facts

Question 1

Vivaldi life and death

Answer 1

1678-1741

Question 2

Bach life and death

Answer 2

1685-1741

Question 3

Handel life and death

Answer 3

1685-1759

Question 4

Haydn life and death

Answer 4

1732-1809

Question 5

Mozart life and death

Answer 5

1756-1791

Question 6

Beethoven life and death

Answer 6

1770-1827

Question 7

Schubert life and death

Answer 7

1797-1828

Question 8

Chopin life and death

Answer 8

1810-1849

Question 9

Berlioz life and death

Answer 9

1803-1869

Question 10

Bizet life and death

Answer 10

1838-1875

Question 11

Debussy life and death

Answer 11

1862-1918

Question 12

Stravinsky life and death

Answer 12

1882-1971

Question 13

Bernstein life and death

Answer 13

1918-1990

Question 14

Louie year born

Answer 14

1949

Question 15

Adams year born

Answer 15

1947

Question 16

The Four Seasons, op. 8 “Spring”

composer

Answer 16

Vivaldi

Question 17

The Well-Tempered Clavier, Book 1, Prelude and Fugue in B flat Major, BWV 866

composer

Answer 17

Bach

Question 18

Messiah, HWV 56 Part 1: Overture, “There were shepherds…”, “Glory to God”, “Rejoice Greatly”, Part 2: “Hallelujah”

composer

Answer 18

Handel

Question 19

String Quartet, op. 76, no. 3 (“Emperor”) 2nd movement

composer

Answer 19

Haydn

Question 20

Eine Kleine Nachtmusik, K525

composer

Answer 20

Mozart

Question 21

Symphony No. 5 in C Minor, op. 67

composer

Answer 21

Beethoven

Question 22

Erlkönig, op. 1, D328

composer

Answer 22

Schubert

Question 23

Polonaise in A flat Major, op. 53

composer

Answer 23

Chopin

Question 24

Symphonie fantastique, 5th movement: “Songe d’une nuit du sabbat”

composer

Answer 24

Berlioz

Question 25

Carmen act 1: “Quand je vous aimerai?”, “L’amour est un oiseau rebelle”, act 2: “Votre toast, je peux vous le render”

compsoer

Answer 25

Bizet

Question 26

Prélude à l’après-midi d’un faune

composer

Answer 26

Debussy

Question 27

The Rite of Spring Part 1: Adoration of the Earth: Introduction, Dance of the Youths and Maidens, Game of Abduction

composer

Answer 27

Stravinsky

Question 28

West Side Story act 1: “Maria”, “America”

composer

Answer 28

Bernstein

Question 29

Changes (from “Music for Piano”)

composer

Answer 29

Louie

Question 30

Short Ride in a Fast Machine

composer

Answer 30

Adams

Question 31

true or false

Vivaldi contributed to the development of the three-movement concerto structure.

Answer 31

true

Question 32

true or false

Vivaldi is known as the father of the symphony

Answer 32

false

Question 33

true or false

Vivaldi composed exclusively for keyboard instruments

Answer 33

false

Question 34

true or false

Vivaldi was a leader in establishing ritornello form

Answer 34

true

Question 35

true or false

Vivaldi was a virtuoso violinist, conductor, and a prolific composer

Answer 35

true

Question 36

true or false

Vivaldi was a virtuoso organist, as reflected in his organ and keyboard works

Answer 36

false

Question 37

true or false

Vivaldi’s works are written in a generic style, and can be easily be played on any instrument

Answer 37

false

Question 38

true or false

Vivaldi developed idiomatic writing for strings and exploited string virtuosity

Answer 38

true

Question 39

true or false

Vivaldi’s works are identified by key and opus number only; the title “The Four Seasons” was added later by a publisher of his music

Answer 39

false

Question 40

true or false

Vivaldi incorporated programmatic writing and descriptive titles

Answer 40

true

Question 41

true or false

Vivaldi composed only instrumental music

Answer 41

false

Question 42

true or false

along with a large number of instrumental works, Vivaldi also composed over 40 Italian operas that were very popular in his day

