterminacy in musical compositions for ensembles led directly and necessarily to all of the following EXCEPT a. new kinds of notation. b. demands for improvisatory skill. c. new techniques and challenges for conductors. d. new, nontraditional instruments and sound sources. e. new ways of defining a musical composition. ____163. The a. b. c. d. e. ____164. The a. b. c. graphic notation used by Earle Brown in his composition December 1952 indicates only the relative durations of harmonies. only instrument combinations at any given point in time. small fragments of notated music, to be played in an order and tempo determined by a conductor. only approximate interval distances between pitches. no fixed musical parameters of any kind. earliest electronic compositions were the work of composers in France. d. England. Germany. e. the United States. Italy. 165. What is a viola da gamba? How is it played, and what does it sound like compared to modern bowed stringed instruments? 166. Although the term ________ originally meant bizarre, exaggerated, and in bad taste, it now has a more positive meaning. 167. Baroque musicians used ________ as a means of moving the emotions. Examples include trills, appoggiaturas, and mordents. 168. The text of an opera is referred to as the ________. 169. Le nuove musiche translates as ________. 170. A recurring instrumental refrain is referred to as a ________. 25 Name: ______________________ ID: A 171. The following musical excerpt employs what repetitive musical technique? 172. How did Giovanni Gabrieli take advantage of the architecture of St. Mark’s in his sacred concerti? 173. This musical excerpt appears to be what type of piece? 174. French Baroque music employed ________ to emphasize important notes and give melodies shape. 175. Most cantatas were written for solo voice with ________ as accompaniment, though some featured two or more voices. 176. The overarching form for a da capo aria is ________. 177. What musical technique, favored by Vivaldi, is evident in this example? 178. Couperin blended ________ and ________ national styles in his music. 179. The intellectual movement known as the ________ was based on themes of reason, nature, and progress. 180. The empfindsam style is closely associated with the composer ________. 26 Name: ______________________ ID: A 181. List the instruments that perform in a string quartet. 182. What was the most common keyboard genre in the early Classic period? 183. Most Haydn symphonies have ________ movements. The first movement generally uses ________ form. 184. List the three stages of sonata form in order. Then list two optional sections that Haydn and other composers frequently included to open and close the form. 185. As in his Third Symphony, the third movement of Beethoven’s Fifth Symphony is not a traditional minuet and trio movement but is called instead a(n) ________. 186. The short, lyric piano work that depicts or suggests a mood, personality, or scene, often with a descriptive title, is called a(n) ________. 