Archives
978-0393602517 Chapter 1
CHAPTER 1 Melody: Musical Line OVERVIEW Of all the materials of music, melody stands out as one of the most accessible and appealing to the ear. This chapter presents melody as a concept that students can understand via a language […]
978-0393602517 Chapter 10
CHAPTER 10 Western Musical Instruments OVERVIEW This chapter provides an introduction to the four major instrument families: strings, woodwinds, brass, and percussion. The chapter covers all of the main representative instruments and provides information about their construction and performance techniques. […]
978-0393602517 Chapter 11
CHAPTER 11 Musical Ensembles OVERVIEW Chapter 11 provides an introduction to various types of performing ensembles, with a focus on choral groups, instrumental chamber ensembles and bands, and the orchestra. LEARNING OBJECTIVES 1. To gain familiarity with the various types […]
978-0393602517 Chapter 12
CHAPTER 12 Style and Function of Music in Society OVERVIEW This chapter introduces the concepts of genre and style as ways to identify and categorize musical pieces. LEARNING OBJECTIVES 1. To understand the concept of genre as a musical category […]
978-0393602517 Chapter 13
Chapter 13 introduces plainchant and early polyphony in the Middle Ages. It discusses chant within the context of medieval monastic and cloistered communities, as embodied in the life and music of Hildegard of Bingen. LEARNING OBJECTIVES 1. To understand how […]
978-0393602517 Chapter 14
CHAPTER 14 Symbols and Puzzles: Machaut and the Medieval Mind OVERVIEW This chapter presents interactions between East and West (primarily through the Crusades) as sparking the creative energies of troubadours, trouvères, and composers of the Ars nova, notably Guillaume de […]
978-0393602517 Chapter 15
CHAPTER 15 Singing in Friendship: The Renaissance Madrigal OVERVIEW The sixteenth-century French chanson and the Italian and English madrigal are the subjects of Chapter 15. This chapter presents singing in secular contexts as an opportunity for social gathering and friendship […]
978-0393602517 Chapter 16
CHAPTER 16 Remember Me: Personalizing the Motet in the Renaissance OVERVIEW This chapter introduces the Renaissance as an age that merges the sacred with the new spirit of humanism. Josquin des Prez’s motet Ave Maria . . . virgo serena […]
978-0393602517 Chapter 17
CHAPTER 17 Glory Be: Music for the Renaissance Mass OVERVIEW Chapter 17 introduces students to music of the Renaissance Mass through Palestrina’s Pope Marcellus Mass. We discuss Palestrina and his famous Mass within the larger context of the Protestant Reformation […]
978-0393602517 Chapter 18
Chapter 18 introduces early opera, its musical and textual components, and its diffusion from Italy to other parts of Baroque Europe. Purcell’s Dido and Aeneas serves as the centerpiece of the chapter, offering students an opportunity to explore the emotional […]
978-0393602517 Chapter 19
CHAPTER 19 Musical Sermons: Bach and the Lutheran Cantata OVERVIEW Music of the Lutheran church during the late Baroque serves as the main subject of this chapter. The chapter introduces the chorale as the central musical component of the Lutheran […]
978-0393602517 Chapter 2
CHAPTER 2 Rhythm and Meter: Musical Time OVERVIEW Rhythm and meter define how music moves forward through time. This chapter introduces the basics of beat, rhythm, and meter and elaborates some common ways to diversify rhythm and meter through more […]
978-0393602517 Chapter 20
CHAPTER 20 Textures of Worship: Handel and the English Oratorio OVERVIEW Like Chapter 19, Chapter 20 treats the subject of late Baroque sacred music. Here the focus is on the English oratorio tradition established by George Frideric Handel. The chapter […]
978-0393602517 Chapter 21
CHAPTER 21 Independent Study: Billings and the North American Sacred Tradition OVERVIEW This chapter treats the subject of late Baroque sacred music from the perspective of American colonial hymnody of William Billings, with an emphasis on the lining-out and shape-note […]
978-0393602517 Chapter 22
CHAPTER 22 Grace and Grandeur: The Baroque Dance Suite OVERVIEW The dance suite is introduced as a genre that emphasizes the significance of technology in the evolution of musical instruments during the Baroque era. Handel’s Water Music serves as one […]
978-0393602517 Chapter 23
