Impartial in approach; reality rather than illusion |
classicism |
Aristocratic patronage of the arts |
classicism |
Emphasis on balance and clarity of structures |
classicism |
Emotional subjectivity; fantasy |
romanticism |
Interest in the strange and the unknown |
romanticism |
Wide range of emotional expression |
romanticism |
Nationalism |
romanticism |
Traditionalism; adherence to established methods |
classicism |
Enthusiasm for the culture of the Middle Ages |
romanticism |
Exoticism |
romanticism |
Belief in the supernatural; personification |
romanticism |
Art and culture of ancient Greece as a basic influence |
classicism |
Brilliant colors and dynamic motion |
romanticism |
Emotional restraint and good taste |
classicism |
Nature as the mirror of the human heart |
romanticism |
Frequently autobiographical |
romanticism |
Period of the industrial revolution |
romanticism |
Individualism |
romanticism |
Faith in the power of reason |
classicism |
Period of the American and French revolutions |
classicism |
The composer whose career was a model for many romantic composers was |
Ludwig van Beethoven |
A composer who earned his/her living as a violin virtuoso was |
Niccolo Paganini |
One of the few composers fortunate enough to be supported by private patrons was |
Peter Ilyich Tchaikovsky |
Music criticism was a source of income for both Berlioz and |
Robert Schumann |
When music conservatories were founded, women |
were at first accepted only as students of performance |
Schubert |
was the first great master of the romantic art song |
The piano’s relentless rhythm in Erlkonig (The Erlking) unifies the song’s episodes and suggests the |
galloping horses |
Schubert’s songs number more than |
600 |
The Erlking, in Schubert’s song of that name, is a romantic personification of |
death |
The Erlking is a poem by |
Johann Wolfgang von Goethe |
The form of the Erlking is |
through-composed |
Which of the following is not true of music of the Romantic period? |
All the music was deeply rooted in the classical tradition |
Which of the following music reflects the concept of exoticism? |
Bizet’s opera Carmen |
Instrumental music associated with a story is called: |
program music |
By the end of the romantic era, an orchestra might include ___ musicians. |
100 |
The purpose of using chromatic chords in Romantic music was to |
add color and motion |
Berlioz’s use of a lyrical melody from the opening movement of Symphonie fantastique that is then repeated as a grotesque dance in the finale is an example of: |
thematic transformation |
Which characteristic is not true of Schumman’s works? |
usually linked with non-descriptive titles, texts, or programs |
Robert Schumann’s Carnaval is a(n) |
cycle of piano pieces |
Clara Wieck was |
Schumann’s wife and a virtuoso pianist, and the daughter of his piano teacher |
During the first ten years of his creative life, Schumann published only |
piano pieces |
As a writer and critic, Schumann |
founded and edited the New Journal of Music, discovered and made famous some of the leading composers of his day, and wrote appreciative reviews of young radical composers like Chopin and Berlioz |
In the art song, which instrument shares an equal interpretive task with the voice? |
piano |
An art song in which two stanzas of a poem are set to the same music and another stanza is set to different music is called |
modified strophic form |
A set of art songs that are intended to be performed together as a group is called |
a song cycle |
One of the characteristics of Schumann’s Carnaval is that it |
is permeated with autobiographical references in its musical ideas |
Clara Wieck Schumann considered herself to be primarily |
a performing artist |
Romanze (romance) in the nineteeth century was often used for a(n) |
short, lyrical piece for piano |
Clara Schumann frequently performed the works of her husband and her close friend |
Johannes Brahms |
Clara Schumann |
stopped composing at the age of thirty-six when her husband died |
As a composer, Clara Schumann |
wrote songs, piano pieces, a piano concerto, and a trio for piano, violin, and cello |
Chopin was |
shy and reserved |
Most of Chopin’s pieces |
are exquisite miniatures |
Chopin’s Revolutionary Etude in C Minor develops the pianist’s left hand because |
the left hand must play rapid passages throughout |
