Music An Appreciation Brief 8th Edition Roger Kamien Test Bank

Music An Appreciation Brief 8th Edition
Roger Kamien Test Bank

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Part V - The Romantic Period
Part V
The Romantic Period
Multiple Choice Questions
1. Romanticism, as a stylistic period in western music, encompassed the years

A. 1450-1600
B. 1600-1750
C. 1750-1820
D. 1820-1900
The romantic period in music extended from about 1820 to 1900.
Bloom's: Remember
Learning Objective: Recall artistic expression in the Romantic Era
2. Which of the following is not characteristic of romanticism?

A. A fascination with fantasy
B. An emphasis on balance and clarity of structures
C. An enthusiasm for the culture of the Middle Ages
D. An interest in exoticism and the past
Whereas in classical music, composers focused on balance and clarity, in romantic music,
forms showed greater tension and less emphasis on balance and resolution.
Bloom's: Understand
5-1
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3. Which of the following is not a characteristic aspect of romanticism in literature and

painting?
A. Emotional restraint
B. Emotional subjectivity
C. Exoticism
D. Fantasy
Romantic music encompasses many characteristics, but emotional restraint is not one of them.
Indeed, romantic music is associated with emotional intensity and expression.
Bloom's: Understand
4. Of all the inspirations for romantic art, none was more important than
A. the aristocracy.
B. ancient Greek art and culture.
C. nature.
D. the church.
All aspects of nature attracted romantic musicians. It makes an appearance in countless

compositions of the romantic period.
Bloom's: Understand
5. Which of the following composers is not associated with the romantic period?
A. Giuseppe Verdi
B. Wolfgang Amadeus Mozart
C. Robert Schumann
D. Frédéric Chopin
Mozart is known as a classical composer, not romantic. He lived in the eighteenth century,
before the romantic period even began.
Bloom's: Remember
Learning Objective: Compare romantic to classical music
5-2
6. Drawing creative inspiration from cultures of lands foreign to the composer is known as
A. exoticism.
B. nationalism.
C. program music.
D. verismo.
Exoticism in romantic music describes the use of melodic and rhythmic elements derived
from the music of non-European countries.
Bloom's: Understand
Learning Objective: Compare romantic to classical music: exoticism versus familiarity
7. Program music is
A. music that depicts aspects of nature.
B. vocal music that tells a story.
C. instrumental music associated with a story, poem, idea, or scene.
D. All answers are correct.
Program music is instrumental music associated with a story, poem, idea, or scene. The
nonmusical element is usually specified by a title or by explanatory comments called a
program.
Bloom's: Remember
Learning Objective: Compare romantic to classical music: program-based versus form-based
Learning Objective: Define program music
5-3
8. Which of the following statements is not true?

A. Romantic music puts unprecedented emphasis on self-expression and individuality of style.
B. Fascination with the melodies, rhythms, and colorful materials from distant lands is a
romantic trend known as musical nationalism.
C. Romantic composers relied upon a more prominent use of chromatic harmony, or the use
of chords containing tones not found in the prevailing major or minor scale.
D. A romantic composition tends to have a wide variety of keys and rapid modulations.
The fascination with non-European music and the inclusion of musical elements from those
cultures into romantic compositions is known as exoticism.
Bloom's: Understand
9. The deliberate intent to draw creative inspiration from the composer's own homeland is
known as
A. exoticism.
B. individualism.
C. nationalism.
D. verismo.
Musical nationalism was expressed when romantic composers deliberately created music with
a specific national identity, using the folk songs, dances, legends, and history of their
homelands.
Bloom's: Remember
Learning Objective: Compare romantic to classical music: nationalism versus cosmopolitan
Learning Objective: Define nationalism in 19th-century music
5-4
10. Composers expressed musical nationalism in their music by

A. using the rhythms of the dances of their homelands.
B. using their national legends as subject matter.
C. basing their music on the folk songs of their country.
Musical nationalism was expressed when romantic composers deliberately created music with
a specific national identity, using the folk songs, dances, legends, and history of their
homelands.
Bloom's: Remember
11. An orchestra toward the end of the romantic period might include close to ______
musicians.
A. 24
B. 40
C. 60
D. 100
In order to get extreme contrasts of dynamics, texture, and orchestration, composers in the late
romantic period used orchestras that could include close to a hundred musicians.
Bloom's: Remember
12. The orchestra in the romantic period

A. was basically the same as in the classical period.
B. ranged from twenty to sixty players.
C. was larger and more varied in tone color than the classical orchestra.
D. had a limited dynamic range due to the primitive nature of the brass instruments.
In order to accommodate the extreme desires of composers, such as great dynamic variety,
unusual tonal colors, and overall density of sound, the orchestra of the romantic period grew
greatly in size from that of the classical period.
Bloom's: Understand
5-5
13. The 1844 Treatise on Modern Instrumentation and Orchestration that signaled the
recognition of orchestration as an art in itself was written by
A. Franz Liszt.
B. Robert Schumann.
C. Hector Berlioz.
D. Bedřich Smetana.
In 1844, Hector Berlioz published the Treatise on Modern Instrumentation and

Orchestration, which established orchestration as an art in itself.
Bloom's: Remember
Learning Objective: Recognize the characteristics of Berlioz's program music
14. Which of the following statements is not true of the piano in the early romantic period?
A. A cast-iron frame was introduced to hold the strings under greater tension.
B. The use of the damper pedal allowed a sonorous blend of tones from all registers of the
piano.
C. The piano's range remained basically the same as in the classical period.
D. The piano's hammers were covered with felt.
The piano was vastly improved during the 1820s and 1830s. A cast-iron frame was introduced
to hold the strings under greater tension, and the hammers were covered with felt. Its range
was extended and the use of the damper pedal was common.
Bloom's: Understand
5-6
15. A slight holding back or pressing forward of tempo in music is known as

A. ritardando.
B. rubato.
C. accelerando.
D. fermata.
Rubato is the slight holding back or pressing forward of tempo, a favorite technique of
romantic composers and performers. Ritardanos (slowing down) and accelerandos (speeding
up) each modify the tempo in only one direction. A fermata indicates a pause in the music.
Bloom's: Remember
16. Altering the character of a melody by changes in dynamics, orchestration, or rhythm is a

romantic technique known as
A. thematic transformation.
B. melodic evolution.
C. rubato.
D. development.
Thematic transformation is a technique in which a melody's character is transformed as it

returns in later movements or sections of a romantic work. It can be changed in various ways,
through dynamics, orchestration, or rhythm.
Bloom's: Remember
5-7

A. Romantic composers rejected the basic forms of the classical period and preferred to
develop new forms of their own.
B. Hector Berlioz's Treatise on Modern Instrumentation and Orchestration, published in
1844, signaled the recognition of orchestration as an art in itself.
C. Musical nationalism was expressed when romantic composers deliberately created music
with a specific national identity.
D. To intensify the expression of the music, romantic performers made use of rubato, the
slight holding back or pressing forward of tempo.
Rather than reject the past, romantic composers built upon the styles of the classical period.
Romantic composers continued to write symphonies, sonatas, string quartets, concertos,
operas, and choral works, but their individual movements tended to be longer than Haydn's
and Mozart's.
Bloom's: Understand
18. Because of the French Revolution and the __________________, many aristocrats could
no longer afford to maintain private opera houses, orchestras, and "composers in residence".
A. American Revolution
B. Napoleonic Wars
C. French and Indian War
D. wages of skilled performers
The French Revolution and the Napoleonic wars caused much economic strife in Europe,
causing aristocrats, as well as artists, to lose income and luxury possessions.
Bloom's: Remember
5-8