CHAPTER 23 Sounding Spring: Vivaldi and the Baroque Concerto OVERVIEW The study of instrumental music of the Baroque era continues, with the concerto taking the spotlight. This chapter singles out Vivaldi’s Four Seasons concertos, both for their archetypal ritornello form […]
978-0393602517 Chapter 24
CHAPTER 24 Process as Meaning: Bach and the Fugue OVERVIEW Chapter 24 introduces music for keyboard instruments in the Baroque era, focusing on improvisational genres and the fugue. Bach’s The Art of Fugue serves to illustrate the process of fugal […]
978-0393602517 Chapter 27
CHAPTER 27 Expanding the Conversation: Mozart, Chamber Music, and Larger Forms OVERVIEW This chapter introduces more of the standard genres of Classical chamber music: the divertimento and serenade. It explores these genres with reference to sonata-allegro form and minuet and […]
978-0393602517 Chapter 28
CHAPTER 28 Conversation with a Leader: Haydn and the Classical Concerto OVERVIEW This chapter introduces the Classical concerto, focusing on the formal design sonata-rondo form as presented in Haydn’s Trumpet Concerto in E-Flat Major. LEARNING OBJECTIVES 1. To understand the […]
978-0393602517 Chapter 29
CHAPTER 29 Personalizing the Conversation: Beethoven and the Classical Sonata OVERVIEW This chapter presents the sonata as another representative instrumental genre of the Classical era. Beethoven’s Moonlight Sonata serves as the focus, illustrating the more intimate and personal nature of […]
978-0393602517 Chapter 3
CHAPTER 3 Harmony: Musical Depth OVERVIEW Harmony—the simultaneous combination of sounds—provides a vertical dimension to musical sound. Chapter 3 introduces the harmony of Western music traditions since 1650 as organized principally according to a system of tonality based on scales […]
978-0393602517 Chapter 30
CHAPTER 30 Disrupting the Conversation: Beethoven and the Symphony in Transition OVERVIEW This chapter positions Beethoven and his symphonies in a transitional phase between the Classical and Romantic eras. Beethoven’s Fifth Symphony in particular illustrates the negotiation of Classical and […]
978-0393602517 Chapter 31
CHAPTER 31 Making it Real: Mozart and Classical Opera OVERVIEW Opera in the Classical era is the subject of Chapter 31, with Mozart’s Don Giovanni singled out for its effective combination of opera seria and buffa elements. The result is […]
978-0393602517 Chapter 32 Part 1
CHAPTER 32 Mourning a Hero: Mozart and the Requiem OVERVIEW Chapter 32 shows Mozart’s Requiem to illustrate the state of sacred music at the end of the Classical era. Mozart’s setting of the Dies irae in the Requiem exemplifies this […]
978-0393602517 Chapter 32 Part 2
Timbre/Instruments: Rhythm (meter, tempo)/Dynamics: Harmony (major, minor)/Texture: Relationship to scene/Comic and serious elements: Part 4: Classroom-Ready Activity 2 ACTIVITY DESCRIPTION In this class activity, students will understand Beethoven’s music as a transition between the Classical and Romantic eras. They will […]
978-0393602517 Chapter 34
CHAPTER 34 Marketing Music: Foster and Early “Popular” Song OVERVIEW Chapter 34 draws on the songs of Stephen Foster to introduce the larger repertory of popular songs in nineteenth-century America. It places Foster and his music within the contexts of […]
978-0393602517 Chapter 35
CHAPTER 35 Dancing at the Keyboard: Chopin and Romantic Piano Music OVERVIEW Chapter 35 treats the Romantic-era piano and its repertoire. The new technological developments of the instrument and the short lyric piano piece are the main subjects of this […]
978-0393602517 Chapter 36
CHAPTER 36 Musical Diaries: Hensel and Programmatic Piano Music OVERVIEW This chapter highlights the musical contributions of women in the nineteenth century. Fanny Mendelssohn Hensel and her programmatic piano cycle Das Jahr (The Year) serve as the focus of this […]
978-0393602517 Chapter 37
CHAPTER 37 Personal Soundtracks: Berlioz and the Program Symphony OVERVIEW Program music is the subject of this chapter, with Berlioz’s Symphonie fantastique modeling the hallmarks of the genre. LEARNING OBJECTIVES 1. To understand the concept of program music and its […]
978-0393602517 Chapter 38
CHAPTER 38 Sounding a Nation: Grieg and Orchestral Nationalism OVERVIEW Program music of the nineteenth century continues as the subject in Chapter 38, here focusing on the schools of nationalism that inspired the subgenre of the nationalistic symphonic poem. This […]
