Music An Appreciation Brief 8Th Edition Roger Kamien Test Bank Full Chapter PDF

Music An Appreciation Brief 8th Edition
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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
Another random document with
no related content on Scribd:
now living will have an opportunity of observing, astronomically: And
from that time, down to the 14th of June, A. D. 2984, inclusively,—a
period of upwards of eleven centuries,—the same planet will pass
over the Sun only eighteen times. There will be one other such
transit of this planet, within the present century; after which there will
not be another, during the term of one hundred and twenty-one years
and an half. [See Table of the Transits of Venus over the Sun, in
Lalande’s Astronomie; vol. ii.]
109. There had been but one of these transits of Venus over the
Sun, during the course of about one hundred and thirty years
preceding the transit of 1769; and, for upwards of seven centuries,
antecedently to the commencement of that period, the same planet
had passed over the Sun’s disk no more than thirteen times. [See
Lalande’s Table, before referred to.]
110. Jeremiah Horrox and William Crabtree, two Englishmen, were

the observers of the Transit of Venus of 1639.
111. It was not until the year 1786, that Mr. Rittenhouse built the
house at the north-west corner of Arch and (Delaware) Seventh
streets, in Philadelphia, where he resided during the remainder of his
life: but probably it was some few years earlier that he erected his
Observatory, a small but pretty convenient octagonal building, of
brick, in the garden adjacent to his dwelling-house. Its situation was
not an ineligible one, when the building was first put up: but its
commodiousness and utility were probably much diminished, by the
erection, not long afterwards, of some large houses near it; and it is
presumable, that its usefulness in any degree, for the purposes of an
Observatory, could have continued but a little while beyond the
duration of its late proprietor’s life, by reason of the rapid increase of
the number of lofty houses in the vicinity. Indeed it lately became
extremely probable, on considering the great enlargement of
Philadelphia within the last twenty-five years, that the future
augmentation of the population and extension of improvements in
this beautiful and hitherto flourishing city, would, in a very few years,
render the late Observatory of Mr. Rittenhouse wholly useless for
astronomical purposes; and, in the event of the surrounding ground
and adjacent buildings being alienated from his family, improper for
any other.
This was the Observatory noticed by Mr. Lalande, when (in his
Astronomie, published in 1792,) he made this remark, treating of the
numerous Observatories in different parts of the world—“In America,
I know of no Observatory but that of Mr. Rittenhouse at
Philadelphia.”
The Observatory at Norriton, mentioned in the text, was a

temporary erection; and was disused on his removal to Philadelphia,
soon after. The one put up in the State-House Gardens in that city on
the same occasion, was likewise a temporary edifice, constructed of
wood.
112. On an address of the Philosophical Society to the general

assembly, dated the 15th of October, 1768, the latter “Resolved,
That a sum, not exceeding one hundred pounds sterling, be provided
and appropriated for purchasing a reflecting telescope with a
micrometer, for the purpose mentioned in the said address”
(observing the Transit of Venus, then near at hand,) “and,
afterwards, for the use of the house; and that the speaker do write to
Benjamin Franklin, Esq. in London, to purchase the same.”
113. On a similar address of the Philosophical Society, dated the

7th of February, 1769, the assembly granted them one hundred
pounds, “to be laid out towards defraying the expenses necessary
for observing the (then) ensuing Transit of Venus.” This grant was
made on the 11th of February, 1769.
But the sum then granted proving very inadequate to the object,
the society petitioned the assembly on the 11th of February, 1773;
stating, that the erecting the different observatories, fitting up
instruments, engraving various plates, and publishing the different
transit papers alone, cost the society near 400l. and praying
assistance to discharge that debt.
114. Mr. Lalande, in the preface to his Astronomie (3d edit. 1792,)
mentions, that he did not then know of any other observatory in
America than that of Mr. Rittenhouse.
115. This was one instance among many of the munificence of Mr.
Penn to the College of Philadelphia, and of his zealous wish to
promote the interests of science in Pennsylvania. The trustees of the
college say, in a letter written to Mr. Penn the 1st of August, 1769,
thanking him for his donation of the fine instrument above
mentioned, together with a pair of “Adams’s new-invented Globes;”
“We have likewise the pleasure to acknowledge a fresh instance of
your benevolence, in sending us a chemical apparatus under the
care of Dr. Rush.” “The many great and valuable favours this College
has received at your hands, have always been conferred in a
manner which has rendered them peculiarly acceptable; and cannot
fail to leave the most lasting impressions of gratitude and esteem in
the heart of every person concerned in the institution.”
116. Mr. Lalande (in his Astronomie) has been careful to mention,
that the celebrated astronomer Hevelius possessed a similar merit.
He constructed, himself, the very large telescopes and other
instruments, described (with plates) in his great work entitled,
Machina Cœlestis, and with which he furnished the Observatory that
he established at his own residence, in the year 1641. Hevelius
(whose true name was John Hoelké.) was the son of a brewer; but
was well educated. He was born at Dantzic the 28th of January,
1611: and after having made the tour of England, France and
Germany, from 1630 to 1634, he was, on his return to his native city,
occupied for some time in the affairs of that little republic; of which
he officiated as consul, in 1651. He died on the anniversary of his
birth-day, at the age of seventy-six years.
117. For some of the reasons which induced the writer to describe
the instruments used on that occasion, see Note 125.
118. In addition to this publicly declared testimony of Dr. Smith, to

