Bohemian dictionary definition | Bohemian defined unconventional, especially in habit or dress . Please tell me you're not one of Toulouse's oh-so-talented, charmingly bohemian, tragically impoverished protégés! -Nicole Kidman, Moulin Rouge! Origin From French bohémien (“person from Bohemia, Romani”), from Bohême (“Bohemia”). Regarding the sense evolution, compare gypsy . Noun (countable and uncountable, plural Bohemians) (countable) A native or resident of Bohemia. (uncountable) The dialect of the Czech language spoken in Bohemia. (countable, archaic) A Gypsy , a Romani. (countable, slang) A marginalized and impoverished young artist, or member of the urban literati . Adjective (not comparable) Of, or relating to Bohemia or its language . Of, or relating to the untraditional lifestyles of marginalized and impoverished artists, writers, musicians, and actors in major European cities (by extension, major North American cities as well).

Origin Bohemia +‎ -ian In sense of Romani and by association, marginalized artists, from French bohémien (“person from Bohemia, Romani”), from Bohême (“Bohemia”). Regarding the sense evolution, compare gypsy . bohemian - English-French Dictionary WordReference.com Bohemian English French Bohemian adjadjective: Describes a noun or pronoun--for example, "a tall girl," "an interesting book," "a big house." figurative (lifestyle: artistic, unconventional) (figuré) bohème adjadjectif: modifie un nom. Il est généralement placé après le nom et s'accorde avec le nom (ex : un ballon bleu, une balle bleue). En général, seule la forme au masculin singulier est donnée. Pour former le féminin, on ajoute "e" (ex : petit > petite) et pour former le pluriel, on ajoute "s" (ex : petit > petits).

Pour les formes qui sont "irrégulières" au féminin, celles-ci sont données (ex : irrégulier, irrégulière > irrégulier = forme masculine, irrégulière = forme féminine) (vie) de bohème loc adjlocution adjectivale: groupe de mots qui servent d'adjectif. Se place normalement après le nom et reste identique au plurielEx : "ballon de football, des ballons de football" They lead a bohemian existence in an abandoned factory. Ils mènent une vie de bohème dans une usine abandonnée. bohemian nnoun: Refers to person, place, thing, quality, etc. figurative (person: unconventional) (figuré) bohème nmfnom masculin et féminin: nom à la fois masculin et féminin. Ex : "pianiste = un pianiste ou une pianiste" Her old friends are bohemians and very different from her neighbors in the suburbs. Ses vieux amis sont des gens de bohème et ils sont très différents de ses voisins de banlieue.

English French Bohemian adjadjective: Describes a noun or pronoun--for example, "a tall girl," "an interesting book," "a big house." (of, from Bohemia) (relatif à la Bohême) bohémien, bohémienne adjadjectif: modifie un nom. Il est généralement placé après le nom et s'accorde avec le nom (ex : un ballon bleu, une balle bleue). En général, seule la forme au masculin singulier est donnée. Pour former le féminin, on ajoute "e" (ex : petit > petite) et pour former le pluriel, on ajoute "s" (ex : petit > petits). Pour les formes qui sont "irrégulières" au féminin, celles-ci sont données (ex : irrégulier, irrégulière > irrégulier = forme masculine, irrégulière = forme féminine) People with Bohemian ancestry are found everywhere. On trouve partout des gens qui ont des origines bohémiennes.

Bohemian | Definition, meaning & more | Collins Dictionary noun Word origin of 'Bohemian' (sense 3) Fr Bohémien: from the fact that the Gypsies passed through Bohemia to reach W Europe Example sentences containing 'Bohemian' Had she been less immaculate , less glacial , Mother might well have passed for a Bohemian. Conybeare, Stephanie A DEATH IN THE FAMILY Those studios , although illegal , had been cheap and spacious and, in a way, Miss Melville had envied their ` Bohemian " atmosphere . Smith, Evelyn E MISS MELVILLE REGRETS It was not to be thought of... In Bohemian circles possibly. Haines, Pamela THE GOLDEN LION Since her mother's new husband was also a Bohemian , the torment had continued unabated. Maupin, Armistead SIGNIFICANT OTHERS Trends of 'Bohemian' Translations for 'Bohemian' British English: bohemian ADJECTIVE You can use bohemian to describe artistic people who live in an unconventional way....a bohemian writer.

Brazilian Portuguese: boêmio EEP Music History Study Guide (2012-13 Coyne) - Instructor Coyne at Ponaganset High School - StudyBlue Good to have you back! If you've signed in to StudyBlue with Facebook in the past, please do that again. EEP Music History Study Guide (2012-13 Coyne) EEP Music History Study Guide (2012-13 Coyne) StudyBlue Romanticism, as a stylistic period in western art music, encompassed the years A. 1450-1600 Which of the following is not characteristic of romanticism? A. A fascination with fantasy B. An emphasis on balance and clarity of structures C. An enthusiasm for the culture of the Middle Ages D. An interest in exoticism and the past B. An emphasis on balance and clarity of structures Advertisement ) Which of the following is not a characteristic aspect of romanticism in literature and painting? A. Emotional restraint Of all the inspirations for romantic art, none was more important than A. the aristocracy. B. ancient Greek art and culture. C. nature. Which of the following composers is not associated with the romantic period? A.

Giuseppe Verdi Drawing creative inspiration from cultures of lands foreign to the composer is known as A. exoticism. D. verismo. A. exoticism Fascination with national identity also led composers to draw on colorful materials from foreign lands, a trend known as musical A. nationalism. A. music that depicts aspects of nature. B. vocal music that tells a story. C. instrumental music associated with a story, poem, idea, or scene. D. All answers are correct. C. instrumental music associated with a story, poem, idea, or scene. Which of the following statements is not true? A. Romantic music puts unprecedented emphasis on self-expression and individuality of style. B. Fascination with the melodies, rhythms, and colorful materials from distant lands is a romantic trend known as musical nationalism. C. Romantic composers relied upon a more prominent use of chromatic harmony, or the use of chords containing tones not found in the prevailing major or minor scale. D. A romantic composition tends to have a wide variety of keys and rapid modulations. B. Fascination with the melodies, rhythms, and colorful materials from distant lands is a romantic trend known as musical nationalism.

The deliberate intent to draw creative inspiration from the composer's own homeland is known as A. exoticism. Composers expressed musical nationalism in their music by A. using the rhythms of the dances of their homelands. B. using their national legends as subject matter. C. basing their music on the folk songs of their country. D. All answers are correct. D. All answers are correct. An orchestra toward the end of the romantic period might include close to ______ musicians. A. 24 The orchestra in the romantic period A. was basically the same as in the classical period. B. ranged from twenty to sixty players. C. was larger and more varied in tone color than the classical orchestra. D. had a limited dynamic range due to the primitive nature of the brass instruments. C. was larger and more varied in tone color than the classical orchestra. The 1844 Treatise on Modern Instrumentation and Orchestration that signaled the recognition of orchestration as an art in itself was written by A. Franz Liszt. D. Bedřich Smetana. C. Hector Berlioz. Which of the following statements is not true of the piano in the early romantic period? A.

