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Berlioz: Birth and Death Date
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(1803-1869)
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Brahms: Birth and Death Date
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(1833-1897)
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Dvorak: Birth and Death Date
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(1841-1904)
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Smetana: Birth and Death Date
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(1824-1884)
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The "Fantastic Symphony" reflects Berlioz’s
a. intense nationalism
b. experience in Rome
c. love for actress Harriet Smithson
d. interest in composing for small, intimate ensembles
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c. love for actress Harriet Smithson
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Parisians were startled by Berlioz’s "Fantastic Symphony" because of its
a. sensationally autobiographical program
b. vivid description of the weird and diabolical
c. amazingly novel orchestration
d. all of the above
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d. all of the above
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The fourth movement of Berlioz’s "Fantastic Symphony" depicts a
a. march to the scaffold
b. ball
c. dream of a witches’ sabbath
d. scene in the country
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a. march to the scaffold
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The course of Brahms’s artistic and personal life was shaped by the influence of
a. Antonin Dvořák
b. Robert Schumann and his wife Clara
c. Franz Liszt
d. Richard Wagner
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b. Robert Schumann and his wife Clara
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In Vienna, Brahms
a. conducted a Viennese musical society
b. edited baroque and classical compositions
c. collected music manuscripts
d. all of the above
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d. all of the above
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Which of the following statements is not true?
a. One of Brahms’s musical trademarks is his exotic orchestration.
b. When he was thirteen, Brahms studied piano, music theory, and composition during the day, and played dance music in waterfront bars at night.
c. Brahms was a romantic who breathed new life into classical forms.
d. As conductor of a Viennese musical society, Brahms introduced many forgotten works
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a. One of Brahms’s musical trademarks is his exotic orchestration.
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Brahms created masterpieces in all the traditional forms except
a. Lieder
b. opera
c. choral music
d. chamber music
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b. opera
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Brahms’s works, though very personal in style, are rooted in the music of
a. Joseph Haydn
b. Wolfgang Amadeus Mozart
c. Ludwig van Beethoven
d. all of the above
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d. all of the above
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Brahms’s musical trademarks included
a. bombastic flamboyance
b. the use of two notes against three
c. the use of da capo arias
d. all of the above
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b. the use of two notes against three
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Which of the following is not true of Brahms’s music?
a. It has a range of moods.
b. It was rooted in the music of Wagner
c. It is rhythmically exciting.
d. It is lyrical and full of rich polyphonic texture
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b. It was rooted in the music of Wagner
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Nationalism in the arts
a. is the tendency of artists to portray exotic places in their works.
b. is the tendency of the general public to read national feelings into works which do not exist.
c. is the tendency of composers to insert folk music, folk lore, historical events, or descriptions of their country into their works.
d. does not exist in the Romantic period.
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c. is the tendency of composers to insert folk music, folk lore, historical events, or descriptions of their country into their works.
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A nationalistic composer of Norway was
a. Edvard Grieg.
b. Franz Schubert.
c. Johannes Brahms.
d. Modest Musorgsky.
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a. Edvard Grieg.
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A nationalistic composer of Bohemia was
a. Edvard Grieg.
b. Robert Schumann.
c. Bedrich Smetana.
d. Modest Musorgsky.
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c. Bedrich Smetana.
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A nationalistic composer of Russia was
a. Frederic Chopin.
b. Modest Musorgsky.
c. Bedrich Smetana.
d. Antonin Dvořák.
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b. Modest Musorgsky.
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The citizen’s sense of national identify and patriotic feelings were intensified by
a. romanticism, which glorified love for one’s national heritage
b. common bonds of language, culture, and history
c. military resistance to Napoleon
d. all of the above
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d. all of the above
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Which of the following statements is not true?
a. During the nineteenth century, Europeans felt strongly that their homelands merited loyalty and self-sacrifice.
b. In the romantic era, it was felt that the "national spirit" of a people resided in the "folk," the peasantry.
c. The Italian opera composer Giuseppe Verdi deliberately chose librettos that fanned public hatred for Austrian overlords.
d. The strongest impact of musical nationalism was felt in Italy, France, Germany, and Austria.
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d. The strongest impact of musical nationalism was felt in Italy, France, Germany, and Austria.
