comprehensive

Question 1

Baroque

Answer 1

• from the Portuguese barroco meaning “irregularly shaped or misshapen pearl”
• first used as a derogatory term in reference to the overly ornate art of the era
• now applied to art, architecture, and music of the 17th and early 18th centuries

Question 2

basso continuo

Answer 2

• baroque performance practice
• generally involves two performers - one playing the notated baseline, one realizing the harmonies as indicated by the figured bass
• harmonies usually play on harpsichord or organ
• provides harmonic framework

Question 3

figured bass

Answer 3

• a musical shorthand developed in the Baroque era
• numbers are placed below the baseline to show harmonic progression
• performed or realized by the basso continuo
• provides a structure for guided improvisation

Question 4

the Affections

Answer 4

• also refferd to as the “doctrine of affections” or the “affects”
• a Baroque philosophy inspired by ancient Greek and Roman writers and orators
• refers to emotional states of the soul
  in Baroque music, a single “affect” (one clear emotion) is usually projected through an entire composition or movement

Question 5

ornamentation

Answer 5

• music embellishment to decorate a melodic line
• either represented with symbols or improvised

Question 6

monophonic texture

Answer 6

• a single line of unaccompanied melody

Question 7

polyphonic texture

Answer 7

• a combination of two or more melodic lines

Question 8

homophonic texture

Answer 8

• a single line of melody supported by a harmonic accompaniment

Question 9

concerto

Answer 9

• a popular instrumental genre of the Baroque era for soloists and orchestra
• generally in three movements: fast-slow-fast
• frequently employed ritornello form
• intended to showcase the virtuosity of the soloists

Question 10

ritornello form

Answer 10

• a structure employed in the first and third movements of the Baroque concerto
• the opening passage is restated throughout the movement serving as a refrain

Question 11

ripieno

Answer 11

• Italian for “full” or “complete”
• a term used to denote the use of the full orchestra in the Baroque concerto

Question 12

ostinato

Answer 12

• Italian for “obstinate” or “persistent”
• a rhythmic or melodic pattern repeated for an extended period

Question 13

pedal point

Answer 13

• a note, or series of notes, sustained through harmony changes in other parts

Question 14

programmatic writing

Answer 14

• music with a descriptive element, inspired by extramusical associations, like a story or painting
• evolved into a significant feature of 19th-century instrumental writing (program music)

Question 15

idiomatic writing

Answer 15

• highlights the unique technical capabilities of an instrument in the style of writing
• opposite of “generic”
• developed in the Baroque era

Question 16

binary form

Answer 16

• two-part form: A||B||
• both parts often repeat
• section A generally ends with an open cadence in the dominant or relative major key

Question 17

rounded binary form

Answer 17

• two-part form: A||B + A₁||
• opening material from Section A returns after B material
• key structure similar to binary form

Question 18

ternary form

Answer 18

• three-part form: A||B||A||
• section A generally ends with a closed cadence in the tonic key
• section B generally creates contrast in key and/or material
• often used in Baroque arias and Classical menuet and trio movements

Question 19

equal temperament

Answer 19

• a method of tuning keyboard instruments
• the octave is divided into twelve equal semitones
• facilitated the composition and performance of music in all keys

Question 20

clavier

Answer 20

• a German word for keyboard instruments other than the organ

Question 21

prelude

Answer 21

• a short keyboard work in improvisatory style
• often paired with a fugue

Question 22

fugue

Answer 22

• highly structured, imitative contrapuntal composition
• a single theme or subject prevails

Question 23

counterpoint

Answer 23

• combination of two or more independent melodic lines
• also referred to as “polyphonic texture”

Question 24

subject

Answer 24

• the initial statement of the main theme of a fugue
• in the tonic key

Question 25

answer

Answer 25

• the second statement of the main theme in a fugue
• usually in the dominant key

Question 26

real answer

Answer 26

• an exact transposition of the subject

Question 27

tonal answer

Answer 27

• a statement of the subject in which one or more intervals is adjusted to accommodate the harmony

Question 28

countersubject

Answer 28

• a recurring countermelody
• accompanies entries of the subject and answer

Question 29

episode

Answer 29

• a passage within a fugue in which neither subject nor answer is present
• frequently sequential

Question 30

oratorio

Answer 30

• a large-scale work for soloists, chorus, and orchestra
• serious subject, generally based on biblical texts
• consists of recitatives, arias, ensembles, and choruses
• developed in the Baroque era

Question 31

French overture

Answer 31

• a Baroque orchestral genre, often the orchestral introduction to an opera or oratorio
• first developed at the court of Louis XIV by Jean-Baptiste Lully
• generally in two parts
• first part - slow tempo, homophonic texture, features dotted figures
• second part - fast tempo, imitative texture

Question 32

libretto

Answer 32

• the text of an opera, oratorio, or cantata
• usually written by someone other than the composer

Question 33

recitative

Answer 33

• a speech-like style of singing used in operas, oratorios, and cantatas
• follows inflections of the text, resulting in rhythms flexibility
• usually used to advance the plot or storyline; moves through text quickly

Question 34

recitativo secco

Answer 34

• Italian for “dry recitative”
• a speech-like, declamatory style of singing
• supported only by continuo
• employed in opera, oratorio, and cantata

Question 35

aria

Answer 35

• Italian for “air”
• a solo song with accompaniment, heard in an opera, oratorio, or cantata
• highly emotional and often virtuosic
• may have lyrical or dramatic qualities; often serves to reveal the characters’ most intimate emotions

Question 36

da capo aria

Answer 36

• an aria (solo song) employing a ternary (ABA) structure
• in performance, the return of Section A is generally ornamented
• the most common type of aria in Baroque opera and oratorio