A cast-iron frame was introduced to hold the strings under greater tension. B. The use of the damper pedal allowed a sonorous blend of tones from all registers of the piano. C. The piano's range remained basically the same as in the classical period. D. The piano's hammers were covered with felt. C. The piano's range remained basically the same as in the classical period. Advertisement A slight holding back or pressing forward of tempo in music is known as A. ritardando. D. fermata. B. rubato. A slight slowing down or speeding up of the tempo, characteristically employed in the performance of much romantic music, is A. ostinato. D. rubato. D. rubato. Altering the character of a melody by changes in dynamics, orchestration, or rhythm is a romantic technique known as A. thematic transformation. A. thematic transformation. Which of the following statements is not true? A. Romantic composers rejected the basic forms of the classical period and preferred to develop new forms of their own. B.

Hector Berlioz's Treatise on Modern Instrumentation and Orchestration, published in 1844, signaled the recognition of orchestration as an art in itself. C. Musical nationalism was expressed when romantic composers deliberately created music with a specific national identity. D. To intensify the expression of the music, romantic performers made use of rubato, the slight holding back or pressing forward of tempo. A. Romantic composers rejected the basic forms of the classical period and preferred to develop new forms of their own. Inclusion of folk songs, dances, legends, and other national material in a composition to associate it with the composer's homeland; characteristic of romantic music. Nationalism Use of melodies, rhythms, or instruments that suggest foreign lands; common in romantic music. Exoticism Explanatory comments specifying the story, scene, or idea associated with program music. Program Use of chords containing tones not found in the prevailing major or minor scale but included in the chromatic scale (which has twelve tones); often found in romantic music. Chromatic harmony Slight holding back or pressing forward of tempo to intensify the expression of the music, often used in romantic music.

Rubato Alteration of the character of a theme by means of changes in dynamics, orchestration, or rhythm, when it returns in a later movement or section; often found in romantic music. Thematic transformation Because of the French Revolution and the __________________, many aristocrats could no longer afford to maintain private opera houses, orchestras, and "composers in residence". A. American Revolution C. French and Indian War D. wages of skilled performers B. Napoleonic Wars Which of the following statements is not true? A. Romantic composers wrote primarily for a middle-class audience whose size and prosperity had increased because of the industrial revolution. B. Romantic musicians often composed to execute a commission or meet the demands of an aristocratic or church patron. C. Music conservatories were founded in Chicago, Cleveland, Boston, Oberlin, and Philadelphia during the 1860s. D. The nineteenth-century public was captivated by virtuosity. B. Romantic musicians often composed to execute a commission or meet the demands of an aristocratic or church patron. The composer whose career was a model for many romantic composers was A. Ludwig van Beethoven. The rise of the urban middle class led to the A.

piano becoming a fixture in every middle-class home. B. formation of many orchestras and opera groups. C. development of regular subscription concerts. D. All answers are correct. D. All answers are correct. When music conservatories were founded, women A. were admitted only as vocalists or pianists. B. were at first accepted only as students of performance, but by the late 1800s could study musical composition. C. could only study musical composition, since performance was considered undignified. D. were not admitted. B. were at first accepted only as students of performance, but by the late 1800s could study musical composition. A very important musical part of every middle-class home during the romantic period was the A. resident composer/performer. Which of the following statements is not true of the romantic art song? A. The art song is restricted to strophic or through-composed forms. B. A song cycle is a set of romantic art songs that may be unified by a story line that runs through the poems, or by musical ideas linking the songs. C.

Through-composed, a translation of the German term durchkomponiert, is a song form that allows music to reflect a poem's changing moods. D. The accompaniment of a romantic art song is an integral part of the composer's conception, and it serves as an interpretive partner to the voice. A. The art song is restricted to strophic or through-composed forms. The mood of an art song is often set by a brief piano introduction and summed up at the end by a piano section called a A. conclusion. D. unending. C. through-composed. Concluding section; the section at the end of an art song that sums up its mood, played by the piano or orchestra, without the voice. Postlude Vocal form in which the same music is repeated for each stanza of a poem. Strophic form Vocal form in which there is new music for each stanza of a poem. Through-composed form Form in which two or more stanzas of poetry are set to the same music while other stanzas have new music; found in art songs of the romantic period. Modified strophic form Schubert's primary source of income came from his A. position as music director to a noble court. B.

touring as a virtuoso performer. C. performing as church organist. D. musical compositions. D. musical compositions. Schubert wrote a number of symphonies and chamber works that are comparable in power and emotional intensity to those of his idol, A. Beethoven. A. was widely acknowledged as a composer in his lifetime. B. was very self-critical, which accounts for his meager output. C. produced his greatest works after the age of forty. D. was the first great master of the romantic art song. D. was the first great master of the romantic art song. Which of the following statements is not true? A. Franz Schubert led a bohemian existence, living with friends because he had no money to rent a room of his own. B. Schubert labored at great length over each of his compositions, which accounts for his small output. C. At the time of his death, Schubert's reputation was mainly that of a fine song composer. D. In addition to symphonies, operas, string quartets and other chamber works, Schubert composed over six hundred songs. B.

Schubert labored at great length over each of his compositions, which accounts for his small output Schubert's songs number more than A. 50. D. nature. B. death. The piano's relentless rhythm in Erlkönig (The Erlking) unifies the episodes of the song and suggests the A. galloping horse. B. joy of the child. C. steadiness of the father. D. approach of death. Answer: A. galloping horse Which of the following statements is not true? A. To display his incomparable piano mastery, Liszt composed his Transcendental Etudes and made piano transcriptions of Paganini’s violin pieces. B. During the last years of his life, Liszt settled in Rome and devoted himself solely to his religious duties. C. As a stupendous performer, innovative composer, and charismatic personality, Franz Liszt typified the romantic movement. D. The literary works of Johann Wolfgang von Goethe were among Franz Liszt’s favorite inspirations. B. During the last years of his life, Liszt settled in Rome and devoted himself solely to his religious duties. As a youth, Franz Liszt was influenced by the performances of A.

Richard Wagner Liszt’s piano works are characterized by A. an unprecedented range of dynamics B. rapid octaves and daring leaps C. arpeggios D. all of the above D. all of the above The cimbalom is A. a form of primitive cymbal, struck with a stick B. the baton a European conductor uses to beat time C. a Hungarian instrument in which strings are struck by hand-held hammers D. an end-blown ethnic flute C. a Hungarian instrument in which strings are struck by hand-held hammers The ____ is a Hungarian instrument in which strings are struck by hammers held in the hand. A. cimbalom D. all of the above D. all of the above Besides his musical achievements, Mendelssohn was a A. talented painter B. brilliant conversationalist in four languages C. fine writer D. all of the above D. all of the above Mendelssohn is known as the man who rekindled an interest in the music of A. Giovanni Pierluigi da Palestrina B. Johann Sebastian Bach D. Franz Schubert B.