the merits of Mr. Rittenhouse on that occasion, are the following
extracts of a letter from the Dr. to Mr. Barton, dated July the 8th,
1769.
“Mr. Jesse Lukens left my house on Tuesday evening, at half an

hour past six, where he waited till I scrawled out a pretty long letter
to Mr. Rittenhouse, for whom my esteem encreases the more I see
him; and I shall long for an opportunity of doing him justice for his
elegant preparations to observe the Transit, which left Mr. Lukens
and me nothing to do, but to sit down to our telescopes. This justice I
have already in part done him, in a long letter to the proprietor”
(Thomas Penn, Esq.) “yesterday, and I hope Mr. Rittenhouse will not
deprive us of the opportunity of doing it in a more public manner, in
the account we are to draw up next week.”
“I did not chuse to send Mr. Rittenhouse’s original projection of the

Transit, as it is a society paper, to be inserted in our minutes: but I
have enclosed an exact copy. Pray desire him to take the sun’s
diameter again carefully, and examine the micrometer by it. The
mean of our diameters come out, Hor. Diam. 31′ 34″, 3—Polar Diam.
31′ 32″, 8—Ven. Diam. 57, 98.—The Sun’s is bigger than the Naut.
Almanac gives: That of Venus very well. The diameters of the State-
house micrometer come out less. I have compared some of our” (the
Norriton) “micrometer-observations with those made in town, and do
not find a difference of one second: but all theirs do not seem to
have been taken with equal care, and differ from each other
sometimes; a fault I do not find among ours. Our nearest distance of
the centres comes out, I think, 10′ 3″, in which we agree within about
one second with their nearest distance: and our time of the nearest
approach of the centres, viz. 5h 20′ 32″, reduced to mean time, is
within one minute of the time marked for their nearest approach.”
“With my compliments to Mr. Rittenhouse and family, I am, in great

haste,” &c.
Mr. Barton was then at Norriton, and Dr. Smith wrote from
Philadelphia.
119. On the 26th of the same month he thus addressed Mr. Barton
on the subject:—
“I have at last done with astronomical observations and

calculations for the present, and sent copies of all my papers to Dr.
Smith, who, I presume, has drawn up a complete account of our
Observations on the Transit of Venus: this I hope you will see, when
you come to Philadelphia. I have delineated the Transit, according to
our observations, on a very large scale, made many calculations,
and drawn all the conclusions I thought proper to attempt, until some
foreign observations come to hand, to compare with ours; all of
which have been, or will be laid before the Philosophical Society.
The Doctor has constantly seemed so desirous of doing me justice,
in the whole affair, that I suppose I must not think of transmitting any
separate account to England.”
120. The first volume of the Society’s Transactions contains (p.

125,) among other observations of the transit of Venus in 1769,
those made at Baskenridge in New-Jersey, by the late Earl of
Sterling. William Alexander, the gentleman referred to, and who held
this title, was (it is believed) a native of New-York. It is presumable
that the title he bore was one to which he had an equitable right: It
was recognized in America, the country of his birth, from the time of
his first assumption of it until his death, although his claim to that
honour was not juridically established in Great Britain, where, in
official acts of that government, he was styled “William Alexander,
Esq. claiming to be Earl of Sterling.” He was descended from Sir
William Alexander, in the reign of James I., to whom that monarch
made a grant of the province of Nova Scotia, on the 20th of
September, 1621. On the 12th of July, 1625, Sir William obtained
from King Charles I. a grant of the soil, lordship and domains, of that
province, which, with the exception of “Port-Royal,” (Annapolis, on
the Bay of Fundy,) formerly the capital of the province, he conveyed
on the 30th of April, 1630, to Sir Claude de St. Etienne, lord of la
Tour and Uarre, and to his son Sir Charles de St. Etienne, lord of St.
Deniscourt, on condition that they should continue subjects to the
crown of Scotland. This Sir William was appointed by Charles I.
commander in chief of Nova-Scotia. Soon after the institution of the
order of Baronets of Nova-Scotia, he had been advanced to that
dignity by Charles I. viz. on the 21st of May, 1625; when the king
conferred on him the privilege of coining copper-money. In 1626, he
was created Viscount Sterling: and on the 14th of June, 1633, he
was further promoted by the same king to the Earldom of Stirling.
The late Lord Stirling, who was seated at Baskenridge in New-

