54. The most important new structural innovation of the Classical Era (used in Mozart’s
Symphony no. 40) was the development of
a. the fugue.
b. cyclical form.
c. sonata form.
d. call-and-response.
55. Mozart was
a. a child prodigy.
b. a composer of mainly string quartet and piano works.
c. from Italy.
d. a quiet, shy person.
56. In which city did Mozart compose Symphony no. 40 in G Minor?
a. London, England
b. Vienna, Austria
c. Paris, France
d. New York, United States
22.6
57. Which of the following is one possible reason that Mozart’s sister stopped touring and
composed very little?
a. Her mother demanded that she stay at home.
b. Professional outlets for women composers were virtually nonexistent during the
Classical Era.
c. She died at the age of 12.
d. She was not as talented as her brother.
58. Mozart’s sister was
a. a child star in opera singing.
b. an accomplished pianist at a young age.
c. well-known for her violin-playing.
d. all of the above.
59. When W. A. Mozart moved to Vienna in 1781, his piano concerts provided him with the
ideal vehicle for impressing the emperor because
a. audiences marveled at Mozart’s virtuosity at the keyboard and his ingenuity as a
composer.
b. concertos were the only style of music allowed in the court.
c. Mozart was able to find skilled players to perform his piano solos.
d. the emperor was quite easy to impress.
60. What is the driving force behind any concerto?
a. strict imitative counterpoint
b. steady rhythmic attacks from the piano
c. dramatic tension between soloist and orchestra
d. the virtuosity of the performer
61. What is the texture in the opening measures of Mozart’s Piano Concerto in A Major,
K. 488?
a. orchestra alone
b. piano alone
c. orchestra supporting piano
d. orchestra and piano on equal footing
62. What is the texture at the moment of the piano’s first entrance in Mozart’s Piano
Concerto in A Major, K. 488?
a. orchestra and piano on equal footing
b. orchestra supporting piano
c. piano supporting orchestra
d. piano alone
63. Which feature set Mozart’s music apart from that of his contemporaries?
a. his use of cyclic form
b. pervading imitation
c. the sheer number and variety of melodic ideas
d. his use of sonata form
64. How many themes occur in the first movement of Mozart’s Piano Concerto in A Major,
K. 488?
a. one
b. two
c. three
d. four
65. When compared to modern pianos, the piano in Mozart’s day
a. was no different.
b. was a more delicate instrument that used leather-covered hammers.
c. had a more strident sound because of its metal frame.
d. used a plucking mechanism rather than hammers.
66. Concert halls in Mozart’s time
a. were much smaller than modern concert halls.
b. were nonexistent; concerts were strictly private affairs for the aristocracy.
c. consisted mostly of repurposed cathedrals following the Reformation.
d. were outdoor amphitheaters.
67. In the opening movement of the Piano Concerto in A Major, K. 488, Mozart used
elements of contrast found in which Baroque formal structure?
a. requiem mass
b. fugue
c. ritornello
d. tone poem
68. The soloist would signal the orchestra that a cadenza was about to end by playing
a. a rest longer than two measures.
b. the highest possible note on his instrument.
c. a sequence of sixteenth notes in the tonic key.
d. a long trill.
69. The cadenza is a moment when a soloist can display his or her
a. sight-reading talent.
b. virtuosity.
c. ensemble playing.
d. declamatory recitative.
70. The form of the first movement of Mozart’s Piano Concerto in A Major, K. 488 is like a
a. sonata form, but with two expositions.
b. minuet, but in rounded binary.
c. sonata form, but with no development.
d. minuet, but with no key change.
71. What is the name for the opening formal section of the first movement of Mozart’s Piano
Concerto in A Major, K. 488?
a. Introductory Episode
b. Tutti Exposition
c. Solo Exposition
d. Solo Episode
72. In Mozart’s The Marriage of Figaro, who is the Count hoping to seduce?
a. Almaviva
b. Susanna
c. Cherubino
d. Rosalinda
73. In Mozart’s The Marriage of Figaro, who is Basilio?
a. the Count
b. the page boy
c. the Prince
d. the music teacher
74. In The Marriage of Figaro, what is the nature of Basilio’s character?
a. short-tempered
b. amorous
c. meddlesome
d. depressed
75. In The Marriage of Figaro, what is the nature of the Count?
a. womanizing
b. virtuous
c. witty
d. scholarly
76. In “Cosa Sento,” whose melody is rapid and fluttering, showing the character’s state
of agitation?
