DIAGNOSTIC EXAM IN MUSIC HISTORY
In the music history diagnostic exam, incoming graduate students prove an adequate undergraduate
understanding of music history based on chapters 12–29, 32–33, 35, and 37 in the standard
undergraduate text book:
Burkholder, J. Peter, Donald J. Grout, and Claude V. Palisca. A History of Western Music. 10th ed.
New York and London: W. W. Norton & Co., 2019.
e exam focuses on major historical developments, time periods, composers, genres, forms, and
musical styles between c. 1580 (i.e., the beginning of the Baroque) and 1970. e questions are in
multiple choice and short answer format.
For your preparation, you will receive a PDF with a test bank of 200 question pertaining to the
chapters listed above. At the end of the le there is a list of all correct answers and a reference to the
respective chapter in the book for each question. Out of these 200 questions, a computer will
randomly select 50 for the diagnostic exam. A minimum score of 80% (i.e. 40 questions answered
correctly) is necessary for a passing grade. If a student fails the exam, she/he can retake the test two
more times within the rst year of study.
e Graduate Program Advisor will inform you of the next exam date. You have to sign up for the
exam until 48 hours before the exam by sending an email to Dr. Aschauer. He is also the person to
contact if you have any further questions. Email: mario[email protected].
Name: ______________________ Class: _________________ Date: _________ ID: A
1
Graduate Diagnostic in Music History
____
1.
The rise of notated instrumental music in the Renaissance can be attributed to the
a.
development of music printing.
b.
increase in music literacy.
c.
invention of new tuning systems.
d.
negative association of orally transmitted music with lower social classes.
e.
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 of the following instruments were invented during the Renaissance EXCEPT the
a.
crumhorn.
d.
sackbut.
b.
harpsichord.
e.
viola da gamba.
c.
recorder.
____
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
Name: ______________________ ID: A
2
____
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.
St. Peter’s Cathedral in Bologna.
b.
St. Mark’s Basilica in Venice.
e.
the Sistine Chapel in Rome.
c.
St. Peter’s Basilica in Rome.
____
12.
The term baroque was first applied to art and music by
a.
critics in the early 1600s who preferred the new style.
b.
critics in the mid-1700s who disliked the style.
c.
composers in the 1600s who created new genres and styles.
d.
patrons who supported seventeenth-century composers.
e.
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
Name: ______________________ ID: A
3
____
15.
The practice of basso continuo reflects what trend that occurred around 1600?
a.
a preference for polyphony
b.
composers’ interest in theatricality and dramatic expression
c.
increased word painting
d.
increased dissonance and chromaticism
e.
increased emphasis on the melody and bass lines
____
16.
The primary purpose of the basso continuo part is to
a.
illustrate the text.
d.
foster cadenzas.
b.
control dissonances.
e.
emphasize the meter.
c.
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 the end of the 1600s, which country was the dominant political and artistic power in Europe?
a.
Spain
d.
Italy
b.
England
e.
France
c.
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 the end of the Baroque period, counterpoint became
a.
more complex.
d.
more reliant on augmentation.
b.
less harmonically driven.
e.
less reliant on augmentation.
c.
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
Name: ______________________ ID: A
4
____
23.
The following excerpts show
a.
two contrasting renderings of a continuo part.
b.
the first edition versus the second edition of a piece.
c.
the use of smaller note heads for the accompaniment.
d.
the keyboard versus the lute version of a piece.
e.
the organ versus the harpsichord version of a piece.
____
24.
Opera originated
a.
ca. 1450.
d.
ca. 1637.
b.
ca. 1550.
e.
ca. 1650.
c.
ca. 1600.
____
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 first opera was
a.
Peri and Rinuccini’s Dafne.
b.
Cavalieri’s Rappresentatione di anima et di corpo.
c.
Peri and Rinuccini’s L’Euridice.
d.
Caccini and Rinuccini’s L’Euridice.
e.
Monteverdi and Striggio’s L’Orfeo.
Name: ______________________ ID: A
5
____
29.
The practice of castrati developed because
a.
ancient Greek texts describe a similar practice.
b.
physicians were studying anatomy.
c.
courts in Florence and Mantua were rivals.
d.
women were not allowed to appear on stage in London.
e.
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
Name: ______________________ ID: A
6
____
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 superior craftsmanship of Italian-made string instruments contributed to
a.
the public demand for operas and oratorios.
b.
the development of the serenata genre.
c.
the rise of the sonata and the instrumental concerto.
d.
Scarlatti’s composing of over six hundred cantatas.
e.
the use of ornamentation found in all genres.
____
43.