Jersey, inherited his Baronetage and titles of Nobility, as heir-male to
Henry, the fourth Earl. He married Sarah, daughter of Philip
Livingston, Esq. of New-York, by whom he had issue two daughters;
Lady Mary, married to —— Watts, Esq. of New-York, and Lady
Catharine, first married to William Duer, Esq. of New-York, and after
his decease to William Nelson, Esq. of the same city.
This nobleman appears to have been in some degree skilled in

astronomy, and was reputed a good observer. In the first volume of
the Transactions of the American Philosophical Society there is
contained, besides his lordship’s observations of the transit of
Venus, a letter from him to Dr. Smith, communicating an account of
his having discovered, on the 28th of June, 1770, a comet, which he
observed astronomically on that and the three succeeding nights;
being the same that Mr. Rittenhouse first saw on the 25th of that
month; and respecting which, there are two letters from him to Dr.
Smith, in the same volume.
Immediately before the American revolution, lord Sterling was one

of the king’s council in New-Jersey; and held also, under the crown,
the appointment of surveyor-general for the eastern division of that
province. With the talents of a philosopher, he united those of the
soldier: On the 1st of March, 1776, his lordship was appointed a
brigadier-general in the continental army, and was afterwards
promoted to the rank of major-general. He was esteemed a brave
and faithful officer, and served with reputation; but he died before the
close of the war.
In the same volume of the Transactions of the American

Philosophical Society, with lord Stirling’s observations, there are,
independent of those made under the direction of that society, the
observations of the transit of Venus in 1769, made at Cambridge in
New-England, by John Winthrop, Esq. F. R. S. and member of the
American Philosophical Society, Hollisian Professor of Mathematics
in Harvard-College—(see p. 124;) likewise, the result of those made
by captain Holland and Mr. St. Germain, at and near Quebec; and by
other skilful observers, at sundry places in Europe and the West-
Indies; all reported (p. 120) by a committee of the American
Philosophical Society.
121. Afterwards Dr. Maskelyne.—“To the abilities and indefatigable

attention of this celebrated astronomer,” says the Rev. Mr. Vince (in
his great work on astronomy,) “nautical astronomy is altogether
indebted for its present state of perfection. Of our (the English)
Nautical Almanac, that great astronomer, M. de la Lande, thus
writes: “On a fait á Bologne, á Vienne, á Berlin, á Milan; mais Le
Nautical Almanac de Londres, est l’ephemeride la plus parfaite qu’il
y ait jamais eu.” He has established the Newtonian doctrine of
universal attraction upon the firmest foundation, by his experiments
upon Schehallien.[121a] His regular observations of the sun, moon,
planets, and fixed stars, which are every year published, are allowed
to possess an unrivalled degree of accuracy; and we may consider
them as the basis of future improvements of the tables of the
planetary motions. M. de la Lande, in his Astronomie (vol. ii. p. 121.
last edit.) speaking of astronomical observations, says—“Le recueil
le plus moderne et le plus précieux de tous est celui de M.
Maskelyne, Astronome Royal d’Angleterre, qui commence á 1765, et
qui forme déja deux volumes in folio jusqu’ á 1786. La precision de
ces observations est si grande, qu’on trouve souvent la même
second pour l’ascension droite d’une planete dédecite de différentes
étoiles, quoiqu’on y emploie la mesure du temps.”; His catalogue of
fundamental stars is an invaluable treasure. These, and his other
various improvements in this science, entitle him to the most
distinguished rank amongst astronomers, and will render his name
illustrious, as long as the science of astronomy shall continue to be
cultivated.”
Of Lalande himself, whose name often occurs in the following
pages, Mr. Vince thus speaks:—“To that celebrated astronomer, M.
de la Lande, the world is indebted for the most important
improvements in the science of astronomy. Through so extensive a
field, he has left no track unbeaten; almost every part has received
improvements from him. His system of astronomy is invaluable, and
has tended far more to the general promotion of that science than all
other works which ever appeared upon the subject. The labours of
this great astronomer will perpetuate his name.” See Vince’s
Complete System of Astronomy, vol. ii. p. 288 and 289.
121a. The Schehallien is a mountain in Scotland, being one of the highest

points in that range of mountains called the Grampian-Hills. The elevation of the
Schehallien above the surface of the sea is about 1760 feet. W. B.
122. Mr. Vince observes, in his Complete System of Astronomy,