978-0393602517 Chapter 39
CHAPTER 39 Absolutely Classic: Brahms and the Nineteenth-Century Symphony OVERVIEW Chapter 39 explores the continuing relevance of absolute genres in music of the Romantic nineteenth century. Brahms’s Third Symphony serves as a testament to the evolving absolute music symphonic tradition […]
978-0393602517 Chapter 4
CHAPTER 4 The Organization of Musical Sounds OVERVIEW Chapter 4 highlights how melody and harmony interact with one another through a system of organization based on scales and chords (called tonality). Although many kinds of tonalities occur in music around […]
978-0393602517 Chapter 40
CHAPTER 40 Multimedia Hits: Verdi and Italian Romantic Opera OVERVIEW In this chapter, we cast Verdi and the popular leading sopranos of the day to illustrate the intersection of commercial appeal and serious art in Italian operas of the nineteenth […]
978-0393602517 Chapter 41
CHAPTER 41 Total Art: Wagner and German Romantic Opera OVERVIEW The chapter discusses the German Romantic opera tradition, focusing on the music dramas of Richard Wagner. Die Walküre (The Valkyrie) from his Ring cycle illustrates Wagner’s visionary type of music […]
978-0393602517 Chapter 42
CHAPTER 42 Poetry in Motion: Tchaikovsky and the Ballet OVERVIEW This chapter discusses Tchaikovsky’s Nutcracker within the ballet traditions of Europe, and more centrally within the independent form of ballet cultivated in Russia during the mid-to-late 1800s. LEARNING OBJECTIVES 1. […]
978-0393602517 Chapter 43
CHAPTER 43 Mythical Impressions: Program Music at the End of the Nineteenth Century OVERVIEW Chapter 43 discusses the Impressionistic music of Debussy within the context of contemporary French painting and literature. It explores Debussy’s Prelude to The Afternoon of a […]
978-0393602517 Chapter 44
CHAPTER 44 Jubilees and Jubilation: The African American Spiritual Tradition OVERVIEW This chapter addresses the vernacular and cultivated traditions of American music during the nineteenth century, focusing on the African American spiritual as derived from the camp meeting and Jubilee […]
978-0393602517 Chapter 45
CHAPTER 45 A Good Beat: American Vernacular Music at the Close of an Era OVERVIEW This chapter discusses the marches of John Philip Sousa, noted for their emergence in late- nineteenth-century American vernacular entertainment, their reliance on formal models, and […]
978-0393602517 Chapter 47
CHAPTER 47 American Intersections: Jazz and Blues Traditions OVERVIEW This chapter discusses the intersections of blues, jazz, and the offshoot genres of big-band swing, bebop, cool, and Latin jazz in American popular music of the early and mid-twentieth century. Billie […]
978-0393602517 Chapter 48
CHAPTER 48 Modern America: Still and Musical Modernism in the United States OVERVIEW Chapter 48 turns to African American contributions to musical modernism during the 1920s and 1930s. The music of William Grant Still serves to illustrate his position among […]
978-0393602517 Chapter 49
CHAPTER 49 Folk Opera? Gershwin and Jazz as “Art” OVERVIEW This chapter discusses the tradition of American musical theater since the late nineteenth century. The influence of jazz and the Tin Pan Alley tradition of songwriting on musical theater is […]
978-0393602517 Chapter 5
CHAPTER 5 Musical Texture OVERVIEW The intermingling of melody and harmony provides the basis of musical texture. More specifically, texture can be described as monophonic, homophonic, polyphonic, or homorhythmic, depending on how harmony and melody interact with one another in […]
978-0393602517 Chapter 50
CHAPTER 50 Sounds American: Copland and Musical Nationalism in the United States OVERVIEW The subject of Chapter 50 is music that resonates strongly with notions of American national identity during the first half of the twentieth century. The chapter focuses […]
978-0393602517 Chapter 51
CHAPTER 51 Also American: Revueltas and Mexican Musical Modernism OVERVIEW This chapter focuses on Mexican musical modernism in the early twentieth century and the traditional national music that inspired it. It explores this subject through the music of Silvestre Revueltas, […]
978-0393602517 Chapter 53
CHAPTER 53 Extended Techniques: Crumb and the New Virtuosity in America OVERVIEW This chapter discusses George Crumb’s music as an example of how contemporary composers incorporate extended techniques in order to reach new levels of creativity and expression. LEARNING OBJECTIVES […]