Johann Sebastian Bach Mendelssohn earned an international reputation, and rekindled an interest in the earlier composer’s music, by conducting the first performance since the composer’s death of A. Josquin’s Ave Maria B. Bach’s St. Matthew Passion C. Handel’s Messiah D. Schubert’s Mass in C B. Bach’s St. Matthew Passion The high point of Mendelssohn’s career was the triumphant premiere of his oratorio _____________ in England. A. Elijah C. A Midsummer Night’s Dream D. Fingal’s Cave A. Elijah Mendelssohn’s career reached its high point at the triumphant premiere of his oratorio Elijah in A. Birmingham, England The three movements of Mendelssohn’s Concerto for Violin A. are unified by the process of thematic transformation B. are all in the same key C. all have separate cadenzas D. are played without pause D. are played without pause Mendelssohn’s Concerto for Violin in E Minor opens with a(n) A. orchestral exposition typical in concertos B. soloist, who presents the main theme C. slow introduction by the orchestra D.

single bassoon tone B. soloist, who presents the main theme The opening of Mendelssohn’s Violin Concerto in E minor is unusual in that A. there is a trumpet fanfare introduction B. the main theme is presented by the soloist C. there is a slow introduction by the orchestra D. the orchestra presents the main theme without the soloist B. the main theme is presented by the soloist Mendelssohn’s Hebrides Overture A. was written for wind band B. is the overture to his only opera C. portrays the sea D. all of the above C. portrays the sea In the first movement of Mendelssohn’s Concerto for Violin, the cadenza A. is left to the performer to improvise B. appears at the end of the recapitulation, as is common in classical concertos C. is frequently omitted in performance D. appears at the end of the development section as a transition to the recapitulation D. appears at the end of the development section as a transition to the recapitulation The first movement of Mendelssohn’s Concerto for Violin is linked to the introduction of the second movement by a(n) A.

violin cadenza B. single bassoon tone Which of the following statements is not true? A. Tchaikovsky’s progress in music was so rapid that after graduating from the St. Petersburg Conservatory he became professor of harmony at the new Moscow Conservatory. B. Tchaikovsky was a happily-married family man with a cheerful self-confident outlook. C. Tchaikovsky, while not a member of the “Russian five,” considered himself as Russian in the fullest sense of the word. D. Tchaikovsky, with elements of French, Italian, and German music as well as Russian folk songs, fused national and international elements to produce intensely subjective and passionate music. B. Tchaikovsky was a happily-married family man with a cheerful self-confident outlook. Peter Ilyich Tchaikovsky A. was a child prodigy, learning music at an early age B. preferred his government position to music C. studied music theory and violin as a teenager D. began to study music theory at the age of twenty-one D. began to study music theory at the age of twenty-one Nadezhda von Meck was A. one of Tchaikovsky’s lovers B.

a wealthy benefactress who provided Tchaikovsky with an annuity C. Tchaikovsky’s wife D. the inspiration for his Romeo and Juliet B. a wealthy benefactress who provided Tchaikovsky with an annuity In 1891 Tchaikovsky was invited to the United States to conduct four concerts inaugurating A. Carnegie Hall, New York B. Symphony Hall, Boston D. the Kennedy Center, Washington A. Carnegie Hall in New York Tchaikovsky’s Sixth Symphony A. is in the usual four-movement form B. was left unfinished by the composer C. has five movements D. ends with a slow, despairing finale D. ends with a slow, despairing finale Which of the following was not composed by Tchaikovsky? A. Romeo and Juliet B. Pictures at an Exhibition C. Swan Lake D. Symphony no. 6 (Pathétique) B. Pictures at an Exhibition Which of the following is not a ballet by Tchaikovsky? A. Swan Lake At its premiere in 1870, Tchaikovsky’s Romeo and Juliet Overture was A. a tremendous success C.

performed by a large orchestra, with chorus and cannon D. enthusiastically applauded by the tsar B. a dismal failure Tchaikovsky’s Romeo and Juliet is A. a ballet based on Shakespeare’s play Romeo and Juliet B. a medley of popular melodies taken from his opera of that name C. an early programmatic symphony inspired by the characters in Shakespeare’s play D. a concert overture consisting of a slow introduction and a fast movement in sonata form D. a concert overture consisting of a slow introduction and a fast movement in sonata form Tchaikovsky’s Romeo and Juliet is a(n) A. opera A. Moldau Which of the following statements is not true? A. Bedrich Smetana was active in Prague as a composer, pianist, conductor, teacher, and tireless propagandist for Czech musical nationalism. B. Smetana passed the last few years of his life teaching and conducting in Prague. C. The Moldau is one of the six symphonic poems in Smetana’s cycle Má Vlast (My Country), a romantic representation of nature and a display of Czech nationalism. D.

A peasant wedding is suggested in Smetana’s The Moldau by a rustic polka. B. Smetana passed the last few years of his life teaching and conducting in Prague. The German master ________ recommended Dvorák’s music to his own publisher, resulting in a rapid spread of Dvorák’s fame. A. Joseph Haydn Dvorák “found a secure basis for a new national [American] musical school” in A. the music of New York B. African American spirituals C. western art music as taught at the National Conservatory of Music D. the traditional folk music of European immigrants B. African American spirituals 20-century composers incorporated elements of folk and popular music within their personal styles because... a. it made their music more commercially viable b. they were attracted to the unconventional rhythms, sounds and melodic patterns c. it simplified technical problems of musical composition d. all of the above b. they were attracted to the unconventional rhythms, sounds and melodic patterns Whichof the following statements is not true? A. The years following 1900 saw morefundamental changes in the language of music than any time since the beginningof the baroque era. B.

Twentieth-century music follows the samegeneral principles of musical structure as earlier periods. C. Twentieth-century music relies less onpreestablished relationships and expectations. D. After 1900 each musical composition is morelikely to have a unique system of pitch relationships, rather than be organizedaround a central tone. B. Twentieth-century music follows the same general principles of musical structure as earlier periods. Whilesome of Ravel's music has the fluid, misty, atmospheric quality associated withimpressionism, he does not fit neatly into any stylistic category becausehis A. music is too clearly defined in form andtonality. B. melodies are more closely related tonineteenth-century French composers. C. music is too classically balanced in phrasestructure. D. All answers are correct. D. All answers are correct. Anton Webern's mastery of strict polyphonic imitation may well reflect his profoundknowledge of A. Renaissance choral music. C. New York Which of the following statements is not true? A. In 1892, Dvorák went to New York, where he spent almost three years as director of the National Conservatory of Music. B.

Following Smetana as leader of the school of Czech national music, Dvorák infused his symphonies and chamber music with the spirit of Bohemian folk song and dance. C. Dvorák frequently quoted actual folk tunes in his music. D. The popular character of Dvorák’s New World Symphony grows out of his use of syncopations, pentatonic scales, and modal scales often found in folk music. C. Dvorák frequently quoted actual folk tunes in his music. Antonin Dvorák’s Symphony no. 9 A. is his most famous work B. is subtitled From the New World C. glorifies both the Czech and the American folk spirit D. all of the above D. all of the above In the first movement of the New World Symphony, Dvorák A. used the form of the scherzo B. quoted the black spiritual Swing Low, Sweet Chariot C. composed a theme that resembles Swing Low, Sweet Chariot D. began the symphony with an allegro first theme C.

composed a theme that resembles Swing Low, Sweet Chariot The popular character of the New World Symphony can be traced to the composer’s use of ___________ often found in folk music. A. syncopations D. cellos C. English horn The course of Brahms’s artistic and personal life was shaped by the influence of the composer A. Antonin Dvorák B. Robert Schumann and his wife Clara C. Franz Liszt B. Robert Schumann and his wife Clara In Vienna, Johannes Brahms A. conducted a Viennese musical society B. edited baroque and classical compositions C. collected music manuscripts D. all of the above D. all of the above Which of the following statements is not true? A. One of Brahms’s musical trademarks is his exotic orchestration. B. When he was thirteen, Brahms studied piano, music theory, and composition during the day, and played dance music for prostitutes and their clients in waterfront bars at night. C. Brahms was a romantic who breathed new life into classical forms. D. As conductor of a Viennese musical society, Brahms introduced many forgotten works of Bach, Handel, and Mozart. A.

