A.   remained relatively stable.

B.   taken many new directions and changes.

C.   concentrated on perfecting the twelve-tone system.

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 were bored with tonal music.

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

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

A.   chance music.

B.   Klangfarbenmelodie.

C.   serialism.

D.   minimalism.

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

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

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

D.   writes music that is considered impossible to perform.

A.   a combination of four tones.

B.   All answers are correct.

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.   George Crumb

B.   Steve Reich

C.   Philip Glass

D.   Terry Riley

A.   "new Expressionists".

B.   "new impressionists".

C.   "new Classicists".

D.   "new Romantics".

A.   a polychord.

B.   a tone cluster.

C.   bitonality.

D.   polytonality.

A.   white tones.

B.   tone clusters.

C.   macrotones.

D.   microtones.

A.   Ellen Taaffe Zwilich.

B.   Steve Reich.

C.   Edgard Varèse.

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.   All answers are correct.

B.   scales borrowed from nonwestern cultures.

C.   scales they themselves invented.

D.   ancient church modes.

A.   an avant-garde experiment.

B.   an American art form.

C.   an outdated form of music.

D.   a form of orchestral music.

A.   brass section.

B.   director.

C.   clarinet section.

D.   rhythm section.

A.   a style of composed piano music.

B.   performed at a moderate march tempo.

C.   generally in duple meter.

D.   All answers are correct.

A.   All answers are correct.

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

C.   may be vocal or instrumental.

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

A.   2/4

B.   6/8

C.   3/4

D.   4/4

A.   cornet.

B.   saxophone.

C.   tuba.

D.   guitar.

A.   Thelonious Monk.

B.   Charlie Parker.

C.   Dizzy Gillespie.

D.   Buddy Rich.

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

B.   improvisational sections by the soloists.

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

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

A.   consisted of short pieces freely improvised.

B.   used traditional jazz instrumental combinations.

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

D.   All answers are correct.

A.   John Coltrane and Ornette Coleman.

B.   Dave Brubeck and Lennie Tristano.

C.   Joe Zawinul and Wayne Shorter.

D.   Charlie Parker and Thelonious Monk.

A.   composer of orchestral and vocal works.

B.   author-lecturer.

C.   All answers are correct.

D.   conductor.

A.   ostinato.

B.   jazz.

C.   polyrhythm.

D.   polytonality.

A.   Sweeney Todd.

B.   Cats.

C.   On Your Toes.

D.   West Side Story.

A.   La, La, Lucille.

B.   Swanee.

C.   Embraceable You.

D.   I Got Rhythm.

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.   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.   glissando.

D.   polytonality.

A.   Gospel

B.   Country and western

C.   Rhythm and blues

D.   Motown

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.   the second and fourth beats

D.   all four beats

A.   the same as earlier popular music.

B.   extremely complex.

C.   limited to only two chords.

D.   quite simple.

A.   1930

B.   1895

C.   1908

D.   1922

A.   France.

B.   England.

C.   Bohemia.

D.   Austria.

A.   Richard Wagner.

B.   Arnold Schoenberg.

C.   Béla Bartók.

D.   Claude Debussy.

A.   affirm the key very noticeably.

B.   sound free and almost improvisational.

C.   use the full orchestra for massive effects.

D.   have a strong sense of tonality.

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

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

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.   Michel Fokine.

B.   Vaclav Nijinsky.

C.   George Balanchine.

D.   Sergei Diaghilev.

A.   The Fairy's Kiss.

B.   The Rite of Spring.

C.   Pulcinella.

D.   Agon.

A.   expressionism.

B.   primitivism.

C.   neoclassicism.

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.   a wind ensemble.

B.   vocal soloists and orchestra.

C.   an enormous orchestra.

D.   a small chamber group.

A.   Debussy.

B.   Charles Ives.

C.   Edvard Munch.

D.   Richard Strauss.

A.   reality.

B.   imagination.

C.   conventional prettiness.

D.   morality.

A.   Pierrot Lunaire.

B.   bel canto.

C.   stile rappresentativo.

D.   Sprechstimme.

A.   serialism.

B.   Sprechstimme.

C.   atonality.

D.   Klangfarbenmelodie.

A.   All answers are correct.

B.   tone row.

C.   series.

D.   set.

A.   a muted trumpet.

B.   the full orchestra.

C.   a solo flute.

D.   a solo clarinet.

A.   Arnold Schoenberg.

B.   Anton Webern.

C.   Milton Babbitt.

D.   Alban Berg.

A.   simplification of nonwestern thought and musical styles.

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

C.   natural outgrowth of the late romantic style.

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