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TEST BANK
By Christopher Reali
RAMAPO COLLEGE OF NEW JERSEY
To Accompany
The Enjoyment of Music
THIRTEENTH EDITION
By
Kristine Forney, Andrew Dell’Antonio, and Joseph Machlis
W • W • NORTON & COMPANY, INC. • NEW YORK • LONDON
W. W. Norton & Company has been independent since its founding in 1923, when William Warder Norton and Mary D. Herter Norton
first published lectures delivered at the People’s Institute, the adult education division of New York City’s Cooper Union. The firm soon
expanded their program beyond the Institute, publishing books by celebrated academics from America and abroad. By mid-century, the
two major pillars of Norton’s publishing program—trade books and college texts—were firmly established. In the 1950s, the Norton
family transferred control of the company to its employees, and today—with a staff of four hundred and a comparable number of
trade, college, and professional titles published each year—W. W. Norton & Company stands as the largest and oldest publishing
house owned wholly by its employees.
CONTENTS
PART 1: MATERIALS OF MUSIC 1
Prelude 1 | Listening to Music 3
Chapter 1 | Melody: Musical Line 7
Chapter 2 | Rhythm and Meter: Musical Time 14
Chapter 3 | Harmony: Musical Depth 21
Chapter 4 | The Organization of Musical Sounds 27
Chapter 5 | Musical Texture 35
Chapter 6 | Musical Form 41
Chapter 7 | Musical Expression: Tempo and Dynamics 47
Chapter 8 | Text and Music 52
Chapter 9 | Voices and Instrument Families 57
Chapter 10 | Western Musical Instruments 63
Chapter 11 | Musical Ensembles 71
Chapter 12 | Style and Function of Music in Society 77
Chapter 13 | Putting Music into Words 82
PART 2: THE MIDDLE AGES AND RENAISSANCE 87
Prelude 2 | Music as Commodity and Social Activity 89
Chapter 14 | Voice and Worship: Tradition and Individuality in Medieval Chant 96
Chapter 15 | Layering Lines: Polyphony at Notre Dame103
Chapter 16 | Symbols and Puzzles: Machaut and the Medieval Mind 109
Chapter 17 | Singing in Friendship: The Renaissance Madrigal 115
Chapter 18 | Remember Me: Personalizing the Motet in the Renaissance 121
Chapter 19 | Glory Be: Music for the Renaissance Mass127
Chapter 20 | Instrumental Movements: Medieval and Renaissance Dance Music 134
PART 3: THE BAROQUE ERA 141
Prelude 3 | Music as Exploration and Drama 143
Chapter 21 | Voicing Gender: Women Composers in Baroque Italy 150
Chapter 22 | Performing Grief: Purcell and Early Opera158
Chapter 23 | Musical Sermons: Bach and the Lutheran Cantata 165
Chapter 24 | Textures of Worship: Handel and the English Oratorio 173
Chapter 25 | Independent Study: Billings and the North American Sacred Tradition 180
Chapter 26 | Grace and Grandeur: The Baroque Dance Suite 188
Chapter 27 | Sounding Spring: Vivaldi and the Baroque Concerto 195
Chapter 28 | Process as Meaning: Bach and the Fugue 202
PART 4: EIGHTEENTH-CENTURY CLASSICISM 209
Prelude 4 | Music as Order and Logic 211
Chapter 29 | Musical Conversations: Haydn and Classical Chamber Music 220
Chapter 30 | The Ultimate Instrument: Haydn and the Symphony 228
Chapter 31 | Expanding the Conversation: Mozart, Chamber Music, and Larger Forms 236
Chapter 32 | Conversation with a Leader: The Classical Concerto 245
Chapter 33 | Personalizing the Conversation: Beethoven and the Classical Sonata 252
Chapter 34 | Disrupting the Conversation: Beethoven and the Symphony in Transition 260
Chapter 35 | Making It Real: Mozart and Classical Opera267
Chapter 36 | Mourning a Hero: Mozart and the Requiem275
PART 5: THE NINETEENTH CENTURY 283
Prelude 5 | Music as Passion and Individualism 285
Chapter 37 | Musical Reading: Schubert, Schumann, and the Early Romantic Lied 293
Chapter 38 | Marketing Music: Foster and Early “Popular” Song 302
Chapter 39 | Dancing at the Keyboard: Chopin and Romantic Piano Music 309
Chapter 40 | Musical Diaries: Hensel and Programmatic Piano Music 316