Question 37

word painting

Answer 37

• musical pictorialization
• the music mirror the literal meaning of the words
• achieved through melody, harmony, or rhythm

Question 38

melisma

Answer 38

• a group of notes sung on a single syllable/vowel
• demonstrates vocal virtuosity and often serves to highlight key words

Question 39

Classicism

Answer 39

• refers to the art, architecture, and music of the late 18th century
• adheres to principles of symmetry, balance, and proportion

Question 40

Viennese

Answer 40

• refers to the musical style forged by Haydn, Mozart, and Beethoven and their contemporaries
• in late 18th century Vienna, Austria flourished as a musical centre

Question 41

absolute music

Answer 41

• instrumental music without pictorial associations
• generic titles reflecting tempos, genres, or forms

Question 42

sonata form

Answer 42

• formal structure often used in the first movement of a sonata cycle
• consists of exposition, development, and recapitulation
• also known as sonata-allegro form

Question 43

exposition

Answer 43

• the first main section in sonata form
• two contrasting themes are stated
• the first theme is in the tonic key
• the second theme (or themes) are in a contrasting key, generally in the dominant or relative major

Question 44

development

Answer 44

• the second main section in sonata form
• themes from the exposition are developed through use of sequences, fragmentation, inversion, or changes to orchestration
• modulations and increased harmonic tension and dissonance
• new themes may also be introduced
• generally ends with dominant preparation

Question 45

recapitulation

Answer 45

• the third main section in sonata form
• a recapitulation of the exposition
• second theme and codetta are usually restated in the tonic
• bridge remains in the tonic (no need to modulate)

Question 46

coda

Answer 46

• Latin for “tail” (cauda)
• a concluding section reaffirming the tonic key
• not always present

Question 47

sonata cycle

Answer 47

• multi-movement structure that emerged in the Classical era
• demonstrated in the symphony, sonata, or concerto

Question 48

introduction

Answer 48

• not a standard component of the form
• usually slow
• establishes the tonic key
• creates musical tension

Question 49

first theme

Answer 49

• establishes the tonic key
• present a distinctive melodic and rhythmic character
• often sets the mood for the entire movement

Question 50

bridge

Answer 50

• begins in the tonic key and transitions into the key of the second theme

Question 51

second theme

Answer 51

• a contrasting theme that establishes the new key (usually the dominant or relative major)

Question 52

codetta

Answer 52

• affirms the new key
• generally concludes with a repeat sign

Question 53

chamber music

Answer 53

• music for small ensemble (two to ten players)
• one player per part
• usually performed without a conductor

Question 54

string quartet

Answer 54

• the most important chamber music genre of the Classical era
• performing forces: first violin, second violin, viola, cello
• usually in four movements: fast-slow-moderately fast-fast
• first movement is usually in sonata form

Question 55

theme and variations

Answer 55

• a work featuring a statement of a melody (theme) followed by a series of transformations (variations)
• changes can be made to melody, harmony, rhythm, or orchestration
• often used in the slow movement of a sonata cycle

Question 56

serenade

Answer 56

• a multi-movement orchestral genre
• for small orchestra or chamber ensemble
• popular instrumental genre in the Classical era

Question 57

rocket theme

Answer 57

• rapidly ascending melody outlining an arpeggio
• often used as a dramatic opening motive in Classical-era works

Question 58

menuet and trio

Answer 58

• menuet: a stylized dance of French origin developed in the Baroque era, in triple meter with a graceful, elegant character
• trio: contrasting middle section
• ternary (ABA) form (menuet, trio, menuet)

Question 59

rondo form

Answer 59

• Classical formal structure often used in sonata cycle
• Section A recurs, with alternating sections creating contrast
• ABACA or ABACABA

Question 60

sonata-rondo form

Answer 60

• combines elements of sonata form and rondo form
• typical layout: ABACABA (ABA functions as the exposition; C functions as the development; second ABA functions as the recapitulation)

Question 61

symphony

Answer 61

• a multi-movement orchestral work originating in the 18th century
• usually in four movements: fast-slow-moderate-fast
• at least one movement is in sonata form

Question 62

cyclical structure

Answer 62

• material heard in one movement recurs in later movements
• creates structural unity in a multi-movement work

Question 63

motive

Answer 63

• a short melodic or rhythmic fragment used in building or developing a melody

Question 64

scherzo and trio

Answer 64

• Italian for “jest” or “joke”
• Beethoven substituted the scherzo in place of the menuet as the third movement in the sonata cycle
• also in triple meter, but generally more dynamic than the elegant menuet
• as with the menuet and trio, it contains a contrasting middle section (trio), resulting in ABA form (scherzo-trio-scherzo)

Question 65

Romanticism

Answer 65

• origins can be traced to late 18th-century literature that served as inspiration for art and music
• emphasis on creative imagination and expression of emotions

Question 66

program music

Answer 66

• significant trend in 19th-century music
• instrumental music with literary, poetic, or visual associations
• descriptive titles are common
• some works include a written text or “program” provided by the composer

Question 67

chromatic harmony

Answer 67

• extensive use of notes outside the prevailing key range
• from the Greek word for colour, khroma
• increasingly used for heightened expression in 19th-century music

Question 68

exoticism in music

Answer 68

• fascination with foreign lands and cultures
• important element of 19th-century musical style
• evoked through melody, rhythm, harmony, and orchestration

Question 69

nationalism in music

Answer 69

• patriotism expressed in music
• important element of 19th-century musical style
• influence of folk song and dance, myths and legend, landscapes, historical events