One of Brahms’s musical trademarks is his exotic orchestration. In comparison to some earlier composers, Brahms’s musical output may be considered small. This is explained in part by the fact that Brahms A. was too busy conducting and performing to find time to compose B. was insecure and lazy, unable to concentrate on composing C. was extremely critical of his own work, and endlessly revised his compositions D. died before he had a chance to realize himself fully C. was extremely critical of his own work, and endlessly revised his compositions Music critics of the day pitted Brahms’s fondness for traditional forms against A. the nationalism of Dvorák B. Wagner’s innovative music dramas C. Liszt’s personal freedom and thematic transformation D. all of the above B. Wagner’s innovative music dramas Brahms wrote masterpieces in many musical forms, but never any A. art songs D. all of the above D. all of the above Brahms’s musical trademarks included A. bombastic flamboyance B. the use of two notes against three C. the use of da capo arias D. all of the above B.

the use of two notes against three The original source for the theme of the fourth movement of Brahms’s Fourth Symphony was a A. piece for wind instruments B. cantata by J. S. Bach C. song by Brahms D. piano piece by Schumann B. cantata by J. S. Bach The fourth movement of Brahms’s Fourth Symphony is a ______, a baroque variation form. A. passamezzo Giuseppe Verdi mainly composed his operas A. for the Italian musical elite B. to glorify the singers C. to promote Italian unification D. to entertain a mass public D. to entertain a mass public Which of the following statements is not true? A. Giuseppe Verdi, the most popular of all opera composers, was born to a poor family in a tiny Italian village. B. The soul of a Verdi opera is its expressive vocal melody. C. Verdi composed primarily for the Italian musical elite, those who would best appreciate his talents. D. In the course of his long life, Verdi’s style became less conventional, more subtle and flexible, with more imaginative orchestrations and richer accompaniments. C.

Verdi composed primarily for the Italian musical elite, those who would best appreciate his talents. The soul of a Verdi opera is A. extensive thematic development Verdi’s later operas differ from his earlier ones in that they have A. less difference between aria and recitative B. greater musical continuity D. all of the above D. all of the above Rigoletto, the title role in Giuseppe Verdi’s opera, is all of the following except A. a hunchback B. a court jester to the Duke of Mantua C. the father of Gilda D. the romantic lover Rigoletto, the title character in Verdi’s opera, is A. a hunchback B. court jester to the duke of Mantua C. the father of Gilda D. all of the above D. all of the above The famous aria La donna è mobile is taken from Verdi’s opera A. Rigoletto D. I Pagliacci A. Turandot . Some of Puccini’s operas feature exoticism, as in his use of melodic and rhythmic elements derived from Japanese and Chinese music in his operas A. Turandot and Manon Lescaut B.

La Bohème and Madame Butterfly C. Madame Butterfly and Turandot D. Tosca and Turandot C. Madame Butterfly and Turandot Puccini used melodic and rhythmic elements derived from Asian music in his operas A. Turandot and Manon Lescaut B. Madame Butterfly and Turandot C. Tosca and Turandot D. La Bohème and Madame Butterfly B. Madame Butterfly and Turandot Which of the following statements is not true? A. Puccini achieved unity and continuity in his operas by using the same material in different acts. B. After 1896, Puccini was wealthy and world-famous from the enormous success of La Bohème, which portrays a “bohemian” life similar to his own as an impoverished music student. C. Puccini composed long highly ornamented melodies that are difficult to remember and perform well. D. As Verdi did in his late works, Puccini minimized the difference between aria and recitative, thus creating a continuous flow of music. C.

Puccini composed long highly ornamented melodies that are difficult to remember and perform well.n Giacomo Puccini’s opera La Bohème takes place in A. Seville Wagner envisioned the music drama as a Gesamtkunstwerk, or “universal art work,” in which A. there is a continuous musical flow B. all the arts—music, drama, dance, painting—are fused C. the vocal line is inspired by rhythms and pitch fluctuations in the German text D. all of the above D. all of the above Which of the following statements is not true? A. As a young man, Wagner spent many years studying music theory and developing a virtuosic piano technique. B. During the last decades of the nineteenth century, Wagner’s operas and artistic philosophy influenced not only musicians, but poets, painters, and playwrights as well. C. Wagner revolutionized opera by shifting the focus from the voice to the orchestra and treating the orchestra symphonically. D. Wagner used leitmotifs, or short musical ideas associated with a person, object, or thought, to unify his greatly extended music dramas. A. As a young man, Wagner spent many years studying music theory and developing a virtuosic piano technique.

The composer who had an overwhelming influence on the young Wagner was A. Johann Sebastian Bach Valhalla, in Wagner’s Ring cycle, is A. a city in New York State B. the castle of the gods C. the home of Siegfried D. the magic ring B. the castle of the gods Which of the following statements concerning Wagner’s Ring cycle is not true? A. Valhalla is the castle of the gods. B. Siegmund is Sieglinde’s brother and husband. C. Wotan, the king of the gods, stole the ring from the dwarf Alberich. D. Sieglinde is a Valkyrie, one of the daughters of Wotan. D. Sieglinde is a Valkyrie, one of the daughters of Wotan. Siegmund, in Wagner’s opera Die Walküre, is A. Sieglinde’s brother, then wife B. Wotan’s son by a mortal woman C. Siegfried’s father D. all of the above D. all of the above At the end of the first act of Wagner’s opera Die Walküre, A.

Sieglinde recognizes the stranger as her brother and renames him Siegmund B. Siegmund draws the magical sword Nothung from the tree C. Siegmund embraces Sieglinde with passionate fervor D. all of the above D. all of the above Short musical idea associated with a person, object, or thought, characteristic of the operas of Wagner. Leitmotif Scale made up of five different tones, used in folk music and music of the far east. Pentatonic scale Which of the following statements is not true? A. Many performers regarded Gustav Mahler as a tyrant because he was uncompromising in artistic matters when conducting. B. Although Mahler quickly won fame as a conductor, he had to struggle for recognition as a composer. C. Having spent the major portion of his life conducting operas, it is not surprising that his output is mainly in that genre. D. Mahler’s music is often programmatic and reflects his constant search for the meaning of life. C. Having spent the major portion of his life conducting operas, it is not surprising that his output is mainly in that genre. Mahler began his professional musical life as a A. concert pianist in Budapest B.

conductor of musical comedies C. director of the Vienna Opera D. director of a military band B. conductor of musical comedies By supervising every aspect of its performances, Mahler brought the _________ to new heights of excellence. A. Vienna Opera Mahler’s experiences in New York were not happy because A. he aroused the dislike of many of his players B. he was unable to get along with the socialites who supported the New York Philharmonic orchestra C. his own works were received coolly D. all of the above Ans: D D. all of the above Which of the following works was not composed by Gustav Mahler? A. Eighth Symphony (Symphony of a Thousand) B. Die Winterreise C. Das Lied von der Erde D. Songs of a Wayfarer B. Die Winterreise Mahler’s Lieder Eines Fahrenden Gesellen (Songs of a Wayfarer) is a A. song cycle C. set of piano pieces D. dramatic opera Mahler depicts an alienated wanderer in his song cycle A. Das Lied von der Erde B. Die Winterreise D. Songs of a Wayfarer D.