The three-part texture of a trio sonata typically called for how many instruments?
a.
one
d.
four
b.
two
e.
ten
c.
three
Name: ______________________ ID: A
7
____
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 what cultural movement can Rameau’s interest in rational laws of music theory be attributed?
a.
the Enlightenment
d.
utilitarianism
b.
modernism
e.
absolutism
c.
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.
Name: ______________________ ID: A
8
____
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
d.
trio sonata
b.
keyboard suite
e.
English oratorio
c.
German oratorio
____
57.
The action in Handel’s operas develops through
a.
recitatives.
d.
sinfonias.
b.
choruses.
e.
duets.
c.
arias.
____
58.
The musical excerpt below demonstrates Handel’s use of
a.
chromaticism.
d.
French dance rhythms.
b.
counterpoint.
e.
word-painting.
c.
long melismas.
Name: ______________________ ID: A
9
____
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 end of the eighteenth century saw a growing preference for opera in which language?
a.
Italian
d.
Spanish
b.
German
e.
the vernacular
c.
French
____
62.
The galant style became popular for all of the following reasons EXCEPT it
a.
was considered “natural.”
d.
focused more on counterpoint.
b.
was easily understood.
e.
focused more on melody.
c.
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 did the galant style originate?
a.
in French operas
d.
in German operas
b.
in Italian operas
e.
in French concertos
c.
in French dance suites
____
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.
Name: ______________________ ID: A
10
____
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.
recitative from an intermezzo.
d.
chorus from an opera seria.
b.
aria from a comic opera.
e.
ensemble from an intermezzo.
c.
ensemble from an opera seria.
____
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
Name: ______________________ ID: A
11
____
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
d.
Wagenseil
b.
Galuppi
e.
J. S. Bach
c.
Cristofori
____
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
Name: ______________________ ID: A
12
____
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.
string quartets and piano concertos.
b.
piano sonatas and concertos.
e.
string quartets and symphonies.
c.
masses 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 second movement of a Haydn symphony
a.
is in rondo or sonata-rondo form.
d.
is gentler and slower than the first.
b.
is often in minor.
e.
usually is highly dramatic.
c.
has a slow introduction.
____
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.
Name: ______________________ ID: A
13
____
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 third movements of Mozart’s piano concertos
a.
reflect his experience as an opera composer.
b.
frequently use rondo form.
c.
frequently use minuet and trio form.
d.
do not use wind instruments.
e.
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.
Name: ______________________ ID: A
14
____
93.
Beethoven shows his personality in this early quartet by
a.
exploiting extreme contrast of registers.
b.
writing an introspective, contemplative scherzo.
c.
humorously emphasizing offbeats.
d.
using unorthodox treatment of form.
e.
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.
Name: ______________________ ID: A
15
____
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.
Name: ______________________ ID: A
16
____
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 most influential nineteenth-century treatise on orchestration was written in the early 1840s by
a.
Berlioz.
d.
Mendelssohn.
b.
Hans von Bülow.
e.
Robert Schumann.
c.
Wagner.
____
108.
The early chamber works of Schubert and Mendelssohn were modeled on
a.
the late string quartets of Beethoven.
b.
the chamber music of Haydn and Mozart.
c.
the chamber music of Berlioz.
d.
Renaissance polyphonic vocal music.
e.
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.
Name: ______________________ ID: A
17
____
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.
Name: ______________________ ID: A
18
____
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.
Name: ______________________ ID: A
19
____
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 so-called Mighty Five Russian composers included all the following EXCEPT
a.
Balakirev.
d.
Musorgsky.
b.
Borodin.
e.
Tchaikovsky.
c.
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.
Name: ______________________ ID: A
20
____
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.
Wolf.
b.
Brahms.
e.
Schütz.
c.
Bruckner.
____
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 description of much early twentieth-century music as “post-tonal” refers to
a.
the complete rejection of functional harmony and progressions.
b.
the diverse new ways in which composers organized pitch.
c.
the restoration of the medieval church modes.
d.
the incorporation of nonmusical sounds such as industrial noise into musical
compositions.
e.
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.
Name: ______________________ ID: A
21
____
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.
Name: ______________________ ID: A
22
____
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 modernist techniques of atonality, dissonance, layering, and juxtaposition have especially influenced
a.
contemporary vocal pop music.
b.
electronic dance music.
c.
jazz.
d.
film music.
e.
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 important challenge for composers in Russia and Germany in the 1930s was how to
a.
compose modern music in a regressive, tradition-oriented aesthetic climate.
b.
adapt twelve-tone techniques to a popular idiom.
c.
cultivate the officially sanctioned formalist style.
d.
create new national styles independent of their countries’ past styles.
e.
