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.   it was easier to write twelve-tone music.

B.   they were bored with tonal music.

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

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

A.   Klangfarbenmelodie.

B.   minimalism.

C.   chance music.

D.   serialism.

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

D.   writes music that is considered impossible to perform.

A.   All answers are correct.

B.   a combination of four tones.

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

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

A.   Steve Reich

B.   Terry Riley

C.   George Crumb

D.   Philip Glass

A.   "new Romantics".

B.   "new Expressionists".

C.   "new impressionists".

D.   "new Classicists".

A.   a tone cluster.

B.   polytonality.

C.   a polychord.

D.   bitonality.

A.   microtones.

B.   white tones.

C.   macrotones.

D.   tone clusters.

A.   Steve Reich.

B.   John Cage.

C.   Ellen Taaffe Zwilich.

D.   Edgard Varèse.

A.   prepared piano.

B.   large symphonic orchestra and two synthesizers.

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

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

A.   All answers are correct.

B.   scales they themselves invented.

C.   ancient church modes.

D.   scales borrowed from nonwestern cultures.

A.   an American art form.

B.   an outdated form of music.

C.   a form of orchestral music.

D.   an avant-garde experiment.

A.   clarinet section.

B.   director.

C.   rhythm section.

D.   brass section.

A.   a style of composed piano music.

B.   generally in duple meter.

C.   All answers are correct.

D.   performed at a moderate march tempo.

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

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

C.   may be vocal or instrumental.

D.   All answers are correct.

A.   3/4

B.   6/8

C.   4/4

D.   2/4

A.   cornet.

B.   saxophone.

C.   tuba.

D.   guitar.

A.   Buddy Rich.

B.   Dizzy Gillespie.

C.   Charlie Parker.

D.   Thelonious Monk.

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

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.   improvisational sections by the soloists.

A.   used traditional jazz instrumental combinations.

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

C.   consisted of short pieces freely improvised.

D.   All answers are correct.

A.   Dave Brubeck and Lennie Tristano.

B.   John Coltrane and Ornette Coleman.

C.   Joe Zawinul and Wayne Shorter.

D.   Charlie Parker and Thelonious Monk.

A.   All answers are correct.

B.   conductor.

C.   author-lecturer.

D.   composer of orchestral and vocal works.

A.   polyrhythm.

B.   ostinato.

C.   jazz.

D.   polytonality.

A.   On Your Toes.

B.   Sweeney Todd.

C.   West Side Story.

D.   Cats.

A.   Embraceable You.

B.   I Got Rhythm.

C.   Swanee.

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.   polytonality.

B.   glissando.

C.   atonality.

D.   ostinato.

A.   Country and western

B.   Rhythm and blues

C.   Gospel

D.   Motown

A.   All answers are correct.

B.   unconventional scales, chord progressions, and rhythms.

C.   "classical" and nonwestern instruments.

D.   new electronic effects.

A.   the first beat

B.   all four beats

C.   the second and fourth beats

D.   the first and third beats

A.   the same as earlier popular music.

B.   extremely complex.

C.   limited to only two chords.

D.   quite simple.

A.   1895

B.   1908

C.   1930

D.   1922

A.   France.

B.   Austria.

C.   Bohemia.

D.   England.

A.   Richard Wagner.

B.   Arnold Schoenberg.

C.   Béla Bartók.

D.   Claude Debussy.

A.   have a strong sense of tonality.

B.   affirm the key very noticeably.

C.   use the full orchestra for massive effects.

D.   sound free and almost improvisational.

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

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

A.   Vaclav Nijinsky.

B.   George Balanchine.

C.   Sergei Diaghilev.

D.   Michel Fokine.

A.   Agon.

B.   The Rite of Spring.

C.   Pulcinella.

D.   The Fairy's Kiss.

A.   expressionism.

B.   primitivism.

C.   impressionism.

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.   vocal soloists and orchestra.

B.   a wind ensemble.

C.   a small chamber group.

D.   an enormous orchestra.

A.   Edvard Munch.

B.   Charles Ives.

C.   Debussy.

D.   Richard Strauss.

A.   conventional prettiness.

B.   reality.

C.   morality.

D.   imagination.

A.   Pierrot Lunaire.

B.   stile rappresentativo.

C.   Sprechstimme.

D.   bel canto.

A.   Sprechstimme.

B.   Klangfarbenmelodie.

C.   atonality.

D.   serialism.

A.   set.

B.   All answers are correct.

C.   series.

D.   tone row.

A.   the full orchestra.

B.   a muted trumpet.

C.   a solo clarinet.

D.   a solo flute.

A.   Alban Berg.

B.   Milton Babbitt.

C.   Anton Webern.

D.   Arnold Schoenberg.

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

B.   natural outgrowth of the late romantic style.

C.   simplification of nonwestern thought and musical styles.

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