A.   remained relatively stable.

B.   concentrated on perfecting the twelve-tone system.

C.   taken many new directions and changes.

D.   returned to the styles of the nineteenth century.

A.   they discovered it was a compositional technique rather than a special musical style.

B.   it was easier to write twelve-tone music.

C.   they were bored with tonal music.

D.   they could make more money selling atonal compositions to a wider public.

A.   Klangfarbenmelodie.

B.   minimalism.

C.   chance music.

D.   serialism.

A.   chooses pitches, tone colors, and rhythms by random methods.

B.   writes music that is considered impossible to perform.

C.   writes the music in a traditional manner, but allows the recording engineer to make electronic changes.

D.   takes a chance on which performers will perform the work.

A.   the chord built on the fourth step of the scale.

B.   All answers are correct.

C.   a combination of four tones.

D.   a chord in which the tones are a fourth apart, instead of a third.

A.   George Crumb

B.   Terry Riley

C.   Philip Glass

D.   Steve Reich

A.   "new Romantics".

B.   "new impressionists".

C.   "new Expressionists".

D.   "new Classicists".

A.   polytonality.

B.   bitonality.

C.   a polychord.

D.   a tone cluster.

A.   macrotones.

B.   tone clusters.

C.   microtones.

D.   white tones.

A.   Steve Reich.

B.   Ellen Taaffe Zwilich.

C.   Edgard Varèse.

D.   John Cage.

A.   large symphonic orchestra and two synthesizers.

B.   mezzo-soprano, boy soprano, oboe, mandolin, harp, percussion, and electric piano.

C.   prepared piano.

D.   sound engineer, a female vocalist, five instrumentalists, and a violin soloist.

A.   scales borrowed from nonwestern cultures.

B.   scales they themselves invented.

C.   All answers are correct.

D.   ancient church modes.

A.   an outdated form of music.

B.   an avant-garde experiment.

C.   a form of orchestral music.

D.   an American art form.

A.   brass section.

B.   director.

C.   clarinet section.

D.   rhythm section.

A.   a style of composed piano music.

B.   All answers are correct.

C.   generally in duple meter.

D.   performed at a moderate march tempo.

A.   may be vocal or instrumental.

B.   can be happy or sad, fast or slow.

C.   All answers are correct.

D.   usually follow a 12-bar pattern as a basis for improvisation.

A.   6/8

B.   2/4

C.   4/4

D.   3/4

A.   saxophone.

B.   tuba.

C.   cornet.

D.   guitar.

A.   Dizzy Gillespie.

B.   Charlie Parker.

C.   Buddy Rich.

D.   Thelonious Monk.

A.   a statement of the main theme by the whole combo in unison.

B.   improvisational sections by the soloists.

C.   free sections by the rhythm instruments to set the beat and tempo.

D.   a statement of the main theme by one or two soloists in unison.

A.   All answers are correct.

B.   was related to bop but was calmer and more relaxed in character.

C.   used traditional jazz instrumental combinations.

D.   consisted of short pieces freely improvised.

A.   Joe Zawinul and Wayne Shorter.

B.   Charlie Parker and Thelonious Monk.

C.   John Coltrane and Ornette Coleman.

D.   Dave Brubeck and Lennie Tristano.

A.   author-lecturer.

B.   All answers are correct.

C.   composer of orchestral and vocal works.

D.   conductor.

A.   polytonality.

B.   jazz.

C.   polyrhythm.

D.   ostinato.

A.   West Side Story.

B.   On Your Toes.

C.   Cats.

D.   Sweeney Todd.

A.   I Got Rhythm.

B.   Embraceable You.

C.   Swanee.

D.   La, La, Lucille.

A.   a blend of rhythm and blues and popular music.

B.   a folklike guitar-based style associated with rural white Americans.

C.   an African-American dance music that fused blues, jazz, and gospel styles.

D.   vocal music with a hard, driving beat, often featuring electric guitar accompaniment and heavily amplified sound.

A.   ostinato.

B.   polytonality.

C.   glissando.

D.   atonality.

A.   Motown

B.   Country and western

C.   Gospel

D.   Rhythm and blues

A.   new electronic effects.

B.   "classical" and nonwestern instruments.

C.   unconventional scales, chord progressions, and rhythms.

D.   All answers are correct.

A.   the first and third beats

B.   the second and fourth beats

C.   the first beat

D.   all four beats

A.   extremely complex.

B.   the same as earlier popular music.

C.   limited to only two chords.

D.   quite simple.

A.   1908

B.   1922

C.   1930

D.   1895

A.   Austria.

B.   France.

C.   Bohemia.

D.   England.

A.   Béla Bartók.

B.   Claude Debussy.

C.   Arnold Schoenberg.

D.   Richard Wagner.

A.   affirm the key very noticeably.

B.   sound free and almost improvisational.

C.   have a strong sense of tonality.

D.   use the full orchestra for massive effects.

A.   Neoclassicism was an important trend in other art forms such as painting and poetry.

B.   Neoclassical composers reacted against twentieth-century harmonies and rhythms, and preferred to revive old forms and styles exactly as they were.

C.   Since many neoclassical compositions were modeled after Bach's music, the term neobaroque might have been more appropriate.

D.   Neoclassical compositions use the musical forms and stylistic features of earlier periods, particularly of the eighteenth century.

A.   Vaclav Nijinsky.

B.   George Balanchine.

C.   Sergei Diaghilev.

D.   Michel Fokine.

A.   Pulcinella.

B.   The Fairy's Kiss.

C.   Agon.

D.   The Rite of Spring.

A.   impressionism.

B.   neoclassicism.

C.   expressionism.

D.   primitivism.

A.   All answers are correct.

B.   percussion instruments have become very prominent and numerous.

C.   dissonance has been emancipated.

D.   string players are sometimes called on to use the wood instead of the hair on their bows.

A.   an enormous orchestra.

B.   a wind ensemble.

C.   a small chamber group.

D.   vocal soloists and orchestra.

A.   Richard Strauss.

B.   Debussy.

C.   Edvard Munch.

D.   Charles Ives.

A.   imagination.

B.   morality.

C.   reality.

D.   conventional prettiness.

A.   stile rappresentativo.

B.   Pierrot Lunaire.

C.   Sprechstimme.

D.   bel canto.

A.   Klangfarbenmelodie.

B.   Sprechstimme.

C.   atonality.

D.   serialism.

A.   tone row.

B.   All answers are correct.

C.   set.

D.   series.

A.   a solo clarinet.

B.   a muted trumpet.

C.   the full orchestra.

D.   a solo flute.

A.   Alban Berg.

B.   Milton Babbitt.

C.   Anton Webern.

D.   Arnold Schoenberg.

A.   way to create popular works quickly and with little effort.

B.   simplification of nonwestern thought and musical styles.

C.   natural outgrowth of the late romantic style.

D.   reaction against the complexity of serialism and the randomness of chance music.