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.
Name: ______________________ ID: A
23
____
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 African American musician first conducted a major American professional orchestra in
a.
1913.
d.
1948.
b.
1922.
e.
1955.
c.
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.
Name: ______________________ ID: A
24
____
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”
Name: ______________________ ID: A
25
____
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 graphic notation used by Earle Brown in his composition December 1952 indicates
a.
only the relative durations of harmonies.
b.
only instrument combinations at any given point in time.
c.
small fragments of notated music, to be played in an order and tempo determined by a
conductor.
d.
only approximate interval distances between pitches.
e.
no fixed musical parameters of any kind.
____
164.
The earliest electronic compositions were the work of composers in
a.
France.
d.
England.
b.
Germany.
e.
the United States.
c.
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 ________.
Name: ______________________ ID: A
26
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 ________.
Name: ______________________ ID: A
27
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
________.
Name: ______________________ ID: A
28
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.
ID: A
1
Graduate Diagnostic in Music History
Answer Section
1.
ANS: B PTS: 1 DIF: Moderate REF: 254
TOP: The Rise of Instrumental Music MSC: Analyzing
2.
ANS: D PTS: 1 DIF: Moderate REF: 255
TOP: Instruments MSC: Analyzing
3.
ANS: C PTS: 1 DIF: Easy REF: 256–259
TOP: Instruments MSC: Remembering
4.
ANS: E PTS: 1 DIF: Moderate REF: 259
TOP: Instruments MSC: Analyzing
5.
ANS: C PTS: 1 DIF: Easy REF: 262–263
TOP: Dance Music MSC: Applying
6.
ANS: B PTS: 1 DIF: Moderate REF: 266–267
TOP: Variations MSC: Applying
7.
ANS: B PTS: 1 DIF: Moderate REF: 269–271
TOP: Abstract Instrumental Works MSC: Applying
8.
ANS: D PTS: 1 DIF: Moderate REF: 270–271
TOP: Abstract Instrumental Works MSC: Applying
9.
ANS: D PTS: 1 DIF: Moderate REF: 271
TOP: Abstract Instrumental Works MSC: Applying
10.
ANS: A PTS: 1 DIF: Moderate REF: 271
TOP: Abstract Instrumental Works MSC: Applying
11.
ANS: B PTS: 1 DIF: Easy REF: 273
TOP: Giovanni Gabrieli MSC: Remembering
12.
ANS: B PTS: 1 DIF: Easy REF: 278 | 281 | 282
TOP: Baroque as Term and Period MSC: Remembering
13.
ANS: B PTS: 1 DIF: Moderate REF: 282–285
TOP: Dramatic Baroque MSC: Applying
14.
ANS: D PTS: 1 DIF: Easy REF: 287–290
TOP: The Second Practice MSC: Applying
15.
ANS: E PTS: 1 DIF: Moderate REF: 300–301
TOP: General Characteristics of Baroque Music MSC: Remembering
16.
ANS: C PTS: 1 DIF: Moderate REF: 301–302
TOP: General Characteristics of Baroque Music MSC: Remembering
17.
ANS: D PTS: 1 DIF: Easy REF: 301
TOP: General Characteristics of Baroque Music MSC: Remembering
18.
ANS: E PTS: 1 DIF: Moderate REF: 301
TOP: General Characteristics: Concertato MSC: Applying
19.
ANS: E PTS: 1 DIF: Moderate REF: 291
TOP: Europe in the Seventeenth Century MSC: Remembering
20.
ANS: C PTS: 1 DIF: Easy REF: 278 | 282
TOP: The Baroque as Term and Period MSC: Remembering
21.
ANS: C PTS: 1 DIF: Difficult REF: 303
TOP: General Characteristics of Baroque Music: Harmonically Driven Counterpoint
MSC: Remembering
ID: A
2
22.
ANS: B PTS: 1 DIF: Moderate REF: 295–296
TOP: The Dramatic Baroque MSC: Analyzing
23.
ANS: A PTS: 1 DIF: Moderate REF: 302
TOP: General Characteristics: Basso Continuo MSC: Applying
24.
ANS: C PTS: 1 DIF: Easy REF: 297
TOP: Invention of Opera MSC: Remembering
25.
ANS: D PTS: 1 DIF: Moderate REF: 299–300
TOP: Greek Tragedy as Model and Florentine Camerata MSC: Applying
26.
ANS: B PTS: 1 DIF: Easy REF: 301
TOP: Monody, Aria, and Solo Madrigal MSC: Remembering
27.