(vol. i. p. 419) that the Transit of Venus affords a very accurate
method of finding the place of the node; and this he verifies
expressly by calculations founded on the observations made by Mr.
Rittenhouse at Norriton, in the year 1769.
123. To so honourable a testimony, in favour of the merits of the

Pennsylvania observers of this Transit, as that of Mr. Maskelyne, the
acknowledgments of many other eminent foreign astronomers might
be superadded: And the Rev. Dr. Smith, addressing himself to the
American Philosophical Society, observes, “that societies of the first
reputation in Europe are not ashamed to place our labours on a
footing with their own; freely acknowledging, that we have been
chiefly instrumental in ascertaining that great desideratum in
astronomy, the sun’s parallax; and, consequently, the dimensions of
the solar system.” See his Oration, delivered before the society, Jan.
22, 1773.
124. The compliment here paid by the Astronomer-Royal to the

Hon. T. Penn, proprietary of the late province of Pennsylvania, for
the zeal he manifested in promoting the Pennsylvania Observations
of the Transit of Venus, was well merited,—as the detailed accounts
of that highly interesting phænomenon abundantly shew.
Nor was that the only instance in which Mr. Penn discovered his
attachment to the reputation and prosperity of that extensive
American territory, which continues to bear the name of his family.
He was, on various occasions, a liberal and disinterested benefactor
to public institutions in Pennsylvania: as a proof of which, his
aggregated donations to the College of Philadelphia, prior to the
American war, amounting to about twelve thousand dollars—besides
a grant of the manor of Perkessie in Bucks county, containing
upwards of 3000 acres,—need alone be mentioned.
But it is within the knowledge of many persons in the midst of

whom these memoirs are penned, that even the Juliana Library
Company, in Lancaster (an inland and secondary town of
Pennsylvania) experienced repeated proofs of the munificence of Mr.
Penn, and also of his late truly noble and excellent consort, after
whom that institution was named. The writer himself, well knows,
from the tenor of numerous letters, not only from Mr. but Lady
Juliana Penn, (who honoured the Rev. Mr. Barton with their
friendship and correspondence, for the space of twenty years,—a
patronage which was continued to a member of his family, long after
Mr. Penn’s death,) the generous and unremitted attention of both, to
whatever seemed likely to promote the honour or the interest of
Pennsylvania.
Thomas Penn, Esq. died on the 21st of March, 1775, when he had
just completed the seventy-fourth year of his age. He was the
survivor of all the children of the illustrious founder of Pennsylvania;
“whose virtues, as well as abilities, he inherited in an eminent
degree,”—as was justly observed in an obituary notice published
soon after his decease. Lady Juliana, his widow, survived him many
years.
In the Pennsylvania Gazette (then published by Messrs. Hall and

Sellers, but originally by Franklin and Hall,) for May 17, 1775,
appeared the following just tribute to the memory of Mr. Penn.
“He had the principal direction of the affairs of this government for
half a century, and saw such an increase of population, arts, and
improvements in it, as during the like period, perhaps no man, before
him, ever beheld in a country of his own. He rejoiced at the sight,
was a kind landlord, and gave a liberal, often a magnificent
encouragement, to our various public institutions. The Hospital, the
College, our different Libraries and Religious Societies, can witness
the truth of this: For he did not confine himself to sect or party; but,
as became his station, and the genius of his father’s benevolent
policy, he professed himself a friend to universal liberty, and
extended his bounty to all. In short, as the grave, which generally
stops the tongue of flattery, should open the mouth of Justice, we
may be permitted to conclude his character by saying,—that he was
both a great and a good man.”
The writer of these Memoirs hopes he will not be censured by any

Pennsylvanian of generous feelings, for introducing, in the Appendix,
some elegiac verses (by an unknown hand,) in commemoration of
the virtues of this worthy man; who was not only a munificent
benefactor to this country, and a bountiful patron of the Memorialist
himself, as well as his family; but who, also, took a very friendly
interest in the reputation and prosperity of Mr. Rittenhouse. These
verses were published in The Pennsylvania Magazine, for Oct. 1775.
125. In addition to the honourable testimony of the Astronomer-