a. Susanna
b. the Count
c. Basilio
d. the Countess
77. In “Cosa sento,” whose melody is slow and rising, showing the character’s state
of determination?
a. Susanna
b. the Count
c. Basilio
d. the Countess
78. In “Cosa sento,” whose melody is whiny and hesitant, showing the character’s state
of embarrassment?
a. Susanna
b. the Count
c. Basilio
d. the Countess
79. What formal structure does Mozart draw upon in “Cosa sento” to fit the music to the
dramatic situation?
a. sonata form
b. fugue
c. minuet
d. rondo
80. In “Cosa sento,” the Count’s recurring musical theme is heard
a. after he discovers Cherubino hiding under a dress.
b. just before he draws his sword.
c. when he accidentally happens upon the Countess.
d. all of the above.
81. Which is an opera by Gluck?
a. Così fan tutte
b. Alceste
c. Fidelio
d. none of the above
82. According to Gluck, what is the role of the music in an opera?
a. to demonstrate the virtuosity of Europe’s best singers
b. to clearly articulate the formal structures of Classical music
c. to impress the nobility
d. to serve the plot of the opera
83. In “Cosa sento,” when does the Count shift to the more syllabic, declamatory style
of singing?
a. when propositioning Susanna
b. after finding Figaro in the closet
c. when relating his encounter with Cherubino the day before
d. none of the above
84. What is the term to describe the Count’s syllabic, declamatory style of singing in
“Cosa sento”?
a. arioso
b. da capo
c. tremolo
d. accompanied recitative
85. Which character in The Marriage of Figaro is sung by a bass?
a. Susanna
b. Basilio
c. the Count
d. Cherubino
86. “Chester” may be seen as Billings’s response to the
a. War of 1812 against England.
b. French and Indian War.
c. American struggle for independence.
d. inauguration of George Washington as U.S. president.
87. Billings demonstrated the ideals of Yankee independence in that he
a. was a tanner by trade, who taught himself to write music.
b. was born in England, but moved to America to join the revolutionary cause.
c. went on the “midnight ride” of 1775 with Paul Revere.
d. all of the above.
88. Which of the following is a characteristic of periodic phrase structure?
a. A consequent phrase is followed by two antecedent phrases.
b. One or more antecedent phrases are followed by one or more consequent phrases.
c. An antecedent phrase must be followed by at least two consequent phrases.
d. The consequent phrase ends with the equivalent of a comma.
89. What is the order of melodic phrases in “Chester”?
a. Consequent, Antecedent 1, Antecedent 2
b. Antecedent 1, Antecedent 2, Consequent
c. Antecedent, Consequent 1, Consequent 2
d. Antecedent 1, Antecedent 2, Consequent 1, Consequent 2
90. What is the melodic contour of the first phrase of “Chester”?
a. upward
b. downward
c. valley
d. arching
91. What is the melodic contour of the last phrase of “Chester”?
a. upward
b. downward
c. valley
d. arching
92. In Billings’s original version, “Chester” was written for
a. soprano, tenor, and bass.
b. alto, tenor I, tenor II, and bass.
c. soprano, alto, tenor, and bass.
d. soprano I, soprano II, alto, and bass.
93. In “Chester,” which voice carries the melody?
a. soprano
b. alto
c. tenor
d. bass
94. In the first verse of “Chester,” how many voices are singing?
a. one
b. two
c. three
d. four
95. What is the type of harmony in the second verse of “Chester,” when the tenor and bass
sing independent lines with the soprano doubling the tenor at the octave?
a. unison
b. two-part harmony
c. three-part harmony
d. four-part harmony
96. In the performance of “Chester,” which voices are heard in the first verse?
a. tenor alone
b. tenor and bass
c. tenor, bass, and soprano
d. tenor, bass, and alto
97. “Chester” is different than many other songs of the American Revolution in that
a. its words and music were written by an American-born composer.
b. it uses imagery from the naval battles of the French and Indian War.
c. its melody comes from a traditional British song.
d. it was originally written for a brass ensemble.
98. Which was the first published collection of musical works by an individual native-born
American composer?
a. The Sacred Harp
b. The New-England Psalm Singer
c. The Book of Common Prayer
d. The Liber Usualis
99. Even though his first publication found great commercial success, William Billings
a. stopped writing music after its release.
b. decided to move to Europe to write music for the nobility.
c. could not support himself as a composer and died in poverty.
d. soon lost faith in the revolutionary cause and forbid its further publication.