Question 70

art song

Answer 70

• the musical setting of a poem
• for solo voice, generally with piano accompaniment

Question 71

Lied

Answer 71

• the musical setting of a German poem
• for solo voice, generally with piano accompaniment
• flourished in the 19th century

Question 72

through-composed

Answer 72

• a song structure that does not repeat entire sections of the music
• as a result, melody, harmony, and piano accompaniment are able to reflect the meaning of the text as the story unfolds

Question 73

polonaise

Answer 73

• stately Polish dance in triple meter
• often proud and majestic in character
• often includes characteristic rhythmic figures

Question 74

rubato

Answer 74

• Italian for “robbed time”
• a characteristic of Romantic music
• a flexible tempo for expressive purposes

Question 75

program symphony

Answer 75

• a 19th-century multi-movement orchestral work
• modelled after the 18th-century symphony with programmatic elements
• includes a descriptive title
• the accompanying text often outlines the program

Question 76

idée fixé

Answer 76

• French for “fixed idea”
• devised by Berlioz
• a recurring theme that undergoes transformation
• serves as a unifying thread in a multi-movement composition
• in Symphonie Fantastique, it represents “the beloved”

Question 77

col legno

Answer 77

• Italian for “with the wood”
• novel effect used by Berlioz
• players tap on the strings with the wooden parts of their bows

Question 78

Dies irae

Answer 78

• Latin for “day of wrath”
• a monophonic chant melody dating from late Middle Ages
• drawn from the Romantic Catholic Requiem (Mass for the dead)
• 19th-century audiences would have associated the tune with funeral services

Question 79

opera

Answer 79

• drama that is sung
• combines vocal and instrumental music with actin, costume, and scenery
• components include recitative, arias, ensembles, and choruses
• originated in Italy around 1600

Question 80

habañera

Answer 80

• Cuban dance-song
• 2/4 time
• characteristic rhythmic motive, often used as an ostinato

Question 81

modal scales

Answer 81

• the use of scales (modes) in which the pattern of whole steps and half scales is different from conventional major and minor scales; for example, Dorian, Lydian, and Mixolydian
• common in music of the Middle AGes and Renaissance; rediscovered by 20th-century composers

Question 82

whole-tone scale

Answer 82

• a non-traditional scale employed by composers of the late 19th and 20th centuries
• consists of six different pitches, all spaces a whole tone apart

Question 83

pentatonic

Answer 83

• a scale consisting of five different pitches
• common to the folk music of many European and Asian cultures

Question 84

expanded tonality

Answer 84

• the use of extremely chromatic harmony while still maintaining allegiance to a tonal centre

Question 85

polytonality

Answer 85

• the simultaneous use of two or more tonal centres

Question 86

atonality

Answer 86

• the total absence of any tonal centre
• characterized by unresolved dissonances

Question 87

changing meter

Answer 87

• shift of metrical groupings
• manifested through changes of time signatures

Question 88

polyrhythm

Answer 88

• the simultaneous use of two or more conflicting rhythms

Question 89

symphonic poem

Answer 89

• one of the most important forms of orchestral program
• a single-movement work, generally in free form, with literary or pictorial associations
• invented by Franz Liszt

Question 90

impressionism in music

Answer 90

• employs harmonic vocabulary: whole-tone, modal, pentatonic scales; parallel chords
• suggests images rather than directly depicting them
• features individual treatment of instruments and use of muted instruments
• metric pulse is frequently obscured

Question 91

Symbolism

Answer 91

• a French literary movement of the late 19th century
• authors sought to suggest subject matter rather than depict it specifically

Question 92

ballet

Answer 92

• a highly stylized type of dance that often interprets a story
• first developed in the 17th century

Question 93

choreography

Answer 93

• the art of designing the dance steps and movements in a ballet (or musical)

Question 94

primitivism

Answer 94

• an effect created largely through rhythm
• use of strong accents, heavy syncopation, polyrhythms, expanded percussion section
• demonstrated best in Stravinsky’s The Rite of Spring

Question 95

musical

Answer 95

• a unique 20th-century genre developed in the United States
• a play with spoken dialogue but featuring musical numbers: songs, dances, choruses

Question 96

jazz

Answer 96

• a musical style developed in the early 20th century in the United States
• combines elements of African, popular, and European music
• based on improvisation

Question 97

verse-chorus structure

Answer 97

• a common song structure in popular music
• verses develop the character/storyline, while the “chorus” acts as a tuneful refrain

Question 98

hemiola

Answer 98

• a temporary shift of the metric accents
• notes grouped in threes are momentarily grouped in twos or vice versa

Question 99

minimalism in music

Answer 99

• characterized by the. repetition of melodic, rhythmic, and harmonic patterns with little variation

Question 100

fanfare

Answer 100

• a loud ceremonial tune
• features brass instruments
• used to herald the arrival of an important person, the launch of an event, or in commemoration of someone

