facts

Question 1

Vivaldi life and death

Answer 1

1678-1741

Question 2

Bach life and death

Answer 2

1685-1741

Question 3

Handel life and death

Answer 3

1685-1759

Question 4

Haydn life and death

Answer 4

1732-1809

Question 5

Mozart life and death

Answer 5

1756-1791

Question 6

Beethoven life and death

Answer 6

1770-1827

Question 7

Schubert life and death

Answer 7

1797-1828

Question 8

Chopin life and death

Answer 8

1810-1849

Question 9

Berlioz life and death

Answer 9

1803-1869

Question 10

Bizet life and death

Answer 10

1838-1875

Question 11

Debussy life and death

Answer 11

1862-1918

Question 12

Stravinsky life and death

Answer 12

1882-1971

Question 13

Bernstein life and death

Answer 13

1918-1990

Question 14

Louie year born

Answer 14

1949

Question 15

Adams year born

Answer 15

1947

Question 16

The Four Seasons, op. 8 “Spring”

composer

Answer 16

Vivaldi

Question 17

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

composer

Answer 17

Bach

Question 18

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

composer

Answer 18

Handel

Question 19

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

composer

Answer 19

Haydn

Question 20

Eine Kleine Nachtmusik, K525

composer

Answer 20

Mozart

Question 21

Symphony No. 5 in C Minor, op. 67

composer

Answer 21

Beethoven

Question 22

Erlkönig, op. 1, D328

composer

Answer 22

Schubert

Question 23

Polonaise in A flat Major, op. 53

composer

Answer 23

Chopin

Question 24

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

composer

Answer 24

Berlioz

Question 25

Carmen act 1: "Quand je vous aimerai?", "L'amour est un oiseau rebelle", act 2: "Votre toast, je peux vous le render" | compsoer

Answer 25

Bizet

Question 26

Prélude à l'après-midi d'un faune | composer

Answer 26

Debussy

Question 27

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

Answer 27

Stravinsky

Question 28

West Side Story act 1: "Maria", "America" | composer

Answer 28

Bernstein

Question 29

Changes (from "Music for Piano") | composer

Answer 29

Louie

Question 30

Short Ride in a Fast Machine | composer

Answer 30

Adams

Question 31

# true or false Vivaldi contributed to the development of the three-movement concerto structure.

Answer 31

true

Question 32

# true or false Vivaldi is known as the father of the symphony

Answer 32

false

Question 33

# true or false Vivaldi composed exclusively for keyboard instruments

Answer 33

false

Question 34

# true or false Vivaldi was a leader in establishing ritornello form

Answer 34

true

Question 35

# true or false Vivaldi was a virtuoso violinist, conductor, and a prolific composer

Answer 35

true

Question 36

# true or false Vivaldi was a virtuoso organist, as reflected in his organ and keyboard works

Answer 36

false

Question 37

# true or false Vivaldi's works are written in a generic style, and can be easily be played on any instrument

Answer 37

false

Question 38

# true or false Vivaldi developed idiomatic writing for strings and exploited string virtuosity

Answer 38

true

Question 39

# 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 39

false

Question 40

# true or false Vivaldi incorporated programmatic writing and descriptive titles

Answer 40

true

Question 41

# true or false Vivaldi composed only instrumental music

Answer 41

false

Question 42

# 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 42

true

Question 43

# true or false Bach composed orchestral, chamber, keyboard, organ, opera, and vocal music

Answer 43

false

Question 44

# true or false Bach composed orchestral, chamber, keyboard, organ, and vocal music

Answer 44

true

Question 45

# true or false German myths and legends were aprimary source of inspiration for Bach

Answer 45

false

Question 46

# true or false Bach's personal faith was a source of inspiration as demonstrated by over 200 church cantatas

Answer 46

true

Question 47

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

Answer 47

false

Question 48

# true or false Bach was a virtuoso organist, as reflected in his organ and keyboard works

Answer 48

true

Question 49

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

Answer 49

false

Question 50

# true or false Bach perfected existing forms rather than defining new ones

Answer 50

true

Question 51

# true or false Bach was not influenced by musical styles outside of the German tradition

Answer 51

false

Question 52

# true or false Bach absorbed influences of international styles (German, French, and Italian)

Answer 52

true

Question 53

# true or false Bach's compositions were largely homophonic, with mostly chordal textures and very little contrapuntal writing