Chapter 41 | Personal Soundtracks: Berlioz and the Program Symphony 323
Chapter 42 | Sounding Literature: Orchestral Program Music by Mendelssohn and Grieg 331
Chapter 43 | Absolutely Classic: Brahms and the Nineteenth-Century Symphony 339
Chapter 44 | Multimedia Hits: Verdi and Italian Romantic Opera 346
Chapter 45 | Total Art: Wagner and German Romantic Opera 354
Chapter 46 | Poetry in Motion: Tchaikovsky and the Ballet362
Chapter 47 | Exotic Allure: Puccini and the Italian Verismo Tradition 369
Chapter 48 | Accepting Death: Fauré and the Requiem 376
Chapter 49 | Mythical Impressions: Program Music at the End of the Nineteenth Century 383
Chapter 50 | Jubilees and Jubilation: The African-American Spiritual Tradition 391
Chapter 51 | A Good Beat: American Vernacular Music at the Close of an Era 399
PART 6: TWENTIETH-CENTURY MODERNISM 407
Prelude 6 | Making Music Modern 409
Chapter 52 | Anything Goes: Schoenberg and Musical Expressionism 417
Chapter 53 | Calculated Shock: Stravinsky and Modernist Multimedia 424
Chapter 54 | Still Sacred: Religious Music in the Twentieth Century 432
Chapter 55 | War is Hell: Berg and Expressionist Opera439
Chapter 56 | American Intersections: Jazz and Blues Traditions 446
Chapter 57 | Modern America: Still and Musical Modernism in the United States 455
Chapter 58 | Modern Experiments: Gershwin and “Cultivated Jazz” 462
Chapter 59 | Sounds American: Ives, Copland, and Musical Nationalism 469
Chapter 60 | Also American: Revueltas and Mexican Musical Modernism 477
Chapter 61 | Classic Rethinking: Bartók and the Neo-Classical Turn 484
PART 7: POSTMODERNISM: THE MID-TWENTIETH CENTURY AND BEYOND 493
Prelude 7 | Beyond Modernism? 495
Chapter 62 | New Sound Palettes: Mid-Twentieth- Century American Experimentalists 504
Chapter 63 | Staged Sentiment: Bernstein and American Musical Theater 512
Chapter 64 | Less is More: Reich and Minimalist Music519
Chapter 65 | Rolling Beethoven Over: Roots and Reworkings of Rock 526
Chapter 66 | Returning with Interest: Bowie, Glass, and Postmodern Elaboration 534
Chapter 67 | Neo-Romantic Evocations: Higdon and Program Music into the Twenty- First Century 541
Chapter 68 | Underscoring Meaning: Williams and Music for Film 548
Chapter 69 | Icons in Sound: Tavener and Postmodern Orthodoxy 556
Chapter 70 | Reality Shows: Adams and Contemporary Opera 564
PART 1: MATERIALS OF MUSIC
PRELUDE 1 Listening to Music Today
MULTIPLE CHOICE
1. One of the best ways to “study” music is by
a. repeated listening.
b. listening to music while doing homework.
c. watching TV with music playing in the background.
d. All of the answers shown here.
2. Setting aside all distractions and letting the music be the foreground activity is called
a. musical memory. c. passive listening.
b. active listening. d. repeated listening.
3. How can you develop musical memory for instrumental works?
a. concentrate on major events c. concentrate on memorable moments
b. concentrate on patterns d. all of the answers shown here.
4. One principle of Western musical practice as well as other world traditions is
a. the return of major (musical) events, patterns, or memorable moments.
b. never hearing the same melody twice.
c. only hearing the main melody at the beginning of a piece.
d. None of the answers shown here.
5. Musical memory will help a person
a. develop a sense of time.
b. understand why the composer wrote the piece.
c. better understand the cultural forces that shaped a work.
d. better understand the hidden meaning of some musical works.
6. What are some of the criteria that shape a performer’s interpretation of a musical work?
a. variations in tempo c. changes in voices or instruments
b. changes to dynamics d. All answers shown here.
7. Repeated encounters with a musical work will help one to
a. develop a familiarity with the piece. c. develop critical listening skills.
b. gain an understanding of the work. d. All answers shown here.