Question 101

Vivaldi life and death

Answer 101

1678-1741

Question 102

Bach life and death

Answer 102

1685-1741

Question 103

Handel life and death

Answer 103

1685-1759

Question 104

Haydn life and death

Answer 104

1732-1809

Question 105

Mozart life and death

Answer 105

1756-1791

Question 106

Beethoven life and death

Answer 106

1770-1827

Question 107

Schubert life and death

Answer 107

1797-1828

Question 108

Chopin life and death

Answer 108

1810-1849

Question 109

Berlioz life and death

Answer 109

1803-1869

Question 110

Bizet life and death

Answer 110

1838-1875

Question 111

Debussy life and death

Answer 111

1862-1918

Question 112

Stravinsky life and death

Answer 112

1882-1971

Question 113

Bernstein life and death

Answer 113

1918-1990

Question 114

Louie year born

Answer 114

1949

Question 115

Adams year born

Answer 115

1947

Question 116

The Four Seasons, op. 8 “Spring”

composer

Answer 116

Vivaldi

Question 117

The Well-Tempered Clavier, Book 1, Prelude and Fugue in B flat Major, BWV 866

composer

Answer 117

Bach

Question 118

Messiah, HWV 56 Part 1: Overture, “There were shepherds…”, “Glory to God”, “Rejoice Greatly”, Part 2: “Hallelujah”

composer

Answer 118

Handel

Question 119

String Quartet, op. 76, no. 3 (“Emperor”) 2nd movement

composer

Answer 119

Haydn

Question 120

Eine Kleine Nachtmusik, K525

composer

Answer 120

Mozart

Question 121

Symphony No. 5 in C Minor, op. 67

composer

Answer 121

Beethoven

Question 122

Erlkönig, op. 1, D328

composer

Answer 122

Schubert

Question 123

Polonaise in A flat Major, op. 53

composer

Answer 123

Chopin

Question 124

Symphonie fantastique, 5th movement: “Songe d’une nuit du sabbat”

composer

Answer 124

Berlioz

Question 125

Carmen act 1: “Quand je vous aimerai?”, “L’amour est un oiseau rebelle”, act 2: “Votre toast, je peux vous le render”

compsoer

Answer 125

Bizet

Question 126

Prélude à l’après-midi d’un faune

composer

Answer 126

Debussy

Question 127

The Rite of Spring Part 1: Adoration of the Earth: Introduction, Dance of the Youths and Maidens, Game of Abduction

composer

Answer 127

Stravinsky

Question 128

West Side Story act 1: “Maria”, “America”

composer

Answer 128

Bernstein

Question 129

Changes (from “Music for Piano”)

composer

Answer 129

Louie

Question 130

Short Ride in a Fast Machine

composer

Answer 130

Adams

Question 131

true or false

Vivaldi contributed to the development of the three-movement concerto structure.

Answer 131

true

Question 132

true or false

Vivaldi is known as the father of the symphony

Answer 132

false

Question 133

true or false

Vivaldi composed exclusively for keyboard instruments

Answer 133

false

Question 134

true or false

Vivaldi was a leader in establishing ritornello form

Answer 134

true

Question 135

true or false

Vivaldi was a virtuoso violinist, conductor, and a prolific composer

Answer 135

true

Question 136

true or false

Vivaldi was a virtuoso organist, as reflected in his organ and keyboard works

Answer 136

false

Question 137

true or false

Vivaldi’s works are written in a generic style, and can be easily be played on any instrument

Answer 137

false

Question 138

true or false

Vivaldi developed idiomatic writing for strings and exploited string virtuosity

Answer 138

true

Question 139

true or false

Vivaldi’s works are identified by key and opus number only; the title “The Four Seasons” was added later by a publisher of his music

Answer 139

false

Question 140

true or false

Vivaldi incorporated programmatic writing and descriptive titles

Answer 140

true

Question 141

true or false

Vivaldi composed only instrumental music

Answer 141

false

Question 142

true or false

along with a large number of instrumental works, Vivaldi also composed over 40 Italian operas that were very popular in his day

Answer 142

true

Question 143

true or false

Bach composed orchestral, chamber, keyboard, organ, opera, and vocal music

Answer 143

false

Question 144

true or false

Bach composed orchestral, chamber, keyboard, organ, and vocal music

Answer 144

true

Question 145

true or false

German myths and legends were aprimary source of inspiration for Bach

Answer 145

false

Question 146

true or false

Bach’s personal faith was a source of inspiration as demonstrated by over 200 church cantatas

Answer 146

true

Question 147

true or false

Bach’s career focused entirely on composing, and he was not active or accomplished as a teacher, conductor, or performer

Answer 147

false

Question 148

true or false

Bach was a virtuoso organist, as reflected in his organ and keyboard works

Answer 148

true

Question 149

true or false

Bach was a bold innovator who rarely used existing forms or genres

Answer 149

false

Question 150

true or false

Bach perfected existing forms rather than defining new ones

Answer 150

true

Question 151

true or false

Bach was not influenced by musical styles outside of the German tradition

Answer 151

false

Question 152

true or false

Bach absorbed influences of international styles (German, French, and Italian)

Answer 152

true

Question 153

true or false

Bach’s compositions were largely homophonic, with mostly chordal textures and very little contrapuntal writing

Answer 153

false

Question 154

true or false

Bach was a master of the contrapuntal art, as demonstrated in the fugues of The Well-Tempered Clavier

Answer 154

true

Question 155

true or false

Bach’s music represents the beginning of a new musical practice, breaking away from Baroque traditions to forge a new style

Answer 155

false

Question 156

true or false

Bach’s music represents a high point in over one hundred years of Baroque musical practice, and his personal style synthesized the leading musical development of this era

Answer 156

true

Question 157

true or false

despite having spent time in Italy, Handel maintained a typically German approach to composing, with no international influences in his style

Answer 157

false

Question 158

true or false

Handel wrote in a cosmopolitan style combining the international currents of the day: German counterpoint, Italian opera, French overture, and English choral style

Answer 158

true

Question 159

true or false

Handel avoided contrasting textures, preferring to maintain either strictly iimitative, or completely chordal texture throughout entire work or movements

Answer 159

false

Question 160

true or false

Handel frequently contrasted homophonic and polyphonic passages for a dramatic effect, as is the case in the “Overture” and “Hallelujah” from Messiah

