A.   remained relatively stable.

B.   concentrated on perfecting the twelve-tone system.

C.   taken many new directions and changes.

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.   chance music.

B.   minimalism.

C.   Klangfarbenmelodie.

D.   serialism.

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

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

C.   writes music that is considered impossible to perform.

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

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.   Terry Riley

B.   Steve Reich

C.   Philip Glass

D.   George Crumb

A.   "new Expressionists".

B.   "new Romantics".

C.   "new Classicists".

D.   "new impressionists".

A.   a tone cluster.

B.   polytonality.

C.   a polychord.

D.   bitonality.

A.   microtones.

B.   macrotones.

C.   white tones.

D.   tone clusters.

A.   Ellen Taaffe Zwilich.

B.   Edgard Varèse.

C.   John Cage.

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 they themselves invented.

D.   scales borrowed from nonwestern cultures.

A.   a form of orchestral music.

B.   an outdated form of music.

C.   an American art form.

D.   an avant-garde experiment.

A.   rhythm section.

B.   clarinet section.

C.   brass 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.   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.   3/4

C.   4/4

D.   2/4

A.   tuba.

B.   guitar.

C.   saxophone.

D.   cornet.

A.   Dizzy Gillespie.

B.   Charlie Parker.

C.   Buddy Rich.

D.   Thelonious Monk.

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

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

C.   improvisational sections by the soloists.

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

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

B.   consisted of short pieces freely improvised.

C.   used traditional jazz instrumental combinations.

D.   All answers are correct.

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.   composer of orchestral and vocal works.

B.   author-lecturer.

C.   All answers are correct.

D.   conductor.

A.   ostinato.

B.   polytonality.

C.   jazz.

D.   polyrhythm.

A.   On Your Toes.

B.   West Side Story.

C.   Sweeney Todd.

D.   Cats.

A.   I Got Rhythm.

B.   La, La, Lucille.

C.   Swanee.

D.   Embraceable You.

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

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

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

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

A.   ostinato.

B.   atonality.

C.   polytonality.

D.   glissando.

A.   Country and western

B.   Motown

C.   Rhythm and blues

D.   Gospel

A.   new electronic effects.

B.   All answers are correct.

C.   unconventional scales, chord progressions, and rhythms.

D.   "classical" and nonwestern instruments.

A.   the first beat

B.   the second and fourth beats

C.   the first and third beats

D.   all four beats

A.   limited to only two chords.

B.   quite simple.

C.   extremely complex.

D.   the same as earlier popular music.

A.   1908

B.   1895

C.   1930

D.   1922

A.   England.

B.   Austria.

C.   France.

D.   Bohemia.

A.   Richard Wagner.

B.   Béla Bartók.

C.   Claude Debussy.

D.   Arnold Schoenberg.

A.   use the full orchestra for massive effects.

B.   sound free and almost improvisational.

C.   affirm the key very noticeably.

D.   have a strong sense of tonality.

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

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

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

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

A.   Sergei Diaghilev.

B.   Vaclav Nijinsky.

C.   George Balanchine.

D.   Michel Fokine.

A.   The Fairy's Kiss.

B.   Pulcinella.

C.   The Rite of Spring.

D.   Agon.

A.   expressionism.

B.   impressionism.

C.   neoclassicism.

D.   primitivism.

A.   percussion instruments have become very prominent and numerous.

B.   dissonance has been emancipated.

C.   All answers are correct.

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.   Edvard Munch.

B.   Charles Ives.

C.   Richard Strauss.

D.   Debussy.

A.   conventional prettiness.

B.   morality.

C.   reality.

D.   imagination.

A.   stile rappresentativo.

B.   Sprechstimme.

C.   bel canto.

D.   Pierrot Lunaire.

A.   Klangfarbenmelodie.

B.   Sprechstimme.

C.   serialism.

D.   atonality.

A.   set.

B.   series.

C.   tone row.

D.   All answers are correct.

A.   a muted trumpet.

B.   the full orchestra.

C.   a solo flute.

D.   a solo clarinet.

A.   Milton Babbitt.

B.   Alban Berg.

C.   Arnold Schoenberg.

D.   Anton Webern.

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

B.   simplification of nonwestern thought and musical styles.

C.   natural outgrowth of the late romantic style.

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