A.   returned to the styles of the nineteenth century.

B.   taken many new directions and changes.

C.   concentrated on perfecting the twelve-tone system.

D.   remained relatively stable.

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

B.   they were bored with tonal music.

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

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

A.   minimalism.

B.   Klangfarbenmelodie.

C.   serialism.

D.   chance music.

A.   writes music that is considered impossible to perform.

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

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

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

A.   a combination of four tones.

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

C.   All answers are correct.

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

A.   George Crumb

B.   Philip Glass

C.   Terry Riley

D.   Steve Reich

A.   "new Romantics".

B.   "new Classicists".

C.   "new Expressionists".

D.   "new impressionists".

A.   polytonality.

B.   bitonality.

C.   a polychord.

D.   a tone cluster.

A.   macrotones.

B.   microtones.

C.   white tones.

D.   tone clusters.

A.   Ellen Taaffe Zwilich.

B.   John Cage.

C.   Steve Reich.

D.   Edgard Varèse.

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

B.   prepared piano.

C.   large symphonic orchestra and two synthesizers.

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

A.   All answers are correct.

B.   scales they themselves invented.

C.   scales borrowed from nonwestern cultures.

D.   ancient church modes.

A.   an outdated form of music.

B.   an avant-garde experiment.

C.   an American art form.

D.   a form of orchestral music.

A.   brass section.

B.   clarinet section.

C.   rhythm section.

D.   director.

A.   generally in duple meter.

B.   a style of composed piano music.

C.   performed at a moderate march tempo.

D.   All answers are correct.

A.   may be vocal or instrumental.

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

C.   All answers are correct.

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

A.   6/8

B.   2/4

C.   4/4

D.   3/4

A.   cornet.

B.   saxophone.

C.   guitar.

D.   tuba.

A.   Charlie Parker.

B.   Dizzy Gillespie.

C.   Thelonious Monk.

D.   Buddy Rich.

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

B.   improvisational sections by the soloists.

C.   a statement of the main theme by the whole combo 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.   consisted of short pieces freely improvised.

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

A.   Charlie Parker and Thelonious Monk.

B.   John Coltrane and Ornette Coleman.

C.   Dave Brubeck and Lennie Tristano.

D.   Joe Zawinul and Wayne Shorter.

A.   composer of orchestral and vocal works.

B.   conductor.

C.   author-lecturer.

D.   All answers are correct.

A.   polyrhythm.

B.   polytonality.

C.   jazz.

D.   ostinato.

A.   Cats.

B.   Sweeney Todd.

C.   West Side Story.

D.   On Your Toes.

A.   Embraceable You.

B.   La, La, Lucille.

C.   Swanee.

D.   I Got Rhythm.

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 folklike guitar-based style associated with rural white Americans.

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

A.   ostinato.

B.   glissando.

C.   atonality.

D.   polytonality.

A.   Gospel

B.   Country and western

C.   Motown

D.   Rhythm and blues

A.   unconventional scales, chord progressions, and rhythms.

B.   "classical" and nonwestern instruments.

C.   new electronic effects.

D.   All answers are correct.

A.   the first beat

B.   the first and third beats

C.   all four beats

D.   the second and fourth beats

A.   extremely complex.

B.   limited to only two chords.

C.   the same as earlier popular music.

D.   quite simple.

A.   1922

B.   1930

C.   1908

D.   1895

A.   France.

B.   Bohemia.

C.   Austria.

D.   England.

A.   Béla Bartók.

B.   Richard Wagner.

C.   Claude Debussy.

D.   Arnold Schoenberg.

A.   affirm the key very noticeably.

B.   sound free and almost improvisational.

C.   use the full orchestra for massive effects.

D.   have a strong sense of tonality.

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

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

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

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

A.   George Balanchine.

B.   Michel Fokine.

C.   Sergei Diaghilev.

D.   Vaclav Nijinsky.

A.   Agon.

B.   The Fairy's Kiss.

C.   The Rite of Spring.

D.   Pulcinella.

A.   primitivism.

B.   neoclassicism.

C.   impressionism.

D.   expressionism.

A.   dissonance has been emancipated.

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

C.   percussion instruments have become very prominent and numerous.

D.   All answers are correct.

A.   an enormous orchestra.

B.   vocal soloists and orchestra.

C.   a wind ensemble.

D.   a small chamber group.

A.   Edvard Munch.

B.   Charles Ives.

C.   Debussy.

D.   Richard Strauss.

A.   conventional prettiness.

B.   reality.

C.   imagination.

D.   morality.

A.   Sprechstimme.

B.   stile rappresentativo.

C.   Pierrot Lunaire.

D.   bel canto.

A.   Sprechstimme.

B.   serialism.

C.   Klangfarbenmelodie.

D.   atonality.

A.   tone row.

B.   set.

C.   All answers are correct.

D.   series.

A.   a muted trumpet.

B.   the full orchestra.

C.   a solo clarinet.

D.   a solo flute.

A.   Alban Berg.

B.   Anton Webern.

C.   Arnold Schoenberg.

D.   Milton Babbitt.

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

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

C.   natural outgrowth of the late romantic style.

D.   simplification of nonwestern thought and musical styles.