978-0393602517 Chapter 53 Caballito Negro
Chapter 53: Extended Techniques: Crumb and the New Virtuosity in America MULTIPLE CHOICE 1. Crumb’s Caballito negro is included in a book of: a. madrigals. c. piano preludes. b. song cycles. d. chamber works. 2. Who wrote the text for […]
978-0393602517 Chapter 54
CHAPTER 54 Staged Sentiment: Bernstein and American Musical Theater OVERVIEW This chapter discusses the tradition of the American musical theater since the late nineteenth century. Leonard Bernstein and his West Side Story serve as the focus in exploring the more […]
978-0393602517 Chapter 55
CHAPTER 55 Underscoring Meaning: Williams and Music for Film OVERVIEW This chapter provides an introduction to music in film. Discussed here are the two main types of film music: source music and underscoring, the second of which is exemplified in […]
978-0393602517 Chapter 56
CHAPTER 56 Returning with Interest: Dylan, Corigliano, and Postmodern Reworkings OVERVIEW Chapter 56 addresses contemporary postmodern composers and their openness to rework previously composed music or to become inspired by the music of others to create new works. John Corigliano […]
978-0393602517 Chapter 57
CHAPTER 57 Neo-Romantic Evocations: Higdon and Program Music into the Twenty-First Century OVERVIEW The subject of Chapter 57 is the contemporary style of concert music dubbed neo-Romanticism, a recent trend that embraces the sound and spirit of nineteenth-century genres. Jennifer […]
978-0393602517 Chapter 58
CHAPTER 58 Icons in Sound: Tavener and Postmodern Orthodoxy OVERVIEW This chapter explores the subject of twentieth-century minimalism, with a focus on the spiritual minimalism of John Tavener. Tavener’s Hymn to the Mother of God illustrates his blending of minimalist […]
978-0393602517 Chapter 59
CHAPTER 59 Reality Shows: Adams and Contemporary Opera OVERVIEW Chapter 59 looks at more recent operatic works that take historical or real-life contemporary events as subjects. John Adams’s post-minimalist opera Doctor Atomic exemplifies this tendency among living operatic composers. LEARNING […]
978-0393602517 Chapter 6
CHAPTER 6 Musical Form OVERVIEW Musical form refers to the way a musical piece is structured, shaped, and organized. Chapter 6 focuses on the key elements of music that define musical form: contrast, repetition, and variation. The chapter also explores […]
978-0393602517 Chapter 7
CHAPTER 7 Musical Expression: Tempo and Dynamics OVERVIEW Composers specify tempo (the pacing of music) and dynamics (the volume of music) to add expression and character to their music. This chapter explains how tempo and dynamics are indicated in musical […]
978-0393602517 Chapter 8
CHAPTER 8 Music and Words OVERVIEW In this chapter, we explore the relationship between music and words, focusing on the way in which the sounds, rhythms, and meanings of words contribute to the overall impact of a piece of music. […]
978-0393602517 Chapter 9
CHAPTER 9 Voices and Instrument Families OVERVIEW The materials from which musical instruments, including the human voice, are constructed contribute to the diversity of sound quality (timbre, or tone color) that emerges from various musical instruments. This chapter provides a […]
978-0393602517 Test Bank Chapter 1
Chapter 1: Melody: Musical Line MULTIPLE CHOICE 1. A succession of single tones or pitches perceived as a unit is called: a. an interval. c. a harmony. b. a melody. d. a chord. 2. The distance between the highest and […]
978-0393602517 Test Bank Chapter 10
Chapter 10: Western Musical Instruments MULTIPLE CHOICE 1. The instruments of the Western orchestra are categorized in four groups: strings, brass, percussion, and _____. a. flutes c. woodwinds b. chordophones d. idiophones 2. Which is the correct order of bowed […]
978-0393602517 Test Bank Chapter 11
Chapter 11: Musical Ensembles MULTIPLE CHOICE 1. A fairly large body of singers who perform together is called a(n): a. orchestra. c. chorus. b. chamber ensemble. d. band. 2. The term a cappella refers to choral music performed: a. with […]
978-0393602517 Test Bank Chapter 12
Chapter 12: Style and Function of Music in Society MULTIPLE CHOICE 1. Which general term suggests something of the overall character of a work as well as its function? a. form c. medium b. genre d. opus 2. Which of […]
