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92. Expressionism is an art concerned with ______.
A. depicting the beauties of nature
93. All of the following painters may be considered part of the expressionist movement except _______.
D. Edvard Munch
94. The expressionists rejected _______.
D. morality
95. Expressionist composers _______.
A. contributed many patriotic songs to the war effort
96. Schoenberg's teacher was ______.
A. Johannes Brahms
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Copyright © 2017 McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent
of McGraw-Hill Education.
Bloom's: Remember
Learning Objective: Recall the twentieth-century composer Schoenberg
Topic: Arnold Schoenberg
Feedback: Arnold Schoenberg was an almost entirely self-taught musician. He acquired his profound knowledge of music by
studying scores, playing in amateur chamber groups, and going to concerts.
97. Schoenberg acquired his profound knowledge of music by ______.
A. going to concerts
98. Alban Berg and Anton Webern were Arnold Schoenberg's ______.
A. teachers
99. When Schoenberg arrived in the United States after the Nazis seized power in Germany, he obtained a teaching position at
______.
A. Harvard
100. Schoenberg's third period, in which he developed the twelve-tone system, began around ______.
A. 1874
101. Schoenberg developed an unusual style of vocal performance, halfway between speaking and singing, called ______.
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B. Sprechstimme
C. atonality
D. serialism
102. The ordering of the twelve chromatic tones in a twelve-tone composition is called a ______.
A. series
103. Which of the following terms is not used to describe the special ordering of the twelve chromatic tones in twelve-tone
composition?
D. Series
104. The text of A Survivor from Warsaw _______.
A. was written by Schoenberg
105. A Survivor from Warsaw used three languages: English, German, and _______.
A. Italian
106. Which of the following statements is not true?
D. A novel feature of Berg's opera Wozzeck is that the music for each scene is a self-contained composition with a particular form
or of a definite type.
107. Georg Büchner's play Woyzeck was written in the ______.
D. 1940s
108. The vocal lines in Wozzeck include _______.
A. distorted folk songs
109. Anton Webern ______.
A. had little formal musical training
110. Webern's melodic lines are ______.
D. basically in major and minor keys
111. Anton Webern's twelve-tone works contain many examples of _______.
A. long singing melodies
112. Webern's Five Pieces for Orchestra are scored for _______.
D. the traditional large romantic orchestra
113. The most important elements in Webern's music are texture, tone color, and ______.
A. tempo
114. The least important element in Webern's music is _______.
A. texture
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Copyright © 2017 McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent
of McGraw-Hill Education.
Topic: Anton Webern
Feedback: Webern's music embraced atonality and the twelve-tone system. His concerns were tone color and expressions of
musical lyricism, not harmonic logic.
115. Béla Bartók's principal performing medium was ______.
A. conducting
116. From 1907 to 1934 Béla Bartók taught __________ at his alma mater, and gave recitals throughout
Europe.
D. violin
117. Béla Bartók was a leading authority on ______.
D. the music of ancient Greece
118. Béla Bartók evolved a completely individual style that fused folk elements with _______.
A. changes of meter and a powerful beat
119. The melodies Béla Bartók used in most of his works are _______.
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of McGraw-Hill Education.
C. reminiscent of nineteenth-century symmetrical themes
D. exclusively Hungarian and Rumanian folk tunes
120. While in the United States, Bartók held a position as research scholar in folk music at ____________ University.
A. Yale
121. While not rejecting any influence, Béla Bartók emphasized that the strongest influence on his music was _______.
A. American
122. Béla Bartók evolved a completely individual style that fused folk elements with _______.
A. changes of meter and a powerful beat
123. Béla Bartók's ______________ are widely thought to be the finest since those of Ludwig van Beethoven.
A. symphonies
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of McGraw-Hill Education.
Feedback: Bartók’s genius found its most characteristic expression in instrumental music, among them six string quartets, which
are among the finest since Beeethoven's.
124. While remaining within the framework of a tonal center, Béla Bartók often used _________ in his music.
A. harsh dissonances
125. Béla Bartók's Concerto for Orchestra _______.
A. is his most popular work
126. Shostakovich's opera Lady MacBeth of the Mtsensk District _______.
D. followed the Communist Party's dictates of an accessible musical style.
127. As a Soviet composer, Shostakovich was required to _______.
A. follow the dictates of the Communist Party
128. Shostakovich's Seventh (Leningrad) Symphony was inspired by _______.
A. the beauty of Leningrad's churches
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of McGraw-Hill Education.