187. Musical compositions that offer an idealized play of sound and form without the referential intentions of program music are often described as ________ music. 188. A musical setting of a German poem in the nineteenth century is called a(n) ________. 189. In 1829, a performance of ________ stimulated many musicians to study the long-ignored vocal works of its composer. 190. The operatic style of the early nineteenth century that emphasized fluent vocal technique, beauty of tone throughout a singer’s range, agility, and the ability to sing sustained lyrical as well as florid lines is now known as ________. 191. Wagner’s notion of an ideal drama based on the collaborative integration of poetry, scenic design, staging, movement, and music is expressed by his German term ________. 192. Composers like Debussy and Mahler evoked an exotic, Far-Eastern quality through their use of a five-note scale called the ________ scale. 193. Modernist French music that evoked a mood, feeling, atmosphere, or scene in a detached or disrupted manner was often associated with the literary movement known as ________. 194. Music that does not establish short- or long-range tonal centers is often described as ________. 195. The artistic movement of the first three decades of the twentieth century in which extreme emotional distress arising from dread or anxiety is coupled with a distorted perception of reality is known as ________. 196. Historical parallels noted among the shared techniques of Haydn, Mozart, and Beethoven on one hand, and those of Schoenberg, Berg, and Webern on the other, led to the latter group’s designation as the ________. 27 Name: ______________________ ID: A 197. Music composed by extending the ordering principle of twelve-tone rows to other musical parameters such as rhythm and dynamics is called ________ music. 198. Composers as diverse as Pierre Boulez and Morton Feldman were inspired by the pointillistic atonal style of the composer ________. 199. One of the most important centers of avant-garde and experimental composition established after World War II was in the German city of ________. 200. John Cage and others composed pieces for ________ piano, whose unusual, varied sonorities are produced by inserting a variety of objects between the piano’s strings. 28 ID: A Graduate Diagnostic in Music History Answer Section 1. ANS: TOP: 2. ANS: TOP: 3. ANS: TOP: 4. ANS: TOP: 5. ANS: TOP: 6. ANS: TOP: 7. ANS: TOP: 8. ANS: TOP: 9. ANS: TOP: 10. ANS: TOP: 11. ANS: TOP: 12. ANS: TOP: 13. ANS: TOP: 14. ANS: TOP: 15. ANS: TOP: 16. ANS: TOP: 17. ANS: TOP: 18. ANS: TOP: 19. ANS: TOP: 20. ANS: TOP: 21. ANS: TOP: MSC: B PTS: 1 DIF: Moderate REF: 254 The Rise of Instrumental Music MSC: Analyzing D PTS: 1 DIF: Moderate REF: 255 Instruments MSC: Analyzing C PTS: 1 DIF: Easy REF: 256–259 Instruments MSC: Remembering E PTS: 1 DIF: Moderate REF: 259 Instruments MSC: Analyzing C PTS: 1 DIF: Easy REF: 262–263 Dance Music MSC: Applying B