Because of his size, it was difficult for Chopin to |
produce big sounds on the piano |
Much of Chopin’s music is an example of |
nationalism |
The polonaise is |
a dance in triple meter |
In the 1830’s, Paris was |
a center of romanticism, the artistic capital of Europe, and the home of Victor Hugo, Honore de Valzac, and Heinrich Heine |
Among Liszt’s favorite inspirations were the literary works of |
Johann Wolfgang von Goethe |
Liszt typified the romantic movement because he |
had a charismatic personality and was a stupendous performer |
Which of the following is not a characteristic of Liszt’s piano works? |
a small range of dynamics |
In many of his works, Liszt unified contrasting moods by a process known as |
thematic transformation |
During his teens and twenties, Liszt lived in |
Paris |
As a youth, Liszt was influenced by the performances of |
Niccolo Paganini |
Liszt created the _____, a one movement orchestral composition based to some extent on a literary or pictorial idea. |
symphonic poem |
Liszt abandoned his career as a traveling virtuoso to become court conductor at ____, where he championed works by contemporary composers. |
Weimar |
Until the age of thirty-six, Liszt toured Europe as a virtuoso |
pianist |
The high point of Mendelssohn’s career was the triumphant premiere of his oratorio _____ in England. |
Elijah |
Mendelssohn’s Concerto for violin in E Minor opens with a(n) |
soloist, who presents the main theme |
The three movements of Mendelssohn’s Concerto for violin |
are played without pause |
In the first movement of the Concerto for violin, the cadenza |
appears at the end of the development section as a transition to the recapitulation |
Mendelssohn is known as the man who rekindled an interest in the music of |
Johann Sebastian Bach |
The work referred to by Beethoven as an expression of feeling rather than painting, was his |
Symphony No. 6 |
The aim of most program music is |
expression |
A ____ is a one-movement orchestral composition based to some extent on a literary or pictorial idea |
symphonic poem |
The composer who developed the symphonic poem was |
Franz Liszt |
Today’s movie scores may be regarded as examples of |
incidental music |
Nonprogram music is also known as ____ music. |
absolute |
In order to support his family, Berlioz turned to |
musical journalism |
Parisians were startled by Berlioz’s Fantastic Symphony because of its |
sensationally autbiographical program, amazingly novel orchestration, and vivid description of the weird and diabolical |
In the 1830 the Paris Conservatory awarded Berlioz |
the Prix de Rome |
The liturgical melody quoted in the last movement of the Fantastic Symphony is the |
Dies irae |
Outside France, Hector Berlioz enjoyed a great career as a (n) |
conductor |
Berlioz’s Fantastic Symphony is unified by the recurrence of a theme known as the |
idee fixe |
The Fantastic Symphony reflects Berlioz’s |
love for the actress Harriet Smithson |
The fourth movement of the Fantastic Symphony depicts a |
march to the scaffold |
Which of the following was not composed by Berlioz |
The Sorcerer’s Apprentice |
The second movement of the Fantastic Symphony is a _____, the most popular dance of the romantic era. |
waltz |
The most original, and probably the greatest of the Russian five, was |
Modest Mussorgsky |
Libretti that fanned the public’s hatred for its Austria overlords were deliberately chosen by the composer |
Giuseppe Verdi |
Smetana grew up when Bohemia was under _______ domination. |
Austrian |
The founder of Czech national music was |
Bedrich Smetana |
Even though Smetana was deaf at the time, he composed a musical work depicting Bohemia’s main river as it flows through the countryside. The name of the river, and the musical composition, is the |
Moldau |
The first America concert pianist to gain international recognition was |
Louis Moreau Gottschalk |
Smetana’s most popular opera is |
The Bartered Bride |
Nadezhda von Mecj was |
a wealthy benefactress who provided Tchaikovsky with an annuity |
At its premiere in 1870, Tchaikovsky’s Romeo and Juliet Overture was |
a dismal failure |
Which of the following was not composed by Tchaikovsky? |
Russian Easter Overture |
Tchaikovsky’s Romeo and Juliet is a(n) |
concert overture |
Tchaikovsky’s Sixth Symphony |
ends with a slow, despairing finale |