ANS: C PTS: 1 DIF: Moderate REF: 300–301
TOP: Monody, Aria, and Solo Madrigal | The First Operas MSC: Applying
28.
ANS: A PTS: 1 DIF: Easy REF: 301
TOP: The First Operas MSC: Remembering
29.
ANS: E PTS: 1 DIF: Difficult REF: 309
TOP: Rome: Castrati MSC: Analyzing
30.
ANS: D PTS: 1 DIF: Moderate REF: 301–303 | 306
TOP: Recitative Style and L’Orfeo Act II MSC: Analyzing
31.
ANS: B PTS: 1 DIF: Easy REF: 305
TOP: Claudio Monteverdi MSC: Remembering
32.
ANS: D PTS: 1 DIF: Moderate REF: 322
TOP: Large-Scale Sacred Concerto MSC: Remembering
33.
ANS: E PTS: 1 DIF: Easy REF: 321
TOP: Catholic Sacred Music MSC: Remembering
34.
ANS: D PTS: 1 DIF: Easy REF: 322
TOP: Large-Scale Sacred Concerto MSC: Analyzing
35.
ANS: E PTS: 1 DIF: Easy REF: 328
TOP: Lutheran Church Music MSC: Remembering
36.
ANS: B PTS: 1 DIF: Easy REF: 340
TOP: France: Louis XIV MSC: Analyzing
37.
ANS: D PTS: 1 DIF: Moderate REF: 346
TOP: Jean-Baptiste Lully and French Opera MSC: Remembering
38.
ANS: A PTS: 1 DIF: Easy REF: 355–357
TOP: France: Dance Music MSC: Applying
39.
ANS: C PTS: 1 DIF: Moderate REF: 358
TOP: Emulation of French Style MSC: Analyzing
40.
ANS: B PTS: 1 DIF: Easy REF: 371
TOP: Chapter Introduction MSC: Remembering
41.
ANS: E PTS: 1 DIF: Difficult REF: 388–389
TOP: Corelli Sonatas MSC: Analyzing
42.
ANS: C PTS: 1 DIF: Moderate REF: 384
TOP: Italian Instrumental Chamber Music MSC: Analyzing
43.
ANS: D PTS: 1 DIF: Moderate REF: 386
TOP: Trio Sonatas MSC: Applying
44.
ANS: B PTS: 1 DIF: Moderate REF: 381–382
TOP: Opera | Italian Vocal Chamber Music MSC: Analyzing
ID: A
3
45.
ANS: C PTS: 1 DIF: Easy REF: 410
TOP: Vivaldi’s Concertos MSC: Remembering
46.
ANS: B PTS: 1 DIF: Easy REF: 410
TOP: Vivaldi’s Concertos MSC: Remembering
47.
ANS: A PTS: 1 DIF: Moderate REF: 410 | 425
TOP: Theory of Harmony MSC: Analyzing
48.
ANS: E PTS: 1 DIF: Moderate REF: 417 | 421
TOP: Vivaldi’s Concertos MSC: Analyzing
49.
ANS: A PTS: 1 DIF: Moderate REF: 423
TOP: François Couperin MSC: Applying
50.
ANS: B PTS: 1 DIF: Moderate REF: 430
TOP: A Volatile Public MSC: Applying
51.
ANS: A PTS: 1 DIF: Moderate REF: 426
TOP: German Mixed Taste MSC: Analyzing
52.
ANS: D PTS: 1 DIF: Moderate REF: 427–428
TOP: Bach at Work MSC: Analyzing
53.
ANS: C PTS: 1 DIF: Moderate REF: 431–433
TOP: Bach: Harpsichord Music MSC: Applying
54.
ANS: D PTS: 1 DIF: Difficult REF: 445
TOP: Handel: Opera MSC: Analyzing
55.
ANS: B PTS: 1 DIF: Moderate REF: 440
TOP: Bach’s Synthesis and Critique of Bach’s Style MSC: Analyzing
56.
ANS: E PTS: 1 DIF: Easy REF: 442
TOP: Handel MSC: Remembering
57.
ANS: A PTS: 1 DIF: Easy REF: 444
TOP: Handel: Recitative Styles MSC: Applying
58.
ANS: E PTS: 1 DIF: Moderate REF: 450–451
TOP: Handel: Oratorios, Borrowing MSC: Applying
59.
ANS: E PTS: 1 DIF: Easy REF: 447–448
TOP: Handel: Oratorios, Use of Chorus MSC: Applying
60.
ANS: A PTS: 1 DIF: Moderate REF: 455
TOP: Economic Change MSC: Applying
61.