A. Romantic composers wrote primarily for a middle-class audience whose size and
prosperity had increased because of the industrial revolution.
B. Romantic musicians often composed to execute a commission or meet the demands of an
aristocratic or church patron.
C. Music conservatories were founded in Chicago, Cleveland, Boston, Oberlin, and
Philadelphia during the 1860s.
D. The nineteenth-century public was captivated by virtuosity.
Romantic musicians often composed to meet an inner need rather than fulfill a commission
from a noble or church patron. They were inspired by the image of Beethoven as a "free
artist" and created extended works with no immediate prospects for performance.
Bloom's: Understand
20. The composer whose career was a model for many romantic composers was
A. Ludwig van Beethoven.
B. Joseph Haydn.
C. Johann Sebastian Bach.
D. Wolfgang Amadeus Mozart.
The image of Beethoven as a "free artist" inspired romantic musicians, who often composed
to meet an inner need rather than fulfill a commission.
Bloom's: Remember
5-9
21. All of the following romantic composers were also virtuoso instrumentalists giving solo
recitals except
A. Clara Wieck Schumann.
B. Franz Liszt.
C. Niccolò Paganini.
D. Hector Berlioz.
Berlioz was an advanced composer and orchestrator but did not achieve virtuosity in
instrumental performance.
Bloom's: Remember
22. A romantic composer who earned his living as a touring virtuoso was
A. Franz Liszt.
B. Hector Berlioz.
C. Frédéric Chopin.
D. Franz Schubert.
Franz Liszt practiced hard to become a piano virtuoso, who drove audiences to frenzy. He
toured Europe tirelessly between 1839 and 1847.
Bloom's: Remember
Learning Objective: Analyze characteristics of music in works by the romantic composer Liszt
23. A composer who earned his/her living as a violin virtuoso was

A. Clara Schumann.
B. Niccolò Paganini.
C. Robert Schumann.
D. Frédéric Chopin.
Niccolò Paganini the great violinist, amazed audiences with virtuosic playing and made his
living through touring.
Bloom's: Remember
5-10
24. The rise of the urban middle class led to the

A. piano becoming a fixture in every middle-class home.
B. formation of many orchestras and opera groups.
C. development of regular subscription concerts.
The new urban middle class led to the formation of many orchestras and opera groups during
the romantic era. Public concerts had developed during the eighteenth century, and in the
nineteenth century regular subscription concerts became common. With new, disposable
income, many middle-class homes had pianos in them.
Bloom's: Remember
Learning Objective: Describe the relationship between romantic composers and their public
25. When music conservatories were founded, women

A. were admitted only as vocalists.
B. were at first accepted only as students of performance, but by the late 1800s could study
musical composition.
C. could only study musical composition, since performance was considered undignified.
D. were not admitted.
With the rise of conservatories, more young men and women than ever before studied to be
professional musicians. At first women were accepted into conservatories only as students of
performance, but by the late 1800s they could study musical composition as well.
Bloom's: Remember
5-11
26. A very important musical part of every middle-class home during the romantic period was
the
A. resident composer/performer.
B. piano.
C. violin.
D. flute.
As private music making increased during the romantic era, the piano became a fixture in
every middle-class home. There was great demand for songs and solo piano pieces as well as
transcriptions of operas and orchestral works.
Bloom's: Remember
27. One of the few composers fortunate enough to be supported by private patrons was
A. Franz Liszt.
B. Franz Schubert.
C. Hector Berlioz.
D. Peter Ilyich Tchaikovsky.
In 1877, Tchaikovsky acquired a wealthy benefactress, Nadezhda von Meck, with whom he
had a curious but intimate friendship—they corresponded but did not meet. She gave him an
annuity that allowed him to quit his conservatory position and devote himself to composition.
Bloom's: Remember
Learning Objective: Recognize the characteristics of program music in works by the romantic composer Tchaikovsky
5-12
28. Music criticism was a source of income for both Hector Berlioz and
A. Robert Schumann.
B. Franz Liszt.
C. Niccolò Paganini.
D. Giuseppe Verdi.
Writing music criticism was one way that a freelance musician could make a steady income.
Both Berlioz and Schumann engaged work in this capacity.
Bloom's: Remember
29. An art song is a musical composition for

A. solo voice and piano.
B. solo voice and orchestra.
C. multiple voices.
A prominent genre in the romantic period, art songs were works written for solo voice and
piano.
Bloom's: Remember
Learning Objective: Describe the functions of the art song
30. The word ___________ is commonly used for a romantic art song with a German text.
A. lied
B. durchkomponiert
C. chanson
D. ballade
The German word, lied, means song, and was used to describe German romantic art songs.
Bloom's: Remember
Learning Objective: Describe the forms of the art song
5-13
31. The German composers of art songs favored, among others, the lyric poetry of Johann
Wolfgang von Goethe and
A. Heinrich Heine.
B. Victor Hugo.
C. William Wordsworth.
D. Walt Whitman.
Many German or Austrian composers—Schubert, Schumann, and Brahms, for example—set

poems in their native language. Among the poets favored by these composers were Johann
Wolfgang von Goethe (1749-1832) and Heinrich Heine (1797-1856).
Bloom's: Remember
Learning Objective: Analyze characteristics of dramatic narrative in works by the romantic composer Schubert
Learning Objective: Analyze characteristics of music in works by the romantic composer Schumann
32. Which of the following statements is not true of the romantic art song?
A. The art song is restricted to strophic form.
B. A song cycle is a set of romantic art songs that may be unified by a story line that runs
through the poems, or by musical ideas linking the songs.
C. Through-composed, a translation of the German term durchkomponiert, is a song form that
allows music to reflect a poem's changing moods.
D. The accompaniment of a romantic art song is an integral part of the composer's conception,
and it serves as an interpretive partner to the voice.
The art song is an extremely flexible form (one reason for its popularity) and was not
restricted to strophic form; many of the great art songs were written in through-composed
form.
Bloom's: Understand
Learning Objective: Describe the functions of the art song
5-14
33. The mood of an art song is often set by a brief piano introduction and summed up at the
end by a piano section called a
A. conclusion.
B. postlude.
C. song cycle.
D. finale.
The mood of an art song is often summed up at the end by a concluding piano section called a
postlude.
Bloom's: Remember
Learning Objective: Describe the song cycle form of the art song
34. When the same music is repeated for two or more stanzas of a poem, leading to new
music for other stanzas, the form is known as
A. song form.
B. modified strophic.
C. through-composed.
D. repetitious.
Modified strophic form is a song form in which two or more stanzas of poetry are set to the
same music while other stanzas have new music.
Bloom's: Remember
35. Which of the following forms was not used in composing art songs?
A. Strophic
B. Modified-strophic.
C. Through-composed.
D. Concerto
A concerto describes a type of composition that involves an orchestra; it is not a form.
Bloom's: Understand
5-15
36. Schubert's primary source of income came from his

A. position as music director to a noble court.
B. touring as a virtuoso performer.
C. performing as church organist.
D. musical compositions.
Schubert never held an official position and was neither a conductor nor a virtuoso. His
income came entirely from musical composition.
Bloom's: Remember
37. Schubert wrote a number of symphonies and chamber works that are comparable in power
and emotional intensity to those of his idol,
A. Beethoven.
B. Berlioz.
C. Mozart.
D. Haydn.
Many of Schubert's symphonies, especially the Unfinished Symphony (1822) and the Great C
Major Symphony (1825-1826), are comparable in power and intensity to those of his idol,
Beethoven.
Bloom's: Remember
38. Schubert
A. was widely acknowledged as a composer in his lifetime.
B. was very self-critical, which accounts for his meager output.
C. produced his greatest works after the age of forty.
D. was the first great master of the romantic art song.
The career of Schubert was short and mostly unrecognized (although his output was large),
but he is now thought of as the earliest master of the romantic art song.
Bloom's: Remember
5-16

A. Franz Schubert led a bohemian existence, living with friends because he had no money to
rent a room of his own.
B. Schubert labored at great length over each of his compositions, which accounts for his
small output.
C. At the time of his death, Schubert's reputation was mainly that of a fine song composer.
D. In addition to symphonies, operas, string quartets and other chamber works, Schubert
composed over six hundred songs.
Schubert's output was large: along with over 600 songs, he composed symphonies, string
quartets, chamber music for piano and strings, piano sonatas, short piano pieces for two and
four hands, masses, and operatic compositions. He composed quickly and feverishly; in one
year he wrote 179 works.
Bloom's: Understand
40. Schubert's songs number more than

A. 50.
B. 100.
C. 250.
D. 600.
Schubert composed songs incessantly throughout his career, producing over 600.
Bloom's: Remember
5-17
41. Schubert wrote compositions in every musical genre except