Answer 42

true

Question 43

true or false

Bach composed orchestral, chamber, keyboard, organ, opera, and vocal music

Answer 43

false

Question 44

true or false

Bach composed orchestral, chamber, keyboard, organ, and vocal music

Answer 44

true

Question 45

true or false

German myths and legends were aprimary source of inspiration for Bach

Answer 45

false

Question 46

true or false

Bach’s personal faith was a source of inspiration as demonstrated by over 200 church cantatas

Answer 46

true

Question 47

true or false

Bach’s career focused entirely on composing, and he was not active or accomplished as a teacher, conductor, or performer

Answer 47

false

Question 48

true or false

Bach was a virtuoso organist, as reflected in his organ and keyboard works

Answer 48

true

Question 49

true or false

Bach was a bold innovator who rarely used existing forms or genres

Answer 49

false

Question 50

true or false

Bach perfected existing forms rather than defining new ones

Answer 50

true

Question 51

true or false

Bach was not influenced by musical styles outside of the German tradition

Answer 51

false

Question 52

true or false

Bach absorbed influences of international styles (German, French, and Italian)

Answer 52

true

Question 53

true or false

Bach’s compositions were largely homophonic, with mostly chordal textures and very little contrapuntal writing

Answer 53

false

Question 54

true or false

Bach was a master of the contrapuntal art, as demonstrated in the fugues of The Well-Tempered Clavier

Answer 54

true

Question 55

true or false

Bach’s music represents the beginning of a new musical practice, breaking away from Baroque traditions to forge a new style

Answer 55

false

Question 56

true or false

Bach’s music represents a high point in over one hundred years of Baroque musical practice, and his personal style synthesized the leading musical development of this era

Answer 56

true

Question 57

true or false

despite having spent time in Italy, Handel maintained a typically German approach to composing, with no international influences in his style

Answer 57

false

Question 58

true or false

Handel wrote in a cosmopolitan style combining the international currents of the day: German counterpoint, Italian opera, French overture, and English choral style

Answer 58

true

Question 59

true or false

Handel avoided contrasting textures, preferring to maintain either strictly iimitative, or completely chordal texture throughout entire work or movements

Answer 59

false

Question 60

true or false

Handel frequently contrasted homophonic and polyphonic passages for a dramatic effect, as is the case in the “Overture” and “Hallelujah” from Messiah

Answer 60

true

Question 61

true or false

Handel’s writing for the voice was always in a simple recitativo secco style

Answer 61

false

Question 62

true or false

Handel’s writing for the voice was often viruosic, marked by breathtaking runs and vivid word painting

Answer 62

true

Question 63

true or false

Handel contributed to the development of English opera (composing over 40 operas), and created the Italian oratorio (nearly 30 oratorios)

Answer 63

false

Question 64

true or false

Handel contributed to the development of opera seria (composing over 40 operas) and created the English oratorio (nearly 30 oratorios)

Answer 64

true

Question 65

true or false

Handel was not interested in depicting the meaning of the text through the music

Answer 65

false

Question 66

true or false

Handel made effective use of word painting

Answer 66

true

Question 67

true or false

Handel’s music has baffled audiences, and is rarely performed today due to its complex and obscure nature

Answer 67

false

Question 68

true or false

Handel’s use of very basic musical elements such as chordal passages and scale figures make his style accessible and appealing

Answer 68

true

Question 69

true or false

Handel’s music is uinderstated and introverted, and most works were written for private reflection rather than public performance

Answer 69

false

Question 70

true or false

Handel wrote many works that were performed at public events, conveying a sense of pageantry and dramatic theatrical stle through gradiose gestures

Answer 70

true

Question 71

true or false

Haydn’s music remained faithful to all aspect of Baroque style

Answer 71

false

Question 72

true or false

Haydn’s music embraced aspects of the main currents of his time, including style galant Sturm and Empfindsamer Stil

Answer 72

true

Question 73

true or false

Haydn is regarded as the “father” of the oratorio and fugue because of his significant contributions to establishing both genres

Answer 73

false

Question 74

true or false

Haydn is regarded as the “father” of the symphony and string quartet because of his significant sontributions to establishing both genres