ANS: E PTS: 1 DIF: Moderate REF: 455
TOP: International Musical Style MSC: Applying
62.
ANS: D PTS: 1 DIF: Moderate REF: 454 | 460–461
TOP: Music in the Enlightenment MSC: Analyzing
63.
ANS: A PTS: 1 DIF: Easy REF: 460
TOP: Musical Taste and Style MSC: Analyzing
64.
ANS: B PTS: 1 DIF: Moderate REF: 462
TOP: Galant Style MSC: Remembering
65.
ANS: E PTS: 1 DIF: Easy REF: 469
TOP: Form and Content MSC: Applying
66.
ANS: D PTS: 1 DIF: Moderate REF: 466–467
TOP: Melody, Harmony, Phrasing, and Form MSC: Applying
67.
ANS: D PTS: 1 DIF: Moderate REF: 476
TOP: Opera Buffa MSC: Applying
ID: A
4
68.
ANS: B PTS: 1 DIF: Easy REF: 472–474
TOP: Neapolitan Comic Opera MSC: Applying
69.
ANS: D PTS: 1 DIF: Moderate REF: 476
TOP: Opera Buffa: Ensemble Finales MSC: Applying
70.
ANS: D PTS: 1 DIF: Moderate REF: 476–477
TOP: Opera Buffa: Contributions of Italian Comic Opera MSC: Applying
71.
ANS: E PTS: 1 DIF: Moderate REF: 477
TOP: Opera Seria MSC: Applying
72.
ANS: D PTS: 1 DIF: Moderate REF: 475 | 478
TOP: Intermezzo and Opera Seria: The Aria MSC: Analyzing
73.
ANS: C PTS: 1 DIF: Moderate REF: 486–487
TOP: Opera Reform MSC: Applying
74.
ANS: A PTS: 1 DIF: Moderate REF: 487–488
TOP: Christoph Willibald Gluck MSC: Remembering
75.
ANS: C PTS: 1 DIF: Easy REF: 495
TOP: Instruments and Ensembles MSC: Remembering
76.
ANS: B PTS: 1 DIF: Easy REF: 495
TOP: Instruments and Ensembles MSC: Analyzing
77.
ANS: B PTS: 1 DIF: Easy REF: 497–498
TOP: Genres and Forms MSC: Remembering
78.
ANS: C PTS: 1 DIF: Moderate REF: 507
TOP: Keyboard Music MSC: Applying
79.
ANS: A PTS: 1 DIF: Easy REF: 507
TOP: Keyboard Music MSC: Remembering
80.
ANS: E PTS: 1 DIF: Moderate REF: 508
TOP: Symphony MSC: Analyzing
81.
ANS: C PTS: 1 DIF: Moderate REF: 509–510
TOP: Symphony MSC: Remembering
82.
ANS: E PTS: 1 DIF: Easy REF: 514
TOP: Joseph Haydn MSC: Remembering
83.
ANS: C PTS: 1 DIF: Moderate REF: 522
TOP: Haydn: Symphonic Form MSC: Analyzing
84.
ANS: D PTS: 1 DIF: Easy REF: 524
TOP: Symphonic Form: Slow Movement MSC: Remembering
85.
ANS: D PTS: 1 DIF: Moderate REF: 546
TOP: Mozart: Operas MSC: Remembering
86.
ANS: E PTS: 1 DIF: Easy REF: 535
TOP: W. A. Mozart MSC: Remembering
87.
ANS: D PTS: 1 DIF: Moderate REF: 533 | 535 | 537–538
TOP: W. A. Mozart: Freelancing MSC: Remembering
88.
ANS: B PTS: 1 DIF: Moderate REF: 543–544
TOP: Mozart: Piano Concertos MSC: Remembering
89.
ANS: C PTS: 1 DIF: Difficult REF: 558
TOP: Bonn and the First Decade in Vienna MSC: Remembering
90.
ANS: D PTS: 1 DIF: Easy REF: 558
TOP: Bonn and the First Decade in Vienna MSC: Analyzing
ID: A
5
91.
ANS: B PTS: 1 DIF: Moderate REF: 562
TOP: Circumstances in the Middle Period MSC: Remembering
92.
ANS: E PTS: 1 DIF: Moderate REF: 566
TOP: Eroica Symphony MSC: Applying
93.
ANS: C PTS: 1 DIF: Moderate REF: 561
TOP: Bonn and the First Decade in Vienna MSC: Applying
94.
ANS: E PTS: 1 DIF: Moderate REF: 571–572
TOP: Characteristics of the Late Style MSC: Analyzing
95.