Answer 53

false

Question 54

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

Answer 54

true

Question 55

# 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 55

false

Question 56

# 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 56

true

Question 57

# 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 57

false

Question 58

# 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 58

true

Question 59

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

Answer 59

false

Question 60

# 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 60

true

Question 61

# true or false Handel's writing for the voice was always in a simple recitativo secco style

Answer 61

false

Question 62

# true or false Handel's writing for the voice was often viruosic, marked by breathtaking runs and vivid word painting

Answer 62

true

Question 63

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

Answer 63

false

Question 64

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

Answer 64

true

Question 65

# true or false Handel was not interested in depicting the meaning of the text through the music

Answer 65

false

Question 66

# true or false Handel made effective use of word painting

Answer 66

true

Question 67

# true or false Handel's music has baffled audiences, and is rarely performed today due to its complex and obscure nature

Answer 67

false

Question 68

# 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 68

true

Question 69

# true or false Handel's music is uinderstated and introverted, and most works were written for private reflection rather than public performance

Answer 69

false

Question 70

# 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 70

true

Question 71

# true or false Haydn's music remained faithful to all aspect of Baroque style

Answer 71

false

Question 72

# true or false Haydn's music embraced aspects of the main currents of his time, including style galant Sturm and Empfindsamer Stil

Answer 72

true

Question 73

# true or false Haydn is regarded as the "father" of the oratorio and fugue because of his significant contributions to establishing both genres

Answer 73

false

Question 74

# 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 74

true

Question 75

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

Answer 75

false

Question 76

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

Answer 76

true

Question 77

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

Answer 77

true

Question 78

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

Answer 78

false

Question 79

# true or false Haydn was influenced by folk songs and dances, and often used simple diatonic melodies

Answer 79

true

Question 80

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

Answer 80

false

Question 81

# true or false In Haydn's music, humour and playfulness is demonstrated by sudden dynamic changes or abrupt silences

Answer 81

true

Question 82

# 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 82

false

Question 83

# 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 83

true

Question 84

# true or false Haydn's short life included few public performances, and his music received little acclaim until after his death

Answer 84

false

Question 85

# true or false Haydn had a long and distinguished career as a composer, and was admired and revered throughout Europe

Answer 85

true

Question 86

# true or false Mozart exemplified Viennese Classical ideals in only a limited number of works

Answer 86

false

Question 87

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

Answer 87

true

Question 88

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

Answer 88

false

Question 89

# true or false Mozart utilized mainly symmetrical phrase structures (i.e. four measure phrases)

Answer 89

true

Question 90

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

Answer 90

false

Question 91

# true or false Mozart contributed to the development of sonata form

Answer 91

true

Question 92

# true or false Johann Sebastian Bach influenced Mozart's development of the piano concerto

Answer 92

false

Question 93

# true or false Johann Christian Bach influenced Mozart's development of the piano concerto

Answer 93

true

Question 94

# true or false Influenced by Antonio Vivaldi, Mozart's orchestral writing expanded the use of figured bass and continuo

Answer 94

false

Question 95

# true or false influenced by the famous Mannheim orchestra, Mozart's orchestral writing expanded the use of wind instruments

Answer 95

true

Question 96

# 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 96

false

Question 97

# 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 97

true

Question 98

# true or false Mozart cultivated two distinct styles of melodic writing; lyrical lines in vocal compositions, and angular "percussive" lines for instrumental works

Answer 98

false

Question 99

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

Answer 99

true

Question 100

# true or false Mozart had a long and distinguished career as a composer, and was admired and revered throughout Europe

Answer 100

false

Question 101

# 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 101

true

Question 102

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

Answer 102

false

Question 103

# true or false Beethoven was a bold innovator and a highly original and influential figure

Answer 103

true

Question 104

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

Answer 104

false

Question 105

# true or false Beethoven's thematic material often grows out of short, incisive motives

Answer 105

true

Question 106

# 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 106

false

Question 107

# 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 107

true

Question 108

# 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 108

false

Question 109

# 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 109

true

Question 110

# 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 110

false

Question 111

# true or false Beethoven utilized explosive accents and extreme dynamic contrasts

Answer 111

true

Question 112

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

Answer 112

false

Question 113

# true or false Beethoven incorporated addiontal orchestral wind instruments, including the piccolo, trombone, and contrabassoon