Antonin Dvorak’s music was first promoted by |
Johannes Brahms |
Dvorak ____ quoted actual folk tunes in his compositions. |
rarely |
In the second movement of Dvorak’s New World Symphony, the nostalgic quality of the melody of the famous largo movement is heightened by the timbre of the |
english horn |
In 1892 Dvorak went to ____, where he spent almost three years as director of the National Conservatory of Music |
New York |
Dvorak "found a secure basis for a new national [American] musical school |
African-American spirituals |
The popular character of the Dvorak’s New World Symphony can be traced to the composer’s use of ____ often found in folk music. |
syncopations, pentatonic scales, and modal scales |
Smetana is regarded today as the father of ____. |
Czech national music |
Smetana’s most famous work is the tone poem Ma Vlast (My Land). In it, the movement called The Moldau depicts |
a river |
Brahms’s works, though very personal in style, are rooted in the music of |
Joseph Haydn, Wolfgang Amadeus Mozart, and Ludwig van Beethoven |
Brahms’s musical trademarks included |
the use of two notes against three |
The course of Brahms’s artistic and personal life was shaped by the influence of the composer |
Robert Schumann and his wife Clara |
Which piece established Brahms as a leading composer of his time? |
A German Requiem |
Brahms created masterpieces in all the traditional forms except |
opera |
The original source for the theme of the fourth movement of Brahms’s Fourth Symphony was a |
cantata by J.S. Bach |
The fourth movement of Brahms’s Fourth Symphony is a _____, a baroque variation form. |
passacaglia |
Critics were often scandalized by the subject matter of Verdi’s operas because they |
seemed to condone rape, suicide, and free love |
Which of the following operas is not by Verdi? |
Cavalleria rusticana |
Verdi’s great comic masterpiece, written when he was seventy-nine, is |
Falstaff |
Verdi studied music in _____, the city where Italy’s most important opera house, La Scala, is located. |
Milan |
Rigoletto, the title character in Giuseppe Verdi’s opera, is |
a hunchbacked court jester |
Verdi’s first great success, an opera with strong political overtones, was |
Nabucco |
Verdi mainly composed his operas |
to entertain a mass public |
The famous aria "La donna e mobile" is taken from Verdi’s opera |
Rigoletto |
The soul of a Verdi opera is |
expressive vocal melody |
Verdi’s later operas differ from his earlier ones in that they have |
less difference between aria and recitative, greater musical continuity, and more imaginative orchestrations |
Puccini’s operas have lasting appeal because |
he had a marvelous sense of theater, his melodies have short, memorable phrases and are intensely emotional, and he minimized the difference between aria and recitative, thus creating a continuous flow of music |
In La Boheme, who sings the aria "Che gelida manina" ("How cold your little hand is!")? |
Rodolfo |
Puccini used melodic and rhythmic elements derived from Asian music in his operas |
Madame Butterfly and Turandot |
An artistic trend of the 1890’s, in which operas dealt with ordinary people and true-to-life situations, was known as |
verismo |
Which of the following operas was not written by Puccini? |
I Pagliacci |
Puccini’s first successful opera was |
Manon Lescaut |
La Boheme takes place in |
Paris |
Mimi and Rodolfo meet for the first time in La Boheme because she has come to his door to ask for a |
light for her candle |
In La Boheme, Rodolfo is a young |
poet |
Which of the following operas is considered an example of verismo? |
Tosca |
Siegmund, in Wagner’s opera Die Walkure is |
Sieglinde’s brother, then lover, Wotan’s son by a mortal woman, and Siegfried’s father |
The composer who had an overwhelming influence on the young Wagner was |
Ludwig van Beethoven |
Wagner called his works music dramas rather than operas because |
there are no breaks where applause can interrupt |
Wagner’s last opera was |
Parsifal |
The librettos to The Ring of the Nibelung were written by |
Wagner himself |
A short musical associated with a person, object, or thought, used by Wagner in his operas, is called |
leitmotif |
Valhalla, in Wagner’s Ring cycle is |
the castle of the gods |
Wagner had an opera house built to his own specifications in |
Bayreuth |
Wagner’s first successful opera was |