Answer 74

true

Question 75

true or false

Haydn avoided using sonata fomr in his compositions, preferring to focus on work sthat preserved BAroque style and traditions

Answer 75

false

Question 76

true or false

Haydn contributed to the development of sonata form, which he utilized in his symphonies, sonatas and string quartets

Answer 76

true

Question 77

true or false

Haydn contributed to the development of sonata form, which he utilized in his symphonies, sonatas, and string quartets

Answer 77

true

Question 78

true or false

Haydn had little interest in rustic folk music, and aimed to capture a refined aristocratic approach in all his composition

Answer 78

false

Question 79

true or false

Haydn was influenced by folk songs and dances, and often used simple diatonic melodies

Answer 79

true

Question 80

true or false

For Haydn, music was no laughing matter, and there are very few example of humour or comedy in his works

Answer 80

false

Question 81

true or false

In Haydn’s music, humour and playfulness is demonstrated by sudden dynamic changes or abrupt silences

Answer 81

true

Question 82

true or false

Haydn avoided using dramatic gestures or descriptive writing in order to keep his compositions completely free of any extra-musical associations

Answer 82

false

Question 83

true or false

In Haydn’s music, dramatic elements include sudden accents and bold changes of chord or keys; for example, his use of a loud C major chord in The Creation to depict the word “light”.

Answer 83

true

Question 84

true or false

Haydn’s short life included few public performances, and his music received little acclaim until after his death

Answer 84

false

Question 85

true or false

Haydn had a long and distinguished career as a composer, and was admired and revered throughout Europe

Answer 85

true

Question 86

true or false

Mozart exemplified Viennese Classical ideals in only a limited number of works

Answer 86

false

Question 87

true or false

Mozart exemplified Viennese Classical ideals: elegance, balance, poise, refinement, sophistication in cirtually all Classical genres

Answer 87

true

Question 88

true or false

Mozart rebelled against the Classical ideal of symmetry and balance and utilized irregular phrase lengths and structures wherever possible

Answer 88

false

Question 89

true or false

Mozart utilized mainly symmetrical phrase structures (i.e. four measure phrases)

Answer 89

true

Question 90

true or false

Mozart avoided sonata form, and instead preferred to use rounded binary form in his first movements

Answer 90

false

Question 91

true or false

Mozart contributed to the development of sonata form

Answer 91

true

Question 92

true or false

Johann Sebastian Bach influenced Mozart’s development of the piano concerto

Answer 92

false

Question 93

true or false

Johann Christian Bach influenced Mozart’s development of the piano concerto

Answer 93

true

Question 94

true or false

Influenced by Antonio Vivaldi, Mozart’s orchestral writing expanded the use of figured bass and continuo

Answer 94

false

Question 95

true or false

influenced by the famous Mannheim orchestra, Mozart’s orchestral writing expanded the use of wind instruments

Answer 95

true

Question 96

true or false

opera was cetral to Mozart’s career, and as an Austrian composer, he wrote all of his operas in German, based on serious plots

Answer 96

false

Question 97

true or false

opera was central to Mozart’s carrer; he made important contributions to three styles: opera seria (Idomeneo), opera buffa (The Marriage of Figaro), and Singspiel (The Magic Flute)

Answer 97

true

Question 98

true or false

Mozart cultivated two distinct styles of melodic writing; lyrical lines in vocal compositions, and angular “percussive” lines for instrumental works

Answer 98

false

Question 99

true or false

Mozart absorbed vocal qualities and melodic lyricism into his instrumental writing; this is especially evident in slow movements

Answer 99

true

Question 100

true or false

Mozart had a long and distinguished career as a composer, and was admired and revered throughout Europe

Answer 100

false

Question 101

true or false

Mozart struggled with the constraints of the patronage system throughout his career, and experienced financial difficulties and challenges despite his remarkable talent

Answer 101

true

Question 102

true or false

Beethoven was a conservative traditionalist, who embraced the musical style of the early 18th century with only minimal changes

Answer 102

false

Question 103

true or false

Beethoven was a bold innovator and a highly original and influential figure

Answer 103

true

Question 104

true or false

Beethoven used themes characterized by long, lyrical melodies that did not lend themselves to motivic development