Royal, in favour of the Pennsylvania Observers of the Transit of
Venus, is the following eulogy of another eminent English
astronomer,—as communicated by Dr. Franklin to Dr. T. Bond, one of
the Vice-Presidents of the Philosophical Society, in a letter from
London dated the 5th of Feb. 1772. The Rev. Mr. Ludlam, the
gentleman referred to, and whom Dr. Franklin styles “a most learned
man and ingenious mechanic”—in a paper published in the
Gentleman’s Magazine (and a copy of which, subscribed by himself,
was sent by him to the Society,) giving an account of the Society’s
Transactions, more especially their Observations of the Transit of
Venus,—applauds both the General Assembly and the late
Proprietaries of Pennsylvania, for the countenance and assistance
they gave to the making those Observations.——“No astronomers,”
said Mr. Ludlam, “could better deserve all possible encouragement;
whether we consider their care and diligence in making the
Observations, their fidelity in relating what was done, or the
clearness and accuracy of their reasonings on this curious and
difficult subject.” He then mentions, in very honourable terms, the
papers of Mr. Rittenhouse, Dr. Smith, Dr. Ewing, and Mr. Biddle, who
drew up the several accounts of the Observations made at Norriton,
Philadelphia, and Cape-Henlopen; and adds, that “they have very
honestly given not only the Result of their Observations, but the
Materials also, that others may examine and judge for themselves;
an example worthy of imitation by those European astronomers, who
are so very shy of giving particulars, and vouch for their Instruments
and Observations in general terms.”
The same gentleman, in a letter dated at Leicester (in England,)

January the 25th, 1772, and transmitted to the Philosophical Society
by Dr. Franklin, wrote thus:—“The more I read the Transactions of
your Society, the more I honour and esteem the members of it.
There is not another Society in the world, that can boast of a
member such as Mr. Rittenhouse: theorist enough to encounter the
problems of determining (from a few Observations) the Orbit of a
Comit; and also mechanic enough to make, with his own hands, an
Equal-Altitude Instrument, a Transit-Telescope, and a Time-piece. I
wish I was near enough to see his mechanical apparatus. I find he is
engaged in making a curious Orrery. May I ask,” &c.
As further evidence of the high estimation in which the

Transactions of the American Philosophical Society, and particularly
of the Observers of the Transit, were held abroad, Dr. Wrangel, an
eminent and learned Swedish clergyman, wrote thus to Dr. Smith
from Stockholm, under the date of Oct. 18, 1771:—“I have been
agreeably surprised to observe the rapid progress of your American
Society, of which I esteem it a great honour to be counted a
member,” &c.—“Your accurate Observations of the Transit of Venus
have given infinite satisfaction to our (Swedish) astronomers; as will
the rest of your Transactions, to the literary world, when they come
to be further known.”
126. According to Mr. Lalande, (in his Astronomie, vol. ii.) the
transit of Venus over the Sun, in 1639, observed by only Messrs.
Horrox and Crabtree, two Englishmen, and which was the first ever
observed, was seen in consequence of a fortunate accidental
circumstance. He says, that Horrox had been occupied in making
calculations for an almanack, from the Tables of Lansbergius, which
are much less perfect than the Rudolphine Tables: that these Tables
of Lansbergius were in an error of 16′ for the latitude of Venus, while
the Rudolphine Tables had an error of only 8′; but the one of
Lansbergius made Venus pass on the sun in such a way, as that the
transit ought to be visible; whereas the tables of Kepler represented
the planet as passing below him; and thus it was, remarks Lalande,
that bad tables occasioned a good observation. Relying on these
tables, which Lansbergius had extolled with a confidence likely to
produce imposition, Horrox prepared himself to observe that transit;
and on the 24th of November, it took place at the time he expected,
Venus being about half an hour on the sun when he set. He had sent
on the occasion to his friend Crabtree, who was at Manchester,
some miles from Hoole: and he observed the transit, likewise;
though very imperfectly, by reason of intervening clouds. W. B.
127. Flamsted, Halley, Bradley and Bliss, successively occupied

the royal observatory at Greenwich, from the time of its institution by
Charles II.; and, in the year 1765, the last of these eminent men was
succeeded in the place of Astronomer-Royal, by Nevil Maskelyne, B.
D. a man who, in the words of the profound French astronomer,
Lalande, “has sustained perfectly the reputation of that famous
observatory.”
The scientific world are indebted to this excellent practical

astronomer for the publication of the Nautical Almanack; and, in a
great measure, for the perfection of the lunar method of ascertaining
the longitude at sea. “His unwearied exertions in this great cause of
humanity and science,” as the compilers of the New Edinburgh
Encyclopedia (in the article Astronomy) observe, “entitle him to the
gratitude of the remotest posterity.”
128. It appears that the difference of the meridians of the
Greenwich and Paris Observatories, is 9′ 20″ as assumed by
Lalande. This was ascertained by the result of the measurement of
the distance between those Observatories, made sometime about
the year 1786 or 1787, under the sanction of the British and French
governments, respectively; and this difference of meridians
corresponds with what Dr. Maskelyne had before stated it to be. The
last mentioned astronomer shewed, in 1787, that the latitude of
Greenwich is 51° 28′ 40″.
129. In relation to Paris, Mr. Lalande calculates the longitude of

