MUSI 1307 - Test #4 Flashcards
How did literature and other arts affect the composition and reception of orchestral and chamber music in the first half of the nineteenth century? Identify and discuss composers and works that illustrate the range of extramusical influences on these genres.
With the rise of Romanticism came a focus on the individual and an expression of the self. This could be seen in Beethoven, who is considered to be the first composer who composed to express himself and not written specifically for a performer or an audience’s need.
Explain how the music of Beethoven’s contemporaries and predecessors influenced his compositional styles and techniques. How did he adapt or change the conventions and practices (e.g., forms, musical processes, melodic and harmonic idioms, and textures) of his contemporaries and predecessors to suit his own creative and expressive goals?
Took lessons with Haydn and Saleri.
Abrupt changes in dynamics, thick textures, unconventional modulations.
Expanded forms of previous composers and created unprescedented lengths. Ideas subject to intese development.
Works became like narratives or dramas, replacing the idea of music only as entertainment.
Between the two World Wars, the spread of technologies and products such as radio, film,
and phonographs contributed to
a.the disappearance of avant-garde musical movements.
b.the disappearance of the nineteenth-century Romantic repertoire from concert stages.
c.the creation of a single, uniform style of music in the Western world.
d.a decline in amateur music-making.
e.the growth of a mass market for recorded and printed music.
e.the growth of a mass market for recorded and printed music.
The broad propagation and popularity of new indigenous American musical genres like jazz and popular song can be attributed to
a.increased racial equality throughout the United States during and after the 1920s.
b.the availability of recording and radio technologies.
c.the diaspora of African American musicians from the South.
d.the decline of the European musical tradition after World War I.
e.the racial integration of professional performing ensembles.
b.the availability of recording and radio technologies.
The introduction of electric recording in the 1920s led to a(n)
a.decline of recordings of orchestral music.
b.rapid growth of the sheet music publishing industry.
c.change in the vocal style called for by composers and singers.
d.immediate decline of live radio musical broadcasts.
e.rapid decline of live performances.
c.change in the vocal style called for by composers and singers.
The most widespread and profound effect that the Internet has had on musical creativity is arguably
a.increased involvement of untrained amateurs.
b.changes in the training of professional musicians.
c.a decline of musical taste and standards.
d.decreased interest in historical repertoires.
e.increased uniformity of musical style across repertoires and performers.
a.increased involvement of untrained amateurs.
The splintering of the pop music audience in the first decades of the twenty-first century can be attributed to
a.the erosion of the pop music market by an expanding classical music audience.
b.the proliferation of listening options enabled by communications technologies.
c.the growing number of music consumers isolated by lack of access to the Internet.
d.the decline of live pop music performances.
e.copyright enforcement by large music producers and recording companies.
b.the proliferation of listening options enabled by communications technologies.
The Internet has given users powerful advantages in all the following matters EXCEPT
a.distribution of video files.
d.artist copyright protections.
b.musical collaborations.
e.publication of scores.
c.distribution of audio files.
d.artist copyright protections.
The division of Beethoven’s life into three periods was
a.based on the three-part division of his autobiography.
b.a revisionist periodization proposed by late-twentieth-century scholars.
c.based on Beethoven’s three successive relationships with Viennese music publishers.
d.based on the divisions of his life first by his marriage and then by the birth of his son Karl.
e.based on a biographical schema established by his early biographers.
e.based on a biographical schema established by his early biographers.
Beethoven initially attracted favorable audience attention through his
a.symphonies.
d.piano performances.
b.conducting.
e.quartets.
c.chamber music.
d.piano performances.
Beethoven’s music most closely mirrored post-French-revolutionary social changes in that it increasingly
a.dealt with the economic and social struggles of the lower classes.
b.represented an entrepreneurial freedom from compositional convention.
c.dealt with religious subjects.
d.became simple and accessible so as to appeal to common people.
e.was composed for private commissions rather than for public consumption.
b.represented an entrepreneurial freedom from compositional convention.
Beethoven’s Third Symphony demonstrates how the composer
a.treated musical themes as though they were characters in a drama.
b.consistently used longer, more lyrical themes than his predecessors.
c.composed more concise development sections than his predecessors.
d.would first introduce significant motives within a slow introduction.
e.preferred to leave themes unaltered within a movement so they would be always recognizable.
a.treated musical themes as though they were characters in a drama.
The heroic narrative implicit in Beethoven’s Fifth Symphony is conveyed partly through the
a.conclusion of the symphony with a majestic fugue.
b.conclusion of the symphony in the parallel major mode of the tonic key.
c.inclusion of a funeral march movement.
d.incorporation of Russian melodies in the last movement.
e.setting of a poem by Friedrich Schiller in the last movement.
b.conclusion of the symphony in the parallel major mode of the tonic key.
Beethoven’s third period was distinct from his second on account of all the following factors EXCEPT
a.his nearly total deafness.
b.his financial insecurities.
c.political oppression and retrenchment.
d.the occupation of Vienna by French troops.
e.his family problems.
d.the occupation of Vienna by French troops.
Beethoven’s late style is characterized by all the following EXCEPT
a.fugal passages or movements.
b.extreme contrasts of dynamics and register.
c.frequent juxtaposition of different styles and musical topics.
d.frequent use of variation technique and form.
e.simplified performance challenges aimed at amateur players.
e.simplified performance challenges aimed at amateur players.
