Music History FINAL
Order by
185 terms
Terms | Definitions |
|---|---|
 When did an interest in historical music, exemplified by the establishment of a permanent classical repertoire and the creation of academic fields to study it, become evident? | The mid-nineteenth century |
| Composers such as Wagner and Liszt saw the legacy of the following composer as providing a break in historical traditions by pointing towards a new direction in composition that combined music with words or a program | Ludwig van Beethoven |
| In German-speaking lands, the dispute between tradition and innovation and between absolute and program music was polarized around the following two composers | Brahms and Wagner |
| How many symphonies did Brahms compose? | 4 |
| Brahm's Symphony No. 1 is primarily indebted to the music of | Beethoven |
| What older form does Brahms use in the finale of his Symphony No. 4 that can be seen as an influence of J.S. Bach? | passacaglia/chaconne |
| An orchestral work in one movement with a literary or other program is called | a symphonic poem |
| Who would not be considered a member of the New German School | Brahms |
| The term "New German School" was coined by music critic | Franz Brendel |
| The following critic argued that music should be understood and appreciated on its own terms rather than for its ties to anything outside music | Eduard Hanslick |
| This was composed by Richard Strauss | Don Juan |
| This was composed by Franz Liszt | Faust Symphony |
| This was composed by Johannes Brahms | German Requiem |
| This was composed by Gustav Mahler | Kindertotenlieder |
| The technique used by Liszt to unify Les Preludes is called | thematic transformation |
| This composer taught at the Conservatory in Vienna and had famous students, such as composers Gustav Mahler and Arnold Schonberg, and theorist Heinrich Schenker. His religious works are strongly influenced by Cecilianism. | Anton Bruckner |
| Of the following, which describes the Lieder by Wold? | Equality of words and music |
| Also Sprach Zarathustra, Till Eulenspiegel's Merry Pranks, and Elektra are works by | Richard Strauss |
| Which of the following statements characterizes Mahler's orchestration? | His symphonies require large orchestras, but there are many passages of light orchestration. |
| Franck inaugurated a new style of music for the | organ |
| Gabriel Faure is usually associated with which movement | the French Tradition |
| Who is considered to be the founder of modern French Chamber music? | Franck |
| Borodin's country of origin | Russia |
| Grieg's country of origin | Norway |
| Elgar's country of origin | England |
| Smetana's country of origin | Bohemia |
| Which country avoided developing a national style in the late nineteenth century? | England |
| Which work by Musorgsky was originally written for piano and was late orchestrated by Ravel? | Pictures at an Exhibition |
| Which of the following works is a four movement symphonic suite by Rimsky-Korsakov based on stories from the 101 Arabian Nights? | Sheherazade |
| Which of the following works is not a nationalist composition from Bohemia | Peer Gynt |
| Of the follow, which is a new genre, symphony with voices by Mahler? | Das Lied von der Erde |
| Of the follow, which was not a source of inspiration for Debussy? | English folk music. |
| In what way does Debussy's harmonic style differ from that of Wagner? | The urgency to resolve is absent. |
| Ralph Vaughan Williams composed this work | Fantasia on a Theme by Thomas Tallis |
| Maurice Ravel composed this work. | Le tombeau de Couperin |
| Gustav Holst composed this work | The Planets |
| Manuel de Falla composed this work. | El amor brujo |
| Sibelius composed this work. | Finlandia |
| Scriabin modeled his first piano pieces on the music of | Chopin |
| What characterizes the music of Erik Satie? | Wit and defiance of conventional ideas |
| Brahm's method of continuously building on germinal ideas was coined "developing variation" by: | Arnold Schoenberg |
| The following composer referred to his orchestral works as "symphonic poems" | Franz Liszt |
| The following composer is best known for his adaptation of Wagner's concept of the collective artwork into the German lied | Hugo Wolf |
| Richard Strauss preferred the following term for his orchestral compositions | tone poems |
| The following composer is not included in the group of composers known as the Russian Five | Tchaikovsky |
