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 Caballito negro?
a. Robert Frost c. George Crumb
b. Federico García Lorca d. Emily Dickinson
3. Quickly moving the tongue as though rolling an R while blowing into the flute is known as:
a. aleatoric technique. c. flutter-tonguing.
b. tongue rolling. d. prepared flute.
4. Caballito negro is scored for:
a. soprano and flute. c. flute and percussion.
b. soprano, metallic percussion, and flute. d. soprano and metallic percussion.
5. What prize did Crumb’s Echoes of Time and the River win in 1968?
a. a People’s Choice Award c. an Academy Award
b. the Nobel Prize for music d. a Pulitzer Prize
TRUE/FALSE
1. The mood of Crumb’s Caballito negro can be described as grimly playful.
2. In Crumb’s Caballito negro, the vocalist is asked to whinny like a horse.
3. Crumb relies on the extraordinary creativity of others for his works to be successful.
4. George Crumb’s music does not include non-Western sounds.
5. George Crumb taught composition at several colleges and universities across the United States.
6. Crumb has a special affinity for the poetry of Robert Frost and has set many of the poet’s text to
music.
7. In Caballito negro, Crumb treats the voice as a virtuosic instrument.
TOP: Crumb MSC: Conceptual
ESSAY
1. Discuss the importance of collaboration between George Crumb and performers in an age of
specialization and experimentation.
ANS:
Answers will vary.
PTS: 1 DIF: 2 REF: Essentials: pp. 300–301
TOP: Crumb MSC: Conceptual