Songs of a Wayfarer Franz Schubert Symphony No. 9, From the New World, mvt.1 Antonin Dvorak Symphony No. 9, From the New World, mvt.1 Giuseppe Verdi Rigoletto, La Donna e Mobile and quartet Giuseppe Verdi Rigoletto, La Donna e Mobile and quartet Giacomo Puccini La Boheme, Act I excerpt Giacomo Puccini La Boheme, Act I excerpt Giacomo Puccini La Boheme, Act I excerpt Richard Wagner Die Walkure, Act I excerpt Richard Wagner Die Walkure, Act I excerpt Hector Berlioz Symphonie Fantastique, mvt.5, Dream of a Witches' Sabbath The most famous riot in music history occurred in Paris in 1913 at the first performance of... a. arnold schoenberg's "Gurrelieder" b. Igor Stravinsky's "The Rite of Spring" c. Richard Wagner's "The Ring of the Niebelung" d. Claude Debussy's "Pelleas et Melisande" b.

Igor Stravinsky's "The Rite of Spring" Which of the following is not usually associated with impressionism? a. fleeting mood c. atonality Which of the following is not true? a. New technological advance in the first half of the 20th century have brought music to a larger audience than ever before b. Audiences in the first half of the 20th century, as in previous times, demanded and got the latest music, which reflected contemporary concerns and styles d. american colleges and universities have played a vital role in the development, performance and appreciation of 20th century b. audiences in the first half of the 20th century, as in previous times, demanded and got the latest music, which reflected contemporary concerns and styles The glissando, a technique widely used in 20th century music, is... a. the combination of two traditional chords sounding together b. a rapid slide up or down a scale c. a motive or phrase that is repeated persistently at the same pitch throughout a section d. a chord made up of tones only a half step or a whole step apart b.

a rapid slide up or down a scale A rhythmic motive or phrase that is repeated persistently at the same pitch throughout a musical selection is called... a. atonality d. Richard Wagner d. Richard Wagner Emphasis of a note, which may result from it's being louder (dynamic accent) longer, or higher in pitch than the notes near it. Accent Absence of tonality, or key, characteristic of much twentieth century music. Atonality Approach to pitch organization using two keys at one time, often found in twentieth century music. Bitonality Scales containing seven tones withan eighth tone duplicating the first an octave higher, but with differentpatterns of whole and half steps from major and minor scales; used in medieval,Renaissance, and twentieth-century music and in folk music. Church modes Tone combination that is unstable and tense. Dissonance Tone combination that is stable andrestful. Consonance Rapidslide up or down a scale. Glissando Creation of music at the same timeas it is performed. Improvisation Inclusion of folksongs, dances,legends, and other national material in a composition to associate it with thecomposer's homeland; characteristic of romantic music.

Nationalism Motive or phrase that is repeatedpersistently at the same pitch, used in twentieth-century music to stabilize agroup of pitches. Ostinato Combination of two chords sounded atthe same time, used in twentieth-century music. Polychord Use of two or more contrasting andindependent rhythms at the same time, often found in twentieth-century music. Polyrhythm Approach to pitch organization usingtwo or more keys at one time, often found in twentieth-century music. Polytonality Works which make extensive use ofquotations from earlier music; common since the mid-1960s. Quotation music Chordmade up of tones only a half step or a whole step apart, used intwentieth-century music. Tone cluster Method of composing in which allpitches of a composition are derived from a special ordering of the twelvechromatic tones (tone row or set); developed by Schoenberg in the early 1920s. Twelve tone system Composersin the twentieth century drew inspiration from A. folk and popular music from all cultures. B. the music of Asia and Africa. C. European art music from the Middle Agesthrough the nineteenth century. D. All answers are correct. D. All answers are correct.

Twentieth-centurycomposers incorporated elements of folk and popular music within their personalstyles because A. it made their music more commercially viable. B. they were attracted to the unconventionalrhythms, sounds, and melodic patterns. C. it simplified technical problems of musicalcomposition. D. All answers are correct. B. they were attracted to the unconventional rhythms, sounds, and melodic patterns. Agreat twentieth-century composer who was also a leading scholar of the folkmusic of his native land was A. Claude Debussy. Whichof the following statements is not true? A. Modern composers drew inspiration from awider historical range of music. B. The range of musical styles during thefirst half of the twentieth century was vast. C. Composers in the early twentieth centurydrew inspiration only from serious art music and their own intellect, ignoringpopular and folk music. D. Western composers were more receptive andsympathetic to Asian and African cultures. C. Composers in the early twentieth century drew inspiration only from serious art music and their own intellect, ignoring popular and folk music. Intwentieth-century music A. string players are sometimes called on touse the wood instead of the hair on their bows. B.

percussion instruments have become veryprominent and numerous. C. dissonance has been emancipated. D. All answers are correct. D. All answers are correct. Theglissando, a technique widely used in the twentieth century, is A. the combination of two traditional chordssounding together. B. a rapid slide up or down a scale. C. a motive or phrase that is repeatedpersistently at the same pitch throughout a section. D. a chord made up of tones only a half step ora whole step apart. B. a rapid slide up or down a scale. Amongthe unusual playing techniques that are widely used during the twentiethcentury is the _______, a rapid slide up or down a scale. A. buzz A. instruments are played at the very top orbottom of their ranges. B. uncommon playing techniques have becomenormal. C. noiselike and percussive sounds are oftenused. D. Allanswers are correct D. All answers are correct Apiano is often used in twentieth-century orchestral music to A. "sing" a beautiful melody. B. play important cadenzas in slow movements. C. provide a nucleus for the orchestra similarto the baroque basso continuo. D.

add a percussive edge. D. add a percussive edge. Whichof the following statements is not true? A. The "emancipation of thedissonance" does not prevent composers from differentiating between chordsof greater or lesser tension. B. By the early twentieth century, thetraditional distinction between consonance and dissonance was abandoned in muchmusic. C. The general principle that determineswhether a chord is stable or not remains the same in the twentieth century asit did in the nineteenth. D. Up to about 1900, all chords except thethree-tone triad were considered dissonant. C. The general principle that determines whether a chord is stable or not remains the same in the twentieth century as it did in the nineteenth. Whichof the following is not an alternative to the traditional organizationof pitch used by twentieth-century composers? A. polyrhythm. Whichof the following statements is not true? A. In the twentieth century, new rhythmicprocedures are drawn from many sources, including folk music from all over theworld, jazz, and European art music from the Middle Ages through the nineteenthcentury. B.

The rhythmic resources of twentieth-centurymusic have been expanded through the use of unconventional meters. C. Twentieth-century composers depended onpredictable rhythmic patterns. D. Twentieth-century music often uses two ormore contrasting and independent rhythms at the same time. C. Twentieth-century composers depended on predictable rhythmic patterns. Ostinato refers to a A. rapid slide through different pitches. B. chord made of tones only a half step orwhole step apart. C. combination of two traditional chordssounding together. D. motive or phrase that is repeatedpersistently at the same pitch throughout a section. D. motive or phrase that is repeated persistently at the same pitch throughout a section. Amotive or phrase that is repeated persistently at the same pitch throughout asection is called A. polytonality. B. Amahl and the Night Visitors. Whichof the following statements is not true? A. New technological advances, such asphonograph records, tape recordings, radio, and television, have brought musicto a larger audience than ever before, besides vastly increasing the amount andscope of music available. B.

