A.   taken many new directions and changes.

B.   returned to the styles of the nineteenth century.

C.   remained relatively stable.

D.   concentrated on perfecting the twelve-tone system.

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

D.   they were bored with tonal music.

A.   chance music.

B.   Klangfarbenmelodie.

C.   serialism.

D.   minimalism.

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

B.   writes music that is considered impossible to perform.

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

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

A.   a combination of four tones.

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

C.   All answers are correct.

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

A.   Philip Glass

B.   George Crumb

C.   Terry Riley

D.   Steve Reich

A.   "new Romantics".

B.   "new Classicists".

C.   "new Expressionists".

D.   "new impressionists".

A.   polytonality.

B.   a polychord.

C.   bitonality.

D.   a tone cluster.

A.   tone clusters.

B.   macrotones.

C.   microtones.

D.   white tones.

A.   Steve Reich.

B.   Edgard Varèse.

C.   Ellen Taaffe Zwilich.

D.   John Cage.

A.   large symphonic orchestra and two synthesizers.

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

C.   prepared piano.

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

A.   scales borrowed from nonwestern cultures.

B.   All answers are correct.

C.   scales they themselves invented.

D.   ancient church modes.

A.   an American art form.

B.   an outdated form of music.

C.   an avant-garde experiment.

D.   a form of orchestral music.

A.   clarinet section.

B.   director.

C.   brass section.

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

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

C.   may be vocal or instrumental.

D.   All answers are correct.

A.   3/4

B.   4/4

C.   6/8

D.   2/4

A.   tuba.

B.   guitar.

C.   saxophone.

D.   cornet.

A.   Charlie Parker.

B.   Dizzy Gillespie.

C.   Thelonious Monk.

D.   Buddy Rich.

A.   improvisational sections by the soloists.

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

A.   used traditional jazz instrumental combinations.

B.   All answers are correct.

C.   consisted of short pieces freely improvised.

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

A.   Dave Brubeck and Lennie Tristano.

B.   John Coltrane and Ornette Coleman.

C.   Charlie Parker and Thelonious Monk.

D.   Joe Zawinul and Wayne Shorter.

A.   composer of orchestral and vocal works.

B.   conductor.

C.   All answers are correct.

D.   author-lecturer.

A.   polytonality.

B.   jazz.

C.   polyrhythm.

D.   ostinato.

A.   West Side Story.

B.   Cats.

C.   Sweeney Todd.

D.   On Your Toes.

A.   La, La, Lucille.

B.   I Got Rhythm.

C.   Swanee.

D.   Embraceable You.

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

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

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

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

A.   ostinato.

B.   atonality.

C.   glissando.

D.   polytonality.

A.   Rhythm and blues

B.   Motown

C.   Gospel

D.   Country and western

A.   "classical" and nonwestern instruments.

B.   new electronic effects.

C.   unconventional scales, chord progressions, and rhythms.

D.   All answers are correct.

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.   quite simple.

D.   extremely complex.

A.   1922

B.   1908

C.   1930

D.   1895

A.   Bohemia.

B.   England.

C.   Austria.

D.   France.

A.   Béla Bartók.

B.   Arnold Schoenberg.

C.   Claude Debussy.

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

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

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

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

A.   Vaclav Nijinsky.

B.   Sergei Diaghilev.

C.   George Balanchine.

D.   Michel Fokine.

A.   Agon.

B.   The Fairy's Kiss.

C.   The Rite of Spring.

D.   Pulcinella.

A.   primitivism.

B.   impressionism.

C.   expressionism.

D.   neoclassicism.

A.   All answers are correct.

B.   dissonance has been emancipated.

C.   percussion instruments have become very prominent and numerous.

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

A.   a small chamber group.

B.   a wind ensemble.

C.   vocal soloists and orchestra.

D.   an enormous orchestra.

A.   Debussy.

B.   Edvard Munch.

C.   Richard Strauss.

D.   Charles Ives.

A.   reality.

B.   conventional prettiness.

C.   morality.

D.   imagination.

A.   Sprechstimme.

B.   Pierrot Lunaire.

C.   stile rappresentativo.

D.   bel canto.

A.   Sprechstimme.

B.   serialism.

C.   Klangfarbenmelodie.

D.   atonality.

A.   series.

B.   tone row.

C.   All answers are correct.

D.   set.

A.   a solo flute.

B.   the full orchestra.

C.   a muted trumpet.

D.   a solo clarinet.

A.   Arnold Schoenberg.

B.   Milton Babbitt.

C.   Alban Berg.

D.   Anton Webern.

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

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

C.   natural outgrowth of the late romantic style.

D.   simplification of nonwestern thought and musical styles.