978-1259892707 Part VI Mendelssohn Wrote In All Musical Forms Except ______.

Part VI

The Romantic Period

1. Romanticism, as a stylistic period in Western music, encompassed the years ______.

A. 1450-1600

2. Which of the following is not characteristic of romanticism?

A. A fascination with fantasy

3. Which of the following is not a characteristic aspect of romanticism in literature and painting?

D. Fantasy

4. Of all the inspirations for romantic art, none was more important than ______.

A. the aristocracy

5. Which of the following composers is not associated with the romantic period?

A. Giuseppe Verdi

6-2

of McGraw-Hill Education.

Bloom’s: Remember

Learning Objective: Know characteristics of romantic music

Topic: Romantic music

Feedback: Mozart is known as a classical composer, not romantic. He lived in the eighteenth century, before the romantic period

even began.

6. Drawing creative inspiration from cultures of lands foreign to the composer is known as ______.

D. verismo

7. What is program music?

A. Music that depicts aspects of nature

8. Which of the following statements is not true?

A. Romantic music puts unprecedented emphasis on self-expression and individuality of style.

9. The deliberate intent to draw creative inspiration from the composer’s own homeland is known as ______.

A. exoticism

10. How did composers express musical nationalism in their music?

A. By using the rhythms of the dances of their homelands

6-3

of McGraw-Hill Education.

B. By using their national legends as subject matter

C. By basing their music on the folk songs of their country

D. All answers are correct.

11. An orchestra toward the end of the romantic period might include close to ______ musicians.

A. 24

12. The orchestra in the romantic period ________.

A. was basically the same as in the classical period

13. 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

14. 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.

6-4

of McGraw-Hill Education.

Feedback: The piano was vastly improved during the 1820s and 1830s. A cast-iron frame was introduced to hold the strings

under greater tension, and the hammers were covered with felt. Its range was extended and the use of the damper pedal was

common.

15. A slight holding back or pressing forward of tempo in music is known as ______.

A. ritardando

16. Altering the character of a melody by changes in dynamics, orchestration, or rhythm is a romantic technique known as

______.

D. development

17. Which of the following statements is not true?

D. To intensify the expression of the music, romantic performers made use of rubato, the slight holding back or pressing forward

of tempo.

18. 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

19. 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.

20. The composer whose career was a model for many romantic composers was ______.

D. Wolfgang Amadeus Mozart

21. All of the following romantic composers were also virtuoso instrumentalists giving solo recitals except ______.

A. Clara Wieck Schumann

22. A romantic composer who earned his living as a touring virtuoso was ______.

D. Franz Schubert

23. A composer who earned his/her living as a violin virtuoso was ______.

A. Clara Schumann

24. What did the rise of the urban middle class lead to?

A. The piano becoming a fixture in every middle-class home

25. When music conservatories were founded, women ______.

A. were admitted only as vocalists

26. A very important musical part of every middle-class home during the romantic period was the ______.

A. resident composer/performer

27. One of the few composers fortunate enough to be supported by private patrons was ______.

A. Franz Liszt

28. Music criticism was a source of income for both Hector Berlioz and ______.

D. Giuseppe Verdi

6-7

of McGraw-Hill Education.

Bloom’s: Remember

Learning Objective: Analyze characteristics of music in works by the romantic composer Schumann

Learning Objective: Recognize the characteristics of Berlioz’s program music

Topic: Robert Schumann

Feedback: Writing music criticism was one way that a freelance musician could make a steady income. Both Berlioz and

Schumann engaged work in this capacity.

29. An art song is a musical composition for ______.

D. All answers are correct.

30. The word ___________ is commonly used for a romantic art song with a German text.

D. ballade

31. The German composers of art songs favored, among others, the lyric poetry of Johann Wolfgang von Goethe and ______.

D. Walt Whitman

32. Which of the following statements is not true of the romantic art song?

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.

33. 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

34. When the same music is repeated for two or more stanzas of a poem, leading to new music for other stanzas, the form is

known as ______.

A. song form

35. Which of the following forms was not used in composing art songs?

A. Strophic

36. Schubert’s Winterreise and Schumann’s Dichterliebe are examples of ______.

D. Romantic operas

37. Schubert was born in ______.

D. Berlin

38. What was Schubert’s primary source of income?

A. His position as music director to a noble court

39. Schubert wrote a number of symphonies and chamber works that are comparable in power and emotional intensity to those of

his idol, ______.

D. Haydn

40. Schubert ______.

A. was widely acknowledged as a composer in his lifetime

41. 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.

42. Schubert’s songs number more than ______.

A. 50

6-10

of McGraw-Hill Education.

Learning Objective: Analyze characteristics of dramatic narrative in works by the romantic composer Schubert

Topic: Franz Schubert

Feedback: Schubert composed songs incessantly throughout his career, producing over 600.

43. Schubert’s song Die Forelle is an example of __________ form.

D. strophic

44. Schubert wrote compositions in every musical genre except ______.

A. string quartets

45. Schubert was eighteen years old when he composed the song Erlkönig, set to a poem by ______.

A. Schubert himself

46. The form of The Erlking is ______.

A. strophic

47. The instrumentation of Schubert’s Trout Quintet is unusual because of the inclusion of a(n) ______.

D. oboe

6-11

of McGraw-Hill Education.

Learning Objective: Analyze characteristics of dramatic narrative in works by the romantic composer Schubert

Topic: Franz Schubert

Feedback: This quintet is scored for the unusual combination of piano, violin, viola, cello, and double bass.

