A.   taken many new directions and changes.

B.   concentrated on perfecting the twelve-tone system.

C.   remained relatively stable.

D.   returned to the styles of the nineteenth century.

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.   minimalism.

B.   serialism.

C.   Klangfarbenmelodie.

D.   chance music.

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

B.   writes music that is considered impossible to perform.

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

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.   a combination of four tones.

D.   All answers are correct.

A.   Steve Reich

B.   George Crumb

C.   Philip Glass

D.   Terry Riley

A.   "new Classicists".

B.   "new impressionists".

C.   "new Expressionists".

D.   "new Romantics".

A.   bitonality.

B.   a tone cluster.

C.   polytonality.

D.   a polychord.

A.   microtones.

B.   macrotones.

C.   white tones.

D.   tone clusters.

A.   Edgard Varèse.

B.   John Cage.

C.   Ellen Taaffe Zwilich.

D.   Steve Reich.

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

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

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.   a form of orchestral music.

B.   an outdated form of music.

C.   an avant-garde experiment.

D.   an American art form.

A.   clarinet section.

B.   brass section.

C.   rhythm section.

D.   director.

A.   a style of composed piano music.

B.   All answers are correct.

C.   performed at a moderate march tempo.

D.   generally in duple meter.

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

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

C.   All answers are correct.

D.   may be vocal or instrumental.

A.   3/4

B.   2/4

C.   4/4

D.   6/8

A.   tuba.

B.   guitar.

C.   cornet.

D.   saxophone.

A.   Buddy Rich.

B.   Charlie Parker.

C.   Dizzy Gillespie.

D.   Thelonious Monk.

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.   John Coltrane and Ornette Coleman.

C.   Charlie Parker and Thelonious Monk.

D.   Dave Brubeck and Lennie Tristano.

A.   All answers are correct.

B.   conductor.

C.   author-lecturer.

D.   composer of orchestral and vocal works.

A.   polytonality.

B.   jazz.

C.   polyrhythm.

D.   ostinato.

A.   Cats.

B.   Sweeney Todd.

C.   West Side Story.

D.   On Your Toes.

A.   I Got Rhythm.

B.   Swanee.

C.   La, La, Lucille.

D.   Embraceable You.

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

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

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

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

A.   polytonality.

B.   glissando.

C.   ostinato.

D.   atonality.

A.   Country and western

B.   Motown

C.   Rhythm and blues

D.   Gospel

A.   new electronic effects.

B.   All answers are correct.

C.   "classical" and nonwestern instruments.

D.   unconventional scales, chord progressions, and rhythms.

A.   the first and third beats

B.   the first beat

C.   all four beats

D.   the second and fourth beats

A.   the same as earlier popular music.

B.   quite simple.

C.   extremely complex.

D.   limited to only two chords.

A.   1895

B.   1922

C.   1908

D.   1930

A.   Bohemia.

B.   Austria.

C.   France.

D.   England.

A.   Claude Debussy.

B.   Arnold Schoenberg.

C.   Richard Wagner.

D.   Béla Bartók.

A.   sound free and almost improvisational.

B.   affirm the key very noticeably.

C.   have a strong sense of tonality.

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

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

A.   George Balanchine.

B.   Vaclav Nijinsky.

C.   Michel Fokine.

D.   Sergei Diaghilev.

A.   The Rite of Spring.

B.   The Fairy's Kiss.

C.   Agon.

D.   Pulcinella.

A.   primitivism.

B.   expressionism.

C.   neoclassicism.

D.   impressionism.

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

B.   percussion instruments have become very prominent and numerous.

C.   dissonance has been emancipated.

D.   All answers are correct.

A.   an enormous orchestra.

B.   a small chamber group.

C.   a wind ensemble.

D.   vocal soloists and orchestra.

A.   Richard Strauss.

B.   Charles Ives.

C.   Debussy.

D.   Edvard Munch.

A.   reality.

B.   morality.

C.   conventional prettiness.

D.   imagination.

A.   bel canto.

B.   Pierrot Lunaire.

C.   Sprechstimme.

D.   stile rappresentativo.

A.   Sprechstimme.

B.   serialism.

C.   atonality.

D.   Klangfarbenmelodie.

A.   set.

B.   All answers are correct.

C.   series.

D.   tone row.

A.   a solo flute.

B.   the full orchestra.

C.   a solo clarinet.

D.   a muted trumpet.

A.   Anton Webern.

B.   Arnold Schoenberg.

C.   Milton Babbitt.

D.   Alban Berg.

A.   natural outgrowth of the late romantic style.

B.   simplification of nonwestern thought and musical styles.

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

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