In music, the early twentieth century was a time of |
Revolt and change |
Which of the following statements is not true |
Twentieth-century music relies less on preestablished relationships and expectations. |
The most famous riot in music history occurred in Paris in 1913 at the first performance of |
Igor Stravinsky’s The Rite of Spring. |
All of the following composers worked in the early years of the twentieth century except |
Hector Berlioz |
Composers in the twentieth century drew inspiration from |
folk and popular music from all cultures European art music from the Middle ages throughout the nineteenth century the music of Asia and Africa All of the above |
Twentieth-century composers incorporated elements of folk and popular music within their personal styles because |
they were attracted to the unconventional rhythms, sounds, and melodic patterns. |
A great twentieth-century composer who was also a leading scholar of the folk music of his native land was |
Béla Bartók. |
Which of the following composers was not stimulated by the folklore of his native land? |
Anton Webern. |
In twentieth-century music |
dissonance has been emancipated. string players are sometimes called on to use the wood instead of the hair on their bows. percussion instruments have become very prominent and numerous. All answers are correct |
The glissando, a technique widely used in the twentieth century, is |
a motive or phrase that is repeated persistently at the same pitch throughout a section. |
Among the unusual playing techniques that are widely used during the twentieth century is the _______, a rapid slide up or down a scale. |
glissando |
In modern music |
uncommon playing techniques have become normal. instruments are played at the very top or bottom of their ranges. noiselike and percussive sounds are often used. All of the above |
A piano is often used in twentieth-century orchestral music to |
add a percussive edge. |
Which of the following is not an alternative to the traditional organization of pitch used by twentieth-century composers? |
Tonic- dominant harmonies |
The combination of two traditional chords sounding together is known as |
a polychord. |
A fourth chord is |
a chord in which the tones are a fourth apart, instead of a third. |
A chord made of tones only a half step or a whole step apart is known as |
a tone cluster. |
Striking a group of adjacent keys on a piano with the fist or forearm will result in |
a tone cluster. |
To create fresh sounds, twentieth-century composers used |
scales they themselves invented. ancient church modes. scales borrowed from nonwestern cultures. All answers are correct |
The technique of using two or more tonal centers at the same time is called |
polytonality. |
The absence of key or tonality in a musical composition is known as |
atonality. |
Using all twelve tones without regard to their traditional relationship to major or minor scales, avoiding traditional chord progressions, is known as |
atonality. |
The first significant atonal pieces were composed around 1908 by |
Arnold Schoenberg. |
The use of two or more contrasting and independent rhythms at the same time is known as |
polyrhythm. |
Ostinato refers to a |
motive or phrase that is repeated persistently at the same pitch throughout a section. |
A motive or phrase that is repeated persistently at the same pitch throughout a section is called |
ostinato. |
Recordings of much lesser-known music multiplied in 1948 through |
the appearance of long-playing disks. |
Radio broadcasts of live and recorded music began to reach large audiences during the |
1920s |
The first opera created for television was Gian-Carlo Menotti’s |
Amahl and the Night Visitors. |
Composers from which area rose to importance during the Twentieth Century? |
Latin America. |
Which of the following countries did not produce an important composer in the Twentieth Century? |
Ecuador |
One of the most important teachers of musical composition in the twentieth century was |
Nadia Boulanger. |
The most influential organization sponsoring new music after World War I was |
The International Society for Contemporary Music. |
During the first quarter of the Twentieth Century many composers left Russia because of |
the violence of the Russian Revolution. |
Impressionist painting and symbolist poetry as artistic movements originated in |
France. |
The most important impressionist composer was |
Claude Debussy. |
The term impressionist derived from a critic’s derogatory reaction to Impression: Sunrise, a painting by |
Claude Monet. |
When viewed closely, impressionist paintings are made up of |
tiny colored patches. |
Impressionist painters were primarily concerned with the effect of light, color, and |
atmosphere. |
The impressionist painters were particularly obsessed with portraying |
water. |
Which of the following is not considered a symbolist poet? |
Victor Hugo |
Many of Debussy’s songs are set to poems by the symbolist poet |
Paul Verlaine. |
A dramatic turning point in Debussy’s career came in 1902 when |
his opera Pelléas et Mélisande was premiered. |
Which of the following characteristics is not usually associated with impressionism? |
Clearly delineated forms |
Debussy’s music tends to |
sound free and almost improvisational. |
Impressionism in music is characterized by |
a stress on tone color, atmosphere, and fluidity. |
In order to "drown the sense of tonality," Debussy |
borrowed pentatonic scales from Javanese music. developed the whole-tone scale. turned to the medieval church modes. All answers are correct |
A scale made up of six different notes each a whole step away from the next is called a ________ scale. |
whole-tone |
The Twentieth Century
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