A. string quartets.
B. piano concertos.
C. symphonies.
D. operas.
Schubert wrote string quartets, symphonies, songs, and operatic compositions, but never a
piano concerto.
Bloom's: Remember
42. Schubert was eighteen years old when he composed the song Erlkönig, set to a poem by
A. Schubert himself.
B. Heinrich Heine.
C. Victor Hugo.
D. Johann Wolfgang von Goethe.
Schubert's song Erlkönig (The Erlking) is a musical setting of a narrative ballad of the
supernatural by Goethe.
Bloom's: Remember
43. The form of The Erlking is

A. strophic.
B. modified strophic.
C. through-composed.
D. None of these.
In The Erlking, Schubert uses a through-composed setting to capture the mounting excitement
of the poem.
Bloom's: Apply
5-18
44. The Erlking, in Schubert's song of that name, is a romantic personification of

A. ghosts.
B. death.
C. a galloping horse.
D. nature.
Goethe's ballad tells of a father riding on horseback through a storm with his sick child in his
arms. The delirious boy has visions of the legendary Erlking, the king of the elves, who
symbolizes death.
Bloom's: Apply
45. The piano's relentless rhythm in Erlkönig (The Erlking) unifies the episodes of the song
and suggests the
A. galloping horse.
B. joy of the child.
C. steadiness of the father.
D. approach of death.
The piano's relentless triplet rhythm unifies the episodes of the song and suggests the horse's
gallop.
Bloom's: Apply
46. Which of the following is not true of Robert Schumann's works?

A. They are intensely autobiographical.
B. They are usually linked with descriptive titles, texts, or programs.
C. They are frequently lyrical in nature.
D. They are all written for the piano.
Although many of Schumann's early works were solely for piano, after 1840, he turned to
symphonies and chamber music.
Bloom's: Remember
5-19
47. Clara Wieck was

A. the daughter of Schumann's piano teacher.
B. a virtuoso pianist.
C. Schumann's wife.
Wieck was Schumann's daughter, prized pupil, and eventual virtuoso concert pianist. She later
became Schumann's wife.
Bloom's: Remember
48. During the first ten years of his creative life, Schumann published only
A. songs.
B. piano pieces.
C. symphonies.
D. musical criticism.
During the first ten years of his creative life, Schumann published only piano pieces, and his
musical style seemed to grow out of piano improvisation.
Bloom's: Remember
49. Robert Schumann's Carnaval is a(n)

A. etude for piano students.
B. song cycle.
C. composition for orchestra.
D. cycle of piano pieces.
Carnaval is a cycle of twenty-one brief pieces for piano, with descriptive titles evoking a
festive masked ball, with its varied characters, moods, and activities.
Bloom's: Apply
5-20
50. Johannes Brahms

A. was an admirer of Robert Schumann, but never met him.
B. was a violinist who performed Clara Schumann's compositions.
C. was a close friend of Clara and Robert Schumann.
D. married Clara Schumann after her husband died.
The relationships between Brahms and Robert and Clara Schumann was complicated. Brahms
admired both as musicians and all three became close friends. Although he and Clara became
intimate after Robert died, they never married. They remained close friends, however, and
Clara would often perform his pieces.
Bloom's: Remember
Learning Objective: Recognize and analyze characteristics of music in works by the romantic composer Brahms
51. Clara Schumann was a

A. virtuoso pianist.
B. composer.
C. touring performer.
D. All of the above are correct.
Clara Schumann was an extraordinary talent: a composer, virtuoso pianist, and mother. She
was married to Robert Schumann and often performed his pieces.
Bloom's: Remember
52. A leading pianist of the nineteenth century, Clara Schumann

A. never composed any music.
B. did some composing, but considered herself primarily a performer.
C. was discovered to have composed some works for Brahms.
D. performed only the music of her husband Robert.
Clara Schumann was primarily a pianist in her time, but she also composed several works.
Bloom's: Remember
5-21
53. In the 1830s, Paris was

A. a center of romanticism.
B. the artistic capital of Europe.
C. the home of Victor Hugo, Honoré de Balzac, and Heinrich Heine.
In the 1830s, Paris, home to many artists such as Victor Hugo, Balzac, Heine, Delacroix, was
the center of romanticism and the artistic capital of Europe.
Bloom's: Remember
54. Chopin expressed his love of Poland by composing polonaises and

A. polkas.
B. folk songs.
C. waltzes.
D. mazurkas.
Chopin expressed his love for Poland by composing mazurkas and the polonaises, stylized
dances that capture a Polish spirit.
Bloom's: Remember
Learning Objective: Analyze characteristics of music in works by the romantic composer Chopin
55. While in Paris, Chopin

A. married the famous writer Aurore Dudevant.
B. earned a good living by teaching piano to the daughters of the rich.
C. gave a great number of successful public concerts.
In Paris, Chopin earned a good living by teaching piano to the daughters of the rich, and lived
in luxury. Although he had an affair with Aurore Dudevant, they never married. He was an
extraordinary pianist, but preferred to give small, intimate concerts in salons over public
performances in large venues.
Bloom's: Remember
5-22
56. Most of Chopin's pieces

A. are exquisite miniatures.
B. are for a wide range of media.
C. have a limited variety of moods.
D. have literary programs or titles.
Most of Chopin's pieces are exquisite miniatures; they evoke an infinite variety of moods and
are always elegant, graceful, and melodic. Unlike Schumann, Chopin did not attach literary
programs or titles to his pieces.
Bloom's: Understand
57. A slow, lyrical, intimate composition for piano, associated with evening and nighttime, is
the
A. etude.
B. mazurka.
C. waltz.
D. nocturne.
A nocturne, or night piece, is a slow, lyrical, intimate composition for piano.
Bloom's: Remember
58. Chopin's Revolutionary Étude develops the pianist's left hand because
A. the left hand must play rapid passages throughout.
B. it is played only by the left hand.
C. it takes nearly an hour to perform.
D. the left hand plays the main melody.
The Revolutionary Étude, develops speed and endurance in the pianist's left hand, which must
play rapid passages of accompaniment throughout.
Bloom's: Apply
5-23
59. A study piece, designed to help a performer master specific technical difficulties, is
known as
A. a nocturne.
B. an etude.
C. a polonaise.
D. ein lied.
An étude is a study piece designed to help a performer master specific technical difficulties.
Bloom's: Remember

A. In the 1830s Paris was a center of romanticism and the artistic capital of Europe.
B. Chopin was a shy, reserved man who disliked crowds and preferred to play in salons rather
than in public concert halls.
C. Many of Chopin's most poetic effects come from the sensitive exploitation of the piano's
pedals.
D. Chopin's piano études, compositions designed to help a performer master specific technical
difficulties, are primarily technical exercises without much musical value.
Although Chopin's études work on specific technical issues, they also reach beyond mere
exercises to become masterpieces of music, exciting to hear as well as to master.
Bloom's: Understand
5-24
61. The ___________ is a dance in triple meter that originated as a stately processional for the
Polish nobility.
A. polka
B. mazurka
C. waltz
D. polonaise
The polonaise, a piece in triple meter, originated as a stately processional dance for the Polish
nobility.
Bloom's: Remember

A. To display his incomparable piano mastery, Liszt composed his Transcendental Etudes
and made piano transcriptions of Paganini's violin pieces.
B. During the last years of his life, Liszt settled in Rome and devoted himself solely to his
religious duties.
C. As a stupendous performer, innovative composer, and charismatic personality, Franz Liszt
typified the romantic movement.
D. The literary works of Johann Wolfgang von Goethe were among Franz Liszt's favorite
inspirations.
Although Liszt went to Rome to pursue religious studies and take minor holy orders, he
continued to compose oratorios and masses and, during his last years, traveled between Rome,
Weimar, and Budapest, where he was president of the new Academy of Music.
Bloom's: Remember
5-25
63. As a youth, Franz Liszt was influenced by the performances of

A. Richard Wagner.
B. Hector Berlioz.
C. Robert Schumann.
D. Niccolò Paganini.
When he was nineteen and already acclaimed as a brilliant pianist, Liszt was awed by the
great violinist Paganini, who drove audiences into a frenzy and was half suspected of being in
league with the devil.
Bloom's: Remember
64. During his teens and twenties, Franz Liszt lived in