PTS: 1 DIF: Moderate REF: 266–267 Variations MSC: Applying B PTS: 1 DIF: Moderate REF: 269–271 Abstract Instrumental Works MSC: Applying D PTS: 1 DIF: Moderate REF: 270–271 Abstract Instrumental Works MSC: Applying D PTS: 1 DIF: Moderate REF: 271 Abstract Instrumental Works MSC: Applying A PTS: 1 DIF: Moderate REF: 271 Abstract Instrumental Works MSC: Applying B PTS: 1 DIF: Easy REF: 273 Giovanni Gabrieli MSC: Remembering B PTS: 1 DIF: Easy REF: 278 | 281 | 282 Baroque as Term and Period MSC: Remembering B PTS: 1 DIF: Moderate REF: 282–285 Dramatic Baroque MSC: Applying D PTS: 1 DIF: Easy REF: 287–290 The Second Practice MSC: Applying E PTS: 1 DIF: Moderate REF: 300–301 General Characteristics of Baroque Music MSC: Remembering C PTS: 1 DIF: Moderate REF: 301–302 General Characteristics of Baroque Music MSC: Remembering D PTS: 1 DIF: Easy REF: 301 General Characteristics of Baroque Music MSC: Remembering E PTS: 1 DIF: Moderate REF: 301 General Characteristics: Concertato MSC: Applying E PTS: 1 DIF: Moderate REF: 291 Europe in the Seventeenth Century MSC: Remembering C PTS: 1 DIF: Easy REF: 278 | 282 The Baroque as Term and Period MSC: Remembering C PTS: 1 DIF: Difficult REF: 303 General Characteristics of Baroque Music: Harmonically Driven Counterpoint Remembering 1 ID: A 22. ANS: TOP: 23. ANS: TOP: 24. ANS: TOP: 25. ANS: TOP: 26. ANS: TOP: 27. ANS: TOP: 28. ANS: TOP: 29. ANS: TOP: 30. ANS: TOP: 31. ANS: TOP: 32. ANS: TOP: 33. ANS: TOP: 34. ANS: TOP: 35. ANS: TOP: 36. ANS: TOP: 37. ANS: TOP: 38. ANS: TOP: 39. ANS: TOP: 40. ANS: TOP: 41. ANS: TOP: 42. ANS: TOP: 43. ANS: TOP: 44. ANS: TOP: B PTS: 1 DIF: Moderate REF: The Dramatic Baroque MSC: Analyzing A PTS: 1 DIF: Moderate REF: General Characteristics: Basso Continuo MSC: C PTS: 1 DIF: Easy REF: Invention of Opera MSC: Remembering D PTS: 1 DIF: Moderate REF: Greek Tragedy as Model and Florentine Camerata MSC: B PTS: 1 DIF: Easy REF: Monody, Aria, and Solo Madrigal MSC: Remembering C PTS: 1 DIF: Moderate REF: Monody, Aria, and Solo Madrigal | The First Operas MSC: A PTS: 1 DIF: Easy REF: The First Operas MSC: Remembering E PTS: 1 DIF: Difficult REF: Rome: Castrati MSC: Analyzing D PTS: 1 DIF: Moderate REF: Recitative Style and L’Orfeo Act II MSC: B PTS: 1 DIF: Easy REF: Claudio Monteverdi MSC: Remembering D PTS: 1 DIF: Moderate REF: Large-Scale Sacred Concerto MSC: Remembering E PTS: 1 DIF: Easy REF: Catholic Sacred Music MSC: Remembering D PTS: 1 DIF: Easy REF: Large-Scale Sacred Concerto MSC: Analyzing E PTS: 1 DIF: Easy REF: Lutheran Church Music MSC: Remembering B PTS: 1 DIF: Easy REF: France: Louis XIV MSC: Analyzing D PTS: 1 DIF: Moderate REF: Jean-Baptiste Lully and French Opera MSC: A PTS: 1 DIF: Easy REF: France: Dance Music MSC: Applying C PTS: 1 DIF: Moderate REF: Emulation of French Style MSC: Analyzing B PTS: 1 DIF: Easy REF: Chapter Introduction MSC: Remembering E PTS: 1 DIF: Difficult REF: Corelli Sonatas MSC: Analyzing C PTS: 1 DIF: Moderate REF: Italian Instrumental Chamber Music MSC: D PTS: 1 DIF: Moderate REF: Trio Sonatas MSC: Applying B PTS: 1 DIF: Moderate REF: Opera | Italian Vocal Chamber Music MSC: 2 295–296 302 Applying 297 299–300 Applying 301 300–301 Applying 301 309 301–303 | 306 Analyzing 305 322 321 322 328 340 346 Remembering 355–357 358 371 388–389 384 Analyzing 386 381–382 Analyzing ID: A 45. ANS: TOP: 46. ANS: TOP: 47. ANS: TOP: 48. ANS: TOP: 49. ANS: TOP: 50. ANS: TOP: 51. ANS: TOP: 52. ANS: TOP: 53. ANS: TOP: 54. ANS: TOP: 55. ANS: TOP: 56. ANS: TOP: 57. ANS: TOP: 58. ANS: TOP: 59. ANS: TOP: 60. ANS: TOP: 61. ANS: TOP: 62. ANS: TOP: 63. ANS: TOP: 64. ANS: TOP: 65. ANS: TOP: 66. ANS: TOP: 67. ANS: TOP: C PTS: 1 DIF: Easy REF: Vivaldi’s Concertos MSC: Remembering B PTS: 1 DIF: Easy REF: Vivaldi’s Concertos MSC: Remembering A PTS: 1 DIF: Moderate REF: Theory of Harmony MSC: Analyzing E PTS: 1 DIF: Moderate REF: Vivaldi’s Concertos MSC: Analyzing A PTS: 1 DIF: Moderate REF: François Couperin MSC: Applying B PTS: 1 DIF: Moderate REF: A Volatile Public MSC: Applying A PTS: 1 DIF: Moderate REF: German Mixed Taste MSC: Analyzing D PTS: 1 DIF: Moderate REF: Bach at Work MSC: Analyzing C PTS: 1 DIF: Moderate REF: Bach: Harpsichord Music MSC: Applying D PTS: 1 DIF: Difficult REF: Handel: Opera MSC: Analyzing B PTS: 1 DIF: Moderate REF: Bach’s Synthesis and Critique of Bach’s Style MSC: E PTS: 1 DIF: Easy REF: Handel MSC: Remembering A PTS: 1 DIF: Easy REF: Handel: Recitative Styles MSC: Applying E PTS: 1 DIF: Moderate REF: Handel: Oratorios, Borrowing MSC: Applying E PTS: 1 DIF: Easy REF: Handel: Oratorios, Use of Chorus MSC: Applying A PTS: 1 DIF: Moderate REF: Economic Change MSC: Applying E PTS: 1 DIF: Moderate REF: International Musical Style MSC: Applying D PTS: 1 DIF: Moderate REF: Music in the Enlightenment MSC: Analyzing A PTS: 1 DIF: Easy REF: Musical Taste and Style MSC: Analyzing B PTS: 1 DIF: Moderate REF: Galant Style MSC: Remembering E PTS: 1 DIF: Easy REF: Form and Content MSC: Applying D PTS: 1 DIF: Moderate REF: Melody, Harmony, Phrasing, and Form MSC: D PTS: 1 DIF: Moderate REF: Opera Buffa MSC: Applying 3 410 410 410 | 425 417 | 421 423 430 426 427–428 431–433 445 440 Analyzing 442 444 450–451 447–448 455 455 454 | 460–461 460 462 469 466–467 Applying 476 ID: A 68. ANS: TOP: 69. ANS: TOP: 70. ANS: TOP: 71. ANS: TOP: 72. ANS: TOP: 73. ANS: TOP: 74. ANS: TOP: 75. ANS: TOP: 76. ANS: TOP: 77. ANS: TOP: 78. ANS: TOP: 79. ANS: TOP: 80. ANS: TOP: 81. ANS: TOP: 82. ANS: TOP: 83. ANS: TOP: 84. ANS: TOP: 85. ANS: TOP: 86. ANS: TOP: 87. ANS: TOP: 88. ANS: TOP: 89. ANS: TOP: 90. ANS: TOP: B PTS: 1 DIF: Easy REF: Neapolitan Comic Opera MSC: Applying D PTS: 1 DIF: Moderate REF: Opera Buffa: Ensemble Finales MSC: Applying D PTS: 1 DIF: Moderate REF: Opera Buffa: Contributions of Italian Comic Opera MSC: E PTS: 1 DIF: Moderate REF: Opera Seria MSC: Applying D PTS: 1 DIF: Moderate REF: Intermezzo and Opera Seria: The Aria MSC: C PTS: 1 DIF: Moderate REF: Opera Reform MSC: Applying A PTS: 1 DIF: Moderate REF: Christoph