978-0393602517 Test Bank Chapter 13
Chapter 13: Voice and Worship: Tradition and Individuality in Medieval Chant MULTIPLE CHOICE 1. Which of the following religions use(s) music extensively in its worship? a. Christianity c. Judaism b. Islam d. all of the answers shown here 2. During […]
978-0393602517 Test Bank Chapter 14
Chapter 14: Symbols and Puzzles: Machaut and the Medieval Mind MULTIPLE CHOICE 1. How long has music been linked with mathematics and geometry? a. since the 1750s c. since the Renaissance b. since antiquity d. since the late 1900s 2. […]
978-0393602517 Test Bank Chapter 15
Chapter 15: Singing in Friendship: The Renaissance Madrigal MULTIPLE CHOICE 1. Which culture developed a complex tradition of social part song, in which separate musical lines are combined into a harmonious whole? a. Islamic c. Chinese b. Western d. Indian […]
978-0393602517 Test Bank Chapter 16
Chapter 16: Remember Me: Personalizing the Motet in the Renaissance MULTIPLE CHOICE 1. Why is Renaissance painting considered more realistic than medieval painting? a. Renaissance painters used more vivid colors. b. The subjects of Renaissance paintings were often ordinary people […]
978-0393602517 Test Bank Chapter 17
Chapter 17: Glory Be: Music for the Renaissance Mass MULTIPLE CHOICE 1. The Roman Catholic service that symbolically reenacts Christ’s Last Supper is: a. Vespers. c. the Mass. b. Matins. d. the Divine Office. 2. The portion of the Mass […]
978-0393602517 Test Bank Chapter 18
Chapter 18: Performing Grief: Purcell and Early Opera MULTIPLE CHOICE 1. A drama that is sung is called: a. a madrigal. c. a cantata. b. an opera. d. a motet. 2. The vocal style in opera that imitates the natural […]
978-0393602517 Test Bank Chapter 19
Chapter 19: Musical Sermons: Bach and the Lutheran Cantata MULTIPLE CHOICE 1. The sacred cantata was an integral part of the: a. Catholic church service. c. Lutheran church service. b. Anglican church service. d. Pilgrims’ church service in America. 2. […]
978-0393602517 Test Bank Chapter 2
Chapter 2: Rhythm and Meter: Musical Time MULTIPLE CHOICE 1. Music is propelled forward in time by: a. harmony. c. texture. b. rhythm. d. timbre. 2. The element of music that organizes movement in time is: a. rhythm. c. harmony. […]
978-0393602517 Test Bank Chapter 20
Chapter 20: Textures of Worship: Handel and the English Oratorio MULTIPLE CHOICE 1. Handel’s Messiah is an example of: a. an opera. c. an oratorio. b. a cantata. d. a masque. 2. Which of the following is Handel’s most famous […]
978-0393602517 Test Bank Chapter 21
Chapter 21: Independent Study: Billings and the North American Sacred Tradition MULTIPLE CHOICE 1. The system where a leader sings each line of a psalm and the congregation repeats it in turn is called: a. a psalm tune. c. the […]
978-0393602517 Test Bank Chapter 22
Chapter 22: Grace and Grandeur: The Baroque Dance Suite MULTIPLE CHOICE 1. The first era of Western music history in which instrumental music was a major focus for composers was the: a. Middle Ages. c. Baroque. b. Renaissance. d. Classical. […]
978-0393602517 Test Bank Chapter 23
Chapter 23: Sounding Spring: Vivaldi and the Baroque Concerto MULTIPLE CHOICE 1. The instrumental form based on the contrast of two dissimilar bodies of sound is called a: a. symphony. c. suite. b. sonata. d. concerto. 2. The typical solo […]
978-0393602517 Test Bank Chapter 24
Chapter 24: Process as Meaning: Bach and the Fugue MULTIPLE CHOICE 1. Which of the following keyboard instruments were important during the Baroque? a. the harpsichord c. the harpsichord and the organ b. the piano d. the piano and the […]
978-0393602517 Test Bank Chapter 25
Chapter 25: Musical Conversations: Haydn and Classical Chamber Music MULTIPLE CHOICE 1. In musical compositions, a theme is: a. the composition’s underlying meaning. b. the composition’s overall mood. c. a musical idea that is used as a building block. d. […]
978-0393602517 Test Bank Chapter 26
Chapter 26: The Ultimate Instrument: Haydn and the Symphony MULTIPLE CHOICE 1. The Classical symphony had its roots in the: a. concerto. c. opera overture. b. sonata. d. ballet. 2. How many movements are typical of pre-Classical symphonies? a. two […]
978-0393602517 Test Bank Chapter 27