Answer 104

false

Question 105

true or false

Beethoven’s thematic material often grows out of short, incisive motives

Answer 105

true

Question 106

true or false

Beethoven adopted the four-movement sonata cycle model as seen in the works of Mozart and Haydn without any significant innovations

Answer 106

false

Question 107

true or false

Beethoven’s innovations include replacing the graceful menuet and trio with the more dramatic scherzo and the use of cyclical structure (Symphony No. 5)

Answer 107

true

Question 108

true or false

Beethoven’s innovations to the symphony include expanding the Baroque string orchestra to include woodwinds, brass, and percussion families for the first time

Answer 108

false

Question 109

true or false

Beethoven’s innovations to the symphony include incorporating programmatic elements (Symphony No. 6) and expanding performing forces to include chorus and soloists (Symphony No. 9)

Answer 109

true

Question 110

true or false

Beethoven did not indicate dynamic contrasts in his scores, preferring to allow performers to decide individually how best to interpret the music

Answer 110

false

Question 111

true or false

Beethoven utilized explosive accents and extreme dynamic contrasts

Answer 111

true

Question 112

true or false

Beethoven expanded to role of the basso continuo to provide additional colour and texture in the orchestral sonority

Answer 112

false

Question 113

true or false

Beethoven incorporated addiontal orchestral wind instruments, including the piccolo, trombone, and contrabassoon

Answer 113

true

Question 114

true or false

Beethoven rejected the piano of his day in favour of the harpsichord; and instrument that he felt best conveyed the range of emotion and feeling required in his works

Answer 114

false

Question 115

true or false

Beethoven exploited new features and improvements in the pianos of his day to convey the range of emotion and feeling required in his works

Answer 115

true

Question 116

true or false

Schubert was a true Romantic composer in that he abandoned Classical formal structures and rejected the symphony, sonata, and string quartet as viable genres for musical expression

Answer 116

false

Question 117

true or false

Schubert is considered a transitional composer in that his music combines elements of both Classical and Romantic style

Answer 117

true

Question 118

true or false

Schubert wrote his own original poetry for his many Lieder

Answer 118

false

Question 119

true or false

Schubert composed many Lieder inspired by poems of Johann Wolfgang von Goethe, a German Romantic poet

Answer 119

true

Question 120

true or false

Schubert maintained traditional key organization and used primarily diatonic harmony

Answer 120

false

Question 121

true or false

Schubert often juxtaposed major and minor tonality and used unexpected modulations

Answer 121

true

Question 122

true or false

In Schubert’s Lieder, the piano provides a pleasant, yet netural, musical backdrop over which poetry is sung

Answer 122

false

Question 123

true or false

In Schubert’s Lieder, the piano accompaniment often depicts specific elements of the poem

Answer 123

true

Question 124

true or false

Schubert’s melodies are often percussive and angular, making them difficult to sing

Answer 124

false

Question 125

true or false

vocal lyricism pervades all of Schubert’s works

Answer 125

true

Question 126

true or false

Schubert introduced new psychological intensity into individual songs and song cycles

Answer 126

true

Question 127

true or false

Schubert’s music is characterized by a cool, intellectual objectivity

Answer 127

false

Question 128

true or false

Chopin’s work can be divided into two main categories: works for solo piano and symphonies

Answer 128

false

Question 129

true or false

Chopin wrote almost exclusively for piano (including piano with voice or instruments)

Answer 129

true

Question 130

true or false

Chopin’s melodic lines are strictly pianistic, with only the bold display of virtuosity in mind

Answer 130

false

Question 131

true or false

Chopin’s melodic lines have vocal qualities inspired by the bel canto style in Italian opera

Answer 131

true

Question 132

true or false

Chopin preserved traditional harmonic vocabulary, favouring strictly diatonic chord progressions and modulations only to closely related keys

Answer 132

false

Question 133

true or false

Chopin explored a new harmonic language: chromaticism, unexpected modulation, unusual juxtapositions of chord and keys, and model inflections

Answer 133

true

Question 134

true or false

Chopin maintained a traditional and conservative approach to writing for the piano, most often using Alberti bass patterns to accompany melodic lines