Willibald Gluck MSC: Remembering C PTS: 1 DIF: Easy REF: Instruments and Ensembles MSC: Remembering B PTS: 1 DIF: Easy REF: Instruments and Ensembles MSC: Analyzing B PTS: 1 DIF: Easy REF: Genres and Forms MSC: Remembering C PTS: 1 DIF: Moderate REF: Keyboard Music MSC: Applying A PTS: 1 DIF: Easy REF: Keyboard Music MSC: Remembering E PTS: 1 DIF: Moderate REF: Symphony MSC: Analyzing C PTS: 1 DIF: Moderate REF: Symphony MSC: Remembering E PTS: 1 DIF: Easy REF: Joseph Haydn MSC: Remembering C PTS: 1 DIF: Moderate REF: Haydn: Symphonic Form MSC: Analyzing D PTS: 1 DIF: Easy REF: Symphonic Form: Slow Movement MSC: D PTS: 1 DIF: Moderate REF: Mozart: Operas MSC: Remembering E PTS: 1 DIF: Easy REF: W. A. Mozart MSC: Remembering D PTS: 1 DIF: Moderate REF: W. A. Mozart: Freelancing MSC: Remembering B PTS: 1 DIF: Moderate REF: Mozart: Piano Concertos MSC: Remembering C PTS: 1 DIF: Difficult REF: Bonn and the First Decade in Vienna MSC: D PTS: 1 DIF: Easy REF: Bonn and the First Decade in Vienna MSC: 4 472–474 476 476–477 Applying 477 475 | 478 Analyzing 486–487 487–488 495 495 497–498 507 507 508 509–510 514 522 524 Remembering 546 535 533 | 535 | 537–538 543–544 558 Remembering 558 Analyzing ID: A 91. ANS: TOP: 92. ANS: TOP: 93. ANS: TOP: 94. ANS: TOP: 95. ANS: TOP: 96. ANS: TOP: MSC: 97. ANS: TOP: MSC: 98. ANS: TOP: 99. ANS: TOP: 100. ANS: TOP: 101. ANS: TOP: 102. ANS: TOP: MSC: 103. ANS: TOP: 104. ANS: TOP: 105. ANS: TOP: MSC: 106. ANS: TOP: 107. ANS: TOP: 108. ANS: TOP: 109. ANS: TOP: 110. ANS: TOP: 111. ANS: TOP: 112. ANS: TOP: B PTS: 1 DIF: Moderate REF: 562 Circumstances in the Middle Period MSC: Remembering E PTS: 1 DIF: Moderate REF: 566 Eroica Symphony MSC: Applying C PTS: 1 DIF: Moderate REF: 561 Bonn and the First Decade in Vienna MSC: Applying E PTS: 1 DIF: Moderate REF: 571–572 Characteristics of the Late Style MSC: Analyzing E PTS: 1 DIF: Moderate REF: 578 Last Public Works MSC: Applying D PTS: 1 DIF: Moderate REF: 570–571 | 575–576 Other Works of the Middle Period | Characteristics of the Late Style Applying A PTS: 1 DIF: Moderate REF: 581 | 586–587 The Romantic Generation: Song and Piano Music | The Market for Music and the New Idiom Analyzing B PTS: 1 DIF: Easy REF: 583 | 586 The Piano MSC: Analyzing C PTS: 1 DIF: Easy REF: 591 The Lied MSC: Analyzing E PTS: 1 DIF: Moderate REF: 608–611 Music for Piano: Fryderyk Chopin MSC: Applying A PTS: 1 DIF: Easy REF: 612 Music for Piano: Franz Liszt MSC: Remembering D PTS: 1 DIF: Easy REF: 618 Romanticism in Classic Forms: Orchestral, Chamber, and Choral Music Remembering C PTS: 1 DIF: Moderate REF: 631 The Nineteenth-Century Orchestra MSC: Remembering D PTS: 1 DIF: Easy REF: 634 The Rise of the Classical Repertoire MSC: Analyzing A PTS: 1 DIF: Difficult REF: 635 | 641 The New Romantic Style: Schubert | Classical Romanticism: Mendelssohn Applying D PTS: 1 DIF: Easy REF: 644 Romantic Reconceptions: Robert Schumann MSC: Analyzing A PTS: 1 DIF: Easy REF: 641 Programmatic Romanticism: Berlioz MSC: Remembering