ANS: E PTS: 1 DIF: Moderate REF: 578
TOP: Last Public Works MSC: Applying
96.
ANS: D PTS: 1 DIF: Moderate REF: 570–571 | 575–576
TOP: Other Works of the Middle Period | Characteristics of the Late Style
MSC: Applying
97.
ANS: A PTS: 1 DIF: Moderate REF: 581 | 586–587
TOP: The Romantic Generation: Song and Piano Music | The Market for Music and the New Idiom
MSC: Analyzing
98.
ANS: B PTS: 1 DIF: Easy REF: 583 | 586
TOP: The Piano MSC: Analyzing
99.
ANS: C PTS: 1 DIF: Easy REF: 591
TOP: The Lied MSC: Analyzing
100.
ANS: E PTS: 1 DIF: Moderate REF: 608–611
TOP: Music for Piano: Fryderyk Chopin MSC: Applying
101.
ANS: A PTS: 1 DIF: Easy REF: 612
TOP: Music for Piano: Franz Liszt MSC: Remembering
102.
ANS: D PTS: 1 DIF: Easy REF: 618
TOP: Romanticism in Classic Forms: Orchestral, Chamber, and Choral Music
MSC: Remembering
103.
ANS: C PTS: 1 DIF: Moderate REF: 631
TOP: The Nineteenth-Century Orchestra MSC: Remembering
104.
ANS: D PTS: 1 DIF: Easy REF: 634
TOP: The Rise of the Classical Repertoire MSC: Analyzing
105.
ANS: A PTS: 1 DIF: Difficult REF: 635 | 641
TOP: The New Romantic Style: Schubert | Classical Romanticism: Mendelssohn
MSC: Applying
106.
ANS: D PTS: 1 DIF: Easy REF: 644
TOP: Romantic Reconceptions: Robert Schumann MSC: Analyzing
107.
ANS: A PTS: 1 DIF: Easy REF: 641
TOP: Programmatic Romanticism: Berlioz MSC: Remembering
108.
ANS: B PTS: 1 DIF: Moderate REF: 628–629
TOP: Chamber Music: Schubert, Mendelssohn MSC: Analyzing
109.
ANS: D PTS: 1 DIF: Easy REF: 622
TOP: Choral Music: Oratorios and Other Large Works MSC: Remembering
110.
ANS: A PTS: 1 DIF: Moderate REF: 648
TOP: Nationalism MSC: Analyzing
111.
ANS: A PTS: 1 DIF: Moderate REF: 651
TOP: Gioachino Rossini MSC: Applying
112.
ANS: A PTS: 1 DIF: Moderate REF: 656–657
TOP: Gioachino Rossini MSC: Analyzing
ID: A
6
113.
ANS: C PTS: 1 DIF: Easy REF: 650
TOP: Gioachino Rossini MSC: Remembering
114.
ANS: E PTS: 1 DIF: Moderate REF: 664
TOP: Carl Maria von Weber MSC: Analyzing
115.
ANS: B PTS: 1 DIF: Moderate REF: 663–664
TOP: Carl Maria von Weber MSC: Analyzing
116.
ANS: C PTS: 1 DIF: Easy REF: 677
TOP: Wagner: Writings and Ideas MSC: Analyzing
117.
ANS: A PTS: 1 DIF: Easy REF: 681
TOP: The Ring Cycle MSC: Analyzing
118.
ANS: A PTS: 1 DIF: Difficult REF: 682
TOP: The Ring Cycle MSC: Analyzing
119.
ANS: B PTS: 1 DIF: Difficult REF: 684
TOP: The Ring Cycle MSC: Applying
120.
ANS: C PTS: 1 DIF: Difficult REF: 686
TOP: Wagner: Later Operas MSC: Analyzing
121.
ANS: A PTS: 1 DIF: Easy REF: 690
TOP: Verdi: Style MSC: Remembering
122.
ANS: D PTS: 1 DIF: Moderate REF: 687–688 | 691
TOP: Verdi: Style | Wagner MSC: Analyzing
123.
ANS: E PTS: 1 DIF: Easy REF: 702
TOP: The Mighty Five MSC: Remembering
124.
ANS: C PTS: 1 DIF: Easy REF: 711
TOP: Late Romanticism in German Musical Culture MSC: Analyzing
125.
ANS: B PTS: 1 DIF: Difficult REF: 712
TOP: Dichotomies and Disputes MSC: Analyzing
126.
ANS: D PTS: 1 DIF: Difficult REF: 712–713 | 722
TOP: Dichotomies and Disputes | The Wagnerians MSC: Analyzing
127.
