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Elfking
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Schubert Lied
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Mazurka
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Chopin Mazurka for solo piano
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September
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Hensel Character piece
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Symphony fantastique IV
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Berlioz Program Symphony
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The Moldau
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Smetana Symphonic poem
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Symphony No 3
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Brahms Symphony
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Rigoletto
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Verdi Italian Opera
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Die Walkure (The Valkyrie)
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Wagner Music drama
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The German term for the art song is:
A) Gesang.
B) Lied.
C) durchkomponiert.
D) chorale.
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B
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A group of Lieder unified by a narrative thread or by a descriptive or expressive theme is called:
A) a song cycle.
B) a ballad cycle.
C) an opera.
D) a cantata.
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A
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A song form in which the same melody is repeated with every stanza of text is called:
A) through composed.
B) strophic.
C) rubato.
D) durchkomponiert.
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B
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4.
Schubert’s Lied Elfking is in _________ form.
A) binary
B) ternary
C) strophic
D) through-composed
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D
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5.
In Schubert’s Elfking, the obsessive triplet rhythm of the piano accompaniment represents:
A) the wind.
B) the terror in the boy’s mind.
C) the galloping of the horse.
D) all of the above
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C
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6.
Which musical devices does Schubert use to portray the child’s terror in Elfking?
A) lilting melody in major mode
B) high range and dissonance
C) low range and consonant harmony
D) medium range in minor mode
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B
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7.
The most important keyboard instrument of the Romantic period was the:
A) harpsichord.
B) piano.
C) organ.
D) clavichord.
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B
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8.
The short, lyric piano piece is the instrumental equivalent of:
A) the symphony.
B) the song.
C) the concerto.
D) the opera.
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B
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9.
Chopin is credited with creating the:
A) modern piano style.
B) symphonic poem.
C) overture.
D) Romantic symphony.
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A
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10.
What is a mazurka?
A) a Polish peasant dance
B) brilliant salon music
C) Hungarian folk melodies
D) a stately processional dance for the nobility
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D
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11.
The term rubato, associated with Chopin’s music, means that the performer should:
A) play at a faster tempo.
B) play at a slower tempo.
C) take liberties with the tempo.
D) play in strict time.
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C
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12.
Which of the following best describes the role of women in nineteenth-century music?
A) None pursued careers in music.
B) Women were leaders in innovative changes of style.
C) The piano provided women with a socially acceptable performance outlet.
D) all of the above
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C
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13.
A multimovement, programmatic work for orchestra is called a:
A) symphonic poem.
B) program symphony.
C) concert overture.
D) sonata.
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B
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14.
How many movements are in Berlioz’s Symphonie fantastique?
A) one
B) four
C) three
D) five
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D
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15.
Which of the following is NOT true of Berlioz’s Symphonie fantastique?
A) The program deals entirely with nature.
B) The program was inspired by the composer’s infatuation with an actress.
C) The program presents a morbid artist in lovesick despair.
D) The program is thought to be autobiographical.
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A
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16.
In Berlioz’s Symphonie fantastique, what is the idée fixe?
A) a chant from the Mass for the Dead appearing in the finale
B) a shepherd song in the third movement
C) the basic theme of the symphony, heard in every movement
D) a theme and variations, heard in the march movement
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C
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17.
The Moldau is:
A) Smetana’s finest achievement in orchestral music.
B) a river that flows through Bohemia.
C) a nationalist work.
D) all of the above
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D
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18.
The term bel canto refers to:
A) a female singer who performs male roles.
B) the standard form of nineteenth-century Italian arias.
C) a style of singing that features agility and purity of tone.
D) the new melodic recitative of the nineteenth century.
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C
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19.
The librettist of Wagner’s music dramas was:
A) Goethe.
B) Heine.
C) Müller.
D) the composer himself.
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D
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20.
Wagner’s cycle of four music dramas is called:
A) Lohengrin.
B) Tristan and Isolde.
C) The Ring of the Nibelung.
D) Die Meistersinger von Nürnberg.
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C
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21.
