A.   concentrated on perfecting the twelve-tone system.

B.   taken many new directions and changes.

C.   remained relatively stable.

D.   returned to the styles of the nineteenth century.

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

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

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

D.   they were bored with tonal music.

A.   minimalism.

B.   Klangfarbenmelodie.

C.   serialism.

D.   chance music.

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

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

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.   George Crumb

B.   Steve Reich

C.   Terry Riley

D.   Philip Glass

A.   "new impressionists".

B.   "new Expressionists".

C.   "new Classicists".

D.   "new Romantics".

A.   a polychord.

B.   polytonality.

C.   a tone cluster.

D.   bitonality.

A.   macrotones.

B.   white tones.

C.   microtones.

D.   tone clusters.

A.   Edgard Varèse.

B.   Ellen Taaffe Zwilich.

C.   Steve Reich.

D.   John Cage.

A.   prepared piano.

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

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

D.   large symphonic orchestra and two synthesizers.

A.   scales they themselves invented.

B.   All answers are correct.

C.   ancient church modes.

D.   scales borrowed from nonwestern cultures.

A.   an outdated form of music.

B.   an avant-garde experiment.

C.   an American art form.

D.   a form of orchestral music.

A.   clarinet section.

B.   director.

C.   rhythm section.

D.   brass section.

A.   All answers are correct.

B.   a style of composed piano music.

C.   generally in duple meter.

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.   can be happy or sad, fast or slow.

D.   All answers are correct.

A.   2/4

B.   4/4

C.   6/8

D.   3/4

A.   tuba.

B.   saxophone.

C.   guitar.

D.   cornet.

A.   Buddy Rich.

B.   Charlie Parker.

C.   Dizzy Gillespie.

D.   Thelonious Monk.

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

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

C.   improvisational sections by the soloists.

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

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.   Dave Brubeck and Lennie Tristano.

C.   John Coltrane and Ornette Coleman.

D.   Charlie Parker and Thelonious Monk.

A.   All answers are correct.

B.   conductor.

C.   composer of orchestral and vocal works.

D.   author-lecturer.

A.   polyrhythm.

B.   ostinato.

C.   jazz.

D.   polytonality.

A.   Sweeney Todd.

B.   Cats.

C.   West Side Story.

D.   On Your Toes.

A.   I Got Rhythm.

B.   Swanee.

C.   Embraceable You.

D.   La, La, Lucille.

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.   atonality.

B.   ostinato.

C.   polytonality.

D.   glissando.

A.   Gospel

B.   Motown

C.   Rhythm and blues

D.   Country and western

A.   All answers are correct.

B.   new electronic effects.

C.   unconventional scales, chord progressions, and rhythms.

D.   "classical" and nonwestern instruments.

A.   the first and third beats

B.   all four beats

C.   the second and fourth beats

D.   the first beat

A.   quite simple.

B.   the same as earlier popular music.

C.   limited to only two chords.

D.   extremely complex.

A.   1922

B.   1908

C.   1895

D.   1930

A.   France.

B.   England.

C.   Bohemia.

D.   Austria.

A.   Claude Debussy.

B.   Béla Bartók.

C.   Arnold Schoenberg.

D.   Richard Wagner.

A.   affirm the key very noticeably.

B.   use the full orchestra for massive effects.

C.   sound free and almost improvisational.

D.   have a strong sense of tonality.

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

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

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

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.   Agon.

B.   The Rite of Spring.

C.   The Fairy's Kiss.

D.   Pulcinella.

A.   impressionism.

B.   primitivism.

C.   expressionism.

D.   neoclassicism.

A.   All answers are correct.

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

C.   dissonance has been emancipated.

D.   percussion instruments have become very prominent and numerous.

A.   an enormous orchestra.

B.   a wind ensemble.

C.   vocal soloists and orchestra.

D.   a small chamber group.

A.   Edvard Munch.

B.   Richard Strauss.

C.   Charles Ives.

D.   Debussy.

A.   conventional prettiness.

B.   morality.

C.   imagination.

D.   reality.

A.   Sprechstimme.

B.   bel canto.

C.   Pierrot Lunaire.

D.   stile rappresentativo.

A.   Sprechstimme.

B.   Klangfarbenmelodie.

C.   serialism.

D.   atonality.

A.   series.

B.   All answers are correct.

C.   tone row.

D.   set.

A.   a muted trumpet.

B.   a solo flute.

C.   the full orchestra.

D.   a solo clarinet.

A.   Alban Berg.

B.   Arnold Schoenberg.

C.   Milton Babbitt.

D.   Anton Webern.

A.   natural outgrowth of the late romantic style.

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

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

D.   simplification of nonwestern thought and musical styles.