Philadelphia at 5h 9′ 56″, according to Mr. Rittenhouse; and its
latitude, as being 39° 5′7 10.
130. In Mr. Rittenhouse’s “Delineation of the Transit,” &c.

published in the first volume of the Philosophical Society’s
Transactions, it appears that he assumed the latitude of the Norriton
Observatory to be 40° 9′ 56″.
131. See Martin’s Philosophia Britannica, lect. xi. note 141.

Though “Orrery” be a modern name, the invention of such machines
as it is now applied to, is of a very early date. The first planetarium or
orrery, of which we have any account, was the famous machine of
Archimedes. This consisted, as Cicero (in his Tusculan Questions)
asserts, of a sphere, of an hollow globular surface, of glass, within
which was some ingenious mechanism, to exhibit the motions of the
moon, the sun, and all the planets then known. Very imperfect as it
must necessarily have been in other respects, it was radically
erroneous, in being adapted to the Ptolomaic system. This is
described in Latin verse, by the poet Claudius Claudianus, of
Alexandria, who flourished about four centuries after the Christian
era, and more than six centuries after the Syracusean philosopher.
Cicero, in his book De Naturâ Deorum, mentions one invented by

Posidonius the Stoic, in his time, and about eighty years before the
birth of Christ. He describes it as a “sphere,”—“in every revolution of
which, the motions of the sun, moon, and five planets were the same
as in the heavens, each day and night.”
Nothing further is heard of orreries or spheres, until about five
hundred and ten years after Christ, when Anicius Manlius Torquatus
Severinus Bœthius, the Roman Consul, (who was also a Christian,
and a Peripatetic Philosopher,) is said to have contrived one.
Theodoric, king of the Goths, calls it “Machinam Mundo gravidam,
Cœlum gestabile, Rerum Compendium”: But Bœthius was,
nevertheless, put to death by this Gothic king, A. D. 524. A long and
dismal reign of barbarism and ignorance having succeeded this
period, no further mention is made of any thing in the nature of a
planetarium, for about one thousand years. See Note 95.
132. In the work, entitled, “A new and general Biographical

Dictionary,” &c. published in 1761, the Invention of Graham’s
Planetarium is attributed to the celebrated Charles Boyle, Earl of
Orrery; and the compilers of that work cite this supposed Invention of
Lord Orrery, “as an indubitable proof of his mechanical genius.” On
this authority, the compilers of the British Encyclopædia (reprinted in
Philadelphia by Mr. Dobson,) in the very words of the Biographical
Dictionary, make the nobleman from whom the first English Orrery
derives its name, the Inventor. But it seems to be now pretty
generally admitted, that his lordship was only the Patron of the
machine, made for George I. by Mr. Rowley.
133. This accomplished nobleman, who was also the fourth Earl of
Cork, in Ireland, and the third Earl of Burlington, in England, was
born in the year 1695, and died in 1753. He was a great encourager
of the liberal arts, possessed an extraordinary taste and skill in
architecture, and was animated by a most exalted public spirit.
134. Mr. Martin (in his Philosophia Britannica) says: “The Orrery,
though a modern name, has somewhat of obscurity in respect to its
origin; some persons deriving it from a Greek word, which imports to
see or view:” “But others say, that Sir Richard Steele first gave this
name to an instrument of this sort, which was made by Mr. Rowley
for the late Earl of Orrery, and shewed only the movement of one or
two of the heavenly bodies. From hence many people have
imagined, that this machine owed its invention to that noble lord.”
This Orrery was a large one; and, although it is represented by Mr.
Martin as a very defective machine, it was purchased by King
George I. at the price of one thousand guineas.
135. Besides the Orrery here referred to, as the invention of the
celebrated mechanic and watchmaker, Mr. George Graham, a like
machine was afterwards contrived by Mr. James Ferguson, an
eminent Scotch mechanic and astronomer, and another planetarium
of the same kind, by Mr. William Jones, an ingenious mathematical
instrument maker, of London. From the planetarium or orrery of
Graham, however, as a model, all the modern orreries, prior to Mr.
Rittenhouse’s, appear to have been taken. The one constructed by
Mr. Rowley is said to be very similar to that invented by Dr. Stephen
Hales.
But the idea of a planetarium, somewhat similar to the

Rittenhouse-orrery, seems to have been conceived by Huygens, who
died in 1695. A collection of this celebrated philosopher’s works was
printed at Leyden in the year 1724 and 1728: and in these will be
found the description of a planetarium; “a machine” (says Lalande, in
speaking of the one contemplated by Huygens,) “which represents,
by wheel-work, the revolutions of the planets around the sun and of
the moon around the earth, in their durations and natural
dimensions; with their excentricities, their inequalities, and their
inclinations towards the ecliptic.” See Lalande’s Astron.
136. Mr. Jefferson remarks, in his Notes on Virginia, that “Mr.