Answer 134

false

Question 135

true or false

Chopin used original and innovative pianistic figurations: unusual spacing of chords, sweeping arpeggiation, expanded range

Answer 135

true

Question 136

true or false

Chopin composed most of his works away from the keyboard, and was unuware of changes to the piano during his lifetime

Answer 136

false

Question 137

true or false

Chopin exploited new capabilities of the piano, employing greater virtuosity in response to technological advances

Answer 137

true

Question 138

true or false

Chopin’s works unfold in a very predictable and organized manner, and require metronomic accuracy and control for musically satisfying performances

Answer 138

false

Question 139

true or false

improvisatory qualities are displayed in many of Chopin’s works, such as his preludes

Answer 139

true

Question 140

true or false

after leaving Poland to settle in Paris, Chopin turned away from his national roots and adopted a new purely French style of composing

Answer 140

false

Question 141

true or false

Chopin’s musical nationalism was expressed through the composition of Polish dances, including polonaises and mazurkas

Answer 141

true

Question 142

true or false

Chopin was isolated from the music of other composers, and developed his unique style without the influence of any other models

Answer 142

false

Question 143

true or false

Chopin was influenced by Bach’s counterpoint, Mozart’s lyricism, and the Italian bel canto style

Answer 143

true

Question 144

true or false

Berlioz’s compositional style is closely tied to the piano, and builds on the style established by Chopin, the poet of the piano

Answer 144

false

Question 145

true or false

Berlioz did not play the piano, so his compositional style demonstrates a unique approach to writing that is unrestricted by the conventions of the piano

Answer 145

true

Question 146

true or false

Berlioz avoided programmatic music throughout his career, preferring to create music free of extra-musical associations

Answer 146

false

Question 147

true or false

Shakespeare’s work influenced many of Berlioz’s programmatic compositions, including his concert overture King Lear

Answer 147

true

Question 148

true or false

Berlioz is the first composer to use a recurring theme throughout a large-sclae work to organize and unify the composition

Answer 148

false

Question 149

true or false

cyclical elements strongly influenced by Beethoven pervade much of Berlioz’s compositional output

Answer 149

true

Question 150

true or false

Berlioz used instruments in unique ways to create new sounds that helpe shape his programmatic associations

Answer 150

true

Question 151

true or false

Berlioz was the master of small forms such as the art song and miniature character pieces for piano

Answer 151

false

Question 152

true or false

Berlioz is best remembered for his large-scale forms, including symphony and oratorio

Answer 152

true

Question 153

true or false

Berlioz is considered a transitional composer in that his music ombines elemtns of both Classical and Romantic style

Answer 153

false

Question 154

true or false

Bizet focused entirely on opera and vocal works, and was considered a weak orchestrator

Answer 154

false

Question 155

true or false

Berlioz’s musical style is highly unique and individual, embracing the true spirit of Romanticism

Answer 155

true

Question 156

true or false

Bizet contributed to a broad range of genres, but focused mainly on opera

Answer 156

true

Question 157

true or false

Bizet was acclaimed as the greatest 19th-century opera composer and enjoyed great popularity in his lifetime

Answer 157

false

Question 158

true or false

Bizet enjoyed limited success during his lifetime

Answer 158

true

Question 159

true or false

all of Bizet’s operas were set in his native France, and demonstrated his profound nationalism in the use of French Baroque dance rhythms

Answer 159

false

Question 160

true or false

Bizet used a simple, primarily diatonic harmonic language

Answer 160

false

Question 161

true or false

Bizet’s harmonies were rich and frequently tinged with chromaticism

Answer 161

true

Question 162

true or false

Bizet kept the chorus and the solo aria as distinctly separate components in his operas

Answer 162

false

Question 163

true or false

Bizet integrated the chorus into the musical fabric of his operas and experimented with musical structures such as blending the chorus into the solo aria

Answer 163

true

Question 164

true or false

like Bach, Handel, and Haydn, Bizet’s career unfolded over a long and full life

Answer 164

false

Question 165

true or false

like Mozart, Schubert, and Chopin, Bizet left a lasting legacy, despite a short life

