A.   remained relatively stable.

B.   returned to the styles of the nineteenth century.

C.   taken many new directions and changes.

D.   concentrated on perfecting the twelve-tone system.

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

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

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

D.   they were bored with tonal music.

A.   chance music.

B.   serialism.

C.   minimalism.

D.   Klangfarbenmelodie.

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

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

C.   writes music that is considered impossible to perform.

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

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

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

C.   All answers are correct.

D.   a combination of four tones.

A.   George Crumb

B.   Terry Riley

C.   Philip Glass

D.   Steve Reich

A.   "new Classicists".

B.   "new Expressionists".

C.   "new impressionists".

D.   "new Romantics".

A.   a polychord.

B.   polytonality.

C.   bitonality.

D.   a tone cluster.

A.   microtones.

B.   white tones.

C.   macrotones.

D.   tone clusters.

A.   Edgard Varèse.

B.   Ellen Taaffe Zwilich.

C.   Steve Reich.

D.   John Cage.

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

B.   large symphonic orchestra and two synthesizers.

C.   prepared piano.

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

A.   scales they themselves invented.

B.   scales borrowed from nonwestern cultures.

C.   ancient church modes.

D.   All answers are correct.

A.   an American art form.

B.   an outdated form of music.

C.   a form of orchestral music.

D.   an avant-garde experiment.

A.   clarinet section.

B.   brass section.

C.   rhythm section.

D.   director.

A.   generally in duple meter.

B.   All answers are correct.

C.   a style of composed piano music.

D.   performed at a moderate march tempo.

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

B.   All answers are correct.

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

D.   may be vocal or instrumental.

A.   2/4

B.   6/8

C.   4/4

D.   3/4

A.   tuba.

B.   cornet.

C.   saxophone.

D.   guitar.

A.   Charlie Parker.

B.   Dizzy Gillespie.

C.   Thelonious Monk.

D.   Buddy Rich.

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

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

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

D.   improvisational sections by the soloists.

A.   consisted of short pieces freely improvised.

B.   used traditional jazz instrumental combinations.

C.   All answers are correct.

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.   Joe Zawinul and Wayne Shorter.

D.   Dave Brubeck and Lennie Tristano.

A.   All answers are correct.

B.   author-lecturer.

C.   conductor.

D.   composer of orchestral and vocal works.

A.   polyrhythm.

B.   ostinato.

C.   jazz.

D.   polytonality.

A.   West Side Story.

B.   Sweeney Todd.

C.   Cats.

D.   On Your Toes.

A.   Embraceable You.

B.   La, La, Lucille.

C.   I Got Rhythm.

D.   Swanee.

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

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

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

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

A.   ostinato.

B.   atonality.

C.   polytonality.

D.   glissando.

A.   Country and western

B.   Gospel

C.   Rhythm and blues

D.   Motown

A.   All answers are correct.

B.   "classical" and nonwestern instruments.

C.   unconventional scales, chord progressions, and rhythms.

D.   new electronic effects.

A.   the first beat

B.   all four beats

C.   the first and third beats

D.   the second and fourth beats

A.   the same as earlier popular music.

B.   limited to only two chords.

C.   extremely complex.

D.   quite simple.

A.   1895

B.   1922

C.   1930

D.   1908

A.   Austria.

B.   Bohemia.

C.   France.

D.   England.

A.   Richard Wagner.

B.   Arnold Schoenberg.

C.   Claude Debussy.

D.   Béla Bartók.

A.   have a strong sense of tonality.

B.   affirm the key very noticeably.

C.   use the full orchestra for massive effects.

D.   sound free and almost improvisational.

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

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.   The Rite of Spring.

B.   The Fairy's Kiss.

C.   Pulcinella.

D.   Agon.

A.   neoclassicism.

B.   expressionism.

C.   primitivism.

D.   impressionism.

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

B.   All answers are correct.

C.   dissonance has been emancipated.

D.   percussion instruments have become very prominent and numerous.

A.   vocal soloists and orchestra.

B.   a wind ensemble.

C.   a small chamber group.

D.   an enormous orchestra.

A.   Edvard Munch.

B.   Debussy.

C.   Charles Ives.

D.   Richard Strauss.

A.   reality.

B.   imagination.

C.   conventional prettiness.

D.   morality.

A.   bel canto.

B.   Sprechstimme.

C.   stile rappresentativo.

D.   Pierrot Lunaire.

A.   Sprechstimme.

B.   Klangfarbenmelodie.

C.   atonality.

D.   serialism.

A.   tone row.

B.   set.

C.   All answers are correct.

D.   series.

A.   a solo clarinet.

B.   a muted trumpet.

C.   a solo flute.

D.   the full orchestra.

A.   Milton Babbitt.

B.   Alban Berg.

C.   Anton Webern.

D.   Arnold Schoenberg.

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.   simplification of nonwestern thought and musical styles.

D.   natural outgrowth of the late romantic style.