Rittenhouse’s model of the planetary system has the plagiary
appellation of an Orrery.” This was, undoubtedly, a plagiary name, in
its relation to Graham’s Planetarium, of which Lord Orrery was the
supposed inventor: but the charge of plagiarism does not properly
apply to the same name, when bestowed by Mr. Rittenhouse himself,
on the grand machine of his own invention and construction. How
improper soever this name may have been in its first application to a
planetarium, it has since been generally applied to similar machines;
and it has thus acquired an appropriate signification in relation to
them. Mr. Rittenhouse did not choose to depart from the appellation
in common use, in naming a machine for surpassing, in ingenuity of
contrivance, accuracy and utility, any thing of the kind ever before
constructed; yet, in all those points of excellence, he was the
inventor of that admirable machine, which has been generally
denominated, by others, “the Rittenhouse Orrery.”
137. See Note 131.
138. See A Compendious System of Natural Philosophy, &c. by J.

Rowning, M. A. part iv. chap. 15.
139. The Hon. Thomas Penn, of Stoke-Poges, in

Buckinghamshire, heretofore one of the Proprietaries of the former
province of Pennsylvania. This gentleman was then usually styled, in
Pennsylvania, “The Proprietor.”
140. This design was, however, finally abandoned.
141. One of these valuable clocks, which is of a large size, with an

accurate little planetarium attached to its face and placed above the
dial-plate,[141a] was made for the late Mr. Joseph Potts, of
Philadelphia county, who paid for it, as the writer is informed, six
hundred and forty dollars. In the spring of the year 1774, it was
purchased by the late Mr. Thomas Prior, of Philadelphia; to whom, it
is said, general Sir William Howe made an offer of one hundred and
twenty guineas for it, shortly before the evacuation of that city, in
1778. It is also said, that Don Joseph de Jaudenes, late minister of
Spain to the United States, offered Mr. Prior eight hundred dollars for
this clock, with a view of presenting it to his sovereign. Mr. Prior,
however, retained it until his death, in the spring of the year 1801:
after which, it passed through two other hands, successively, into the
possession of Professor Barton, of Philadelphia, whose property it
now is.
141a. The area of the face of the dial plate is twenty inches square, and the
motions and places of the planets of our system are represented on a circular area
of eight inches in diameter.
142. It appears that Mr. Barton must have transmitted to the
honourable Mr. T. Penn, in London, a description of the Orrery, very
soon after it was publicly communicated to the Philosophical Society
in Philadelphia; for, a letter from Mr. Penn to that gentleman, dated
July 22, 1768, contains this remark—“The account you give me of
Mr. Rittenhouse’s Orrery, is what I could not have imagined could be
executed in Pennsylvania; and I shall be much pleased to see a
copper-plate of it, for which I would make that gentleman a present,
for his encouragement; or, perhaps he may be induced to bring it
hither, and exhibit it, by publicly lecturing on it.”
Had Mr. Rittenhouse taken an Orrery to England, and it appears

by his letters of March 15, 1771, and Feb. 3, 1772, quoted in the
text, that he had seriously intended going thither, he would, very
probably, have derived great emolument, as well as fame, by
delivering lectures on astronomy, adapted to his orrery; and it is
probable, that, in addition to the public encouragement he might
reasonably have calculated upon, Mr. Penn would have patronised
him, with his usual liberality. Of the disposition of that worthy
gentleman to befriend him, Mr. Rittenhouse seems to have been fully
sensible: for, in a letter of the 11th of December, 1768, to Mr. Barton,
he said—“I am very desirous to send Mr. Penn something: as the
orrery is not finished, perhaps a description of it, with draughts of the
clock I have just made, may answer the purpose, together with some
little instrument: I shall be glad to have your thoughts on the matter.”
It may be proper here to remark, that no engraving, or drawing, could
give an adequate idea of the orrery: and that the clock, mentioned by
Mr. Rittenhouse, was one of those of which a short notice is
introduced, immediately after the original description of the orrery, in
the text.
143. The glass-house mentioned in the text, was erected several