A. Rome.
B. Weimar.
C. Paris.
D. Budapest.
During his teens and twenties, he lived in Paris, a city where romanticism flourished and a
mecca for virtuosos.
Bloom's: Remember
65. Until the age of thirty-six, Franz Liszt toured Europe as a virtuoso
A. pianist.
B. conductor.
C. cellist.
Franz Liszt was a virtuoso pianist, who toured all over Europe, amazing audiences wherever
he played.
Bloom's: Remember
5-26
66. Liszt abandoned his career as a traveling virtuoso to become court conductor at
__________, where he championed works by contemporary composers.
A. Rome
B. Weimar
C. Paris
D. Budapest
At thirty-six, Listz abandoned his career as a traveling virtuoso to become court conductor for
the grand duke in Weimar. Weimar had become a center for modern music, and Liszt
conducted works by such contemporaries as Berlioz, Schumann, and Wagner.
Bloom's: Remember
67. Liszt's piano works are characterized by

A. an unprecedented range of dynamics.
B. rapid octaves and daring leaps.
C. arpeggios.
Liszt found new ways to exploit the piano; his melodies are sometimes surrounded by
arpeggios that create the impression of three hands playing. His piano works contain daring
leaps, rapid octaves and runs, and an unprecedented range of dynamics.
Bloom's: Understand
68. The writer whose literary works greatly inspired Franz Liszt was
A. William Shakespeare.
B. Johann Wolfgang von Goethe.
C. Robert Schumann.
D. Marie d'Agoult.
Among Liszt's favorite inspirations were the works of Goethe (on which he based his Faust
Symphony, 1854).
Bloom's: Remember
5-27
69. Liszt typified the romantic movement because he

A. had a charismatic personality.
B. was a stupendous performer.
C. was an innovative composer.
As a stupendous performer, innovative composer, and charismatic personality, Liszt

embodied many of the most important qualities of the romantic period.
Bloom's: Understand
70. Liszt created the ______________, a one-movement orchestral composition based to

some extent on a literary or pictorial idea.
A. concert overture
B. symphonic poem
C. piano concerto
D. sonata
Breaking away from classical sonata form and the standard four-movement symphony, Liszt
created the symphonic poem, or tone poem, a one-movement orchestral composition based to
some extent on literary or pictorial ideas.
Bloom's: Remember
71. By the age of thirteen, Mendelssohn had written ____________ of astounding quality.
A. vocal works.
B. sonatas
C. symphonies and concertos
Nurtured from an early age as a prodigy, Mendelssohn had written symphonies, concertos,
sonatas, and vocal works of astounding quality by the age of thirteen.
Bloom's: Remember
Learning Objective: Recognize characteristics of music in works by the romantic composer Mendelssohn
5-28
72. Mendelssohn is known as the man who rekindled an interest in the music of
A. Giovanni Pierluigi da Palestrina.
B. Johann Sebastian Bach.
C. George Frideric Handel.
D. Franz Schubert.
In 1829, at twenty, he conducted Bach's St. Matthew Passion in its first performance since the
composer's death. This historic concert rekindled interest in Bach's music and earned
Mendelssohn an international reputation.
Bloom's: Remember
73. The high point of Mendelssohn's career was the triumphant premiere of his oratorio
_____________ in England.
A. Elijah
B. Hebrides
C. A Midsummer Night's Dream
D. Fingal's Cave
A high point in his career was the triumphant premiere of his oratorio Elijah in Birmingham,
England, in 1846.
Bloom's: Remember
74. Mendelssohn wrote in all musical forms except

A. symphonies.
B. operas.
C. string quartets.
D. oratorios.
Mendelssohn was a prolific and varied composer, but never wrote an opera.
Bloom's: Remember
5-29
75. The three movements of Mendelssohn's Concerto for Violin

A. are unified by the process of thematic transformation.
B. are all in the same key.
C. all have separate cadenzas.
D. are played without pause.
The concerto's three movements are played without pause, in a characteristic linking
technique used by romantic composers.
Bloom's: Apply
76. Mendelssohn's Concerto for Violin in E Minor opens with a(n)

A. orchestral exposition typical in concertos.
B. soloist, who presents the main theme.
C. slow introduction by the orchestra.
D. single bassoon tone.
Traditionally, the opening movement of a concerto began with an extended section for
orchestra. But Mendelssohn's first movement begins with the soloist, who presents the main
theme.
Bloom's: Apply
5-30
77. In the first movement of Mendelssohn's Concerto for Violin, the cadenza
A. is left to the performer to improvise.
B. appears at the end of the recapitulation, as is common in classical concertos.
C. is frequently omitted in performance.
D. appears at the end of the development section as a transition to the recapitulation.
In another alteration to classical form, Mendelssohn wrote the cadenza out and placed it at the
end of the development section as a transition to the recapitulation. Typically in classical
concertos, the cadenza was improvised by the soloist and played near the end of the
movement. Here, Mendelssohn wanted the cadenza to be an integral part of the movement,
not merely something tacked on to display the soloist's virtuosity.
Bloom's: Apply
78. The first movement of Mendelssohn's Concerto for Violin is linked to the introduction of
the second movement by a(n)
A. violin cadenza.
B. single bassoon tone.
C. orchestral tutti.
D. wind fanfare.
The first two movements are connected by a sustained solo bassoon note.
Bloom's: Apply
79. Mendelssohn's Violin Concerto was inspired by

A. his friendship the famous violinist Ferdinand David.
B. Napoleon Bonaparte's conquest of Europe.
C. Hector Berlioz's Symphonie fantastique.
D. a performance of the great violin virtuoso Niccolò Paganini.
Ferdinand David worked closely with Mendelssohn on his violin concerto and premiered the
piece.
Bloom's: Understand
5-31
80. Instrumental music associated with a story, poem, idea, or scene, popular during the
romantic period, is called
A. absolute music.
B. opera.
C. program music.
D. symphony.
Romantic composers were particularly attracted to program music—instrumental music

associated with a story, poem, idea, or scene.
Bloom's: Remember
81. The work referred to by Beethoven as an "expression of feeling rather than painting" was
his
A. Symphony No. 5.
B. Fidelio Overture.
C. Eroica Symphony.
D. Pastoral Symphony (No. 6.)
Beethoven, referred to his Pastoral Symphony (his Symphony No. 6) as "an expression of
feeling rather than painting."
Bloom's: Remember
Learning Objective: Recognize the characteristics of program music
5-32

A. Musicians and audiences in the romantic period liked to read stories into all music,
whether intended by the composer or not.
B. The romantic concert overture was modeled after the opera overture, but the concert
overture is not intended to usher in a stage work, being instead an independent composition.
C. The symphonic poem, or tone poem, is a two-movement composition in sonata-allegro
form.
D. Tchaikovsky's Romeo and Juliet is an example of program music.
The symphonic poem, or tone poem, is a one-movement orchestral composition based to

some extent on literary or pictorial ideas. It does not have to be in sonata-allegro form.
Bloom's: Understand
Learning Objective: Recall the expanded use of extremes in form in romantic music
83. Nonprogram music is also known as _____________ music.