Answer 113

true

Question 114

# 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 114

false

Question 115

# 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 115

true

Question 116

# 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 116

false

Question 117

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

Answer 117

true

Question 118

# true or false Schubert wrote his own original poetry for his many Lieder

Answer 118

false

Question 119

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

Answer 119

true

Question 120

# true or false Schubert maintained traditional key organization and used primarily diatonic harmony

Answer 120

false

Question 121

# true or false Schubert often juxtaposed major and minor tonality and used unexpected modulations

Answer 121

true

Question 122

# true or false In Schubert's Lieder, the piano provides a pleasant, yet netural, musical backdrop over which poetry is sung

Answer 122

false

Question 123

# true or false In Schubert's Lieder, the piano accompaniment often depicts specific elements of the poem

Answer 123

true

Question 124

# true or false Schubert's melodies are often percussive and angular, making them difficult to sing

Answer 124

false

Question 125

# true or false vocal lyricism pervades all of Schubert's works

Answer 125

true

Question 126

# true or false Schubert introduced new psychological intensity into individual songs and song cycles

Answer 126

true

Question 127

# true or false Schubert's music is characterized by a cool, intellectual objectivity

Answer 127

false

Question 128

# true or false Chopin's work can be divided into two main categories: works for solo piano and symphonies

Answer 128

false

Question 129

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

Answer 129

true

Question 130

# true or false Chopin's melodic lines are strictly pianistic, with only the bold display of virtuosity in mind

Answer 130

false

Question 131

# true or false Chopin's melodic lines have vocal qualities inspired by the bel canto style in Italian opera

Answer 131

true

Question 132

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

Answer 132

false

Question 133

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

Answer 133

true

Question 134

# 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 134

false

Question 135

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

Answer 135

true

Question 136

# 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 136

false

Question 137

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

Answer 137

true

Question 138

# 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 138

false

Question 139

# true or false improvisatory qualities are displayed in many of Chopin's works, such as his preludes

Answer 139

true

Question 140

# 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 140

false

Question 141

# true or false Chopin's musical nationalism was expressed through the composition of Polish dances, including polonaises and mazurkas

Answer 141

true

Question 142

# 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 142

false

Question 143

# true or false Chopin was influenced by Bach's counterpoint, Mozart's lyricism, and the Italian bel canto style

Answer 143

true

Question 144

# 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 144

false

Question 145

# 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 145

true

Question 146

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

Answer 146

false

Question 147

# true or false Shakespeare's work influenced many of Berlioz's programmatic compositions, including his concert overture King Lear

Answer 147

true

Question 148

# 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 148

false

Question 149

# true or false cyclical elements strongly influenced by Beethoven pervade much of Berlioz's compositional output

Answer 149

true

Question 150

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

Answer 150

true

Question 151

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

Answer 151

false

Question 152

# true or false Berlioz is best remembered for his large-scale forms, including symphony and oratorio

Answer 152

true

Question 153

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

Answer 153

false

Question 154

# true or false Bizet focused entirely on opera and vocal works, and was considered a weak orchestrator

Answer 154

false

Question 155

# true or false Berlioz's musical style is highly unique and individual, embracing the true spirit of Romanticism

Answer 155

true

Question 156

# true or false Bizet contributed to a broad range of genres, but focused mainly on opera

Answer 156

true

Question 157

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

Answer 157

false

Question 158

# true or false Bizet enjoyed limited success during his lifetime

Answer 158

true

Question 159

# 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 159

false

Question 160

# true or false Bizet used a simple, primarily diatonic harmonic language

Answer 160

false

Question 161

# true or false Bizet's harmonies were rich and frequently tinged with chromaticism

Answer 161

true

Question 162

# true or false Bizet kept the chorus and the solo aria as distinctly separate components in his operas

Answer 162

false

Question 163

# 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 163

true

Question 164

# true or false like Bach, Handel, and Haydn, Bizet's career unfolded over a long and full life

Answer 164

false

Question 165

# true or false like Mozart, Schubert, and Chopin, Bizet left a lasting legacy, despite a short life

Answer 165

true

Question 166

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

Answer 166

false

Question 167

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

Answer 167

false

Question 168

# true or false Debussy was a highly original and innovative composer

Answer 168

true

Question 169

# 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 169

false

Question 170

# 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 170

true

Question 171

# true or false Debussy set the poetry of Symbolist poets, including Stéphane Mallarmé, to music

Answer 171

true

Question 172

# true or false like the Realist poets, Debussy preferred a precise expression of his musical thoughts

Answer 172

false

Question 173

# 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 173

true

Question 174

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

Answer 174

false

Question 175

# true or false Debussy explored non-Western scale systems including whole-tone, pentatonic, and modal scales

Answer 175

true

Question 176

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

Answer 176

false

Question 177

# true or false Debussy used innovative approaches to harmony including parllel chord streams, open fifths, and octaves

Answer 177

true

Question 178

# 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 178

false

Question 179

# true or false Debussy's music often incorporated programmatic elements such as mythological subjects, pastoral themes, water imagery, sunlight, and moonlight