| According to Dvorak, a truly American national music should be inspired by | folk traditions of all American people |
| The following composer is often grouped with Debussy as an impressionist | Maurice Ravel |
| The following Czech composer devised a nationalistic style based on the rhythms and inflections of the peasant speech and song of his native region of Moravia | Leos Janacek |
| Which of the following best describes Sergei Rachmaninov's music? | It combined new and innovative musical elements within traditional harmonies and form. |
| The following composer illustrates a break from accepted musical conventions in his last five piano sonatas, in which he dispenses with conventional tonal harmony | Alexander Scriabin |
| The following Satie composition is based on a scenario by Cocteau and includes choreography by Massine and scenery and costumes by Pablo Picasso. | Parade |
| In what styles were the early works of Schoenberg written | late Romantic |
| Of the following works, which was created with twelve-tone technique | Piano Suite |
| The vocal technique used in Pierrot lunaire is called | Schechstimme |
| Stravinsky was commissioned to compose his first ballet music by | Diaghilev |
| Poem of Ecstasy and Prometheus are works by | Scriabin |
| Prometheus chord, Electra chord and Petrushka chord are all | polychords |
| Schoenberg's Verklarte Nacht belongs to the | Late Romantic period |
| Schoenberg's Erwartung belongs to the | Atonal period |
| Schoenberg's Pierrot Lunaire belongs to the | Atonal period |
| The appearance of all twelve pitch-classes within a segment of music is referred to as | Chromatic saturation |
| The following of Schoenberg's compositions employed Sprechstimme, a type of vocal delivery that blends the traditional notions of song and melodrama: | Pierrot Lunaire |
| The following Stravinsky ballet shocked audiences and caused a riot at its 1913 premiere | The Rite of Spring |
| The Rite of Spring is influenced by the following art movement | primitivism |
| He wrote 24 preludes in every major and minor key and Rhapsody on a Theme of Paganini for piano and orchestra | Rachmaninov |
| By the end of the nineteenth century, the standard orchestra had as many as | ninety players |
| What did Berlioz call the recurring theme used in his Symphonie fantastique? | idee fixe |
| Symphony by Berlioz | Harold en Italie |
| Symphony by Schubert | Unfinished Symphony |
| Symphony by Mendelssohn | Unfinished Symphony |
| Which composer used themes from his own Lieder in his chamber music? | Schubert |
| The Cecilian movement was | A movement that advocated the return to a cappella performances in the style of Palestrina |
| What was not a trend in the early nineteenth century? | Choirs were increasingly made up of professional singers only |
| Of the following, which is a characteristic of nineteenth-century orchestras? | Changes to wind instruments gave them wider ranges and greater facility |
| Treatise on Instrumentation and Orchestration, often considered the bible on nineteenth-century orchestration, was written by | Berlioz |
| The following composition, subtitled "Episode in the Life of an Artist" was accompanied during performance with an autobiographical program | Symphonie fantastique |
| Which of the following does not describe the Violin Concerto by Mendelssohn? | The first movement begins with a lengthy ritornello. |
| Schubert's quintet in C Major, the late chamber-music masterpiece, is composed for string quartet and what additional instrument? | Cello |
| Te Deum, Requiem, La damnation de Faust are large choral works by | Berlioz |
| He conducted parts of Bach's St. Matthew Passion in Berlin in 1829, beginning the 'Bach Revival" | Mendelssohn |
| The following year is considered Robert Schumann's "symphony year" | 1841 |
| The most famous and important opera composer in Europe throughout 1820s was | Rossini |
| This composer led one of the most renowned orchestras in Europe in the 19th century, the Gewandhaus Orchestra in Leipzig | Mendelssohn |
| The typical scene structure of a Rossini opera is | introduction - recit - cantabile - cabaletta |
| Of the following, which describes the aria style of Rossini? | Spare use of the orchestra |
| The main composers of Italian opera up until 1840 were | Rossini, Bellini, Donizetti |
| A Midsummer Night's Dream by Mendelssohn is an example of a | Concert overture |
| This composer created German Romantic opera | Weber |
| His operatic style, specifically arias, influenced Chopin's nocturnes | Bellini |