Answer 160

true

Question 161

true or false

Handel’s writing for the voice was always in a simple recitativo secco style

Answer 161

false

Question 162

true or false

Handel’s writing for the voice was often viruosic, marked by breathtaking runs and vivid word painting

Answer 162

true

Question 163

true or false

Handel contributed to the development of English opera (composing over 40 operas), and created the Italian oratorio (nearly 30 oratorios)

Answer 163

false

Question 164

true or false

Handel contributed to the development of opera seria (composing over 40 operas) and created the English oratorio (nearly 30 oratorios)

Answer 164

true

Question 165

true or false

Handel was not interested in depicting the meaning of the text through the music

Answer 165

false

Question 166

true or false

Handel made effective use of word painting

Answer 166

true

Question 167

true or false

Handel’s music has baffled audiences, and is rarely performed today due to its complex and obscure nature

Answer 167

false

Question 168

true or false

Handel’s use of very basic musical elements such as chordal passages and scale figures make his style accessible and appealing

Answer 168

true

Question 169

true or false

Handel’s music is uinderstated and introverted, and most works were written for private reflection rather than public performance

Answer 169

false

Question 170

true or false

Handel wrote many works that were performed at public events, conveying a sense of pageantry and dramatic theatrical stle through gradiose gestures

Answer 170

true

Question 171

true or false

Haydn’s music remained faithful to all aspect of Baroque style

Answer 171

false

Question 172

true or false

Haydn’s music embraced aspects of the main currents of his time, including style galant Sturm and Empfindsamer Stil

Answer 172

true

Question 173

true or false

Haydn is regarded as the “father” of the oratorio and fugue because of his significant contributions to establishing both genres

Answer 173

false

Question 174

true or false

Haydn is regarded as the “father” of the symphony and string quartet because of his significant sontributions to establishing both genres

Answer 174

true

Question 175

true or false

Haydn avoided using sonata fomr in his compositions, preferring to focus on work sthat preserved BAroque style and traditions

Answer 175

false

Question 176

true or false

Haydn contributed to the development of sonata form, which he utilized in his symphonies, sonatas and string quartets

Answer 176

true

Question 177

true or false

Haydn contributed to the development of sonata form, which he utilized in his symphonies, sonatas, and string quartets

Answer 177

true

Question 178

true or false

Haydn had little interest in rustic folk music, and aimed to capture a refined aristocratic approach in all his composition

Answer 178

false

Question 179

true or false

Haydn was influenced by folk songs and dances, and often used simple diatonic melodies

Answer 179

true

Question 180

true or false

For Haydn, music was no laughing matter, and there are very few example of humour or comedy in his works

Answer 180

false

Question 181

true or false

In Haydn’s music, humour and playfulness is demonstrated by sudden dynamic changes or abrupt silences

Answer 181

true

Question 182

true or false

Haydn avoided using dramatic gestures or descriptive writing in order to keep his compositions completely free of any extra-musical associations

Answer 182

false

Question 183

true or false

In Haydn’s music, dramatic elements include sudden accents and bold changes of chord or keys; for example, his use of a loud C major chord in The Creation to depict the word “light”.

Answer 183

true

Question 184

true or false

Haydn’s short life included few public performances, and his music received little acclaim until after his death

Answer 184

false

Question 185

true or false

Haydn had a long and distinguished career as a composer, and was admired and revered throughout Europe

Answer 185

true

Question 186

true or false

Mozart exemplified Viennese Classical ideals in only a limited number of works

Answer 186

false

Question 187

true or false

Mozart exemplified Viennese Classical ideals: elegance, balance, poise, refinement, sophistication in cirtually all Classical genres

Answer 187

true

Question 188

true or false

Mozart rebelled against the Classical ideal of symmetry and balance and utilized irregular phrase lengths and structures wherever possible

Answer 188

false

Question 189

true or false

Mozart utilized mainly symmetrical phrase structures (i.e. four measure phrases)

Answer 189

true

Question 190

true or false

Mozart avoided sonata form, and instead preferred to use rounded binary form in his first movements

Answer 190

false

Question 191

true or false

Mozart contributed to the development of sonata form

Answer 191

true

Question 192

true or false

Johann Sebastian Bach influenced Mozart’s development of the piano concerto

Answer 192

false

Question 193

true or false

Johann Christian Bach influenced Mozart’s development of the piano concerto

Answer 193

true

Question 194

true or false

Influenced by Antonio Vivaldi, Mozart’s orchestral writing expanded the use of figured bass and continuo

Answer 194

false

Question 195

true or false

influenced by the famous Mannheim orchestra, Mozart’s orchestral writing expanded the use of wind instruments

Answer 195

true

Question 196

true or false

opera was cetral to Mozart’s career, and as an Austrian composer, he wrote all of his operas in German, based on serious plots

Answer 196

false

Question 197

true or false

opera was central to Mozart’s carrer; he made important contributions to three styles: opera seria (Idomeneo), opera buffa (The Marriage of Figaro), and Singspiel (The Magic Flute)

Answer 197

true

Question 198

true or false

Mozart cultivated two distinct styles of melodic writing; lyrical lines in vocal compositions, and angular “percussive” lines for instrumental works

Answer 198

false

Question 199

true or false

Mozart absorbed vocal qualities and melodic lyricism into his instrumental writing; this is especially evident in slow movements

Answer 199

true

Question 200

true or false

Mozart had a long and distinguished career as a composer, and was admired and revered throughout Europe

Answer 200

false

Question 201

true or false

Mozart struggled with the constraints of the patronage system throughout his career, and experienced financial difficulties and challenges despite his remarkable talent

