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Enjoyment in music
Which of the following best describes the lyrical melodies of the Classical period?
conjunct, diatonic, and singable
Romantic elements can be found in the late works of Mozart, Haydn, and Beethoven.
The concept of rhythmic regularity suggests:
strong rhythms moving at a steady tempo.
The Sturm und Drang movement came about largely because of two works, written by Schiller and:
In sonata-allegro form, the section that features the most tension and drama through modulation and motivic interplay is called:
In minuet and trio form, the trio section:
is usually in a different key.
is usually contrasting in melody and harmony.
ends with a da capo.
What is the function of the bridge in sonata-allegro form?
to modulate to a new key
In sonata-allegro form, a modulatory section that leads from one theme to the next is called:
The career of Joseph Haydn spanned the years from the formation of the Classical style to the beginning of Romanticism.
Chamber music blossomed in popularity in the Classical era.
Haydn served as a choirboy in:
Mozart's Eine kleine Nachtmusik is an example of:
Using material from an earlier movement in a symphony is called:
The fourth movement of a Classical symphony is usually quicker and lighter than the first movement.
The most important instrumental genre of the Classical period is:
The text of the Ode to Joy is by:
The first movement of Mozart's Piano Concerto in G major, K. 453, is monothematic.
Mozart's Piano Concerto in G major, K. 453, begins with the first theme stated by the piano.
The finale of a Classical concerto is often in rondo form.
The outer movements of Beethoven's Piano Sonata in C-sharp minor, Op. 27, No. 2, share a common mood and expressive quality.
The dreamy first movement of the Moonlight Sonata features:
A singing melody
an accompaniment with arpreggios
and a strophic-like form.
The first movement of Beethoven's Moonlight Sonata is full of stormy virtuosity.
The overture of Don Giovanni is in what form?
The tone of the Catalog aria, from Don Giovanni, is:
In the latter part of the eighteenth century, new opera types were devised that featured naturalness and simplicity.