A. pure
B. absolute
C. concert
D. symphonic
Music that has no explicit extramusical meaning (a story, poem, etc.) but instead serves a
purely musical function is known as absolute music.
Bloom's: Remember
5-33
84. A ____________ is an instrumental composition in several movements based to some

extent on a literary or pictorial idea.
A. nocturne
B. program symphony
C. polonaise
D. concert overture
A program symphony is a composition in several movements. As its name implies, it is a

symphony with a program, or explanatory comments. Usually, each movement has a
descriptive title.
Bloom's: Remember
85. A ________________ is a one-movement orchestral composition based to some extent on

a literary or pictorial idea.
A. mazurka
B. program symphony
C. symphonic poem
D. nocturne
The symphonic poem, or tone poem, is a one-movement orchestral composition based to

some extent on literary or pictorial ideas.
Bloom's: Remember
5-34
86. The composer who developed the symphonic poem was

A. Franz Liszt.
B. Ludwig van Beethoven.
C. Franz Schubert.
D. Richard Strauss.
Breaking away from classical sonata form and the standard four-movement symphony, Franz
Liszt created the symphonic poem.
Bloom's: Remember
87. Music intended to be performed before and during a play to set the mood for scenes or
highlight dramatic action is known as
A. music drama.
B. incidental music.
C. absolute music.
D. play music.
Incidental music is music to be performed before and during a play. It is "incidental" to the
staged drama, but it sets the mood for certain scenes. Interludes, background music, marches,
and dances are all incidental music (as are today's movie scores).
Bloom's: Remember
88. Today's movie scores may be regarded as examples of

A. pure music.
B. incidental music.
C. folk music.
D. absolute music.
Movie scores can be considered incidental music because it is of secondary (or incidental) to
the visual drama and spoken dialogue.
Bloom's: Apply
5-35
89. In 1830 Berlioz was awarded

A. a graduate fellowship.
B. a scholarship to the Paris Conservatory.
C. an Oscar.
D. the Prix de Rome.
In 1830, Berlioz won the Prix de Rome (Rome Prize), subsidizing two years' study in Rome.
Bloom's: Remember
90. The writer whose works had the greatest impact on the young Berlioz was
A. Victor Hugo.
B. William Shakespeare.
C. Honoré de Balzac.
D. Heinrich Heine.
When he was twenty-three, Berlioz was overwhelmed by the works of Shakespeare

(appropriately also falling madly in love with a Shakespearean actress, Harriet Smithson). He
would use Shakespeare's works as inspiration in his own music, such as in his Romeo and
Juliet symphony.
Bloom's: Remember
91. The Fantastic Symphony reflects Berlioz's

A. intense nationalism.
B. experiences in Rome.
C. love for the actress Harriet Smithson.
D. interest in composing for small, intimate ensembles.
The Symphonie fantastique (Fantastic Symphony) is a romantic manifesto. Both the

symphony and Berlioz's program reflect the twenty-six-year-old composer's unrequited
passion for the actress Harriet Smithson.
Bloom's: Apply
5-36
92. Parisians were startled by Berlioz's Fantastic Symphony because of its

A. sensationally autobiographical program.
B. amazingly novel orchestration.
C. vivid description of the weird and diabolical.
Berlioz's Symphonie fantastique was innovative in many ways, and startled Parisians by its
sensationally autobiographical program, its amazingly novel orchestration, and its vivid
depiction of the weird and diabolical.
Bloom's: Understand

A. Berlioz was an extraordinarily imaginative and innovative orchestrator.
B. All of Berlioz's major works are dramatic in nature and relate either to a literary program
or to a text.
C. In 1830 Berlioz won the Paris Conservatory's Prix de Rome which granted him two years'
subsidized study in Rome.
D. Berlioz's reputation outside France was even lower than it was in his homeland.
Although well-known, Berlioz and his music caused much controversy and was not
universally loved, especially in France. Outside France, however, Berlioz's was appreciated
and admired. After 1840, he was in demand throughout Europe, conducting his own and
others' music.
Bloom's: Remember
5-37
94. In order to support his family, Schumann turned to

A. medicine.
B. musical journalism.
C. arranging concerts.
D. teaching.
Like many of his peers, Schumann could not make a living solely based on his music and
turned to music journalism as a way to provide for his family.
Bloom's: Remember
95. Outside France, Berlioz enjoyed a great career as a(n)

A. conductor.
B. concert pianist.
C. singer.
D. impresario.
Berlioz was one of the first great conductors and he influenced a whole generation of
musicians.
Bloom's: Remember
96. Berlioz was extraordinarily imaginative in treating the orchestra, creating ____________
never before heard.
A. tone colors
B. rhythms
C. harmonies
D. forms
The art of composing and the art of orchestration can be considered two sides of the same
coin. Working with forms, rhythms, and harmonies is part of composition; creating tone
colors is part of orchestration, at which Berlioz was a master.
Bloom's: Remember
5-38
97. The contrasting episodes of Berlioz's Fantastic Symphony are unified by the recurrence of
a theme known as the
A. subject.
B. Smithson theme.
C. leitmotif.
D. idée fixe.
A single melody, which Berlioz called the idée fixe, or fixed idea, is used to represent the
beloved. It appears in all five movements and unifies the contrasting episodes of the
symphony.
Bloom's: Apply
98. Which of the following instruments is not part of the orchestra for Symphonie
fantastique?
A. Organ
B. Cello
C. Cornet
D. Bells
The orchestra for Symphony fantastique is quite large, involving many instruments. However,
there is no music in the piece written for the organ.
Bloom's: Apply
5-39
99. The fourth movement of Berlioz's Fantastic Symphony depicts a

A. march to the scaffold.
B. ball.
C. dream of a witches' Sabbath.
D. scene in the country.
The fourth movement of Symphonie fantastique is titled March to the Scaffold. From the
program notes: [The hero] dreams that he has murdered his beloved, that he has been
condemned to death and is being led to the scaffold. The procession moves forward to the
sounds of a march that is now somber and fierce, now brilliant and solemn, in which the
muffled sounds of heavy steps give way without transition to the noisiest outbursts.
Bloom's: Apply
100. The citizen's sense of national identity and patriotic feelings were intensified by
A. romanticism, which glorified love for one's national heritage.
B. common bonds of language, culture, and history.
C. military resistance to Napoleon.
As a wider sense of the world developed, and in response to Napoleon's attempt at unifying
Europe, citizens of individual countries bonded over a common heritage and culture.
Romanticism, in art and music, celebrated these feelings of nationalism.
Bloom's: Understand
5-40

A. During the nineteenth century, Europeans felt strongly that their homelands merited loyalty
and self-sacrifice.
B. In the romantic era, it was felt that the "national spirit" of a people resided in the "folk," the
peasantry.
C. Composers used folk tunes in their serious compositions to give their works a national
identity.
D. The strongest impact of musical nationalism was felt in Italy, France, Germany, and
Austria.
The strongest impact of nationalism in music was in countries other than Italy, France,
Germany, or Austria. These countries already had a strong national flavor in their music.
Countries that had been influenced by these nations, now turned to their own culture for
inspiration. Example of leading musical nationalists were Mussorgsky, Rimsky-Korsakov,
and Borodin from Russia; Smetana and Dvořák from Bohemia; Edvard Grieg (1843-1907)
from Norway; Jean Sibelius (1865-1957) from Finland; and Isaac Albéniz (1860-1909) from
Spain.
Bloom's: Understand
102. The strongest impact of musical nationalism was felt in

A. Russia.
B. the Scandinavian countries.
C. Poland and Bohemia.
The strongest impact of nationalism was felt in lands whose own musical heritage had been
dominated by the music of Italy, France, Germany, or Austria. Among the leading musical
nationalists were Mussorgsky, Rimsky-Korsakov, and Borodin from Russia; Smetana and
Dvořák from Bohemia; Edvard Grieg (1843-1907) from Norway; Jean Sibelius (1865-1957)
from Finland; and Isaac Albéniz (1860-1909) from Spain.
Bloom's: Remember
5-41
103. Who laid the groundwork for a nationlist style in Russian music?
A. Mily Balakirev
B. Modest Mussorgsky
C. Mikhail Glinka
D. Nikolai Rimsky-Korsakov
Mikhail Glinka (1804-1857), laid the groundwork for a national style in Russia, paving the
way for the Russian Five.
Bloom's: Remember
104. The opera that laid the groundwork for a Russian national style, A Life for the Tsar, was
composed by
A. Modest Mussorgsky.
B. César Cui.
C. Nikolai Rimsky-Korsakov.
D. Mikhail Glinka.
Mikhail Glinka wrote A Life for the Tsar, which laid the groundwork for a national style.
Bloom's: Remember
105. The founder of Czech national music was

A. César Cui.
B. Antonin Dvořák.
C. Bedřich Smetana.
D. Boris Godunov.
Bedřich Smetana (1824-1884) was the founder of Czech national music. His works are
steeped in the folk music and legends of his native Bohemia.
Bloom's: Remember
Learning Objective: Infer from Smetana's classical compositions the nationalistic feelings that dominated the nineteenth century
5-42
106. Smetana grew up when Bohemia was under ____________ domination.

