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





TEST 4                                                                                               Answers    CLASSICAL ERA

MUSIC 27 A                                                                                      FERRARA


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



      ___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



      ___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



       ___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