CCSF MUS27A Symposium musician with his seven-stringed lyre beside the fluted column of a building, ca. 460 b.c.  University of Pennsylvania Museum of Archaeology (c) Instructor: Larry Ferrara  
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Music Appreciation
   
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MUSIC APPRECIATION


TEST 4                                                                                               Answers    CLASSICAL ERA

MUSIC 27 A                                                                                      FERRARA

 

Fill In

 

      1.  Which of the following was not  an important element of the 

      Enlightenment:

 

      ___a. humanism   ___b. the rise of the middle class and with it universal           

 

               betterment   ___c. absolute monarchs   ___d. the pursuit of happiness

 

      2.  When compared to the music of the Baroque period, which of the following statements is not           true of Viennese Classical music.

     

      ___a.  Variety and  flexibility were introduced into dynamics.

 

      ___b.  Compared to the basic Baroque orchestra, the basic Classical               

                  orchestra had  more instruments.

 

      ___c.  Viennese Classical music is polyphonic in texture and uses tempo rubato.

 

      ___d.  Compared to Baroque themes, Viennese Classical themes tend to           

                be more tuneful.

 

      3.  Which of the following statements is  true:

 

      ___a.  By the time the Viennese Classical style had fully evolved,

                 polyphony had once again become the main texture used by

                 composers.

 

      ___b.  Polyphony was rejected completely by the composers of the

                  Classical era and consequently never used.

 

      ___c.  Viennese Classical composers used a significant amount of

                  monophony in their music.

 

      ___d. Compared  to Baroque composers, Viennese Classical composers   

                 employed polyphony in their music only occasionally and usually in the development

                 section of a sonata form movement.

 

      4.  The Classical period flourished in music during the  years____________.

 

      5.  Which of the following statements should not be associated with the

      Classical period:

 

      ___a.  Emphasis on balance and clarity of structure       

 

      ___b.  The evolution of the standard orchestra comprised of four sections

 

      ___c.  The basso continuo was the foundation of the instrumental ensemble.

 

      ___d.  The Age of Enlightenment                                                             

 

 

      6.  Which of the following composers is not  considered a master of the

      Classical period:

 

      ___a. Johann Sebastian Bach  ___b. Wolfgang A. Mozart 

 

      ___c. Ludwig van Beethoven  ___c. Franz Joseph Haydn

 

      7.  Which of the following is  not  part of a sonata form movement:

 

      ___a. recapitulation   ___b. rondo   ___c. exposition   ___d. development

 

      8.  Short musical ideas or fragments of themes that are often developed 

      within a composition are called________________.

 

 

9.  In sonata form, a modulatory section that leads from one theme to the next is called_____________

 

        10. The psychological climax of sonata form  appears when the tonic returns at  the_____________

 

      ___a.  exposition   ___b.  development   ___c.     ___d. coda

 

      11 In sonata form the contrasting key is established by the statement of____________.

 

      12. In sonata form, the section that features the most tension and drama

      through modulation, sequence, polyphonic treatment and motivic inter-

      play is called:

 

      13. The finale section of a movement in a classical symphony, which rounds it off with

      vigorous closing cadences, is called_______________.

 

      14.  Which form is a common characteristic of the second movement  of a symphony?

 

15.  The form called theme and variations may be schematically outlined as_____________.

 

16.  Each successive variation in a theme with variations what aspect of the theme cannot be varied?

 

17.  The minuet and trio movement of a classical symphony, string quartet or other work is diagrammed___________________.

 

18.  The form known as minuet and trio is employed as the __________movement in a classical symphony, string quartet or other work.

 

19.  The rondo may be schematically outlined as________________.

 

20.  Because of its liveliness, regularity, and buoyancy, the rondo most often serves as which movement in a classical symphony, string quartet or other work?

 

21.  The return of the main theme in rondo form is usually:

 

       ___a. a contrasting melody   ___b. much like its first appearance

 

       ___c. slow and dignified   ___d. in varied form

 

22. What describes the tempo plan of the typical Classical symphony?

 

23, A highly lyrical song like section sung by a soloist mulling over his or her thoughts and feelings during an opera is called________________.

 

24.  The operatic way of dramatic portrayal of dialogue is called____________.

 

25.  An operatic number sung by two or more people is called an____________.

 

26.  Music for a small ensemble of two to about ten players with one player per part performed in a small rooms is called_________________.

 

27.  A string quartet consists of_________________.

 

28.  Which of the following statements  not  true of a Classical solo concerto?

 

      ___a.  There are usually two main soloists

 

            ___b.  The solo writing tends to be quite virtuosic (highly skilled)

 

            ___c.  Mozart used double exposition form for the first movements

                  of his solo concertos

 

            __d.  A solo concerto typically has three movements

 

29.   By the age seven Mozart could:

 

      ___a. read music perfectly at first sight

 

            ___b. improvise fugues and compose minuets

 

            ___c. play the harpsichord (and eventually the piano) and the violin

 

            ___d. all of the above

 

30.  Which of the following Italian operatic masterpieces was written by

       Mozart?

 

       ___a. Don Giovanni   ___b. Rigoletto   ___c. Madame Butterfly

 

       ___d. Tristan and Isolde

 

31.  The instrument that Mozart played and that he wrote many concertos

            for  was_____________.

 

32.  Which describes the relationship between the soloist and the orchestra in the Classical concerto?

 

            __a. the soloist’s part never played alone.

            __b. the orchestral parts were more important.

            __c. the woodwinds parts were more important.

            __d. the soloist and orchestra were equally balanced in importance.

 

33.  The form for the first movement of a concerto is called ______________.

 

34.  Italian comic opera was called_____________.

 

35.  The four main types of cadences in classical music are__________________.

 

36.  An open cadence stops on the dominant and therefore conveys the feeling of:

 

            a. stability and final closing

            b. surprise

            c. tension and a desire to resolve to the tonic

            d. a momentary re-direction and a movement toward a new harmonic area

 

37.  A deceptive cadence stops avoids the dominant and tonic and therefore conveys the feeling of:

 

            a. stability and final closing

            b. surprise

            c. tension and a desire to resolve to the tonic

            d. a momentary re-direction and a movement toward a new harmonic area

 

                                                                                                            Answers

 

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