48. The Erlking, in Schubert’s song of that name, is a romantic personification of _______.

A. ghosts

49. The piano’s relentless rhythm in Erlkönig (The Erlking) unifies the episodes of the song and suggests the ______.

D. approach of death

50. Which of the following is not true of Robert Schumann’s works?

A. They are intensely autobiographical.

51. Clara Wieck was _______.

A. the daughter of Schumann’s piano teacher

52. During the first ten years of his creative life, Schumann published only ______.

A. songs

6-12

of McGraw-Hill Education.

C. symphonies

D. musical criticism

53. Robert Schumann founded and edited the New Journal of Music in order to do what?

D. Promote the recording of music

54. Robert Schumann’s Fantasiestücke is a(n) ______.

A. etude for piano students

55. Johannes Brahms ______.

A. was an admirer of Robert Schumann, but never met him

56. Clara Schumann was a ______.8

A. virtuoso pianist

57. The cimbalom is ______.

A. a form of primitive cymbal, struck with a stick

58. A leading pianist of the nineteenth century, Clara Schumann ______.

A. never composed any music

59. In the 1830s, Paris was ______.

A. a center of romanticism

60. Chopin expressed his love of Poland by composing polonaises and ______.

A. polkas

61. While in Paris, Chopin ______.

A. married the famous writer Aurore Dudevant

62. Most of Chopin’s pieces ______.

D. have literary programs or titles

63. A slow, lyrical, intimate composition for piano, associated with evening and nighttime, is the ______.

A. etude

64. Chopin’s Revolutionary Étude develops the pianist’s left hand because _______.

D. the left hand plays the main melody

65. A study piece, designed to help a performer master specific technical difficulties, is known as ______.

A. a nocturne

66. Which of the following statements is not true?

A. In the 1830s Paris was a center of romanticism and the artistic capital of Europe.

6-15

of McGraw-Hill Education.

Feedback: Although Chopin’s Études work on specific technical issues, they also reach beyond mere exercises to become

masterpieces of music, exciting to hear as well as to master.

67. The ___________ is a dance in triple meter that originated as a stately processional for the Polish nobility.

A. polka

68. 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

69. As a youth, Franz Liszt was influenced by the performances of ______.

A. Richard Wagner

70. During his teens and twenties, Franz Liszt lived in ______.

A. Rome

71. Until the age of thirty-six, Franz Liszt toured Europe as a virtuoso ______.

D. All answers are correct.

6-16

of McGraw-Hill Education.

Learning Objective: Analyze characteristics of music in works by the romantic composer Liszt

Topic: Franz Liszt

Feedback: Franz Liszt was a virtuoso pianist, who toured all over Europe, amazing audiences wherever he played.

72. Liszt abandoned his career as a traveling virtuoso to become court conductor at __________, where he championed works by

contemporary composers.

A. Rome

73. Liszt’s piano works are characterized by ______.

A. an unprecedented range of dynamics

74. The writer whose literary works greatly inspired Franz Liszt was ______.

A. William Shakespeare

75. In many of his works, Liszt unified contrasting moods by a process known as ______.

A. motivic repetition

76. Liszt typified the romantic movement because he ______.

A. had a charismatic personality

6-17

of McGraw-Hill Education.

D. All answers are correct.

77. Liszt created the ______________, a one-movement orchestral composition based to some extent on a literary or pictorial

idea.

A. concert overture

78. By the age of thirteen, Mendelssohn had written ____________ of astounding quality.

A. vocal works

79. Mendelssohn is known as the man who rekindled an interest in the music of ______.

A. Giovanni Pierluigi da Palestrina

80. The high point of Mendelssohn’s career was the triumphant premiere of his oratorio _____________ in England.

D. Fingal’s Cave

81. Mendelssohn wrote in all musical forms except ______.

A. symphonies

6-18

of McGraw-Hill Education.

B. operas

C. string quartets

D. oratorios

82. The three movements of Mendelssohn’s Concerto for Violin ______.

83. Mendelssohn’s Concerto for Violin in E Minor opens with a(n) ______.

84. 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 ______.

85. In the first movement of Mendelssohn’s Concerto for Violin, the cadenza ______.

A. is left to the performer to improvise

6-19

of McGraw-Hill Education.

Feedback: In another alteration to classical form, Mendelssohn wrote the cadenza out and placed it at the end of the development

section as a transition to the recapitulation. Typically in classical concertos, the cadenza was improvised by the soloist and played

near the end of the movement. Here, Mendelssohn wanted the cadenza to be an integral part of the movement, not merely

something tacked on to display the soloist’s virtuosity.

86. How is Mendelssohn’s Concerto for Violin different from a typical concerto of the classical era?

A. It does not have a cadenza.

87. Mendelssohn’s Violin Concerto was inspired by ______.

D. a performance of the great violin virtuoso Niccolò Paganini

88. Instrumental music associated with a story, poem, idea, or scene, popular during the romantic period, is called ______.

A. absolute music

89. The work referred to by Beethoven as an “expression of feeling rather than painting” was his ______.

A. Symphony (No. 5)

90. Which of the following statements is not true?

A. Musicians and audiences in the romantic period liked to read stories into all music, whether intended by the composer or not.

91. Nonprogram music is also known as _____________ music.

A. pure

92. A ____________ is an instrumental composition in several movements based to some extent on a literary or pictorial idea.

A. nocturne

93. A ________________ is a one-movement orchestral composition based to some extent on a literary or pictorial idea.

A. mazurka

94. The composer who developed the symphonic poem was ______.

D. Richard Strauss

95. Music intended to be performed before and during a play to set the mood for scenes or highlight dramatic action is known as

______.