A.   concentrated on perfecting the twelve-tone system.

B.   remained relatively stable.

C.   returned to the styles of the nineteenth century.

D.   taken many new directions and changes.

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

B.   they were bored with tonal music.

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

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

A.   minimalism.

B.   serialism.

C.   chance music.

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.   writes music that is considered impossible to perform.

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

A.   a combination of four tones.

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

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

D.   All answers are correct.

A.   Terry Riley

B.   George Crumb

C.   Steve Reich

D.   Philip Glass

A.   "new Classicists".

B.   "new Romantics".

C.   "new impressionists".

D.   "new Expressionists".

A.   bitonality.

B.   a polychord.

C.   polytonality.

D.   a tone cluster.

A.   microtones.

B.   tone clusters.

C.   macrotones.

D.   white tones.

A.   Edgard Varèse.

B.   John Cage.

C.   Steve Reich.

D.   Ellen Taaffe Zwilich.

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.   scales they themselves invented.

B.   ancient church modes.

C.   All answers are correct.

D.   scales borrowed from nonwestern cultures.

A.   an American art form.

B.   an outdated form of music.

C.   an avant-garde experiment.

D.   a form of orchestral music.

A.   director.

B.   clarinet section.

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

C.   may be vocal or instrumental.

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

A.   4/4

B.   2/4

C.   6/8

D.   3/4

A.   saxophone.

B.   tuba.

C.   cornet.

D.   guitar.

A.   Thelonious Monk.

B.   Dizzy Gillespie.

C.   Charlie Parker.

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.   used traditional jazz instrumental combinations.

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

C.   All answers are correct.

D.   consisted of short pieces freely improvised.

A.   Joe Zawinul and Wayne Shorter.

B.   Charlie Parker and Thelonious Monk.

C.   Dave Brubeck and Lennie Tristano.

D.   John Coltrane and Ornette Coleman.

A.   All answers are correct.

B.   conductor.

C.   author-lecturer.

D.   composer of orchestral and vocal works.

A.   jazz.

B.   ostinato.

C.   polytonality.

D.   polyrhythm.

A.   Sweeney Todd.

B.   Cats.

C.   West Side Story.

D.   On Your Toes.

A.   I Got Rhythm.

B.   Swanee.

C.   La, La, Lucille.

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.   glissando.

B.   ostinato.

C.   atonality.

D.   polytonality.

A.   Rhythm and blues

B.   Country and western

C.   Motown

D.   Gospel

A.   All answers are correct.

B.   "classical" and nonwestern instruments.

C.   unconventional scales, chord progressions, and rhythms.

D.   new electronic effects.

A.   the second and fourth beats

B.   the first beat

C.   the first and third beats

D.   all four beats

A.   quite simple.

B.   the same as earlier popular music.

C.   limited to only two chords.

D.   extremely complex.

A.   1922

B.   1930

C.   1895

D.   1908

A.   England.

B.   Bohemia.

C.   Austria.

D.   France.

A.   Claude Debussy.

B.   Arnold Schoenberg.

C.   Béla Bartók.

D.   Richard Wagner.

A.   sound free and almost improvisational.

B.   have a strong sense of tonality.

C.   affirm the key very noticeably.

D.   use the full orchestra for massive effects.

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

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

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

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.   Vaclav Nijinsky.

C.   Sergei Diaghilev.

D.   Michel Fokine.

A.   The Fairy's Kiss.

B.   Pulcinella.

C.   The Rite of Spring.

D.   Agon.

A.   impressionism.

B.   neoclassicism.

C.   expressionism.

D.   primitivism.

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

B.   dissonance has been emancipated.

C.   All answers are correct.

D.   percussion instruments have become very prominent and numerous.

A.   vocal soloists and orchestra.

B.   a wind ensemble.

C.   an enormous orchestra.

D.   a small chamber group.

A.   Richard Strauss.

B.   Debussy.

C.   Charles Ives.

D.   Edvard Munch.

A.   morality.

B.   reality.

C.   imagination.

D.   conventional prettiness.

A.   Pierrot Lunaire.

B.   Sprechstimme.

C.   stile rappresentativo.

D.   bel canto.

A.   serialism.

B.   Klangfarbenmelodie.

C.   Sprechstimme.

D.   atonality.

A.   series.

B.   All answers are correct.

C.   set.

D.   tone row.

A.   a solo clarinet.

B.   a solo flute.

C.   a muted trumpet.

D.   the full orchestra.

A.   Arnold Schoenberg.

B.   Milton Babbitt.

C.   Anton Webern.

D.   Alban Berg.

A.   simplification of nonwestern thought and musical styles.

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

C.   natural outgrowth of the late romantic style.

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