A. German
B. Austrian
C. Polish
D. Russian
Smetana grew up when Bohemia was under Austrian domination, and in this repressive
atmosphere, his musical nationalism could make little headway.
Bloom's: Remember
107. Even though Smetana was deaf at the time, he composed a musical work depicting
Bohemia's main river as it flows through the countryside. The name of the river, and the
musical composition, is the
A. Moldau.
B. Seine.
C. Danube.
D. Thames.
Smetana's famous symphonic poem The Moldau, which depicts Bohemia's main river as it
flows through the countryside, was written in three weeks, shortly after Smetana became deaf.
Bloom's: Remember
108. The German master _____________ recommended Dvořák's music to his own publisher,
resulting in a rapid spread of Dvořák's fame.
A. Joseph Haydn
B. Richard Wagner
C. Franz Liszt
D. Johannes Brahms
Dvořák was little known as a composer until his works came to the attention of the German
master Brahms, who recommended Dvořák to his own publisher.
Bloom's: Remember
5-43
109. Antonin Dvořák's music was first promoted by

A. Hector Berlioz.
B. Richard Wagner.
C. Johannes Brahms.
D. Franz Liszt.
Dvořák was little known as a composer until his works came to the attention of the German
master Brahms, who recommended Dvořák to his own publisher. After this, his fame spread
rapidly.
Bloom's: Remember
110. Dvořák "found a secure basis for a new national [American] musical school" in
A. the music of New York.
B. African American spirituals.
C. western art music as taught at the National Conservatory of Music.
D. the traditional folk music of European immigrants.
Dvořák told a reporter from the New York Herald that in African American spirituals he had
"found a secure basis for a new national musical school. America can have her own music, a
fine music growing up from her own soil and having its own character—the natural voice of a
free and great nation."
Bloom's: Remember
5-44
111. In 1892, Dvořák went to ___________, where he spent almost three years as director of
the National Conservatory of Music.
A. London
B. Prague
C. New York
D. Leipzig
In 1892, Dvořák went to New York, where he was to spend almost three years as director of
the National Conservatory of Music.
Bloom's: Remember
112. Antonin Dvořák's Symphony No. 9

A. is his most famous work.
B. is subtitled From the New World.
C. glorifies both the Czech and the American folk spirit.
Dvořák wrote his New World Symphony (Symphony No. 9), during his first year in the
United States. One of the best-known of all symphonies, it glorifies the American and the
Czech folk spirit.
Bloom's: Apply
113. In the first movement of the New World Symphony, Dvořák

A. used the form of the scherzo.
B. quoted the black spiritual Swing Low, Sweet Chariot.
C. composed a theme that resembles Swing Low, Sweet Chariot.
D. began the symphony with an allegro first theme.
Dvořák's New World Symphony, begins the first movement with a slow introduction, leading
into a sonata-allegro form. The third theme from this movement was inspired by the spiritual
Swing Low, Sweet Chariot, but does not quote it directly.
Bloom's: Apply
5-45
114. The popular character of the New World Symphony can be traced to the composer's use
of ___________ often found in folk music.
A. syncopations
B. pentatonic scales
C. modal scales
D. All of these
The New World symphony has a popular quality, which grows out of Dvořák's use of
syncopations, pentatonic (five-note) scales, and modal scales often found in folk music.
Bloom's: Apply

A. Tchaikovsky's progress in music was so rapid that after graduating from the St. Petersburg
Conservatory he became professor of harmony at the new Moscow Conservatory.
B. Tchaikovsky was a happily-married family man with a cheerful, self-confident outlook.
C. Tchaikovsky, while not a member of the "Russian five," considered himself Russian, in the
fullest sense of the word.
D. Tchaikovsky, with elements of French, Italian, and German music as well as Russian folk
songs, fused national and international elements to produce intensely subjective and
passionate music.
After graduating from the St. Petersburg Conservatory, Tchaikovsky became professor of
harmony at the new Moscow Conservatory, and composed furiously. He did marry, but it was
disastrous and apparently was an attempt to conceal his homosexuality; he attempted suicide
two weeks later, and had a nervous collapse. Tchaikovsky thought of himself as "Russian in
the fullest sense of the word," but his style was influenced by French, Italian, and German
music as well as Russian folk song, creating a highly unique style independent of his
contemporaries, The Russian five.
Bloom's: Understand
5-46
116. Peter Ilyich Tchaikovsky

A. was a child prodigy, learning music at an early age.
B. preferred his government position to music.
C. studied music theory and violin as a teenager.
D. began to study music theory at the age of twenty-one.
Tchaikovsky started his career as a government clerk and began to study music theory at the
relatively late age of twenty-one.
Bloom's: Remember
117. Nadezhda von Meck was

A. one of Tchaikovsky's lovers.
B. a wealthy benefactress who provided Tchaikovsky with an annuity.
C. Tchaikovsky's wife.
D. the inspiration for his Romeo and Juliet.
Nadezhda von Meck was a wealthy benefactress, who gave Tchaikovsky an annuity that
allowed him to quit his conservatory position and devote himself to composition.
Bloom's: Remember
118. Tchaikovsky's Sixth Symphony

A. is in the usual four-movement form.
B. was left unfinished by the composer.
C. has five movements.
D. ends with a slow, despairing finale.
Tchaikovsky's Symphony No. 6 (Pathétique), ends unconventionally with a slow, despairing

finale. The music mirrored the unhappy end of his own life; he died at fifty-three, nine days
after the premiere of this work.
Bloom's: Apply
5-47
119. Which of the following was not a member of the Russian five?
A. Nikolai Rimsky-Korsakov
B. Modest Mussorgsky
C. César Cu
D. Peter Ilyich Tchaikovsky
Tchaikovsky was not part of the Russian Five. His works are much more in the western
tradition than those of that group.
Bloom's: Remember
120. At its premiere in 1870, Tchaikovsky's Romeo and Juliet Overture was
A. a tremendous success.
B. a dismal failure.
C. performed by a chamber orchestra, with continuo.
D. enthusiastically applauded by the tsar.
Although it is now one of Tchaikovsky's best-loved works, Romeo and Juliet was a dismal
failure at its premiere in 1870.
Bloom's: Remember
121. Tchaikovsky's Romeo and Juliet is

A. a ballet based on Shakespeare's play Romeo and Juliet.
B. a medley of popular melodies taken from his opera of that name.
C. an early programmatic symphony inspired by the characters in Shakespeare's play.
D. a concert overture consisting of a slow introduction and a fast movement in sonata form.
Romeo and Juliet is a concert overture consisting of one movement in sonata form, preceded
by a slow introduction. It is not a symphony, as that would imply multiple movements.
Bloom's: Apply
5-48
122. The course of Brahms's artistic and personal life was shaped by the influence of the
composer
A. Antonin Dvořák.
B. Robert Schumann and his wife Clara.
C. Franz Liszt.
D. Richard Wagner.
On his first concert tour, when he was twenty, Brahms met Robert Schumann and Schumann's
wife Clara, who were to shape the course of Brahms's artistic and personal life. The
Schumanns listened enthusiastically to Brahms's music, and Robert published an article
hailing young Brahms as a musical messiah.
Bloom's: Remember
123. Brahms wrote masterpieces in many musical forms, but never any
A. art songs.
B. operas.
C. choral works.
D. chamber music.
Brahms wrote in many genres, including art songs, chamber music, and choral works, but
never in opera.
Bloom's: Remember
5-49
124. Brahms's works, though very personal in style, are rooted in the music of
A. Joseph Haydn.
B. Wolfgang Amadeus Mozart.
C. Ludwig van Beethoven.
Brahms studied and was inspired by the great masters of European music, including Haydn,
Mozart, and Beethoven. He conducted a Viennese musical society and introduced many
forgotten works of Bach, Handel, and Mozart.
Bloom's: Understand
125. Brahms's musical trademarks included