Chapter 27: Expanding the Conversation: Mozart, Chamber Music, and Larger Forms MULTIPLE CHOICE 1. Mozart’s Eine kleine Nachtmusik is an example of a: a. symphony. c. sonata. b. serenade. d. concerto. 2. Eine kleine Nachtmusik is: a. German for A […]
978-0393602517 Test Bank Chapter 28
Chapter 28: Conversation with a Leader: Haydn and the Classical Concerto MULTIPLE CHOICE 1. How many movements are in a Classical concerto? a. two c. four b. three d. six 2. A/An _______, a free solo passage without orchestral accompaniment, […]
978-0393602517 Test Bank Chapter 29
Chapter 29: Personalizing the Conversation: Beethoven and the Classical Sonata MULTIPLE CHOICE 1. During the Classical era, the sonata was for piano alone, piano and violin, or: a. piano and trumpet. c. piano and voice. b. piano and flute. d. […]
978-0393602517 Test Bank Chapter 3
Chapter 3: Harmony: Musical Depth MULTIPLE CHOICE 1. Which term describes the simultaneous combination of sounds? a. texture c. dissonance b. harmony d. melody 2. Harmony is to music as __________ is to painting. a. the frame c. perspective b. […]
978-0393602517 Test Bank Chapter 30
Chapter 30: Disrupting the Conversation: Beethoven and the Symphony in Transition MULTIPLE CHOICE 1. Which composer both maintained and disrupted the balance of the Classical style? a. Beethoven c. Haydn b. Mozart d. Bach 2. With which symphony did Beethoven […]
978-0393602517 Test Bank Chapter 31
Chapter 31: Making It Real: Mozart and Classical Opera MULTIPLE CHOICE 1. During the Classical era, the prevalent form of opera, which contained many recitatives and arias designed to display virtuosity, was called: a. opera seria. c. opéra comique. b. […]
978-0393602517 Test Bank Chapter 32
Chapter 32: Mourning a Hero: Mozart and the Requiem MULTIPLE CHOICE 1. During the Classical era, the principal genre(s) of sacred choral music was/were: a. the oratorio. c. the Requiem. b. the Mass. d. all of the answers shown here […]
978-0393602517 Test Bank Chapter 33
Chapter 33: Musical Reading: Schubert and the Early Romantic Lied MULTIPLE CHOICE 1. The German term for the art song is: a. Gesang. c. durchkomponiert. b. Lied. d. chorale. 2. A song whose text is a short lyric poem in […]
978-0393602517 Test Bank Chapter 34
Chapter 34: Marketing Music: Foster and Early “Popular” Song MULTIPLE CHOICE 1. Which of the following describes music in America during the early nineteenth century? a. The difficulty of life in the New World essentially eliminated music-making. b. Music was […]
978-0393602517 Test Bank Chapter 35
Chapter 35: Dancing at the Keyboard: Chopin and Romantic Piano Music MULTIPLE CHOICE 1. The most important keyboard instrument of the Romantic period was the: a. harpsichord. c. organ. b. piano. d. clavichord. 2. Which of the following instruments is […]
978-0393602517 Test Bank Chapter 36
Chapter 36: Musical Diaries: Hensel and Programmatic Piano Music MULTIPLE CHOICE 1. Which of the following best describes the role of women in nineteenth-century music? a. None pursued careers in music. b. Women were leaders in innovative changes of style. […]
978-0393602517 Test Bank Chapter 37
Chapter 37: Personal Soundtracks: Berlioz and the Program Symphony MULTIPLE CHOICE 1. Instrumental music endowed with literary, philosophical, or pictorial associations is called: a. absolute music. c. background music. b. program music. d. pure music. 2. Which of the following […]
978-0393602517 Test Bank Chapter 38
Chapter 38: Sounding a Nation: Grieg and Orchestral Nationalism MULTIPLE CHOICE 1. Music written for plays, generally consisting of an overture and a series of pieces to be performed between acts, is called: a. incidental music. c. a program symphony. […]
978-0393602517 Test Bank Chapter 39
Chapter 39: Absolutely Classic: Brahms and the Nineteenth-Century Symphony MULTIPLE CHOICE 1. Which of the following is a type of absolute music? a. incidental music c. the concert overture b. the symphony d. the symphonic poem 2. The most important […]
978-0393602517 Test Bank Chapter 4
Chapter 4: The Organization of Musical Sounds MULTIPLE CHOICE 1. What are the pitch names used in Western music? a. A, C, E , G, J, and P c. A, E, I, O, and U b. A, B, C, D, […]
978-0393602517 Test Bank Chapter 40
Chapter 40: Multimedia Hits: Verdi and Italian Romantic Opera MULTIPLE CHOICE 1. Which nineteenth-century opera singer made a great impression in America by performing both opera excerpts and parlor songs? a. Fanny Hensel c. Giuseppina Stepponi b. Jenny Lind d. […]