Answer 201

true

Question 202

true or false

Beethoven was a conservative traditionalist, who embraced the musical style of the early 18th century with only minimal changes

Answer 202

false

Question 203

true or false

Beethoven was a bold innovator and a highly original and influential figure

Answer 203

true

Question 204

true or false

Beethoven used themes characterized by long, lyrical melodies that did not lend themselves to motivic development

Answer 204

false

Question 205

true or false

Beethoven’s thematic material often grows out of short, incisive motives

Answer 205

true

Question 206

true or false

Beethoven adopted the four-movement sonata cycle model as seen in the works of Mozart and Haydn without any significant innovations

Answer 206

false

Question 207

true or false

Beethoven’s innovations include replacing the graceful menuet and trio with the more dramatic scherzo and the use of cyclical structure (Symphony No. 5)

Answer 207

true

Question 208

true or false

Beethoven’s innovations to the symphony include expanding the Baroque string orchestra to include woodwinds, brass, and percussion families for the first time

Answer 208

false

Question 209

true or false

Beethoven’s innovations to the symphony include incorporating programmatic elements (Symphony No. 6) and expanding performing forces to include chorus and soloists (Symphony No. 9)

Answer 209

true

Question 210

true or false

Beethoven did not indicate dynamic contrasts in his scores, preferring to allow performers to decide individually how best to interpret the music

Answer 210

false

Question 211

true or false

Beethoven utilized explosive accents and extreme dynamic contrasts

Answer 211

true

Question 212

true or false

Beethoven expanded to role of the basso continuo to provide additional colour and texture in the orchestral sonority

Answer 212

false

Question 213

true or false

Beethoven incorporated addiontal orchestral wind instruments, including the piccolo, trombone, and contrabassoon

Answer 213

true

Question 214

true or false

Beethoven rejected the piano of his day in favour of the harpsichord; and instrument that he felt best conveyed the range of emotion and feeling required in his works

Answer 214

false

Question 215

true or false

Beethoven exploited new features and improvements in the pianos of his day to convey the range of emotion and feeling required in his works

Answer 215

true

Question 216

true or false

Schubert was a true Romantic composer in that he abandoned Classical formal structures and rejected the symphony, sonata, and string quartet as viable genres for musical expression

Answer 216

false

Question 217

true or false

Schubert is considered a transitional composer in that his music combines elements of both Classical and Romantic style

Answer 217

true

Question 218

true or false

Schubert wrote his own original poetry for his many Lieder

Answer 218

false

Question 219

true or false

Schubert composed many Lieder inspired by poems of Johann Wolfgang von Goethe, a German Romantic poet

Answer 219

true

Question 220

true or false

Schubert maintained traditional key organization and used primarily diatonic harmony

Answer 220

false

Question 221

true or false

Schubert often juxtaposed major and minor tonality and used unexpected modulations

Answer 221

true

Question 222

true or false

In Schubert’s Lieder, the piano provides a pleasant, yet netural, musical backdrop over which poetry is sung

Answer 222

false

Question 223

true or false

In Schubert’s Lieder, the piano accompaniment often depicts specific elements of the poem

Answer 223

true

Question 224

true or false

Schubert’s melodies are often percussive and angular, making them difficult to sing

Answer 224

false

Question 225

true or false

vocal lyricism pervades all of Schubert’s works

Answer 225

true

Question 226

true or false

Schubert introduced new psychological intensity into individual songs and song cycles

Answer 226

true

Question 227

true or false

Schubert’s music is characterized by a cool, intellectual objectivity

Answer 227

false

Question 228

true or false

Chopin’s work can be divided into two main categories: works for solo piano and symphonies

Answer 228

false

Question 229

true or false

Chopin wrote almost exclusively for piano (including piano with voice or instruments)

Answer 229

true

Question 230

true or false

Chopin’s melodic lines are strictly pianistic, with only the bold display of virtuosity in mind

Answer 230

false

Question 231

true or false

Chopin’s melodic lines have vocal qualities inspired by the bel canto style in Italian opera

Answer 231

true

Question 232

true or false

Chopin preserved traditional harmonic vocabulary, favouring strictly diatonic chord progressions and modulations only to closely related keys

Answer 232

false

Question 233

true or false

Chopin explored a new harmonic language: chromaticism, unexpected modulation, unusual juxtapositions of chord and keys, and model inflections

Answer 233

true

Question 234

true or false

Chopin maintained a traditional and conservative approach to writing for the piano, most often using Alberti bass patterns to accompany melodic lines

Answer 234

false

Question 235

true or false

Chopin used original and innovative pianistic figurations: unusual spacing of chords, sweeping arpeggiation, expanded range

Answer 235

true

Question 236

true or false

Chopin composed most of his works away from the keyboard, and was unuware of changes to the piano during his lifetime

Answer 236

false

Question 237

true or false

Chopin exploited new capabilities of the piano, employing greater virtuosity in response to technological advances

Answer 237

true

Question 238

true or false

Chopin’s works unfold in a very predictable and organized manner, and require metronomic accuracy and control for musically satisfying performances

Answer 238

false

Question 239

true or false

improvisatory qualities are displayed in many of Chopin’s works, such as his preludes

Answer 239

true

Question 240

true or false

after leaving Poland to settle in Paris, Chopin turned away from his national roots and adopted a new purely French style of composing

Answer 240

false

Question 241

true or false

Chopin’s musical nationalism was expressed through the composition of Polish dances, including polonaises and mazurkas

Answer 241

true

Question 242

true or false

Chopin was isolated from the music of other composers, and developed his unique style without the influence of any other models