Answer 179

true

Question 180

# true or false Debussy's music, though popular in its time, has had limited appeal and little influence

Answer 180

false

Question 181

# true or false Debussy is the most influential French composer of the late 19th and early 20th century

Answer 181

true

Question 182

# true or false Stravinsky's music exhibits a distinct character, which was established in his youth and remained in place throughout his lifetime

Answer 182

false

Question 183

# true or false due to the broad spectrum of musical styles encompassed, Stravinsky's music may be divided in four periods

Answer 183

true

Question 184

# 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 184

false

Question 185

# 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 185

true

Question 186

# true or false representative works from Stravinsky's early years are Symphony of Psalms, Ebony Concerto, The Rake's Progress

Answer 186

false

Question 187

# true or false representative works from Stravinsky's early years are The Firebird, Petrushka, The Rite of Spring

Answer 187

true

Question 188

# 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 188

true

Question 189

# 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 189

true

Question 190

# true or false representative works from Stravinsky's middle years are Symphony of Psalms, Ebony Concerto, and The Rake's Progress

Answer 190

true

Question 191

# 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 191

true

Question 192

# true or false representative works from Stravinsky's final years are The Wedding and The Soldier's Tale

Answer 192

false

Question 193

# true or false representative works from Stravinsky's final years are Agon, Vanticum Sacrum, and Eight Instrumental Miniatures

Answer 193

true

Question 194

# 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 194

false

Question 195

# true or false Bernstein's music is influenced by classical forms and idioms

Answer 195

true

Question 196

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

Answer 196

false

Question 197

# true or false Bernstein's melodic style fuses popular and classical elements

Answer 197

true

Question 198

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

Answer 198

false

Question 199

# true or false in his music, Bernstein integrated American, Hispanic, and Jewish elements

Answer 199

true

Question 200

# true or false in his music, Bernstein absorbed elements of rock & roll, country & western, and rap music

Answer 200

false

Question 201

# true or false in his music, Bernstein absorbed popular, jazz, and musical theatre elements

Answer 201

true

Question 202

# true or false Bernstein's rhythms are based on classical models, most often organized as symmetrical phrases

Answer 202

false

Question 203

# 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 203

true

Question 204

# true or false Louie's style is primarily traditional, with a conservative approach to harmonic language

Answer 204

false

Question 205

# true or false Louie's style combines traditional elements with a contemporary language

Answer 205

true

Question 206

# true or false Louie's work represents a pan-ethnic perspective, combining traditional Asian music with influences from Western musical styles

Answer 206

true

Question 207

# true or false Louie'es work includes programmatic elements

Answer 207

true

Question 208

# true or false Louie's work represents a purely minimalist approach

Answer 208

false

Question 209

# true or false Louie's work contains influences of minimalism

Answer 209

true

Question 210

# true or false Louie has chosen not to explore electronic technology in any of her works

Answer 210

false

Question 211

# true or false in some works, Louie incorporated electronic technology

Answer 211

true

Question 212

# true or false Louie uses a varied harmonic language that embraces tonality, modality, extreme dissonance

Answer 212

true

Question 213

# 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 213

false

Question 214

# true or false Louie's piano music draws on the instrument's expressive quality through extensive use of epdal and delicate figurations

Answer 214

true

Question 215

# 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 215

true

Question 216

# true or false Adam represents "the old generation" of minimalist composers; he is often termed the father of minimalism

Answer 216

false

Question 217

# true or false Adams represents "the next generation" of minimalist composers; he is often termed a post-minimalist

Answer 217

true

Question 218

# 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 218

false

Question 219

# 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 219

true

Question 220

# true or false Adams' approach to rhythm and meter reflects minimalism's penchant for incessant, driving rhythm (moto perpetuo)

Answer 220

true

Question 221

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

Answer 221

false

Question 222

# true or false Adams frequently uses ostinato patterns, syncopation, and complex polyrhythms that result in a "rhythmic dissonance"

Answer 222

true

Question 223

# true or false Adams' orchestral works lean toward programmatic elemts, including evocative titles

Answer 223

false

Question 224

# 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 224

true

Question 225

# 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 225

true