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.
b. background music. d. a symphonic poem.
2. Had movies been invented in the nineteenth century, to which genre of program music would film
soundtracks be most similar?
a. program symphony c. concert overture
b. incidental music d. symphonic poem
3. A one-movement piece of program music for orchestra that, through several contrasting sections,
develops a poetic idea or suggests a scene or mood is called:
a. a program symphony. c. a symphonic poem.
b. an overture. d. incidental music.
4. Which of the following composers was the first to use the term symphonic poem?
a. Berlioz c. Mendelssohn
b. Liszt d. Tchaikovsky
5. Which of the following is a type of orchestral program music?
a. concerto c. string quartet
b. symphonic poem d. piano trio
6. Nationalistic composers expressed their nationalism by:
a. employing songs and dances from their home countries in their works.
b. borrowing exotic styles from other countries.
c. writing absolute music.
d. all of the answers shown here
7. Examples of musical nationalism include:
a. Liszt’s Hungarian Rhapsodies. c. Tchaikovsky’s 1812 Overture.
b. Dvorák’s Slavonic Dances. d. all of the answers shown here
8. “The Mighty Five” were composers from:
a. Russia. c. Scandinavia.
b. Bohemia. d. Germany.
9. Which Norwegian composer of the nineteenth century stands out for his ability to capture the
essence of his country’s folklore and dance through music?
a. Grieg c. Musorgsky
b. Smetana d. de Falla
10. The play Peer Gynt by ______ is based on a Norwegian folk tale
a. Ibsen c. Shakespeare
b. Grieg d. Solveig
11. Grieg’s Peer Gynt, Suite No. 1 is an example of:
a. incidental music.
b. absolute music.
c. an overture.
d. all of the answers shown here
12. In which movement from Peer Gynt, Suite No. 1 did Grieg imagine “the sun breaking through the
clouds at the first forte”?
a. In the Hall of the Mountain King c. Morning Mood
b. Anitra’s Dance d. Åse’s Death
13. Which movement from Peer Gynt, Suite No. 1 was conceived as grotesque ballet music?
a. In the Hall of the Mountain King c. Åse’s Death
b. Morning Mood d. Anitra’s Dance
14. Edvard Grieg was born in:
a. Norway c. France
b. Germany d. Sweden
15. Grieg’s music is notable for:
a. its lyricism. c. his nationalistic use of folk dances.
b. his nationalistic use of folk music. d. all of the answers shown here
16. A single-movement concert piece for orchestra that might evoke a land- or seascape or embody a
patriotic or literary idea is called:
a. a symphony. c. an overture.
b. incidental music. d. absolute music.
17. Nineteenth-century composers’ most original contribution to large forms is:
a. the symphony. c. the oratorio.
b. the symphonic poem. d. opera.
TRUE/FALSE
1. Incidental music to a play is generally considered to be absolute music.
2. The symphonic poem was created in the nineteenth century.
3. The growth of nationalism became a decisive force within the Romantic movement.
4. Nationalism found natural expression in music, among other arts.
5. Grieg was a leading figure of “The Mighty Five” in Russia.
6. Writer Henrik Ibsen invited Grieg to compose music for Peer Gynt.
7. Grieg considered the twenty-two pieces he originally wrote for Peer Gynt among his greatest
works.
8. In the Hall of the Mountain King from Grieg’s Peer Gynt, Suite No. 1 is a depiction of the sunrise.
9. Anitra’s Dance from Grieg’s Peer Gynt, Suite No. 1 was conceived as grotesque ballet music.
10. Peer Gynt, Suite No. 1 draws on the unique imagery and folk traditions of Russia.
11. Grieg worked to promote Scandinavian music through an academy he helped found.
12. Grieg brought much visibility to Norway through music.
ESSAY
1. How was nationalism reflected in nineteenth-century music? Cite several examples in your
response.
ANS:
Answers will vary.
PTS: 1 DIF: 1 REF: Essentials: pp. 209–213
TOP: Nationalism MSC: Applied