years prior to the American revolutionary war, at the village of
Manheim, about twelve miles from the borough of Lancaster, by Mr.
Henry William Stiegel, an ingenious and enterprising German
gentleman. Glass of a very good quality and workmanship, was
made at that glass-house; as will appear by the following extracts
from a letter of Mr. Rittenhouse to Mr. Barton, written in the summer
of 1771, and acknowledging the receipt of a barometer-tube
executed there. He says—“I am obliged to you for the glass tube; it
will make a pretty barometer, though the bore is somewhat too small.
I have compared it with an English tube, and do not think the
preference can, with any reason, be given to the latter.” And in the
same letter, he requests Mr. Barton to procure for him, from the
glass-house, “some tubes of a size fit for spirit-levels.” “The bore,”
says he, “must be half an inch in diameter, and from four to eight
inches in length; as straight as possible, and open at one end only.”
While Mr. Stiegel was thus early and meritoriously carrying on the
manufacture of glass, he was also engaged in manufacturing iron at
Elizabeth-Furnace in the vicinity, which then belonged to him. But he
proved unfortunate in his extensive undertakings, and the glass-
works have not since been in operation. The foundery of Elizabeth,
together with the great establishment of iron-works connected with it,
and of which Robert Coleman, Esq. of Lancaster, is now the
proprietor, are well known.
144. Dr. Franklin is said to have first met with the Pulse-Glass in
Germany, and to have introduced it into England with some
improvement of his own.
MEMOIR
OF THE
LIFE OF DAVID RITTENHOUSE;
CONTINUED,
FROM THE TIME OF HIS SETTLEMENT IN
PHILADELPHIA.
In the autumn of 1770, our Philosopher changed the place of his

residence; removing, with his family, into the city of Philadelphia. To
this exchange of his beloved retirement, at his Norriton farm, for the
scene of noise and activity presented by a great town, he must have
been induced by the flattering prospects of advantage to himself and
usefulness to the public, pointed out to him by his friends: and
among these, Dr. Smith was one of the most urgent for the measure.
The following extract of a letter, dated the 27th of January, 1770, and
addressed to the Rev. Mr. Barton by that gentleman, will explain his
motives, and at the same time exhibit Mr. Rittenhouse’s views, on
that occasion: it will also afford strong evidence of the Doctor’s
friendship for our philosopher.
“As my esteem for Mr. Rittenhouse increases, the more I know

him,” said Dr. Smith, “I set on foot a project, assisted by my
neighbours, the Wissahickon millers, to get him recommended to the
Assembly, to be put in as a trustee of the loan-office, in the bill now
before the house. I first broke the matter to the speaker;[145] telling
him, Mr. Rittenhouse ought to be encouraged to come to town, to
take a lead in a manufacture, optical and mathematical, which never
had been attempted in America, and drew thousands of pounds to
England for instruments, often ill finished; and that it would redound
to the honour of Philadelphia to take a lead in this, and of the
Assembly, to encourage it. The speaker took the proposal well, and,
in short, so did every person applied to; and when the vote passed,
the day before yesterday, for the three trustees, the whole house
rose for Rittenhouse’s name; so that Mr. Allen,[146] who was hearty
among the rest for him, observed—“Our name is Legion, for this
vote,”—though Dr. M—— got in only by the speaker’s casting vote.
“This will give you pleasure, as it shews that a good man is

capable of sometimes commanding all parties; and it will be
creditable for Mr. Rittenhouse, even if the bill should not succeed for
the present. The salary to each of the trustees is 200l.[147] Both the
Mr. Ross’s,[148] Mr. Biddle,[149] and Mr. Carpenter,[150] were hearty in
their interest for Rittenhouse,—so was Minshull;[151] and I hope you
will thank them all. The governor[152] declared (and with more
frankness than usual,) when I waited on him,—“Mr. Rittenhouse’s
name shall never be an objection with me, in this or any other bill: on
the contrary, I shall rejoice if the bill come to me in such a form, as
that I can shew my regard for him.”
“Yet, my dear friend,” adds Dr. Smith, “I fear this bill will not pass;
and the Governor may be reduced to the hard dilemma, of even
striking out the name he would wish in, if he had the nomination
himself. The house insist on putting the names in the bill, before it
goes up: the Governor contends, that he ought to have at least a
share in the nomination. This matter has been long litigated. The
governor, to maintain his right, always strikes out some names—
even though he approves of them, and puts in others. This he did
last year, and put in the name of Dr. M——, and the other trustee
now in the bill. The house would not admit his amendment, then; but
now, this year, they take two of the very men the governor had
appointed last year, vote them in themselves, and join Mr.
Rittenhouse with them. The governor cannot well negative any of
those approved by him, before; yet he must negative some one, to
assert his right;—and I believe it would really give him pain, if that
one should be David.

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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