Answer 165

true

Question 166

true or false

Debussy wrote music in a very predictable manner that relied upon styles and practices inherited from past traditions

Answer 166

false

Question 167

true or false

Debussy wrote music in a very predictable manner that relied upon styles and practices inherited from past traditions

Answer 167

false

Question 168

true or false

Debussy was a highly original and innovative composer

Answer 168

true

Question 169

true or false

initially attracted to Impressionist painters, Debussy later rejected that mindset in favour of a musical approach that was free of any extra-musical influences

Answer 169

false

Question 170

true or false

influenced by Impressionist painters, Debussy’s compositions reflect their ideals through his choice of subject matter, instrmental colour, subtle nuances, and obscured metric pulse

Answer 170

true

Question 171

true or false

Debussy set the poetry of Symbolist poets, including Stéphane Mallarmé, to music

Answer 171

true

Question 172

true or false

like the Realist poets, Debussy preferred a precise expression of his musical thoughts

Answer 172

false

Question 173

true or false

like the Symbolist poets, Debussy experimented with unorthodox approaches to grammar and syntax through formal structure and phrasing; evoking rather than narrating, suggesting rather than depicting

Answer 173

true

Question 174

true or false

Debussy based his music entirely on Western scale systems, following the models of the Viennese masters

Answer 174

false

Question 175

true or false

Debussy explored non-Western scale systems including whole-tone, pentatonic, and modal scales

Answer 175

true

Question 176

true or false

Debussy used harmony in very traditional ways. he continued mushc of the harmonic practice established in the Classical era

Answer 176

false

Question 177

true or false

Debussy used innovative approaches to harmony including parllel chord streams, open fifths, and octaves

Answer 177

true

Question 178

true or false

Debussy avoided the use of programmatic elements as much as possible as he felt this was in opposition with impressionist ideals

Answer 178

false

Question 179

true or false

Debussy’s music often incorporated programmatic elements such as mythological subjects, pastoral themes, water imagery, sunlight, and moonlight

Answer 179

true

Question 180

true or false

Debussy’s music, though popular in its time, has had limited appeal and little influence

Answer 180

false

Question 181

true or false

Debussy is the most influential French composer of the late 19th and early 20th century

Answer 181

true

Question 182

true or false

Stravinsky’s music exhibits a distinct character, which was established in his youth and remained in place throughout his lifetime

Answer 182

false

Question 183

true or false

due to the broad spectrum of musical styles encompassed, Stravinsky’s music may be divided in four periods

Answer 183

true

Question 184

true or false

music composed in the early years of Stravinsky’s life is characterized by a neo-Classical style with emphasis on formal design and emotional restraint

Answer 184

false

Question 185

true or false

music composed in the early years of Stravinsky’s life is characterized by Russian nationalism, with a primitive style featuring rich orchestration, the use of dissonant harmony, polytonality, ostinato, syncopation, and polymeter

Answer 185

true

Question 186

true or false

representative works from Stravinsky’s early years are Symphony of Psalms, Ebony Concerto, The Rake’s Progress

Answer 186

false

Question 187

true or false

representative works from Stravinsky’s early years are The Firebird, Petrushka, The Rite of Spring

Answer 187

true

Question 188

true or false

during the trasitional years, Stravinsky created more intimate works with reduced forces, such as The Wedding and The Soldier’s Tale, in response to the devastation wrought by WWI

Answer 188

true

Question 189

true or false

music composed in the middle years of Stravinsky’s life is characterized by a neo-Classical style with emphasis on formal design and emotional restraint

Answer 189

true

Question 190

true or false

representative works from Stravinsky’s middle years are Symphony of Psalms, Ebony Concerto, and The Rake’s Progress

Answer 190

true

Question 191

true or false

during his final years, Stravinsky embraced Arnold Schoenberg’s twelve-tone method, used sparse textures as inspired by Anton Webern, and explored miniatures

Answer 191

true

Question 192

true or false

representative works from Stravinsky’s final years are The Wedding and The Soldier’s Tale

Answer 192

false

Question 193

true or false

representative works from Stravinsky’s final years are Agon, Vanticum Sacrum, and Eight Instrumental Miniatures