| He composed Norma | Bellini |
| He composed Lucia di Lammermoor | Donizetti |
| He composed Guillaume Tell | Rossini |
| He composed Les Huguenots | Meyerbeer |
| Schumann modeled the overall structure of his fourth symphony - all four movements are presented in one uninterrupted flow -- on | Schubert's Wander Fantasy |
| One of the following is not true for grand opera | it did not have chorus |
| The following librettist is credited with creating the mix of formality, spectacle, and historical, political, or religious themes that define grand opera | Eugene Scribe |
| An oratorio by Mendelssohn | Elijah |
| His early string quartets are influenced by Haydn and Mozart and his later quartets, with polyphonic texture, are modeled on J.S. Bach. He also promoted the view that string quartets should resemble a four-way conversation. This composer is | Schumann |
| The most famous lyric opera, as well as the most frequently performed opera in the last third of the nineteenth century, was | Faust |
| Jacques Offenbach is associated most closely with which type of opera | opera bouffe |
| Gounod's Faust is which type of opera? | lyrical opera |
| Bizet's most famous opera was | Carmen |
| One of the following is not an opera by Verdi | Tosca |
| Of the following, which is not a characteristic of Verdi's late operas | Spoken dialogue for the most intense scenes |
| Viva Verdi was | a nationalistic cry referring to the king of italy |
| One of the earliest tragic opera to be set in the present rather than the historical past was verdi's | la traviata |
| Va pensiero, a chorus from the following Verdi opera, became an emblem of Italian opposition to foreign oppression | Nabucco |
| Verismo is associated with the operas of which country | Italy |
| The model for Verismo operas was | Carmen |
| One of the following is not characteristic for verismo operas | the plots are drawn from medieval history, legends, or fairy tales |
| One of the following is not a Puccini opera | Cavalleria Rusticana |
| Giselle by Adam and Copelia by Delibes belong to the genre of | ballet |
| Musical characteristics of early German romantic opera do not include | Extensive ballet scenes |
| The following opera, often credited with establishing German Romantic Opera, is unique because it places ordinary people center stage singing about their concerns, fears, and loves | Der Freischutz |
| The role of the orchestra in the 19th century German opera is best described as | equal: harmony and orchestral timbre are employed for dramatic expression, which enhances the libretto |
| For Richard Wagner, the function of music was to | serve dramatic expression |
| Wagner's term for the union of all the arts in a drama is | Gesamtkunstwerk |
| The following is not a work by Wagner | Treatise on Instrumentation and Orchestration |
| Of the following, which characterizes the librettos of Wagner's operas? | They were created by Wagner |
| Wagner's Tristan und Isolde was influential because | it used ambiguous harmony that stretched the limits of tonality |
| Wagner saw himself as the true successor of | Beethoven |
| Wagner referred to reoccuring themes associated with specific characters, things, events, or emotions as the work's | principle themes |
| One of the following Wagner works is not a part of the Ring cycle | Lohengrin |
| The Tristan chord is spelled as follows | F-B-D#-G# |
| Wagner contributed to the new construction of the following instrument in order to get a specific tone color for specific effects in his music dramas | tuba |
| The following opera illustrates the 19th century fascination with exoticism by its inclusion of three "authentic" Spanish melodies. | Carmen |
| The first opera in Russia was done in 1731 by | an Italian troupe |
| He composed The Life of the Tsar and Russlan and Ludmilla | Glinka |
| The Mighty Five were | a group of Russian composers who studied folk music and exotic scales |
| He composed Eugene Onegin and The queen of Spades | Tchaikovsky |
| The following composer was the leader and an informal teacher to others in the circle. | Balakirev |
| He wrote Prince Igor | Borodin |
| He wrote Boris Godunov | Mussorgsky |
| He used octatonic and whole tone scales | Rimsky-Korsakov |
| He built operatic scenes in harmonic ostinato blocks, used the melody of folk songs and Russian speech as a model for his melodic lines, and based his major opera on literary realism style | Mussorgsky |