B PTS: 1 DIF: Moderate REF: 628–629 Chamber Music: Schubert, Mendelssohn MSC: Analyzing D PTS: 1 DIF: Easy REF: 622 Choral Music: Oratorios and Other Large Works MSC: Remembering A PTS: 1 DIF: Moderate REF: 648 Nationalism MSC: Analyzing A PTS: 1 DIF: Moderate REF: 651 Gioachino Rossini MSC: Applying A PTS: 1 DIF: Moderate REF: 656–657 Gioachino Rossini MSC: Analyzing 5 ID: A 113. ANS: TOP: 114. ANS: TOP: 115. ANS: TOP: 116. ANS: TOP: 117. ANS: TOP: 118. ANS: TOP: 119. ANS: TOP: 120. ANS: TOP: 121. ANS: TOP: 122. ANS: TOP: 123. ANS: TOP: 124. ANS: TOP: 125. ANS: TOP: 126. ANS: TOP: 127. ANS: TOP: 128. ANS: TOP: 129. ANS: TOP: 130. ANS: TOP: 131. ANS: TOP: 132. ANS: TOP: 133. ANS: TOP: 134. ANS: TOP: 135. ANS: TOP: C PTS: 1 DIF: Easy REF: Gioachino Rossini MSC: Remembering E PTS: 1 DIF: Moderate REF: Carl Maria von Weber MSC: Analyzing B PTS: 1 DIF: Moderate REF: Carl Maria von Weber MSC: Analyzing C PTS: 1 DIF: Easy REF: Wagner: Writings and Ideas MSC: Analyzing A PTS: 1 DIF: Easy REF: The Ring Cycle MSC: Analyzing A PTS: 1 DIF: Difficult REF: The Ring Cycle MSC: Analyzing B PTS: 1 DIF: Difficult REF: The Ring Cycle MSC: Applying C PTS: 1 DIF: Difficult REF: Wagner: Later Operas MSC: Analyzing A PTS: 1 DIF: Easy REF: Verdi: Style MSC: Remembering D PTS: 1 DIF: Moderate REF: Verdi: Style | Wagner MSC: Analyzing E PTS: 1 DIF: Easy REF: The Mighty Five MSC: Remembering C PTS: 1 DIF: Easy REF: Late Romanticism in German Musical Culture MSC: B PTS: 1 DIF: Difficult REF: Dichotomies and Disputes MSC: Analyzing D PTS: 1 DIF: Difficult REF: Dichotomies and Disputes | The Wagnerians MSC: D PTS: 1 DIF: Moderate REF: Brahms MSC: Remembering B PTS: 1 DIF: Moderate REF: Dichotomies and Disputes MSC: Analyzing D PTS: 1 DIF: Moderate REF: Dichotomies and Disputes MSC: Analyzing A PTS: 1 DIF: Easy REF: Richard Strauss MSC: Remembering C PTS: 1 DIF: Moderate REF: The Wagnerians MSC: Applying B PTS: 1 DIF: Easy REF: Modernism MSC: Remembering C PTS: 1 DIF: Moderate REF: Mahler MSC: Remembering D PTS: 1 DIF: Difficult REF: Debussy | Mahler MSC: Analyzing E PTS: 1 DIF: Easy REF: Strauss Operas MSC: Remembering 6 650 664 663–664 677 681 682 684 686 690 687–688 | 691 702 711 Analyzing 712 712–713 | 722 Analyzing 716 | 721 713 713 728 722 771 773–774 775 | 786 778 ID: A 136. ANS: TOP: 137. ANS: TOP: MSC: 138. ANS: TOP: 139. ANS: TOP: 140. ANS: TOP: 141. ANS: TOP: 142. ANS: TOP: 143. ANS: TOP: 144. ANS: TOP: 145. ANS: TOP: 146. ANS: TOP: 147. ANS: TOP: 148. ANS: TOP: MSC: 149. ANS: TOP: 150. ANS: TOP: 151. ANS: TOP: 152. ANS: TOP: 153. ANS: TOP: 154. ANS: TOP: MSC: 155. ANS: TOP: 156. ANS: TOP: 157. ANS: TOP: E PTS: 1 DIF: Easy REF: French Modernism MSC: Analyzing E PTS: 1 DIF: Moderate REF: Source Reading: Debussy on Tradition, Freedom, and Pleasure Analyzing B PTS: 1 DIF: Moderate REF: Debussy MSC: Remembering E PTS: 1 DIF: Moderate REF: Schoenberg: Atonal Music MSC: Analyzing A PTS: 1 DIF: Moderate REF: Anton Webern MSC: Analyzing C PTS: 1 DIF: Easy REF: Anton Webern