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Libretti that fanned the public’s hatred for its Austrian overlords were deliberately chosen by the composer
a. Gioacchino Rossini
b. Modest Mussorgsky
c. Giuseppe Verdi
d. Richard Wagner
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c. Giuseppe Verdi
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The strongest impact of musical nationalism was felt in
a. Russia
b. the Scandinavian countries
c. Bohemia
d. all of the above
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d. all of the above
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The opera that laid the groundwork for a Russian national style, A Life for the Tsar, was composed by
a. Modest Mussorgsky
b. César Cui
c. Nikolai Rimsky-Korsakov
d. Mikhail Glinka
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d. Mikhail Glinka
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The most original, and probably the greatest of the Russian five, was
a. César Cui
b. Modest Mussorgsky
c. Alexander Borodin
d. Mily Balakirev
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b. Modest Mussorgsky
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Bedrich Smetana
a. was the founder of Czech national music
b. was a leading composer of symphonies
c. served as a member of the Austrian provincial government
d. all of the above
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a. was the founder of Czech national music
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The founder of Czech national music was
a. César Cui
b. Antonin Dvořák
c. Bedrich Smetana
d. Boris Godunov
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c. Bedrich Smetana
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The first American concert pianist to gain international recognition was
a. Harry T. Burleigh
b. Charles Ives
c. Stephen Foster
d. Louis Moreau Gottschalk
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d. Louis Moreau Gottschalk
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The leading nationalist composer in the United States around the middle of the nineteenth century was
a. Charles Ives
b. Harry T. Burleigh
c. Louis Moreau Gottschalk
d. Jean Sibelius
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c. Louis Moreau Gottschalk
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Smetana grew up when Bohemia was under ____________ domination.
a. German
b. Austrian
c. Polish
d. Russian
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b. Austrian
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Which of the following statements about Smetana is not true?
a. Smetana was active as a composer, teacher, conductor, pianist and tireless propagandist for Czech musical nationalism.
b. Smetana passed the last few years of his life teaching and conducting in Prague.
c. The Moldau is one of the six symphonic poems in Smetana’s cycle Má Vlast (My Country), a romantic representation of nature and a display of Czech nationalism.
d. A peasant wedding is suggested in Smetana’s The Moldau by a rustic polka.
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b. Smetana passed the last few years of his life teaching and conducting in Prague.
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Smetana’s most popular opera is
a. The Bartered Bride
b. My Country
c. Boris Godunov
d. The Moldau
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a. The Bartered Bride
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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
a. Moldau
b. Seine
c. Danube
d. Thames
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a. Moldau
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Antonin Dvořák’s music was first promoted by
a. Hector Berlioz
b. Richard Wagner
c. Johannes Brahms
d. Franz Liszt
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c. Johannes Brahms
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Dvořák "found a secure basis for a new national [American] musical school" in the
a. music of New York
b. African American spirituals
c. western art music as taught at the National Conservatory of Music
d. traditional folk music of European immigrants
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b. African American spirituals
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Antonin Dvořák __________ quoted actual folk tunes.
a. rarely
b. occasionally
c. frequently
d. never
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a. rarely
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In 1892, Dvořák went to ___________, where he spent almost three years as director of the National Conservatory of Music.
a. London
b. Prague
c. New York
d. Leipzig
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c. New York
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Antonin Dvořák’s Symphony no. 9
a. is his most famous work
b. is subtitled From the New World
c. glorifies Czech and American folk spirits
d. all of the above
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d. all of the above
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In the first movement of the New World Symphony, Dvořák
a. used the form of the scherzo
b. quoted the black spiritual Swing Low, Sweet Chariot
c. composed a theme that resembles Swing Low, Sweet Chariot
d. neither of the above
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c. composed a theme that resembles Swing Low, Sweet Chariot
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Which of the following statements is not true?
a. In 1892, Dvořák went to New York, where he spent almost three years as director of the National Conservatory of Music.
b. Following Smetana as leader of the school of Czech national music, Dvořák infused his symphonies and chamber music with the spirit of Bohemian folk song and dance.
c. Dvořák frequently quoted actual folk tunes in his music.
d. The popular character of Dvořák’s New World Symphony grows out of his use of syncopations, pentatonic scales, and modal scales often found in folk music.
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c. Dvořák frequently quoted actual folk tunes in his music.
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The popular character of Dvořák’s New World Symphony can be traced to the composer’s use of ___________ often found in folk music.
a. syncopations
b. pentatonic scales
c. modal scales
d. all of the above
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d. all of the above
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In the first movement of the New World Symphony, Dvořák introduces a gracious melody that resembles the spiritual
a. Swing Low, Sweet Chariot
b. Nobody Knows the Trouble I’ve Had
c. Goin’ Home
d. Go Down, Moses
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a. Swing Low, Sweet Chariot
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