A great twentieth-century composer who was also a leading scholar of the folk music of his native land was |
Bela Bartok |
The first significant atonal pieces were composed around 1906 by |
Arnold Schoenberg |
The most important impressionist composer was |
Claud Debussy |
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 Pelleas et was premiered |
Debussy’s music tends to |
sound free and almost improvisational |
In order to "drown the the sense of tonality," Debussy |
all answers are correct |
Debussy’s opera Pelleas et Melisande is an almost word-for-word setting of the symbolist play by |
Maurice Maeterlinck |
In which of the following areas did Debussy not create masterpieces? |
symphonies |
The neoclassical movement in music roughly encompassed the years |
1920-1950 |
Igor Stravinsky, at the age of twenty-one, began to study composition privately with |
Nicolai Rimsky-Korsakov |
Stravinsky’s life took a sudden turn in 1909, when he met the director of the Russian ballet. |
Sergei Diaghilev |
The immerse success of Stravinsky’s 1910 ballet __ established him as a leading young composer |
The Firebird |
The famous riot in 1913 was caused by the first performance of Stravinsky’s ballet |
The Rite of Spring |
Stravinsky’s enormous influence on twentieth-century music is due ot his innovations in |
rhythm |
Stravinsky’s second phase is generally known as |
Neoclassical |
During the period about 1920-1951, Stravinsky drew inspiration largely from |
eighteeth-century-century music |
In the 1950s, Stravinsky dramatically changed his style, drawing inspiration from |
Anton Webern which changed it to the twelve-tone system |
Le Sacre du printempts (The Rite of Spring) is an example of |
Primitivism |
Igor Stravinsky’s Rite of Spring is socred for |
An enormous orchestra |
All of the following painters may be considered part of the expressionist movement except |
Claude Monet |
Schoenberg’s teacher was |
himself |
Schoenberg’s first musical hero was |
Johannes Brahms |
Schoenberg acquired his profound knowledge of music by |
all are correct |
Alban Berg and Anton Webern were Arnold Schoenberg’s |
students |
Schoenberg’s third period, in which he developed the twelve-tone system, began around |
1921 |
Schoenberg developed an unusual style of vocal performance, alway between speaking and singing, called |
Sprechstimme |
When he was nineteen, Alban Berg began to study music privately with |
Arnold Schoenberg |
Which of the following is not a composition by Alban Berg? |
Gurrelieder |
The vocal lines in Wozzeck include |
All answers are correct |
Anton Webern |
earned a doctorate in music history from the University of Vienna |
Webern’s melodic lines are |
"atomized" into two or three note fragments |
Anton Webern’s twelve tone works contain many examples of |
strict polyphonic imitation |
Webern’s Five Pieces for Orchestra are scored for |
a chamber orchestra of eighteen soloists |
Bela Bartok’s principle performing medium was |
the piano |
Bela Bartok was a leading authority on |
peasant music |
Bela Bartok evolved a completely individual style that fused folk elements with |
All are correct |
The melodies Bela Bartok used in most of his works are |
original themes that have a folk flavor |
Bela Bartok’s ____ are widely thought to be the finest since those of Ludwig van Beethoven. |
string quartets |
Bela Bartok’s Concerto for Orchestra |
All the above |
Charles Ive’s father was a |
bandmaster |
During most of his lifetime, Charles Ive’s musical compositions |
accumulated in the barn |
Charles Ive’s music contains elements of |
all the answers |
Which of the following compositions is not by Charles Ives? |
An American in Paris |
Charles Ive’s large and varied output includes works in many genres, but not |
opera |
George Gershwin grew up in |
New York |
Gershwin’s first piano teacher was |
himself |
Which of the following musicals is not by George Gershwin? |
Funny Girl and the Desert Song |
The Gershwin song that became a tremendous hit in 1920 was |
Swanee |
Gershwin’s Rhapsody opens with |
a solo clarinet |
William Grant Still |
played the violin in the university string quartet while a college student |
As a result of his studies in composition with composers from two opposing musical cams, the conservative George Whitfield Chadwick and the modernist Edgard Varese, Still |
turned away from avant-garde styles and wrote compositions with a uniquely African American flavor |
William Grant Still’s works in African American style, such as his Afro-American Symphony of 1931, were |
performed to a critical acclaim in New York |
As a composer, Still |
wrote film scores, concert works, operas and band arrangements |
William Grant Still’s Afro-American Symphony |
uses a blues theme in the first movement which reappears as a unifying thread in various transformations in the three later movements |
William Grant Still’s opera dealing with the Haitian slave rebellion is |
Troubled Island |
Each movement of William Still’s Afro-American symphony is prefaced by lines from a poem by |
Paul Laurence Dunbar |
Aaron Copland was born in |
Brooklyn, New York |
In 1921 Copland went to France, where he was the first American to study composition with |
Nadia Boulanger |
In 1925, after Copland returned from France, American music meant |
Jazz |
In 1925, and for a few years afterward Copland’s music showed the influence of |
jazz |
Aaron Copland’s name has become synonymous with American music because of his use of |
All answers are correct |
Which of the following works was not composed by Aaron Copland? |
An American in Paris, Concord Sonata |
An example of Copland’s use of serialist technique is |
Connotations for Orchestra |
In addition to his compositions, Copland made valuable contributions to music in America by |
all the answers are correct |
Appalachian Spring originated as a ballet score for the great modern dancer and choreographer |
Martha Graham |
Copland depicted "scenes of daily activity for the Bride and her farmer husband in Appalachian Spring through |
five variations n the Shaker melody Simple Gifts |
Alberto Ginastera, one of the most prominent Latin-American composers of 20th century was born in |
Argentina |
One of Ginastera’s early works, Estancia Suite, is |
nationalistic and uses Argentinean folk material, including popular dances |
Ginastera’s Estancia Suite was originally conceived as a |
ballet |
Alberto Ginastera’s Estancia Suite uses a large orchestra is in ___ movements |
four (AA’B) |
In 1945 Ginastera moved to the US where he had the opportunity to work with the well known American composer |
Aaron Copland |
Composer John Adams believes that today’s composers can draw from |
a wide variety of styles and periods |
The twelve-tone composer whose style was most imitated in the 1950s and the 1960s was |
Anton Webern |
A major composer associated with the serialist movement is |
Milton Babbitt |
All of the following are proponents of serialism except |
John Cage |
An example of aleatoric music is |
John Cage’s Imaginary Landscape No. 4 for twelve radios |
Ionisation, the first important work for percussion ensemble, was composed by |
Edgard Varese |
Edgard Varese’s Poeme electronique |
all the above |
Ellen Taaffee Swilich is a |
Pulitzer Prize winning American composer for her symphony no 1 |
Ellen Taaffee Zqilich’s Concerto Gross is an example of |
quotation music |
John Adam’s Short Ride in Fast Machine is scored for a |
large symphonic orchestra and two synthesizers |
Leonard Bernstein was a well known |
composer of orchestral and vocal works |
The composer, conductor, and pianist who began his spectacular career as substitute conductor of the New York Philharmonic on only a few hours notice was |
Leonard Bernstein |
In addition to his famous musicals, Leonard Berstein wrote successful |
are all correct |
Leonard Bernstein was influenced, particularly in his ballets by |
Stravinsky and Copland |
Which of the following musicals is not by Leonard Bernstein? |
On the Town |
The musical loosely based on Romeo and Juliet is |
West Side Story |
Twentieth Century Composers
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