MSC: Analyzing C PTS: 1 DIF: Easy REF: Igor Stravinsky MSC: Analyzing B PTS: 1 DIF: Difficult REF: Source Reading: Peasant Music and Modern Music MSC: D PTS: 1 DIF: Easy REF: Composer and Audience MSC: Analyzing D PTS: 1 DIF: Easy REF: Paul Hindemith MSC: Analyzing A PTS: 1 DIF: Difficult REF: Music Under the Nazis | The Soviet Union MSC: D PTS: 1 DIF: Moderate REF: Music Under the Nazis MSC: Applying D PTS: 1 DIF: Moderate REF: New Objectivity | George Gershwin | Aaron Copland | Les Six Applying D PTS: 1 DIF: Difficult REF: Edgard Varèse MSC: Analyzing B PTS: 1 DIF: Moderate REF: Ruth Crawford Seeger | Aaron Copland MSC: C PTS: 1 DIF: Difficult REF: William Grant Still MSC: Remembering D PTS: 1 DIF: Easy REF: Diversity and Common Themes MSC: Analyzing D PTS: 1 DIF: Moderate REF: Source Reading: Composition as Research MSC: B PTS: 1 DIF: Moderate REF: Benjamin Britten | New Instruments, Sounds, and Scales Applying B PTS: 1 DIF: Easy REF: Olivier Messiaen MSC: Remembering A PTS: 1 DIF: Difficult REF: Olivier Messiaen MSC: Analyzing A PTS: 1 DIF: Difficult REF: Serialism MSC: Remembering 7 781–782 784 786 807 821 820 822 835 Analyzing 847 877 879 | 880 Analyzing 880 873 | 875 | 893 | 894 889 892 | 894 Applying 895 920 922 Analyzing 923–925 | 942 926 928 930 ID: A 158. ANS: B PTS: 1 DIF: Easy REF: 932 TOP: The New Virtuosity MSC: Remembering 159. ANS: B PTS: 1 DIF: Moderate REF: 936 TOP: John Cage MSC: Remembering 160. ANS: B PTS: 1 DIF: Difficult REF: 937 | 940 TOP: Source Reading: Music in the Present Moment | Music as Theater and Performance Art MSC: Analyzing 161. ANS: D PTS: 1 DIF: Moderate REF: 937 TOP: Source Reading: Music in the Present Moment MSC: Analyzing 162. ANS: D PTS: 1 DIF: Easy REF: 939 TOP: Indeterminacy in Works of Other Composers MSC: Analyzing 163. ANS: E PTS: 1 DIF: Moderate REF: 939 TOP: Indeterminacy in Works of Other Composers MSC: Applying 164. ANS: A PTS: 1 DIF: Moderate REF: 943 TOP: Electronic Music MSC: Remembering 165. ANS: This is a bowed string instrument with six strings and frets. All three sizes—treble, tenor, and bass—are held between the legs and bowed with an underhand grip. Vibrato is not used. Its sound is more delicate and less penetrating than a violin or cello. PTS: 1 DIF: Moderate MSC: Remembering 166. ANS: Baroque REF: 258 TOP: Instruments PTS: 1 DIF: Easy MSC: Remembering 167. ANS: ornamentation or ornaments REF: 288 | 292 TOP: The Baroque as Term and Period PTS: 1 DIF: Moderate REF: 303 TOP: General Characteristics of Baroque Music: Ornamentation MSC: Analyzing 168. ANS: libretto PTS: 1 DIF: Easy MSC: Remembering 169. ANS: The New Music REF: 297 TOP: Invention of Opera PTS: 1 DIF: Easy MSC: Remembering 170. ANS: ritornello REF: 301 TOP: Monody, Aria, and Solo Madrigal REF: 303 TOP: The First Operas | L’Euridice PTS: 1 DIF: Moderate MSC: Remembering 8 ID: A 171. ANS: ground bass, basso ostinato, or descending tetrachord bass PTS: 1 DIF: Moderate REF: 318–319 TOP: Ostinato Basses MSC: Applying 172. ANS: He