ANS: D PTS: 1 DIF: Moderate REF: 716 | 721
TOP: Brahms MSC: Remembering
128.
ANS: B PTS: 1 DIF: Moderate REF: 713
TOP: Dichotomies and Disputes MSC: Analyzing
129.
ANS: D PTS: 1 DIF: Moderate REF: 713
TOP: Dichotomies and Disputes MSC: Analyzing
130.
ANS: A PTS: 1 DIF: Easy REF: 728
TOP: Richard Strauss MSC: Remembering
131.
ANS: C PTS: 1 DIF: Moderate REF: 722
TOP: The Wagnerians MSC: Applying
132.
ANS: B PTS: 1 DIF: Easy REF: 771
TOP: Modernism MSC: Remembering
133.
ANS: C PTS: 1 DIF: Moderate REF: 773–774
TOP: Mahler MSC: Remembering
134.
ANS: D PTS: 1 DIF: Difficult REF: 775 | 786
TOP: Debussy | Mahler MSC: Analyzing
135.
ANS: E PTS: 1 DIF: Easy REF: 778
TOP: Strauss Operas MSC: Remembering
ID: A
7
136.
ANS: E PTS: 1 DIF: Easy REF: 781–782
TOP: French Modernism MSC: Analyzing
137.
ANS: E PTS: 1 DIF: Moderate REF: 784
TOP: Source Reading: Debussy on Tradition, Freedom, and Pleasure
MSC: Analyzing
138.
ANS: B PTS: 1 DIF: Moderate REF: 786
TOP: Debussy MSC: Remembering
139.
ANS: E PTS: 1 DIF: Moderate REF: 807
TOP: Schoenberg: Atonal Music MSC: Analyzing
140.
ANS: A PTS: 1 DIF: Moderate REF: 821
TOP: Anton Webern MSC: Analyzing
141.
ANS: C PTS: 1 DIF: Easy REF: 820
TOP: Anton Webern MSC: Analyzing
142.
ANS: C PTS: 1 DIF: Easy REF: 822
TOP: Igor Stravinsky MSC: Analyzing
143.
ANS: B PTS: 1 DIF: Difficult REF: 835
TOP: Source Reading: Peasant Music and Modern Music MSC: Analyzing
144.
ANS: D PTS: 1 DIF: Easy REF: 847
TOP: Composer and Audience MSC: Analyzing
145.
ANS: D PTS: 1 DIF: Easy REF: 877
TOP: Paul Hindemith MSC: Analyzing
146.
ANS: A PTS: 1 DIF: Difficult REF: 879 | 880
TOP: Music Under the Nazis | The Soviet Union MSC: Analyzing
147.
ANS: D PTS: 1 DIF: Moderate REF: 880
TOP: Music Under the Nazis MSC: Applying
148.
ANS: D PTS: 1 DIF: Moderate REF: 873 | 875 | 893 | 894
TOP: New Objectivity | George Gershwin | Aaron Copland | Les Six
MSC: Applying
149.
ANS: D PTS: 1 DIF: Difficult REF: 889
TOP: Edgard Varèse MSC: Analyzing
150.
ANS: B PTS: 1 DIF: Moderate REF: 892 | 894
TOP: Ruth Crawford Seeger | Aaron Copland MSC: Applying
151.
ANS: C PTS: 1 DIF: Difficult REF: 895
TOP: William Grant Still MSC: Remembering
152.
ANS: D PTS: 1 DIF: Easy REF: 920
TOP: Diversity and Common Themes MSC: Analyzing
153.
ANS: D PTS: 1 DIF: Moderate REF: 922
TOP: Source Reading: Composition as Research MSC: Analyzing
154.
ANS: B PTS: 1 DIF: Moderate REF: 923–925 | 942
TOP: Benjamin Britten | New Instruments, Sounds, and Scales
MSC: Applying
155.
ANS: B PTS: 1 DIF: Easy REF: 926
TOP: Olivier Messiaen MSC: Remembering
156.
ANS: A PTS: 1 DIF: Difficult REF: 928
TOP: Olivier Messiaen MSC: Analyzing
157.
ANS: A PTS: 1 DIF: Difficult REF: 930
TOP: Serialism MSC: Remembering
ID: A
8
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 REF: 258 TOP: Instruments
MSC: Remembering
166.
ANS:
Baroque
PTS: 1 DIF: Easy REF: 288 | 292 TOP: The Baroque as Term and Period
MSC: Remembering
167.
ANS:
ornamentation or ornaments
PTS: 1 DIF: Moderate REF: 303
TOP: General Characteristics of Baroque Music: Ornamentation
MSC: Analyzing
168.