Rienzi |
Which of the following operas was not composed by Wagner? |
Fidelio |
Inclusion of folk songs, dances, legends, and other national material in a composition to associate it with the composer’s homeland; characteristic of romantic music |
nationalism |
Uses of melodies, rhythms, or instruments that suggest foreign lands; common in romantic music |
exoticism |
Explanatory comments specifying the story, scene, or idea associated with program music |
program |
Use of chords containing tones not found in the prevailing major or minor scale but included in the chromatic scale (which has twelve tones); often found in romantic music |
chromatic harmony |
Slight holding back or pressing forward of tempo to intensify the expression of music, often used in romantic music |
rubato |
Alteration of the character of a theme by means of changes in dynamics, orchestration, or rhythm, when it returns in a later movement or section; often found in romantic music |
thematic transformation |
Concluding section; the section at the end of an art song that sums up its mood, played by the piano or orchestra, without the voice |
postlude |
Vocal form in which the same music is repeated for each stanza of a poem |
strophic form |
Vocal form in which there is new music for each stanza of a poem |
through-composed form |
Form in which two or more stanzas of poetry are set to the same music while other stanzas have new music; found in art songs of the romantic period |
modified strophic form |
Instrumental music having no intended association with a story, poem, idea, or scene; nonprogram music |
absolute music |
Single melody used in several movements of a long work to represent a recurring idea |
Idee fixe |
Scale made up of five different tones, used in folk music and music of the far east |
pentatonic scale |
Short musical idea associated with a person, object, or thought, characteristic of the operas of Wagner |
Leitmotif |
In romanticism, the ____ was responsible to learn and play the piano in the house. |
daughter |
The Carnaval consisted of ___ piano pieces |
21 |
Showed/eveloped a skill on the piano |
etude |
This person came up with the thought of thematic transformation |
Liszt |
Liszt’s symphonic poem was instead in |
one movement |
Gerta was |
Schubert’s favorite poet |
The father of musicology because he brought back baroque (through Bach & Handle) & did not write any operas |
Mendelssohn |
The first symphony to have a fifth movements |
Symphony Fastique |
One of the most famous Russian romanticism composer |
Tchaikovsky |
Tchaikovsky’s mysterious benefactor was |
Monaque (don’t know the spelling lol) |
Most famous piano concerto piece was |
Concerto No. 1 by Tchaikovsky |
What was Tchaikovsky’s favorite piece? |
Serenade for strings |
Valhalla = |
where gods live in Wagner’s "Lite Motif" |
Mendelssohn was a |
painter, linguist, and writer |
Mussorgsky’s pictures at the exhibition was inspired by |
pictures in a memorial exhibit |
Liszt’s music = |
symphonic poem, huge piece with no breaks, and its a bout a story |
When a piece is not programmatic it is |
absolute |
Berlioz wrote |
Symphony Fastastique |
The fifth movement in Symphony Fantastique = |
Dreamis of a Witches Sabbath |
The fourth movement in Symphony Fantastique = |
March of the Scaffold |
The second movement in Symphony Fantastique = |
is a waltz (fast/furious) |
Tchaikovsky’s favorite instruments to play were the |
oboe and the english horn for the melody |
Dvorak visited which American state? |
New York |
Brahm’s original source of inspiration was |
Bach |
The fourth symphony for Brahm was |
Allegro energico e passionato |
Ring cycle is an |
opera that lasts several days about Valhalla (where gods live) |
Mahler began his professional musical life as a |
conductor of musical comedies |
Which of the following statement is not true? |
Mahler; having spent the major portion of his life conducting operas, it is not surprising that his output is mainly in that genre |
Which of the following works was not composed by Gustav Mahler? |
Die Winterreise |
By supervising every aspect of its performances, Mahler brought the _______ to new heights of excellence. |
Vienna Opera |
Mahler’s Lieder Eines Fahrenden Gesellen (Songs of a Wayfarer) is a |
song cycle |
Music Appreciation Pt. 6
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