Answer 242

false

Question 243

true or false

Chopin was influenced by Bach’s counterpoint, Mozart’s lyricism, and the Italian bel canto style

Answer 243

true

Question 244

true or false

Berlioz’s compositional style is closely tied to the piano, and builds on the style established by Chopin, the poet of the piano

Answer 244

false

Question 245

true or false

Berlioz did not play the piano, so his compositional style demonstrates a unique approach to writing that is unrestricted by the conventions of the piano

Answer 245

true

Question 246

true or false

Berlioz avoided programmatic music throughout his career, preferring to create music free of extra-musical associations

Answer 246

false

Question 247

true or false

Shakespeare’s work influenced many of Berlioz’s programmatic compositions, including his concert overture King Lear

Answer 247

true

Question 248

true or false

Berlioz is the first composer to use a recurring theme throughout a large-sclae work to organize and unify the composition

Answer 248

false

Question 249

true or false

cyclical elements strongly influenced by Beethoven pervade much of Berlioz’s compositional output

Answer 249

true

Question 250

true or false

Berlioz used instruments in unique ways to create new sounds that helpe shape his programmatic associations

Answer 250

true

Question 251

true or false

Berlioz was the master of small forms such as the art song and miniature character pieces for piano

Answer 251

false

Question 252

true or false

Berlioz is best remembered for his large-scale forms, including symphony and oratorio

Answer 252

true

Question 252

true or false

Berlioz is considered a transitional composer in that his music ombines elemtns of both Classical and Romantic style

Answer 252

false

Question 252

true or false

Bizet focused entirely on opera and vocal works, and was considered a weak orchestrator

Answer 252

false

Question 253

true or false

Berlioz’s musical style is highly unique and individual, embracing the true spirit of Romanticism

Answer 253

true

Question 253

true or false

Bizet contributed to a broad range of genres, but focused mainly on opera

Answer 253

true

Question 254

true or false

Bizet was acclaimed as the greatest 19th-century opera composer and enjoyed great popularity in his lifetime

Answer 254

false

Question 255

true or false

Bizet enjoyed limited success during his lifetime

Answer 255

true

Question 256

true or false

all of Bizet’s operas were set in his native France, and demonstrated his profound nationalism in the use of French Baroque dance rhythms

Answer 256

false

Question 257

true or false

Bizet used a simple, primarily diatonic harmonic language

Answer 257

false

Question 258

true or false

Bizet’s harmonies were rich and frequently tinged with chromaticism

Answer 258

true

Question 259

true or false

Bizet kept the chorus and the solo aria as distinctly separate components in his operas

Answer 259

false

Question 260

true or false

Bizet integrated the chorus into the musical fabric of his operas and experimented with musical structures such as blending the chorus into the solo aria

Answer 260

true

Question 261

true or false

like Bach, Handel, and Haydn, Bizet’s career unfolded over a long and full life

Answer 261

false

Question 262

true or false

like Mozart, Schubert, and Chopin, Bizet left a lasting legacy, despite a short life

Answer 262

true

Question 263

true or false

Debussy wrote music in a very predictable manner that relied upon styles and practices inherited from past traditions

Answer 263

false

Question 264

true or false

Debussy wrote music in a very predictable manner that relied upon styles and practices inherited from past traditions

Answer 264

false

Question 265

true or false

Debussy was a highly original and innovative composer

Answer 265

true

Question 266

true or false

initially attracted to Impressionist painters, Debussy later rejected that mindset in favour of a musical approach that was free of any extra-musical influences

Answer 266

false

Question 267

true or false

influenced by Impressionist painters, Debussy’s compositions reflect their ideals through his choice of subject matter, instrmental colour, subtle nuances, and obscured metric pulse

Answer 267

true

Question 268

true or false

Debussy set the poetry of Symbolist poets, including Stéphane Mallarmé, to music

Answer 268

true

Question 269

true or false

like the Realist poets, Debussy preferred a precise expression of his musical thoughts

Answer 269

false

Question 270

true or false

like the Symbolist poets, Debussy experimented with unorthodox approaches to grammar and syntax through formal structure and phrasing; evoking rather than narrating, suggesting rather than depicting

Answer 270

true

Question 271

true or false

Debussy based his music entirely on Western scale systems, following the models of the Viennese masters

Answer 271

false

Question 272

true or false

Debussy explored non-Western scale systems including whole-tone, pentatonic, and modal scales

Answer 272

true

Question 273

true or false

Debussy used harmony in very traditional ways. he continued mushc of the harmonic practice established in the Classical era

Answer 273

false

Question 274

true or false

Debussy used innovative approaches to harmony including parllel chord streams, open fifths, and octaves

Answer 274

true

Question 275

true or false

Debussy avoided the use of programmatic elements as much as possible as he felt this was in opposition with impressionist ideals

Answer 275

false

Question 276

true or false

Debussy’s music often incorporated programmatic elements such as mythological subjects, pastoral themes, water imagery, sunlight, and moonlight

Answer 276

true

Question 277

true or false

Debussy’s music, though popular in its time, has had limited appeal and little influence

Answer 277

false

Question 278

true or false

Debussy is the most influential French composer of the late 19th and early 20th century

Answer 278

true

Question 279

true or false

Stravinsky’s music exhibits a distinct character, which was established in his youth and remained in place throughout his lifetime

Answer 279

false

Question 280

true or false

due to the broad spectrum of musical styles encompassed, Stravinsky’s music may be divided in four periods

Answer 280

true

Question 281

true or false

music composed in the early years of Stravinsky’s life is characterized by a neo-Classical style with emphasis on formal design and emotional restraint