composed polychoral works and used multiple choirs. He frequently separated instruments and choirs into two or more groups. PTS: 1 DIF: Moderate REF: 322 MSC: Applying 173. ANS: fugue, ricercare, or continuous imitative counterpoint TOP: Large-Scale Sacred Concerto PTS: 1 DIF: Moderate MSC: Applying 174. ANS: agréments or ornaments REF: 333–334 TOP: Ricercare and Fugue PTS: 1 MSC: Analyzing 175. ANS: continuo REF: 352 TOP: France: Lute and Keyboard Music PTS: 1 DIF: Difficult MSC: Remembering 176. ANS: ABA REF: 381 TOP: Italian Vocal Chamber Music PTS: 1 DIF: Easy MSC: Remembering 177. ANS: sequence REF: 381 TOP: Italian Vocal Chamber Music DIF: Moderate PTS: 1 DIF: Moderate REF: 418 TOP: Vivaldi’s Concertos: Economy and Variety 178. ANS: French; Italian PTS: 1 MSC: Applying 179. ANS: Enlightenment PTS: 1 MSC: Applying MSC: Applying DIF: Moderate REF: 423–424 TOP: François Couperin DIF: Easy REF: 455 TOP: The Enlightenment 9 ID: A 180. ANS: C. P. E. Bach PTS: 1 DIF: Easy MSC: Applying 181. ANS: two violins, viola, cello REF: 465 TOP: Empfindsam style PTS: 1 DIF: Easy MSC: Remembering 182. ANS: sonata REF: 495 TOP: Instruments and Ensembles PTS: 1 MSC: Applying 183. ANS: four; sonata REF: 495 TOP: Instruments and Ensembles DIF: Moderate PTS: 1 DIF: Easy REF: 523 TOP: Haydn: Symphonic Form MSC: Remembering 184. ANS: exposition, development, recapitulation; slow introduction, coda PTS: 1 DIF: Easy MSC: Remembering 185. ANS: scherzo REF: 523–524 TOP: Haydn: Symphonic Form PTS: 1 MSC: Applying 186. ANS: character piece REF: 571 TOP: Other Works of the Middle Period PTS: 1 DIF: Moderate MSC: Remembering 187. ANS: absolute REF: 589 | 600 TOP: Romanticism | Music for Piano PTS: 1 MSC: Analyzing 188. ANS: Lied DIF: Easy REF: 589 TOP: Romanticism PTS: 1 DIF: Easy MSC: Remembering REF: 590 TOP: Song DIF: Easy 10 ID: A 189. ANS: the St. Matthew Passion PTS: 1 DIF: Moderate REF: 622 TOP: Choral Music: Oratorios and Other Large Works 190. ANS: bel canto MSC: Remembering PTS: 1 MSC: Analyzing 191. ANS: Gesamtkunstwerk DIF: Easy REF: 651 TOP: Gioachino Rossini PTS: 1 MSC: Analyzing 192. ANS: pentatonic DIF: Moderate REF: 677 TOP: Wagner: Writings and Ideas PTS: 1 DIF: Easy MSC: Remembering 193. ANS: symbolism REF: 778 TOP: Mahler PTS: 1 MSC: Analyzing 194. ANS: atonal DIF: Easy REF: 782 TOP: French Modernism PTS: 1 MSC: Analyzing 195. ANS: expressionism DIF: Easy REF: 807 TOP: Schoenberg: Atonal Music PTS: 1 DIF: Easy MSC: Analyzing 196. ANS: Second Viennese School REF: 810–811 TOP: Music in Context: Expressionism PTS: 1 MSC: Analyzing 197. ANS: serial DIF: Easy REF: 816 TOP: Schoenberg as Modernist PTS: 1 DIF: Easy MSC: Remembering REF: 831 TOP: Stravinsky: Serial Period 11 ID: A 198. ANS: Anton Webern PTS: 1 DIF: Moderate REF: 929 | 939 TOP: Serialism | Indeterminacy in Works of Other Composers MSC: Remembering 199. ANS: Darmstadt PTS: 1 DIF: Moderate MSC: Remembering 200. ANS: prepared PTS: 1 MSC: Analyzing DIF: Easy REF: 929 TOP: Serialism REF: 935 TOP: John Cage 12