ANS:
libretto
PTS: 1 DIF: Easy REF: 297 TOP: Invention of Opera
MSC: Remembering
169.
ANS:
The New Music
PTS: 1 DIF: Easy REF: 301 TOP: Monody, Aria, and Solo Madrigal
MSC: Remembering
170.
ANS:
ritornello
PTS: 1 DIF: Moderate REF: 303 TOP: The First Operas | L’Euridice
MSC: Remembering
ID: A
9
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 TOP: Large-Scale Sacred Concerto
MSC: Applying
173.
ANS:
fugue, ricercare, or continuous imitative counterpoint
PTS: 1 DIF: Moderate REF: 333–334 TOP: Ricercare and Fugue
MSC: Applying
174.
ANS:
agréments or ornaments
PTS: 1 DIF: Moderate REF: 352 TOP: France: Lute and Keyboard Music
MSC: Analyzing
175.
ANS:
continuo
PTS: 1 DIF: Difficult REF: 381 TOP: Italian Vocal Chamber Music
MSC: Remembering
176.
ANS:
ABA
PTS: 1 DIF: Easy REF: 381 TOP: Italian Vocal Chamber Music
MSC: Remembering
177.
ANS:
sequence
PTS: 1 DIF: Moderate REF: 418
TOP: Vivaldi’s Concertos: Economy and Variety MSC: Applying
178.
ANS:
French; Italian
PTS: 1 DIF: Moderate REF: 423–424 TOP: François Couperin
MSC: Applying
179.
ANS:
Enlightenment
PTS: 1 DIF: Easy REF: 455 TOP: The Enlightenment
MSC: Applying
ID: A
10
180.
ANS:
C. P. E. Bach
PTS: 1 DIF: Easy REF: 465 TOP: Empfindsam style
MSC: Applying
181.
ANS:
two violins, viola, cello
PTS: 1 DIF: Easy REF: 495 TOP: Instruments and Ensembles
MSC: Remembering
182.
ANS:
sonata
PTS: 1 DIF: Moderate REF: 495 TOP: Instruments and Ensembles
MSC: Applying
183.
ANS:
four; sonata
PTS: 1 DIF: Easy REF: 523 TOP: Haydn: Symphonic Form
MSC: Remembering
184.
ANS:
exposition, development, recapitulation; slow introduction, coda
PTS: 1 DIF: Easy REF: 523–524 TOP: Haydn: Symphonic Form
MSC: Remembering
185.
ANS:
scherzo
PTS: 1 DIF: Easy REF: 571 TOP: Other Works of the Middle Period
MSC: Applying
186.
ANS:
character piece
PTS: 1 DIF: Moderate REF: 589 | 600 TOP: Romanticism | Music for Piano
MSC: Remembering
187.
ANS:
absolute
PTS: 1 DIF: Easy REF: 589 TOP: Romanticism
MSC: Analyzing
188.
ANS:
Lied
PTS: 1 DIF: Easy REF: 590 TOP: Song
MSC: Remembering
ID: A
11
189.
ANS:
the St. Matthew Passion
PTS: 1 DIF: Moderate REF: 622
TOP: Choral Music: Oratorios and Other Large Works MSC: Remembering
190.
ANS:
bel canto
PTS: 1 DIF: Easy REF: 651 TOP: Gioachino Rossini
MSC: Analyzing
191.
ANS:
Gesamtkunstwerk
PTS: 1 DIF: Moderate REF: 677 TOP: Wagner: Writings and Ideas
MSC: Analyzing
192.
ANS:
pentatonic
PTS: 1 DIF: Easy REF: 778 TOP: Mahler
MSC: Remembering
193.
ANS:
symbolism
PTS: 1 DIF: Easy REF: 782 TOP: French Modernism
MSC: Analyzing
194.
ANS:
atonal
PTS: 1 DIF: Easy REF: 807 TOP: Schoenberg: Atonal Music
MSC: Analyzing
195.
ANS:
expressionism
PTS: 1 DIF: Easy REF: 810–811 TOP: Music in Context: Expressionism
MSC: Analyzing
196.
ANS:
Second Viennese School
PTS: 1 DIF: Easy REF: 816 TOP: Schoenberg as Modernist
MSC: Analyzing
197.
ANS:
serial
PTS: 1 DIF: Easy REF: 831 TOP: Stravinsky: Serial Period
MSC: Remembering
ID: A
12
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 REF: 929 TOP: Serialism
MSC: Remembering
200.
ANS:
prepared
PTS: 1 DIF: Easy REF: 935 TOP: John Cage
MSC: Analyzing