Audiences in the first half of thetwentieth century, as in Mozart's time, demanded and got the latest music, andconcert programs consisted mainly of recent works. C. Nazi persecution and the onset of World WarII led many composers, including Stravinsky, Bartók, Schoenberg, and Hindemith,to emigrate to the United States, where they made enormous contributions toAmerican musical culture. B. Audiences in the first half of the twentieth century, as in Mozart's time, demanded and got the latest music, and concert programs consisted mainly of recent works. Composersfrom which area rose to importance during the Twentieth Century? A. Latin America. Themost influential organization sponsoring new music after World War I was A. the New York Philharmonic Orchestra. B. the National Broadcasting Company and itsorchestra. C. the International Society for ContemporaryMusic. D. the United Federation of Musicians. C. the International Society for Contemporary Music. Duringthe first quarter of the Twentieth Century many composers left Russia becauseof A. the death of the Czar. B. the violence of the Russian Revolution. C. lack of funds for them to live on. D. more accepting audiences elsewhere. B.

the violence of the Russian Revolution. Musical style which stresses tonecolor, atmosphere, and fluidity, typical of Debussy (flourished1890 - 1920). Impressionism D. performances of Asian music. D. performances of Asian music. Whichof the following statements is not true? A. Debussy was greatly inspired by his threeyears of study in Italy, made possible by his winning the Prix de Rome in 1884. B. Debussy was both attracted to and repelledby the music of Richard Wagner. C. Debussy's treatment of harmony wasrevolutionary in that he tends to use a chord more for its special color andsensuous quality than for its function in a standard harmonic progression. D. Literary and pictorial ideas often inspiredDebussy, and most of his compositions have descriptive titles. A. Debussy was greatly inspired by his three years of study in Italy, made possible by his winning the Prix de Rome in 1884. Debussywas both attracted to and repelled by the music of A. Maurice Ravel. A. sound free and almost improvisational. B.

have a strong sense of tonality. C. affirm the key very noticeably. D. use the full orchestra for massive effects. A. sound free and almost improvisational. Impressionism in music is characterizedby A. the recurrence of strong accents on thedownbeat. B. a stress on tone color, atmosphere, andfluidity. C. an adherence to traditional harmonic chordprogressions. D. All answers are correct. B. a stress on tone color, atmosphere, and fluidity. Lingeringvibrations and hazy sounds in Debussy's piano music are the result of his A. sloppiness in transcribing the sounds hewanted. B. inability to write proper chordprogressions. C. frequent use of the damper pedal. D. All answers are correct. C. frequent use of the damper pedal. Whichof the following techniques did Debussy not use to weaken the grip ofmajor-minor tonality? A. Pentatonic scale B. creature who is half man, half goat. Ravel perhaps harbored a lingering resentment toward the French musical establishmentbecause A. he was not permitted to attend the ParisConservatory as a student. B.

he disliked his teachers at the ParisConservatory. C. although already a recognized composer, hewas never awarded the Prix de Rome in spite of five attempts. D. they persisted in calling him animpressionist composer. C. although already a recognized composer, he was never awarded the Prix de Rome in spite of five attempts. Whichof Maurice Ravel's works was not inspired by dance or dancerhythms? A. Valses nobles et sentimentales B. Pavanne pour une infante défunte C. Bolero Whichof the following statements is not true of Ravel? A. He was a brilliant orchestrator. B. He composed a large number of works in allgenres. C. He was a master craftsman. D. He had a taste for exotic musical idioms. B. He composed a large number of works in all genres. Ravel'sBolero originated as a(n) A. piano composition commissioned by Paul Wittgenstein. B. ballet commissioned by the dancer IdaRubinstein. C. entrance composition for the Prix de Rome. D. student exercise in modulation and keyrelationships. B. ballet commissioned by the dancer Ida Rubinstein.

Whichof the following works is not by Maurice Ravel? A. Rhapsody espagnole C. 1920-1950. Whichof the following statements concerning neoclassicism is not true? A. Neoclassical composers reacted againsttwentieth-century harmonies and rhythms, and preferred to revive old forms andstyles exactly as they were. B. Neoclassical compositions use the musicalforms and stylistic features of earlier periods, particularly of the eighteenthcentury. C. Since many neoclassical compositions weremodeled after Bach's music, the term neobaroque might have been moreappropriate. D. Neoclassicism was an important trend inother art forms such as painting and poetry. A. Neoclassical composers reacted against twentieth-century harmonies and rhythms, and preferred to revive old forms and styles exactly as they were. Whichof the following is not characteristic of neoclassicism? A. Emotional restraint Whichof the following statements is not true? A. Stravinsky's ballet The Rite of Springmay be considered an example of his neoclassical style. B.

Stravinsky's early ballets, Firebird,Petrushka, and The Rite of Spring, call for very large orchestrasand draw on Russian folklore and folk tunes. C. Stravinsky drew on a vast range of styles,from Russian folk songs to baroque melodies, from Renaissance madrigals totango rhythms, to create original music. D. Stravinsky's extensive output includescompositions of almost every kind, for voices, instruments, and the stage. A. Stravinsky's ballet The Rite of Spring may be considered an example of his neoclassical style. In the 1950s Stravinsky dramaticallychanged his style to favor A. the twelve-tone system. C. expressionist Whichof the following statements is not true? A. Twentieth-century musical expressionismgrows out of the emotional turbulence in the works of late romantics likeWagner, Richard Strauss, and Gustav Mahler. B. Expressionist artists favored pleasantsubjects, delicate pastel colors, and shimmering surfaces. C. A stress on harsh dissonance, anexploitation of extreme registers, fragmentation, and unusual instrumentaleffects are all characteristics of expressionistic compositions. D.

Expressionist painters reacted againstFrench impressionism; they often used jarring colors and grotesquely distortedshapes to explore the subconscious. B. Expressionist artists favored pleasant subjects, delicate pastel colors, and shimmering surfaces. Expressionism is an art concernedwith A. depicting the beauties of nature. B. emotional restraint, clarity, and balance. C. social protest. D. All answers are correct. C. social protest. A. contributed many patriotic songs to the wareffort. B. avoided tonality and traditional chordprogressions. C. tried to capture atmosphere with rich,sensuous harmonies and pleasant subjects. D. All answers are correct. B. avoided tonality and traditional chord progressions. Use of chords containing tones notfound in the prevailing major or minor scale but included in the chromaticscale (which has twelve tones); often found in romantic music. Chromatic harmony Tonecombination hat is unstable and tense. Dissonance Musical style stressing intense,subjective emotion and harsh dissonance, typical of German and Austrian musicof the early twentieth century. Expressionism Chordin which the tones are a fourth apart, instead of a third; used intwentieth-century music.

Fourth chord Klangfarbenmelodie Tone color melody A musical technique that involves splitting a musical line or melody between several instruments, rather than assigning it to just one instrument (or set of instruments), thereby adding color (timbre) and texture to the melodic line. The technique is sometimes referred to as "Pointillism", a term borrowed from a neo-impressionist painting technique. Tone color melody (klangfarbenmelodie) Interval larger than that betweentwo adjacent tones in the scale. Leap This musical term refers to a non-repetitive ordering of a set of pitch-classes, typically of the twelve notes in musical set theory of the chromatic scale. Tone row In German,speech-voice; a style of vocal performance halfway between speaking andsinging, typical of Schoenberg and his followers. Sprechstimme D. All answers are correct. D. All answers are correct. Whichof the following statements is not true? A. Because of the hostility of the conservativeViennese public, Schoenberg abandoned musical composition in 1908 and turnedinstead to painting. B.