Answer 281

false

Question 282

true or false

music composed in the early years of Stravinsky’s life is characterized by Russian nationalism, with a primitive style featuring rich orchestration, the use of dissonant harmony, polytonality, ostinato, syncopation, and polymeter

Answer 282

true

Question 283

true or false

representative works from Stravinsky’s early years are Symphony of Psalms, Ebony Concerto, The Rake’s Progress

Answer 283

false

Question 284

true or false

representative works from Stravinsky’s early years are The Firebird, Petrushka, The Rite of Spring

Answer 284

true

Question 285

true or false

during the trasitional years, Stravinsky created more intimate works with reduced forces, such as The Wedding and The Soldier’s Tale, in response to the devastation wrought by WWI

Answer 285

true

Question 286

true or false

music composed in the middle years of Stravinsky’s life is characterized by a neo-Classical style with emphasis on formal design and emotional restraint

Answer 286

true

Question 287

true or false

representative works from Stravinsky’s middle years are Symphony of Psalms, Ebony Concerto, and The Rake’s Progress

Answer 287

true

Question 288

true or false

during his final years, Stravinsky embraced Arnold Schoenberg’s twelve-tone method, used sparse textures as inspired by Anton Webern, and explored miniatures

Answer 288

true

Question 289

true or false

representative works from Stravinsky’s final years are The Wedding and The Soldier’s Tale

Answer 289

false

Question 290

true or false

representative works from Stravinsky’s final years are Agon, Vanticum Sacrum, and Eight Instrumental Miniatures

Answer 290

true

Question 291

true or false

Bernstein’s music is influenced by popular and jazz styles only, as he dismissed classical forms and idioms early in his career

Answer 291

false

Question 292

true or false

Bernstein’s music is influenced by classical forms and idioms

Answer 292

true

Question 293

true or false

Bernstein wrote either classical or popular music, but never a combination of the two

Answer 293

false

Question 294

true or false

Bernstein’s melodic style fuses popular and classical elements

Answer 294

true

Question 295

true or false

as an American nationalist, Bernstein rejected all other influences, and was paricularly opposed to using Latin rhythms

Answer 295

false

Question 296

true or false

in his music, Bernstein integrated American, Hispanic, and Jewish elements

Answer 296

true

Question 297

true or false

in his music, Bernstein absorbed elements of rock & roll, country & western, and rap music

Answer 297

false

Question 298

true or false

in his music, Bernstein absorbed popular, jazz, and musical theatre elements

Answer 298

true

Question 299

true or false

Bernstein’s rhythms are based on classical models, most often organized as symmetrical phrases

Answer 299

false

Question 300

true or false

Bernstein’s rhythms are frequently drawn from popular dance styles, a notable example of this is his incorporation of the mambo and cha-cha

Answer 300

true

Question 301

true or false

Louie’s style is primarily traditional, with a conservative approach to harmonic language

Answer 301

false

Question 302

true or false

Louie’s style combines traditional elements with a contemporary language

Answer 302

true

Question 303

true or false

Louie’s work represents a pan-ethnic perspective, combining traditional Asian music with influences from Western musical styles

Answer 303

true

Question 304

true or false

Louie’es work includes programmatic elements

Answer 304

true

Question 305

true or false

Louie’s work represents a purely minimalist approach

Answer 305

false

Question 306

true or false

Louie’s work contains influences of minimalism

Answer 306

true

Question 307

true or false

Louie has chosen not to explore electronic technology in any of her works

Answer 307

false

Question 308

true or false

in some works, Louie incorporated electronic technology

Answer 308

true

Question 309

true or false

Louie uses a varied harmonic language that embraces tonality, modality, extreme dissonance

Answer 309

true

Question 310

true or false

Louie’s piano music is mostly dissonant and percussive, treating the piano as a primarily rhythmic instrument and avoiding the instrument’s expressive quality

Answer 310

false

Question 311

true or false

Louie’s piano music draws on the instrument’s expressive quality through extensive use of epdal and delicate figurations

Answer 311

true

Question 312

true or false

Adams came to embrace the emerging minimalist style developed in the 1960s and 1970s by composers such as Steve Reich and Philip Glass

Answer 312

true

Question 313

true or false

Adam represents “the old generation” of minimalist composers; he is often termed the father of minimalism

Answer 313

false

Question 314

true or false

Adams represents “the next generation” of minimalist composers; he is often termed a post-minimalist

Answer 314

true

Question 315

true or false

Adams’ works are usually atonal; he consciously rejected the tonal and/or modal models to which he was exposed as a student

Answer 315

false

Question 316

true or false

Adams’ works are usually tonal and/or modal; he consciously rejected the atonal models to which he was exposed a student

Answer 316

true

Question 317

true or false

Adams’ approach to rhythm and meter reflects minimalism’s penchant for incessant, driving rhythm (moto perpetuo)

Answer 317

true

Question 318

true or false

Adams avoided repetitive patterns like ostinatos in order to retain a sense of rhythmic flexibility and spontaneity in his music

Answer 318

false

Question 319

true or false

Adams frequently uses ostinato patterns, syncopation, and complex polyrhythms that result in a “rhythmic dissonance”

Answer 319

true

Question 320

true or false

Adams’ orchestral works lean toward programmatic elemts, including evocative titles

Answer 320

false

Question 321

true or false

drawn to the theatre, Adams has written many operas in collaboration with leading librettists (Alice Goodman) and groundbreaking stage designers/directors (Peter Sellars)

Answer 321

true

Question 322

true or false

Adams is frequently drawn to controversial themes (politics, terrorism, war, natural disasters) in search of the human stories buried among the rubble of world conflict and crisis

Answer 322

true