978-0393602517 Test Bank Chapter 41
Chapter 41: Total Art: Wagner and German Romantic Opera MULTIPLE CHOICE 1. Which of the following characterizes Singspiel? a. It was preceded by the German Romantic opera. b. It featured elaborate recitatives and arias. c. The plots were generally dark. […]
978-0393602517 Test Bank Chapter 42
Chapter 42: Poetry in Motion: Tchaikovsky and the Ballet MULTIPLE CHOICE 1. ______ is a choreographed dance that began in the Renaissance and was central to lavish festivals and theatrical entertainments presented at the courts of kings and dukes. a. […]
978-0393602517 Test Bank Chapter 43
Chapter 43: Mythical Impressions: Program Music at the End of the Nineteenth Century MULTIPLE CHOICE 1. The earliest harbingers of modernism were artists and writers from: a. Russia. c. France. b. Spain. d. Germany. 2. Impressionism: Sun Rising, the painting […]
978-0393602517 Test Bank Chapter 44
Chapter 44: Jubilees and Jubilation: The African American Spiritual Tradition MULTIPLE CHOICE 1. Both African Americans (freedmen and slaves) and European Americans gathered in ______ to sing hymns of praise to popular or folk tunes. a. camp meetings c. cotton […]
978-0393602517 Test Bank Chapter 45
Chapter 45: A Good Beat: American Vernacular Music at the Close of an Era MULTIPLE CHOICE 1. America’s nineteenth-century vernacular music traditions included: a. parlor ballads. c. music for brass bands. b. spirituals. d. all of the answers shown here […]
978-0393602517 Test Bank Chapter 46
Chapter 46: Calculated Shock: Stravinsky and Modernist Multimedia MULTIPLE CHOICE 1. Which impresario significantly revitalized the art of ballet? a. Marius Petipa c. Mily Balakirev b. Serge Diaghilev d. Modest Musorgsky 2. Which Paris-based dance company opened a new chapter […]
978-0393602517 Test Bank Chapter 47
Chapter 47: American Intersections: Jazz and Blues Traditions MULTIPLE CHOICE 1. Which of the following popular American musical styles has/have roots in both West African and Euro-American music? a. ragtime c. jazz b. blues d. all of the answers shown […]
978-0393602517 Test Bank Chapter 48
Chapter 48: Modern America: Still and Musical Modernism in the United States MULTIPLE CHOICE 1. During which decade did the Harlem Renaissance begin? a. 1900s c. 1920s b. 1910s d. 1930s 2. Which of the following was referred to as […]
978-0393602517 Test Bank Chapter 49
Chapter 49: Folk Opera? Gershwin and Jazz as “Art” MULTIPLE CHOICE 1. The center of music publishing in New York was called: a. Broadway. c. Washington Square. b. Tin Pan Alley. d. Wall Street. 2. Irving Berlin’s first hit song […]
978-0393602517 Test Bank Chapter 5
Chapter 5: Musical Texture MULTIPLE CHOICE 1. The interweaving of the melodic lines, or the relationship of musical lines, within a work is called: a. harmony. c. texture. b. meter. d. timbre. 2. A texture consisting of a single, unaccompanied […]
978-0393602517 Test Bank Chapter 50
Chapter 50: Sounds American: Copland and Musical Nationalism in the United States MULTIPLE CHOICE 1. Aaron Copland studied composition with: a. Charles Ives. c. Arnold Schoenberg. b. Nadia Boulanger. d. Charles Griffes. 2. Which ballet by Copland portrayed rural life? […]
978-0393602517 Test Bank Chapter 51
Chapter 51: Also American: Revueltas and Mexican Musical Modernism MULTIPLE CHOICE 1. The musical scene in early twentieth-century Mexico was strongly influenced by: a. Spanish music. c. Amerindian culture. b. Hispanic culture. d. all of the answers shown here 2. […]
978-0393602517 Test Bank Chapter 52
Chapter 52: New Sound Palettes: A Mid-Twentieth-Century American Experimentalist MULTIPLE CHOICE 1. Which of the following composers combined Asian instruments with traditional Western ensembles and experimented with exotic scales? a. Aaron Copland c. Henry Cowell b. Harry Partch d. John […]
978-0393602517 Test Bank Chapter 54
Chapter 54: Staged Sentiment: Bernstein and American Musical Theater MULTIPLE CHOICE 1. Which of the following is considered America’s unique contribution to theater? a. operetta c. the musical b. pantomime d. ballad opera 2. Gilbert and Sullivan, Johann Strauss Jr., […]
978-0393602517 Test Bank Chapter 55
Chapter 55: Underscoring Meaning: Williams and Music for Film MULTIPLE CHOICE 1. Why is music important to film? a. It can reveal the emotions of the characters. b. It can suggest a time and place. c. It can tell the […]