The concept of a total artwork in which all the arts—music, poetry, drama, visual spectacle—are fused together is called:
A) Gesamtkunstwerk.
B) leitmotifs.
C) Ewigemelodie.
D) cyclic unity.
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A
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22.
Wagner called his operas:
A) tone poems.
B) music dramas.
C) oratorios.
D) operettas.
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B
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23.
The principal themes in Wagner’s operas, which recur throughout and carry specific meanings, are called:
A) libretti.
B) leitmotifs.
C) motives.
D) fixed ideas.
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B
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24.
The emotional quality of Wagner’s music is heightened by his use of:
A) separate arias.
B) exotic instruments.
C) chromatic dissonance.
D) rubato.
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C
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25.
Berlioz’s Symphonie fantastique is an example of a:
A) tone poem.
B) symphonic poem.
C) program symphony.
D) concert overture.
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C
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26.
Had movies been invented in the nineteenth century, to which genre of program music would film soundtracks be most similar?
A) program symphony
B) incidental music
C) concert overture
D) symphonic poem
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B
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27.
Nationalistic composers expressed their nationalism by:
A) employing songs and dances from their home countries in their works.
B) borrowing exotic styles from other countries.
C) writing absolute music.
D) all of the above
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A
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28.
Brahms maintained a lifelong, close relationship with:
A) Fanny Mendelssohn.
B) Clara Schumann.
C) George Sand.
D) Amy Beach.
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B
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29.
Brahms is often described as a(n) ____________ because of his use of forms of the Classical masters.
A) traditionalist
B) Impressionist
C) nationalist
D) Romanticist
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A
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30.
In the Ring cycle, who is the father of the gods?
A) Siegfried
B) Loge
C) Wotan
D) Brünnhilde
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C
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31.
Which of the following was NOT characteristic of impressionistic music?
A) strong accents on the first beat of every measure
B) whole-tone scales
C) parallel chords
D) ninth chords
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A
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32.
Impressionism in music is best exemplified by the works of:
A) Gustav Mahler.
B) Claude Debussy.
C) Hector Berlioz.
D) Frédéric Chopin.
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B
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33.
The program of Debussy’s Prelude to "The Afternoon of a Faun" evokes:
A) a landscape with a mythological creature.
B) a nationalistic folk dance.
C) a child’s view of heaven.
D) a river flowing through France.
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A
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34.
The rise of the piano as a household instrument influenced the popularity of the Lied.
A) True
B) False
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A
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35.
Franz Schubert was a thoroughly Romantic composer who abandoned the forms and stylistic principles of Classicism.
A) True
B) False
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B
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36.
Incidental music to a play is generally considered to be absolute music.
A) True
B) False
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B
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37.
The growth of nationalism became a decisive force within the Romantic movement.
A) True
B) False
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A
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38.
In absolute music, musical ideas are organized without the aid of external images provided by a program.
A) True
B) False
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A
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39.
Classical forms were abandoned during the Romantic era.
A) True
B) False
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B
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40.
Brahms’s Symphony No. 3 is a program symphony.
A) True
B) False
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B
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41.
Wagner strove for a continuous flow of melody, unlike the divisions of aria and recitative in Italian opera.
A) True
B) False
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A
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42.
In his Symphonie fantastique, Berlioz used a recurrent theme that he called the idée fixe, symbolizing the beloved.
A) True
B) False
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A
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43.
Smetana’s composition The Moldau is a musical depiction of a river.
A) True
B) False
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A
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44.
The symphony was a new genre in the Romantic era.
A) True
B) False
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B
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45.
Verdi’s Aida could be viewed as an example of exoticism because of its Egyptian setting.
A) True
B) False
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A
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46.
Impressionist artists abandoned the grandiose subjects of Romanticism.
A) True
B) False
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A
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47.
Debussy was much influenced by the non-Western music he heard at the Paris World Exhibition of 1889.
A) True
B) False
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A
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48.
Debussy’s music reflects a strong adherence to traditional forms and scales of Western music.
A) True
B) False
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B
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