Answer 193

true

Question 194

true or false

Bernstein’s music is influenced by popular and jazz styles only, as he dismissed classical forms and idioms early in his career

Answer 194

false

Question 195

true or false

Bernstein’s music is influenced by classical forms and idioms

Answer 195

true

Question 196

true or false

Bernstein wrote either classical or popular music, but never a combination of the two

Answer 196

false

Question 197

true or false

Bernstein’s melodic style fuses popular and classical elements

Answer 197

true

Question 198

true or false

as an American nationalist, Bernstein rejected all other influences, and was paricularly opposed to using Latin rhythms

Answer 198

false

Question 199

true or false

in his music, Bernstein integrated American, Hispanic, and Jewish elements

Answer 199

true

Question 200

true or false

in his music, Bernstein absorbed elements of rock & roll, country & western, and rap music

Answer 200

false

Question 201

true or false

in his music, Bernstein absorbed popular, jazz, and musical theatre elements

Answer 201

true

Question 202

true or false

Bernstein’s rhythms are based on classical models, most often organized as symmetrical phrases

Answer 202

false

Question 203

true or false

Bernstein’s rhythms are frequently drawn from popular dance styles, a notable example of this is his incorporation of the mambo and cha-cha

Answer 203

true

Question 204

true or false

Louie’s style is primarily traditional, with a conservative approach to harmonic language

Answer 204

false

Question 205

true or false

Louie’s style combines traditional elements with a contemporary language

Answer 205

true

Question 206

true or false

Louie’s work represents a pan-ethnic perspective, combining traditional Asian music with influences from Western musical styles

Answer 206

true

Question 207

true or false

Louie’es work includes programmatic elements

Answer 207

true

Question 208

true or false

Louie’s work represents a purely minimalist approach

Answer 208

false

Question 209

true or false

Louie’s work contains influences of minimalism

Answer 209

true

Question 210

true or false

Louie has chosen not to explore electronic technology in any of her works

Answer 210

false

Question 211

true or false

in some works, Louie incorporated electronic technology

Answer 211

true

Question 212

true or false

Louie uses a varied harmonic language that embraces tonality, modality, extreme dissonance

Answer 212

true

Question 213

true or false

Louie’s piano music is mostly dissonant and percussive, treating the piano as a primarily rhythmic instrument and avoiding the instrument’s expressive quality

Answer 213

false

Question 214

true or false

Louie’s piano music draws on the instrument’s expressive quality through extensive use of epdal and delicate figurations

Answer 214

true

Question 215

true or false

Adams came to embrace the emerging minimalist style developed in the 1960s and 1970s by composers such as Steve Reich and Philip Glass

Answer 215

true

Question 216

true or false

Adam represents “the old generation” of minimalist composers; he is often termed the father of minimalism

Answer 216

false

Question 217

true or false

Adams represents “the next generation” of minimalist composers; he is often termed a post-minimalist

Answer 217

true

Question 218

true or false

Adams’ works are usually atonal; he consciously rejected the tonal and/or modal models to which he was exposed as a student

Answer 218

false

Question 219

true or false

Adams’ works are usually tonal and/or modal; he consciously rejected the atonal models to which he was exposed a student

Answer 219

true

Question 220

true or false

Adams’ approach to rhythm and meter reflects minimalism’s penchant for incessant, driving rhythm (moto perpetuo)

Answer 220

true

Question 221

true or false

Adams avoided repetitive patterns like ostinatos in order to retain a sense of rhythmic flexibility and spontaneity in his music

Answer 221

false

Question 222

true or false

Adams frequently uses ostinato patterns, syncopation, and complex polyrhythms that result in a “rhythmic dissonance”

Answer 222

true

Question 223

true or false

Adams’ orchestral works lean toward programmatic elemts, including evocative titles

Answer 223

false

Question 224

true or false

drawn to the theatre, Adams has written many operas in collaboration with leading librettists (Alice Goodman) and groundbreaking stage designers/directors (Peter Sellars)

Answer 224

true

Question 225

true or false

Adams is frequently drawn to controversial themes (politics, terrorism, war, natural disasters) in search of the human stories buried among the rubble of world conflict and crisis

Answer 225

true