A.   remained relatively stable.

B.   taken many new directions and changes.

C.   returned to the styles of the nineteenth century.

D.   concentrated on perfecting the twelve-tone system.

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

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

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

D.   they were bored with tonal music.

A.   chance music.

B.   minimalism.

C.   serialism.

D.   Klangfarbenmelodie.

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

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

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

D.   writes music that is considered impossible to perform.

A.   All answers are correct.

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

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

D.   a combination of four tones.

A.   Philip Glass

B.   Steve Reich

C.   George Crumb

D.   Terry Riley

A.   "new Romantics".

B.   "new Classicists".

C.   "new Expressionists".

D.   "new impressionists".

A.   bitonality.

B.   a polychord.

C.   a tone cluster.

D.   polytonality.

A.   tone clusters.

B.   macrotones.

C.   white tones.

D.   microtones.

A.   Ellen Taaffe Zwilich.

B.   Steve Reich.

C.   Edgard Varèse.

D.   John Cage.

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

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

C.   large symphonic orchestra and two synthesizers.

D.   prepared piano.

A.   All answers are correct.

B.   ancient church modes.

C.   scales borrowed from nonwestern cultures.

D.   scales they themselves invented.

A.   an outdated form of music.

B.   a form of orchestral music.

C.   an avant-garde experiment.

D.   an American art form.

A.   rhythm section.

B.   director.

C.   clarinet section.

D.   brass section.

A.   generally in duple meter.

B.   All answers are correct.

C.   performed at a moderate march tempo.

D.   a style of composed piano music.

A.   All answers are correct.

B.   may be vocal or instrumental.

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

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

A.   6/8

B.   3/4

C.   2/4

D.   4/4

A.   guitar.

B.   saxophone.

C.   cornet.

D.   tuba.

A.   Thelonious Monk.

B.   Dizzy Gillespie.

C.   Charlie Parker.

D.   Buddy Rich.

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

B.   improvisational sections by the soloists.

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

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

A.   All answers are correct.

B.   used traditional jazz instrumental combinations.

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

D.   consisted of short pieces freely improvised.

A.   Dave Brubeck and Lennie Tristano.

B.   Charlie Parker and Thelonious Monk.

C.   John Coltrane and Ornette Coleman.

D.   Joe Zawinul and Wayne Shorter.

A.   conductor.

B.   All answers are correct.

C.   author-lecturer.

D.   composer of orchestral and vocal works.

A.   ostinato.

B.   polyrhythm.

C.   jazz.

D.   polytonality.

A.   West Side Story.

B.   Cats.

C.   Sweeney Todd.

D.   On Your Toes.

A.   Swanee.

B.   La, La, Lucille.

C.   I Got Rhythm.

D.   Embraceable You.

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

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

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

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

A.   ostinato.

B.   atonality.

C.   polytonality.

D.   glissando.

A.   Motown

B.   Rhythm and blues

C.   Gospel

D.   Country and western

A.   unconventional scales, chord progressions, and rhythms.

B.   "classical" and nonwestern instruments.

C.   All answers are correct.

D.   new electronic effects.

A.   the first and third beats

B.   all four beats

C.   the first beat

D.   the second and fourth beats

A.   limited to only two chords.

B.   the same as earlier popular music.

C.   extremely complex.

D.   quite simple.

A.   1908

B.   1930

C.   1895

D.   1922

A.   Austria.

B.   England.

C.   France.

D.   Bohemia.

A.   Arnold Schoenberg.

B.   Claude Debussy.

C.   Béla Bartók.

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

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

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

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

A.   Vaclav Nijinsky.

B.   George Balanchine.

C.   Michel Fokine.

D.   Sergei Diaghilev.

A.   Pulcinella.

B.   The Fairy's Kiss.

C.   Agon.

D.   The Rite of Spring.

A.   primitivism.

B.   neoclassicism.

C.   expressionism.

D.   impressionism.

A.   percussion instruments have become very prominent and numerous.

B.   All answers are correct.

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

D.   dissonance has been emancipated.

A.   a wind ensemble.

B.   a small chamber group.

C.   vocal soloists and orchestra.

D.   an enormous orchestra.

A.   Charles Ives.

B.   Debussy.

C.   Edvard Munch.

D.   Richard Strauss.

A.   reality.

B.   conventional prettiness.

C.   morality.

D.   imagination.

A.   Pierrot Lunaire.

B.   bel canto.

C.   Sprechstimme.

D.   stile rappresentativo.

A.   Sprechstimme.

B.   serialism.

C.   atonality.

D.   Klangfarbenmelodie.

A.   series.

B.   tone row.

C.   All answers are correct.

D.   set.

A.   a solo flute.

B.   the full orchestra.

C.   a solo clarinet.

D.   a muted trumpet.

A.   Milton Babbitt.

B.   Anton Webern.

C.   Arnold Schoenberg.

D.   Alban Berg.

A.   simplification of nonwestern thought and musical styles.

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

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

D.   natural outgrowth of the late romantic style.