In Schoenberg's atonal music from 1908 to1914, all twelve tones are used without regard for their traditionalrelationship to major and minor scales. C. Schoenberg developed a more systematicmethod of organizing atonal music in the early 1920s, a system he called the"method of composing with twelve tones." D. Pierrot, in Schoenberg's Pierrot lunaire,is a tragic clown character derived from the Italian Commedia dell'arte. A. Because of the hostility of the conservative Viennese public, Schoenberg abandoned musical composition in 1908 and turned instead to painting. AlbanBerg and Anton Webern were Arnold Schoenberg's A. teachers. Whichof the following statements is not true of Schoenberg's twelve-tonemethod of composition? A. The tones of a row may be presented at thesame time to form chords. B. Each tone of a row must be placed in thesame register. C. The tones of a row may be placed one afteranother to form a melody. D. A tone row may be shifted to any pitchlevel. B. Each tone of a row must be placed in the same register.

Asuccession of varying tone colors used as a musical idea in a composition, usedby Schoenberg in his atonal compositions, is known as A. Klangfarbenmelodie. D. All answers are correct. D. All answers are correct. Which of the following statements is not true? A. Typical of expressionist composers, Bergscored his opera Wozzeck for a small chamber orchestra. B. The vocal line in Berg's opera Wozzeckincludes speaking, shrieking, Sprechstimme, distorted folk songs, andmelodies with wide leaps that are difficult to sing. C. Though written in the early 1830s, GeorgBüchner's play Woyzeck is amazingly modern in its starkly realisticdialogue and disconnected scenes. D. A novel feature of Berg's opera Wozzeckis that the music for each scene is a self-contained composition with aparticular form or of a definite type. A. Typical of expressionist composers, Berg scored his opera Wozzeck for a small chamber orchestra. Whichof the following is not a composition by Alban Berg? A. Gurrelieder Which of the following statements is not true? A.

Webern's twelve-tone works often containstrict polyphonic imitation. B. While very popular in his own lifetime,Webern's music has been neglected and forgotten since his death in 1945. C. The texture of Webern's music is delicateand transparent. D. Composers in the 1950s and 1960s werefascinated by Webern's use of texture, tone color, dynamics, and register asunifying elements, and often imitated his deceptively "cool" sound. B. While very popular in his own lifetime, Webern's music has been neglected and forgotten since his death in 1945. Webern's melodic lines are A. "atomized" into two- or three-notefragments. B. reinforced by frequent tutti unison passages. C. folklike, with narrow ranges and frequentrepetitions. D. basically in major and minor keys. A. "atomized" into two- or three-note fragments. Anton Webern's twelve-tone works contain many examples of A. long singing melodies. C. church organist. Whichof the following statements is not true? A.

Though experimental and far ahead of theirtime, Ives's compositions are rooted deeply in the folk and popular music he knewas a boy. B. When he was twenty, Ives entered YaleUniversity to study musical composition, and, on graduating, devoted himself toteaching and composing. C. The greatest influence on Charles Ives'smusical training was his father, a bandmaster who loved to experiment withunusual sounds. D. Charles Ives's Putnam's Camp, Redding,Connecticut is the programmatic description of a child's reveries while ona church picnic one Independence day. B. When he was twenty, Ives entered Yale University to study musical composition, and, on graduating, devoted himself to teaching and composing. Aftergraduating from Yale, Charles Ives A. went into the insurance business. B. began playing the trumpet professionally. C. began teaching. D. went into professional athletics. A. went into the insurance business. Duringmost of his lifetime, Charles Ives's musical compositions A. were enthusiastically received in publicperformances. B. were quickly published by a major firm. C. accumulated in the barn of his Connecticutfarm. D.

were sought after by musicians eager toperform them in public. C. accumulated in the barn of his Connecticut farm. CharlesIves's music contains elements of A. revival hymns and ragtime. B. patriotic songs and barn dances. C. village bands and church choirs. D. All answers are correct. D. All answers are correct. Whichof the following compositions is not by Charles Ives? A. Three Places in New England B. An American in Paris C. Concord Sonata B. An American in Paris CharlesIves's large and varied output includes works in many genres, but not A. symphonies. A. depicts a search for the meaning of life. B. won a Pulitzer Prize. C. portrays a child's summer daydreams. D. was composed when he was in his sixties. A. depicts a search for the meaning of life. Putnam'sCamp, Redding, Connecticut, is a movement from Charles Ives's A. Three Places in New England. B. Essays before a Sonata. C. Concord Sonata. A. Three Places in New England. Putnam'sCamp, Redding, Connecticut, is a child's impression of A.

a summer at camp. B. a Fourth of July picnic. C. a fishing trip. D. army life in the war. B. a Fourth of July picnic. Putnam'sCamp, Redding, Connecticut, illustrates Charles Ives's technique of quoting snatches offamiliar tunes by presenting fragments of A. Yankee Doodle. B. God Save the Queen. C. Home on the Range. D. Battle Hymn of the Republic. A. Yankee Doodle. A. New York, New York. Gershwin left high school at the age of fifteen to A. become a pianist demonstrating new songs ina publisher's salesroom. B. study theory and composition in Paris. C. work in his father's store. D. develop his athletic talents. A. become a pianist demonstrating new songs in a publisher's salesroom. TinPan Alley is the name given to a Manhattan A. park where battles of the bands were held. B. theater where musicals were first produced. C. neighborhood where the popular musicbusiness was centered, and for the type of music it represented. D. streetlined with drum and guitar stores C.

neighborhood where the popular music business was centered, and for the type of music it represented. Gershwin'sfirst piano teacher was D. painter. Whichof the following statements is not true? A. Gershwin's career as a composer of music forthe concert hall was launched by the triumphant premiere of his Rhapsody inBlue in 1924. B. Gershwin was an outgoing person, asportsman, an art collector and amateur painter, and apparently irresistible towomen. C. Gershwin's Rhapsody in Blue is nottrue jazz, but it employs jazzlike rhythms and melodies, and the orchestrationsuggests many distinctive sounds of jazz. D. Gershwin spent the last years of his lifecomposing his most extended work, the opera Porgy and Bess, which henever lived to see performed. D. Gershwin spent the last years of his life composing his most extended work, the opera Porgy and Bess, which he never lived to see performed. Porgyand Bess is a(n) C. served as a navy recruiter. D. composed full time to satisfy his manycommissions. A.

made band arrangements and played in the orchestras of all-black musical shows. As a result of his studies incomposition with composers from two opposing musical camps, the conservativeGeorge Whitefield Chadwick and the modernist Edgard Varèse, Still A. composed in a very conservative style. B. composed in a highly dissonant style. C. composed in a mixture of conservative andavant-garde styles. D. turned away from avant-garde styles andwrote compositions with a uniquely African American flavor. D. turned away from avant-garde styles and wrote compositions with a uniquely African American flavor. WilliamGrant Still's works in African American style, such as his Afro-AmericanSymphony of 1931, were A. never performed during his lifetime. B. severely criticized by audiences andcritics. C. panned by critics, but popular with audiences. D. performed to critical acclaim in New York. D. performed to critical acclaim in New York. As a composer, William GrantStill A. restricted his works to symphonies andorchestral compositions. B. was best known as a composer of hit songs. C. wrote film scores, concert works, operas,and band arrangements. D.

was best known for his rags. C. wrote film scores, concert works, operas, and band arrangements. WilliamGrant Still's Afro-American Symphony A. uses a blues theme in the first movementwhich reappears as a unifying thread in various transformations in the threelater movements. B. uses a pre-existing blues theme briefly inthe last movement. C. uses only jazz themes. D. has very few African American elements, inspite of its name. A. uses a blues theme in the first movement which reappears as a unifying thread in various transformations in the three later movements. WilliamGrant Still's opera dealing with the Haitian slave rebellion is A. Trouble in Tahiti. B. Nadia Boulanger. Whichof the following statements is not true? A. In 1950 Copland turned to serialism,manipulating a tone row to create music that is completely personal in style,such as his Music for the Theater. B. To many composers in the late 1930s,including Copland, it seemed futile to write merely for a sophisticated elite,and they simplified their music to reach a wider audience. C.

