A.   taken many new directions and changes.

B.   remained relatively stable.

C.   returned to the styles of the nineteenth century.

D.   concentrated on perfecting the twelve-tone system.

A.   they were bored with tonal music.

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

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

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

A.   Klangfarbenmelodie.

B.   serialism.

C.   minimalism.

D.   chance music.

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

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

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

D.   writes music that is considered impossible to perform.

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

B.   a combination of four tones.

C.   All answers are correct.

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

A.   Steve Reich

B.   Philip Glass

C.   George Crumb

D.   Terry Riley

A.   "new Classicists".

B.   "new impressionists".

C.   "new Expressionists".

D.   "new Romantics".

A.   polytonality.

B.   a tone cluster.

C.   a polychord.

D.   bitonality.

A.   microtones.

B.   white tones.

C.   macrotones.

D.   tone clusters.

A.   John Cage.

B.   Ellen Taaffe Zwilich.

C.   Edgard Varèse.

D.   Steve Reich.

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

B.   prepared piano.

C.   large symphonic orchestra and two synthesizers.

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

A.   scales they themselves invented.

B.   ancient church modes.

C.   scales borrowed from nonwestern cultures.

D.   All answers are correct.

A.   a form of orchestral music.

B.   an avant-garde experiment.

C.   an American art form.

D.   an outdated form of music.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.   performed at a moderate march tempo.

D.   generally in duple meter.

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.   6/8

B.   2/4

C.   4/4

D.   3/4

A.   saxophone.

B.   guitar.

C.   cornet.

D.   tuba.

A.   Thelonious Monk.

B.   Buddy Rich.

C.   Dizzy Gillespie.

D.   Charlie Parker.

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

D.   improvisational sections by the soloists.

A.   consisted of short pieces freely improvised.

B.   All answers are correct.

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

D.   used traditional jazz instrumental combinations.

A.   John Coltrane and Ornette Coleman.

B.   Joe Zawinul and Wayne Shorter.

C.   Dave Brubeck and Lennie Tristano.

D.   Charlie Parker and Thelonious Monk.

A.   conductor.

B.   author-lecturer.

C.   composer of orchestral and vocal works.

D.   All answers are correct.

A.   jazz.

B.   polyrhythm.

C.   ostinato.

D.   polytonality.

A.   Sweeney Todd.

B.   Cats.

C.   On Your Toes.

D.   West Side Story.

A.   Swanee.

B.   La, La, Lucille.

C.   I Got Rhythm.

D.   Embraceable You.

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

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 blend of rhythm and blues and popular music.

A.   glissando.

B.   polytonality.

C.   atonality.

D.   ostinato.

A.   Gospel

B.   Motown

C.   Rhythm and blues

D.   Country and western

A.   new electronic effects.

B.   All answers are correct.

C.   "classical" and nonwestern instruments.

D.   unconventional scales, chord progressions, and rhythms.

A.   the second and fourth beats

B.   the first beat

C.   the first and third beats

D.   all four beats

A.   quite simple.

B.   the same as earlier popular music.

C.   limited to only two chords.

D.   extremely complex.

A.   1930

B.   1895

C.   1922

D.   1908

A.   Bohemia.

B.   Austria.

C.   France.

D.   England.

A.   Arnold Schoenberg.

B.   Béla Bartók.

C.   Claude Debussy.

D.   Richard Wagner.

A.   sound free and almost improvisational.

B.   have a strong sense of tonality.

C.   use the full orchestra for massive effects.

D.   affirm the key very noticeably.

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

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

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

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

A.   Sergei Diaghilev.

B.   Michel Fokine.

C.   Vaclav Nijinsky.

D.   George Balanchine.

A.   The Rite of Spring.

B.   Agon.

C.   The Fairy's Kiss.

D.   Pulcinella.

A.   expressionism.

B.   neoclassicism.

C.   primitivism.

D.   impressionism.

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.   Charles Ives.

B.   Edvard Munch.

C.   Richard Strauss.

D.   Debussy.

A.   morality.

B.   conventional prettiness.

C.   imagination.

D.   reality.

A.   Pierrot Lunaire.

B.   stile rappresentativo.

C.   bel canto.

D.   Sprechstimme.

A.   serialism.

B.   Sprechstimme.

C.   Klangfarbenmelodie.

D.   atonality.

A.   series.

B.   set.

C.   All answers are correct.

D.   tone row.

A.   the full orchestra.

B.   a solo flute.

C.   a muted trumpet.

D.   a solo clarinet.

A.   Anton Webern.

B.   Arnold Schoenberg.

C.   Alban Berg.

D.   Milton Babbitt.

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

B.   simplification of nonwestern thought and musical styles.

C.   natural outgrowth of the late romantic style.

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