| The first modern conservatory of music was founded in | Paris |
| While in Vienna, Beethoven studied with | Joseph Haydn |
| Of the following, which was not a way that Beethoven earned a living during his first creative period? | taking opera commissions |
| Which of the following belongs to Beethovens first creative period? | Pathetique Sonata |
| Beethoven's first symphony premiered in | 1800 |
| The first movement of Beethoven's Op. 12 is unusual for a sonata because | it begins with a slow introduction |
| Which of the following can be said of Beethoven's Fidelio? | It is a rescue opera |
| A song cycle from Beethoven's late period | An die ferne Geliebte |
| The nickname for Beethoven's Piano Concerto No. 5 | The Emperor |
| The nickname for Beethoven's Symphony No. 6 | The Pastoral |
| The nickname for Beethoven's Symphony No. 3 | The Eroica |
| When Beethoven realized that he was going deaf, he wrote | The Heiligenstadt Testament |
| The following work, composed in 1803-4, exemplifies Beethoven's new compositional approach during his middle period | Symphony N3 in E-flat Major |
| Beethoven dedicated his Opus 59 string quartets to | Razumovsky |
| Which composer's works served as models for Beethoven's Missa solemnis? | Handel |
| Of the following, which is unusual about the 9th symphony | the use of a chorus |
| Of the following, which is not a theme of Romanticism | nationalism |
| The piano parts of Schubert's Lieder are notable for their | pictorial and dramatic roles |
| Dichterliebe is | a song cycle by Schumann |
| Robert Schumann wrote | essays and reviews about music |
| The following composer introduced the concept of a song cycle in which all songs are performed in order as movements of a larger vocal work | Beethoven |
| A group of Lieder designed to be performed as a set is called a | song cycle |
| Of the following, which was the major piano genre for Schubert | Sonatas |
| Lieder ohne Worte were composed by | Mendelssohn |
| Chopin composed piano works inspired by the folk music of which country | Prance |
| Which of the following genre did not find a place in Chopin's output | Lieder ohne Worte |
| The dazzling violin virtuoso who influenced Liszt was | Paganini |
| Which of the following is a major collection of piano pieces by Robert Schumann? | Carnaval |
| Who were Florestan and Eusebius | Fictitious characters who represented aspects of Schumann's personality |
| Who created and first used the term recital | Liszt |
| The following composer lived in Vienna his whole life and wrote more than 600 lieder, many of which were performed by friends in home concerts | Schubert |
| The following composer and music critic founded and served as the editor of the Leipzig Neue Zeitschrift fur Music | Robert Schumann |
| The following composer wrote over 120 songs in 1840, which he/she referred to as his "year of song" | Robert Schumann |
| The following composer wrote almost exclusively for piano | Chopin |
| The following composers' Seven Character pieces, published in 1827, helped to introduce the term and define the genre | Felix Mendelssohn |
| The majority of Robert Schumann's keyboard compositions are | character pieces |
| The concert etude is credited to | Fryderyk Chopin |
| The composer's Sonata in B-minor contains a famous funeral march | Chopin |
| He composed 'The Erlkonig' | Schubert |
| The composers Sonata in B-minor is considered to have a "double function form" meaning that it can be understood as a sonata cycle and a sonata form | Liszt |
| He composed Hungarian Rhapsodies | Liszt |
| He composed "Gretchen am Spinnrade" | Franz Schubert |
| He composed The Wanderer Fantasy | Schubert |
| One distinct harmonic practice by Schubert that influenced later composers, most notably Liszt, was | modulation by thirds |
| "Rondo Capriccioso" is a piano composition by | Felix Mendelssohn |
| Tempo Rubato is a stylistic characteristic introduced by this composer | Chopin |
| He was influenced by Chopin and Paganini | Liszt |
| This composer was an influential music teacher who did not charge for his lessons; his students include Hans von Bullow, Carl Tausig, Franz Bendel | Liszt |
| Folk tunes, fast and slow sections, and the "Gypsy scale" can be heard in this piano collection | Hungarian Rhapsodies |
| Papillons (Butterflies) is a set of character pieces composed by | Robert Schumann |
First Time Here?
Welcome to Quizlet, a fun, free place to study. Try these flashcards, find others to study, or make your own.