A. bombastic flamboyance.
B. the use of two notes against three.
C. the use of da capo arias.
Brahms often used contrasting patterns and syncopations (the use of "2 against 3"—one
instrument playing two even notes to a beat while another plays three—is one of his
trademarks). His music is considered more restrained than bombastic, and he never wrote
arias, which are part of operas.
Bloom's: Understand
126. Verdi studied music in _________, the city where Italy's most important opera house, La
Scala, is located.
A. Rome
B. Florence
C. Venice
D. Milan
Verdi was born in a tiny Italian village, but went on to study music in Milan.
Bloom's: Remember
Learning Objective: Recognize and analyze characteristics of music in works by the romantic composer Verdi
5-50
127. Verdi's first great success, an opera with strong political overtones, was
A. Oberto.
B. Aïda.
C. Nabucco.
D. La Traviata.
Verdi's first success was Nabucco, an opera that had strong nationalist undertones. Verdi was
an ardent nationalist who yearned for a free and unified Italy and saw the Jews (the subject of
Nabucco's libretto) as a symbol of the oppressed Italians.
Bloom's: Remember
Learning Objective: Examine the development of operas by Verdi during the romantic era
128. Critics were often scandalized by the subject matter of Verdi's operas because they
A. symbolized a free and unified Italy.
B. commemorated the Suez canal, which was not even in Europe.
C. were based on Shakespearean plays.
D. seemed to condone rape, suicide, and free love.
Although the public loved Verdi's operas, critics were often scandalized by their subject
matter. Rigoletto seemed to condone rape and suicide, and La Traviata apparently glorified
free love.
Bloom's: Understand
129. Which of the following operas is not by Verdi?

A. La Traviata
B. Turandot
C. Il Trovatore
D. Otello
La Traviata, Il Trovatore, and Otello are all operas by Verdi. Turandot is by Giacomo
Puccini.
Bloom's: Remember
5-51
130. Giuseppe Verdi mainly composed his operas

A. for the Italian musical elite.
B. to glorify the singers.
C. for his fellow composers.
D. to entertain a mass public.
Verdi composed not for the musical elite, but for a mass public whose main entertainment
was opera. He wanted subjects that were "original, interesting . . . and passionate; passions
above all!"
Bloom's: Understand

A. Giuseppe Verdi, the most popular of all opera composers, was born to a poor family in a
tiny Italian village.
B. The soul of a Verdi opera is its expressive vocal melody.
C. Verdi composed primarily for the Italian musical elite, those who would best appreciate his
talents.
D. In the course of his long life, Verdi's style became less conventional, more subtle and
flexible, with more imaginative orchestrations and richer accompaniments.
Verdi was a populist composer, and wrote music for a mass public whose main entertainment
was opera, not for the elite.
Bloom's: Understand
132. The soul of a Verdi opera is

A. extensive thematic development.
B. expressive vocal melody.
C. the situation comedy.
D. atmospheric orchestral parts.
Expressive vocal melody is the soul of a Verdi opera and his arias are still widely performed.
Bloom's: Understand
5-52
133. Verdi's later operas differ from his earlier ones in that they have
A. less difference between aria and recitative.
B. greater musical continuity.
C. more imaginative orchestrations.
Verdi's style became more varied and unconventional as he grew older. Verdi's later works
have greater musical continuity, less difference between aria and recitative, and more
imaginative orchestration and richer accompaniments.
Bloom's: Understand
134. Rigoletto, the title role in Giuseppe Verdi's opera, is all of the following except
A. a hunchback.
B. a court jester to the Duke of Mantua.
C. the father of Gilda.
D. the romantic lover.
Verdi created an operatic hero out of a hunchbacked court jester—Rigoletto— whose only
redeeming quality is an intense love for his daughter, Gilda. Rigoletto's master was the
licentious Duke of Mantua, who was the lover in the story, not Rigoletto.
Bloom's: Apply
135. The famous aria La donna è mobile is taken from Verdi's opera
A. Rigoletto.
B. Aïda.
C. Falstaff.
D. Il Trovatore.
La donna è mobile, which you studied in your text, is from Rigoletto.
Bloom's: Remember
5-53
136. Giacomo Puccini's first successful opera was

A. Madame Butterfly.
B. La Bohème.
C. Manon Lescaut.
D. Turandot.
In 1893, Puccini became well known throughout Italy for his opera Manon Lescaut.
Bloom's: Remember
Learning Objective: Examine the development of operas by Puccini during the romantic era
137. Which of the following operas was not composed by Giacomo Puccini?
A. Madame Butterfly
B. Tosca
C. Turandot
D. Falstaff
Puccini wrote all of these operas, except Falstaff, which was written by Verdi.
Bloom's: Remember
138. An artistic trend of the 1890s, in which operas dealt with ordinary people and true-to-life
situations, was known as
A. opera seria.
B. verismo.
C. exoticism.
D. Cavalleria rusticana.
Verismo—realism, or the quality of being "true to life"—was an artistic trend in the 1890s.
Puccini's opera Tosca is an example of this style.
Bloom's: Remember
5-54
139. The movement in opera known as verismo is best exemplified by

A. Claudio Monteverdi.
B. Wolfgang Amadeus Mozart.
C. Giacomo Puccini.
D. Richard Wagner.
Verismo was an artistic style that strove to capture real-life situations and was popular during
the 1890s. Puccini was known for writing operas, such as Tosca and Madame Butterfly, in this
style. Monteverdi and Mozart were not alive at this time. Wagner was known for his fantasy-
based operas that dealt with gods and ancient times.
Bloom's: Understand
140. Some of Puccini's operas feature exoticism, as in his use of melodic and rhythmic
elements derived from Japanese and Chinese music in his operas
A. Turandot and Manon Lescaut.
B. La Bohème and Madame Butterfly.
C. Madame Butterfly and Turandot.
D. Tosca and Turandot.
Madame Butterfly, set in Japan and Turandot, set in China, both have melodic and rhythmic
elements derived from the music of those countries. This influence was known at the time as
exoticism.
Bloom's: Remember
141. Giacomo Puccini's opera La Bohème takes place in

A. Seville.
B. Milan.
C. Rome.
D. Paris.
La Bohème (Bohemian Life) takes place in the Latin Quarter of Paris around 1830.
Bloom's: Remember
5-55
142. In Puccini's La Bohème, Rodolfo is a young

A. painter.
B. poet.
C. philosopher.
D. musician.
In La Bohème, the hero is Rodolfo, a young poet.
Bloom's: Remember
143. Mimi and Rodolfo meet for the first time in La Bohème because she has come to his door
to ask for a
A. light for her candle.
B. drink of wine.
C. dinner date.
D. cup of sugar.
On a cold Christmas eve, Mimi comes up to Rodolfo's apartment; her candle has blown out,
and she knocks on his door asking for a light.
Bloom's: Apply
144. Who sings the aria Che gelida manina (What a cold little hand) in La Bohème?
A. Mimi
B. Schaunard
C. Rodolfo
D. Marcello
As Rodolfo and Mimi are searching in the dark for Mimi's lost key, Rodolfo sings the aria
Che gelida manina (How cold your little hand is!).
Bloom's: Apply
5-56
145. Wagner's preeminence was such that an opera house of his own design was built in
_________________, solely for performances of his music dramas.
A. Paris, France
B. Geneva, Switzerland
C. Leipzig, Germany
D. Bayreuth, Germany
Wagner's life was full of ups and downs, but eventually his preeminence grew to such an
extent that an opera house of his own design was built in Bayreuth, Germany, solely for
performances of his music dramas.
Bloom's: Remember
Learning Objective: Examine the development of operas by Wagner during the romantic era
146. Wagner had an opera house built to his own specifications in

A. Munich.
B. Weimar.
C. Dresden.
D. Bayreuth.
King Ludwig of Bavaria, a fanatical Wagnerian put all the resources of the Munich Opera at
Wagner's disposal, including building an specially-designed opera house at Bayreuth.
Bloom's: Remember
147. The composer who had an overwhelming influence on the young Wagner was
A. Johann Sebastian Bach.
B. Ludwig van Beethoven.
C. Johannes Brahms.
D. Hector Berlioz.
Wagner's boyhood dream was to be a poet and playwright, but at fifteen he was overwhelmed
by Beethoven's music and he decided to become a composer.
Bloom's: Remember
5-57
148. Wagner was a virtuoso on the