978-0393602517 Test Bank Chapter 56
Chapter 56: Returning with Interest: Dylan, Corigliano, and Postmodern Reworkings MULTIPLE CHOICE 1. Which of the following characterizes the songs of Bob Dylan? a. predictable form and melody c. settings of Classical poetry b. texts full of imagery d. simple […]
978-0393602517 Test Bank Chapter 57
Chapter 57: Neo-Romantic Evocations: Higdon and Program Music into the Twenty-First Century MULTIPLE CHOICE 1. The postmodern approach that mixes styles from the nineteenth century with contemporary ones is called: a. minimalism. c. post-Romanticism. b. post-minimalism. d. neo-Romanticism. 2. Which […]
978-0393602517 Test Bank Chapter 58
Chapter 58: Icons in Sound: Tavener and Postmodern Orthodoxy MULTIPLE CHOICE 1. The musical style that strips compositions down to bare essentials, focusing on a few basic details, is known as: a. neo-Romanticism. c. serialism. b. minimalism. d. post-modernism. 2. […]
978-0393602517 Test Bank Chapter 59
Chapter 59: Reality Shows: Adams and Contemporary Opera MULTIPLE CHOICE 1. Although educated at Harvard, John Adams has made most of his career in: a. Paris, France. c. El Paso, Texas. b. Vienna, Austria. d. San Francisco, California. 2. The […]
978-0393602517 Test Bank Chapter 6
Chapter 6: Musical Form MULTIPLE CHOICE 1. What quality of a work of art describes its structure or shape? a. theme c. form b. melody d. harmony 2. The basic structural concepts in the element of form are: a. repetition […]
978-0393602517 Test Bank Chapter 7
Chapter 7: Musical Expression: Tempo and Dynamics MULTIPLE CHOICE 1. The word _____ describes the rate of speed at which a piece of music is played. a. meter c. movement b. tempo d. mood 2. Which emotional response would most […]
978-0393602517 Test Bank Chapter 8
Chapter 8: Music and Words MULTIPLE CHOICE 1. Syllables such as “Zip-a-dee-doo-dah, zip-a-dee-ay” are considered: a. mousikas. c. Latin. b. nonlexical. d. secular. 2. ______ is a vocal improvisation common to jazz that uses wordless vocables. a. Vernacular c. Scat-singing […]
978-0393602517 Test Bank Chapter 9
Chapter 9: Voices and Instrument Families MULTIPLE CHOICE 1. Which of the following is NOT a property of a musical sound? a. pitch c. duration b. texture d. timbre 2. The quality of sound that distinguishes one instrument or voice […]
978-0393602517 Test Bank Prelude 1
Prelude 1: Listening to Music Today MULTIPLE CHOICE 1. Which of the following is NOT true about live concerts? a. The events have an element of unpredictability. b. They encourage “partial listening.” c. The performance is aurally stimulating. d. The […]
978-0393602517 Test Bank Prelude 2
Prelude 2: Music as Commodity and Social Activity MULTIPLE CHOICE 1. The core of music-making today is largely based on the traditions from: a. China. c. Europe. b. Africa. d. Mesopotamia. 2. Which of the following is a role for […]
978-0393602517 Test Bank Prelude 3
Prelude 3: Music as Exploration and Drama MULTIPLE CHOICE 1. Which of the following characterizes music after 1600? a. Music performers developed virtuosic skills. b. Opera was developed. c. Musicians explored intense emotions. d. all of the answers shown here […]
978-0393602517 Test Bank Prelude 4
Prelude 4: Music as Order and Logic MULTIPLE CHOICE 1. Which of the following best characterize(s) artists of the Classical era? a. Classical artists were more subjective. b. Classical artists emphasized clarity and regularity of structure. c. Classical artists used […]
978-0393602517 Test Bank Prelude 5
Prelude 5: Music as Passion and Individualism MULTIPLE CHOICE 1. The Romantic movement really comes into its own through music in: a. the middle of the eighteenth century. b. the last few decades of the 1700s. c. the early decades […]
978-0393602517 Test Bank Prelude 6
Prelude 6: Making Music Modern MULTIPLE CHOICE 1. The artistic trends of the early twentieth century can best be characterized as: a. a reaction against Romanticism. c. influenced by Romanticism. b. influenced by an earlier era. d. an extension of […]
978-0393602517 Test Bank Prelude 7
Prelude 7: Beyond Modernism? MULTIPLE CHOICE 1. Which artist is associated with abstract expressionism? a. Robert Rauschenberg c. Andy Warhol b. Jackson Pollock d. Jasper Johns 2. Which art movement drew themes from modern urban life, including machines, comic strips, […]