B. the Communist take-over of the city of Leningrad
C. Prokofiev's Symphony No. 5
D. Hitler's attack of the Soviet Union and the 1941 siege of Leningrad
129. Babi Yar, a poem by the Russian poet Yevgeny Yevtushenko about Jews massacred by the Nazis in Kiev, _______.
D. was used for the Communist Party's official anthem
130. Shostakovich's Fifth Symphony has been described as _______.
A. "a blatant example of all that is wrong with twentieth-century music"
131. Up until the early twentieth century, ______ were the favorite instrumental organizations in America.
D. piano trios
132. Who was the leading American composer and conductor of band music?
A. Amy Beach
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Accessibility: Keyboard Navigation
Bloom's: Remember
Learning Objective: Explain how American composers such as Ives, Gershwin, Still, and Copland created music that was recognizably American
Topic: Music in America
Feedback: The leading American composer and conductor of band music was John Philip Sousa (1854–1932), nicknamed the
"march king." His best-known marches include The Stars and Stripes Forever, The Washington Post, and
133. Antonin Dvorák predicted in the late nineteenth century that the foundation for American music would come from _______.
134. During World War I (1914–1918), the Metropolitan Opera in New York would not ______.
135. Charles Ives's father was a(n) ______.
A. insurance salesman
136. After graduating from Yale, Charles Ives _______.
D. went into professional athletics
137. During most of his lifetime, Charles Ives's musical compositions _______.
A. were enthusiastically received in public performances
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of McGraw-Hill Education.
B. were quickly published by a major firm
C. accumulated in the barn of his Connecticut farm
D. were sought after by musicians eager to perform them in public
138. Charles Ives's music contains elements of _______.
A. revival hymns and ragtime
139. Which of the following compositions is not by Charles Ives?
A. Three Places in New England
140. Charles Ives's large and varied output includes works in many genres, but not _______.
A. symphonies
141. Putnam's Camp, Redding, Connecticut, is a movement from Charles Ives's ______.
D. The Unanswered Question
142. Putnam's Camp, Redding, Connecticut, is a child's impression of _______.
A. a summer at camp
143. Putnam's Camp, Redding, Connecticut, illustrates Charles Ives's technique of quoting snatches of familiar tunes by
presenting fragments of _______.
D. Battle Hymn of the Republic
144. George Gershwin grew up in _______.
D. Paris, France
145. Gershwin left high school at the age of fifteen to ______.
D. develop his athletic talents
146. Which of the following musicals is not by George Gershwin?
A. Funny Face
147. The Gershwin song that became a tremendous hit in 1920 was ______.
A. La, La, Lucille
148. George Gershwin usually collaborated with the lyricist ______.
A. Jerome Kern
149. Porgy and Bess is a(n) ______.
A. Broadway musical
150. Gershwin's Rhapsody in Blue opens with ______.
A. a solo flute
151. Rhapsody in Blue was commissioned by ______.
A. Ira Gershwin
152. The special concert at which Gershwin premiered his Rhapsody in Blue took place at Aeolian Hall in New York in ______.
A. 1919
153. "Harlem Renaissance" was the name ______.
D. of a symphony by William Grant Still
154. William Grant Still _______.
A. had little formal training in music
155. After serving in the navy and a brief return to studies at Oberlin College, William Grant Still moved to New York where he
______.
D. composed full time to satisfy his many commissions
156. As a result of his studies in composition with composers from two opposing musical camps, the conservative
George Whitefield Chadwick and the modernist Edgard Varèse, Still did what?
A. Composed in a very conservative style
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Copyright © 2017 McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent
of McGraw-Hill Education.
Bloom's: Remember
Learning Objective: Explain how American composers such as Ives, Gershwin, Still, and Copland created music that was recognizably American
Topic: William Grant Still
Feedback: After studying privately with two important composers in opposing musical camps (the conservative George
Whitefield Chadwick and the modernist Edgard Varèse), Still turned away from avant-garde styles and wrote compositions with
an uniquely African American flavor that were performed to critical acclaim in New York.
157. William Grant Still's works in African American style, such as his Afro-American Symphony of 1931, were _______.
A. never performed during his lifetime
158. As a composer, William Grant Still ______.
A. restricted his works to symphonies and orchestral compositions
159. William Grant Still's Afro-American Symphony ______.
D. has very few African American elements, in spite of its name
160. William Grant Still's opera dealing with the Haitian slave rebellion is _______.
A. Trouble in Tahiti
161. The flowering of African American culture called the "Harlem Renaissance" spanned the years ______.
A. 1880s-1900
162. Each movement of William Grant Still's Afro-American Symphony is prefaced by lines from a poem by
D. James Weldon Johnson.
163. Aaron Copland was born in ______.
D. Paris, France
164. In 1921 Copland went to France, where he was the first American to study composition with ______.
A. Virgil Thomson
165. In 1925, after Copland returned from France, American music meant ______.
A. the eclecticism of Ives