TRUE/FALSE
1. In daily life, we often listen to music as a background to another activity.
2. Listening to music at home is just about the same experience as hearing it live.
3. Repeated listening is NOT a good way to “study” music.
4. Active listening is when one listens to music while working out at the gym.
5. Developing musical memory is easier initially when listening to music in a foreign language.
6. Some composers provide a program, or story, to follow in instrumental works.
7. Each performance of a musical work is unique.
8. In early times, performers adapted their interpretations of works based on the resources available at the time.
9. Musical instruments have changed very little over time.
10. As one listens to a piece, one should allow oneself to respond both objectively and subjectively to the music.
ESSAY
1. Explain how the expression “practice makes perfect” applies to listening to music.
2. Explain how one can develop one’s listening skills.
3. What are some of the criteria that shape a performer’s interpretation of a work?
CHAPTER 1 Melody: Musical Line
MULTIPLE CHOICE
1. In determining pitch, what is meant by frequency?
a. how often the pitch is heard
b. how fast the pitches are played
c. the span between the highest and lowest notes
d. the number of vibrations per second
2. Musical sounds are represented by symbols called
a. pitches. c. notes.
b. cues. d. amplitudes.
3. By definition, a musical sound has
a. a perceivable pitch and a measurable frequency.
b. a certain volume.
c. a distinct timbre.
d. all answers shown here.
4. A succession of single tones or pitches perceived as a unit is called a(n)
a. interval. c. harmony.
b. melody. d. chord.
5. The distance between the highest and lowest tones of a melody is called the
a. tempo. c. phrase.
b. range. d. tonic.
6. The distance between two pitches is called a(n)
a. interval. c. cadence.
b. phrase. d. countermelody.
7. Which term describes a melody that moves by small intervals?
a. consonant c. dissonant
b. conjunct d. disjunct
8. A melody can be characterized by
a. its range. c. the way it moves.
b. its shape. d. all answers shown here.
9. Why is Beethoven’s Ode to Joy easy to sing?
a. It has a wide range. c. It has phrases of unequal lengths.
b. It is conjunct. d. It has no cadences.
10. A unit of meaning within the larger structure of a melody is called a
a. phrase. c. cadence.
b. stanza. d. climax.
11. The resting place at the end of a phrase is called a
a. pause. c. cadence.
b. period. d. comma.
12. Musical punctuation, which is similar to a comma or period in a sentence, is called a
a. cadence. c. chord.
b. syncopation. d. scale.
13. The striking emotional effect created by the high point in a melodic line is called the
a. cadence. c. climax.
b. countermelody. d. range.
14. A melody added to, or played against, another melody is called a
a. cadence. c. countermelody.
b. phrase. d. tune.
15. A note designates frequency and
a. duration. c. timbre.
b. volume. d. range.
16. In terms of a musical note, duration refers to
a. length of time. c. volume.
b. timbre. d. None of the answers shown here.
17. The distinct quality of a pitch is called
a. tone color or timbre. c. duration.
b. volume. d. melody.
18. Which term refers to the overall shape of a melody?
a. contour c. range
b. interval d. cadence
19. A melody that moves in large, disconnected intervals is described as
a. conjunct. c. pitchy.
b. disjunct. d. easy to sing.
20. In terms of text, this diagram, a b a b, refers to
a. the rhyme scheme. c. the melody.
b. the overall form of the music. d. pitch.
TRUE/FALSE
1. The length or size of a vibrating object has no effect on pitch.
2. A musical note is the symbolic representation of a sound with pitch and duration.
3. Tone color is a property of pitch.
4. The overall shape of a melody is called its range.
5. Melodies that move principally by small, connected intervals are conjunct.
6. Melodies that skip in disjointed intervals are disjunct.
7. A phrase is a component unit of a melody.
8. The phrases in the tune Amazing Grace are of unequal length.
9. The melody of The Star-Spangled Banner is best described as conjunct.
10. The rhyme scheme of a poem is determined by the first word of each poetic line.
11. Volume refers to length of time, or duration, of a note.
12. The high point in a melody is known as its contour.
13. Stars and Stripes Forever includes a countermelody performed by the piccolos.
14. A singer or instrumentalist will pause to draw a breath at a cadence.
15. The component units of a melody have no relationship to sentence structure.
ESSAY
1. Describe the elements that contribute to the sound of a pitch.
2. What are the features that give each melody a distinctive character?
3. Compare the structure of a melody with the form of a sentence.
4. Describe the differences between the melodies for Ode to Joy, Joy to the World, and The Star-Spangled Banner.