Copland's music reached a mass publicthrough his scores for the films Of Mice and Men and Our Town,and such patriotic works as A Lincoln Portrait. D. Aside from his numerous compositions,Copland has contributed to American music by lecturing, writing books andarticles, teaching, and directing composer's groups. A. In 1950 Copland turned to serialism, manipulating a tone row to create music that is completely personal in style, such as his Music for the Theater. In1925, after Copland returned from France, American music meant A. the eclecticism of Ives. B. the serialism of Schoenberg. C. primitivism. Allof the following are major developments in music since 1950 exceptthe A. spread of chance music. B. increased use of the twelve-tone system. C. continued composition of symphonies in theclassical style. D. composition of music in which tone color,texture, dynamics, and rhythm are as important as pitch. C. continued composition of symphonies in the classical style. Composersbegan to shift from tonality to the twelve-tone system because A. they were bored with tonal music. B.

they discovered it was a compositionaltechnique rather than a special musical style. C. it was easier to write twelve-tone music. D. they could make more money selling atonalcompositions to a wider public. B. they discovered it was a compositional technique rather than a special musical style. Thetwelve-tone composer whose style was most imitated in the 1950s and 1960s was A. Anton Webern. . In chance, or aleatory music thecomposer A. takes a chance on which performers willperform the work. B. chooses pitches, tone colors, and rhythmsby random methods. C. writes a rhythmic pattern but leaves it tothe performer to determine the actual pitches. D. writes the music in a traditional manner,but allows the recording engineer to make electronic changes. B. chooses pitches, tone colors, and rhythms by random methods. Anexample of aleatoric music is A. Arnold Schoenberg's Gurrelieder fororchestra. B. Igor Stravinsky's Soldier's Tale forchamber ensemble. C. John Cage's Imaginary Landscape No. 4for twelve radios. D. Charles Ives's Fourth Symphony for orchestra. C.

John Cage's Imaginary Landscape No. 4 for twelve radios. Minimalismas an artistic movement was a A. way to create popular works quickly and withlittle effort. B. reaction against the complexity ofserialism and the randomness of chance music. C. simplification of nonwestern thought andmusical styles. D. natural outgrowth of the late romantic style. B. reaction against the complexity of serialism and the randomness of chance music. Whichof the following characteristics is not true of minimalist music? A. A fast rate of change B. A clear tonality C. A constant repetition of melodic andrhythmic patterns D. A steady, driving pulse A. A fast rate of change Minimalistmusic is characterized by A. the development of musical materials throughrandom methods. B. rapidly changing dynamics and textures. C. a steady pulse, clear tonality, andinsistent repetition of short melodic patterns. D. the use of twelve-tone techniques toorganize the dimensions of music. C. a steady pulse, clear tonality, and insistent repetition of short melodic patterns. Whichof the following is not primarily known as a minimalist composer? A. Terry Riley B.

George Crumb Whichof the following statements is not true? A. Chance music makes a complete break fromtraditional values in music, and asserts that one sound or ordering of soundsis as meaningful as another. B. Since the development of tape studios,synthesizers, and computers in the 1950s and 1960s, composers have hadpotentially unlimited resources for the production and control of sound. C. Minimalist music appeals to a very smallselect group, and especially to painters, sculptors, and other composers. D. After World War II tonality was graduallyabandoned in favor of the 12-tone system. C. Minimalist music appeals to a very small select group, and especially to painters, sculptors, and other composers. Minimalistmusic grew out of the same intellectual climate as minimalist art, whichfeatures A. simple forms, clarity, and understatement. B. deliberate distortion and violent colors tocommunicate the tension and anguish of the human psyche. C. the effects of light, color, and atmospherethrough collections of tiny colored patches. D. three-dimensional objects and human figuresdistorted into planes. A. simple forms, clarity, and understatement.

Manycomposers since the mid-1960s have made extensive use of quotations fromearlier music as an attempt to A. simplify writing original compositions. B. improve communication between the composerand the listener. C. capitalize on the popularity of earlierworks. D. continue and develop serialist techniques. B. improve communication between the composer and the listener. Composerswho have returned to the use of tonality have been called A. "new Classicists". Whichof the following statements is not true? A. Microtones are intervals smaller than thehalf step. B. Scores for recent music often contain notesin new shapes, or new symbols, as well as novel ways of arranging notation onthe page. C. Mixed-media presentations generally areintended to break down the ritual surrounding traditional concerts and toincrease communication between composer and audience. D. Electronic music has eliminated the need forlive performers and traditional instruments, and uses only taped soundselectronically developed in a studio. D. Electronic music has eliminated the need for live performers and traditional instruments, and uses only taped sounds electronically developed in a studio. Intervals smaller than the half stepare called A. quartertones.

Around1940, John Cage invented the prepared piano, a(n) A. electronic keyboard capable of producingmany percussive sounds. B. grand piano complete with flowers,candelabra, and elaborate decorations. C. grand piano whose sound is altered byobjects such as bolts, screws, rubber bands, pieces of felt, paper, and plasticinserted between the strings of some of the keys. D. ensemble of percussion instruments. C. grand piano whose sound is altered by objects such as bolts, screws, rubber bands, pieces of felt, paper, and plastic inserted between the strings of some of the keys. Thefirst composer to work with the earliest sophisticated synthesizer, the RCAMark II, was A. Milton Babbitt. B. quotation music. Whichof the following statements is not true? A. John Cage invented the prepared piano, agrand piano whose sound is altered by objects such as bolts, screws, rubberbands, pieces of felt, paper, and plastic inserted between the strings of someof the keys. B.

During the 1920s and 1930s, Edgard Varèsepioneered in the exploration of percussive and noiselike sounds, and wrote thefirst important work for percussion ensemble, Ionisation. C. Milton Babbitt was a pioneer in writingmusic distinguished by a steady, driving pulse, clear tonality, constantrepetition of melodic and rhythmic phrases, and a slow rate of change. C. Milton Babbitt was a pioneer in writing music distinguished by a steady, driving pulse, clear tonality, constant repetition of melodic and rhythmic phrases, and a slow rate of change. Whichof the following compositions was not composed by John Adams? A. Short Ride in a Fast Machine B. Nixon in China C. Einstein on the Beach D. The Death of Klinghoffer C. Einstein on the Beach JohnAdams's Short Ride in a Fast Machine is scored for a A. prepared piano. B. mezzo-soprano, boy soprano, oboe, mandolin,harp, percussion, and electric piano. C. sound engineer, a female vocalist, fiveinstrumentalists, and a violin soloist. D.

large symphonic orchestra and twosynthesizers. D. large symphonic orchestra and two synthesizers. . Elliott Carter’s complex & highlydissonant style may be attributed in part to the influence of his former mentor

Question: What was the French term for a impoverished, unconvential, artistic person?
Answer: Bohémien