A. piano.
B. violin.
C. clarinet.
D. None of these are correct.
Although Wagner taught himself composition by studying scores and had almost three years
of formal training in music theory, he never mastered an instrument.
Bloom's: Remember
Learning Objective: Recognize and analyze characteristics of music in works by the romantic composer Wagner
149. Wagner was appointed conductor of the Dresden opera mainly because of the success of
his first opera
A. The Ring of the Nibelung.
B. Die Götterdämmerung.
C. Parsifal.
D. Rienzi.
With the success of his opera Rienzi, Wagner was appointed conductor of the Dresden Opera.
He spent six years at this post, becoming famous both as an opera composer and as a
conductor.
Bloom's: Remember
150. During Wagner's time in Paris, he

A. conducted the famous premiere of his opera, Rienzi.
B. was unable to get an opera performed and was reduced to musical hackwork.
C. finished his masterpiece, Der Ring des Nibelungen (The Ring of the Nibelung).
D. built an opera house according to his specifications.
In 1839 he and his wife Minna decided to try their luck in Paris, then the center of grand
opera. They spent two miserable years there, during which he was unable to get an opera
performed and was reduced to musical hackwork.
Bloom's: Remember
Learning Objective: Recognize and analyze characteristics of music in works by the romantic composer Wagner
5-58
151. Which of the following operas was not composed by Richard Wagner?
A. Die Meistersinger von Nürnberg
B. Tristan and Isolde
C. Fidelio
D. Parsifal
All of these operas were composed by Wagner except for Fidelio, which was by Beethoven.
Bloom's: Remember
152. The librettos to The Ring of the Nibelung were written by

A. Arrigo Boito.
B. Richard Wagner
C. King Ludwig of Bavaria.
D. Hans von Bülow.
Wagner himself completed the librettos to Der Ring des Nibelungen (The Ring of the
Nibelung), a set of four operas based on Nordic myth.
Bloom's: Remember
153. Richard Wagner's last opera was

A. Die Götterdämmerung.
B. Tannhäuser.
C. Rienzi.
D. Parsifal.
A year after completing Parsifal (1877-1882), his last opera, Wagner died in Venice, at age
sixty-nine.
Bloom's: Remember
5-59
154. A short musical idea associated with a person, object, or thought, used by Richard
Wagner in his operas, is called
A. leitmotif.
B. lied.
C. unending melody.
D. speech-song.
Wagner made extensive use of leitmotifs, short musical ideas associated with a person, an
object, or a thought in the drama. Every time the listener hears a certain leitmotif, it is because
that person, object, or thought is present in the scene.
Bloom's: Remember
155. The orchestration in Wagner's operas is

A. light and simple.
B. full and colorful.
C. subservient to the singers.
D. limited to only the string section.
In orchestrating his operas, Wagner expanded the orchestra to an even greater size, creating a
full sound, saturated with color. He treated the orchestra symphonically and often the sound
was so huge that only the very most powerful singers could cut through it.
Bloom's: Understand
156. Valhalla, in Wagner's Ring cycle, is

A. a city in New York State.
B. Wotan's castle.
C. the home of Siegfried.
D. the magic ring.
In Wagner's story, Valhalla is Wotan's castle.
Bloom's: Apply
5-60
157. Siegmund, in Wagner's opera Die Walküre, is

A. Sieglinde's brother, then wife.
B. Wotan's son by a mortal woman.
C. Siegfried's father.
Siegmund, brother to Sieglinde, was born from the union between Wotan and a mortal
woman. Eventually, Siegmund and Sieglinde fall in love, unaware they are related, and have a
child, Siegfried.
Bloom's: Apply
158. At the end of the first act of Wagner's opera Die Walküre,
A. Sieglinde recognizes the stranger as her brother and renames him Siegmund.
B. Siegmund draws the magical sword Notung from the tree.
C. Siegmund embraces Sieglinde with passionate fervor.
At the end of the first act, Siegmund and Sieglinde gradually become aware of their amazing
resemblance to each other and finally realize that they are brother and sister. Since her
beloved no longer wants to be called Wehwalt, Sieglinde renames him Siegmund. With a
powerful effort, Siegmund withdraws the sword, Notung, from the tree and the lovers
rapturously embrace.
Bloom's: Apply
5-61
159. While Wagner's Ring cycle features fantastical elements such as gods, giants, and magic,
the opera is really about
A. the Renaissance.
B. nineteenth-century society and culture.
C. his family lineage.
D. the colonisation of Africa.
Despite its gods, giants, dwarfs, and magic fire, the Ring is really about Wagner's view of
nineteenth-century society. He uses Nordic mythology to warn that society destroys itself
through lust for money and power. It is fitting that Wagner first sketched the plot of the Ring
in 1848, the year that brought Marx's Communist Manifesto and revolutions throughout
Europe.
Bloom's: Apply
5-62

Music An Appreciation Brief 8th Edition Roger Kamien Test Bank

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Music An Appreciation Brief 8th Edition Roger Kamien Test Bank

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Music An Appreciation Brief 8th Edition

Roger Kamien Test Bank

Multiple Choice Questions

1. Romanticism, as a stylistic period in western music, encompassed the years

The romantic period in music extended from about 1820 to 1900.

2. Which of the following is not characteristic of romanticism?

3. Which of the following is not a characteristic aspect of romanticism in literature and

All aspects of nature attracted romantic musicians. It makes an appearance in countless

8. Which of the following statements is not true?

10. Composers expressed musical nationalism in their music by

12. The orchestra in the romantic period

In 1844, Hector Berlioz published the Treatise on Modern Instrumentation and

15. A slight holding back or pressing forward of tempo in music is known as

16. Altering the character of a melody by changes in dynamics, orchestration, or rhythm is a

Thematic transformation is a technique in which a melody's character is transformed as it

17. Which of the following statements is not true?

19. Which of the following statements is not true?

23. A composer who earned his/her living as a violin virtuoso was

24. The rise of the urban middle class led to the

25. When music conservatories were founded, women

29. An art song is a musical composition for

Many German or Austrian composers—Schubert, Schumann, and Brahms, for example—set

A concerto describes a type of composition that involves an orchestra; it is not a form.

36. Schubert's primary source of income came from his

39. Which of the following statements is not true?

40. Schubert's songs number more than

41. Schubert wrote compositions in every musical genre except

43. The form of The Erlking is

44. The Erlking, in Schubert's song of that name, is a romantic personification of

46. Which of the following is not true of Robert Schumann's works?

47. Clara Wieck was

49. Robert Schumann's Carnaval is a(n)

50. Johannes Brahms

51. Clara Schumann was a

52. A leading pianist of the nineteenth century, Clara Schumann

53. In the 1830s, Paris was

54. Chopin expressed his love of Poland by composing polonaises and

55. While in Paris, Chopin

56. Most of Chopin's pieces

A nocturne, or night piece, is a slow, lyrical, intimate composition for piano.

60. Which of the following statements is not true?

62. Which of the following statements is not true?

63. As a youth, Franz Liszt was influenced by the performances of

64. During his teens and twenties, Franz Liszt lived in

67. Liszt's piano works are characterized by

69. Liszt typified the romantic movement because he

As a stupendous performer, innovative composer, and charismatic personality, Liszt

70. Liszt created the ______________, a one-movement orchestral composition based to

74. Mendelssohn wrote in all musical forms except

75. The three movements of Mendelssohn's Concerto for Violin

76. Mendelssohn's Concerto for Violin in E Minor opens with a(n)

79. Mendelssohn's Violin Concerto was inspired by

Romantic composers were particularly attracted to program music—instrumental music

82. Which of the following statements is not true?

The symphonic poem, or tone poem, is a one-movement orchestral composition based to

83. Nonprogram music is also known as _____________ music.

84. A ____________ is an instrumental composition in several movements based to some

A program symphony is a composition in several movements. As its name implies, it is a

85. A ________________ is a one-movement orchestral composition based to some extent on

The symphonic poem, or tone poem, is a one-movement orchestral composition based to

86. The composer who developed the symphonic poem was

88. Today's movie scores may be regarded as examples of

89. In 1830 Berlioz was awarded