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Part 06 - Music of the Romantic Era (Chapters 16 to 25)
Part 06
Music of the Romantic Era (Chapters 16 to 25)
True / False Questions
1. Romantic artists basically continued to present the Enlightenment view of the world in their
work.
FALSE
Learning Objective: Examine developments and trends in romantic music

Learning Objective: Recall historical and cultural characteristics of the romantic era
Topic: romantic music
2. France, Germany, and Italy were not consolidated into countries with elected parliaments
during the late 1800s.
TRUE
3. During the romantic period, artists, including musicians, created works that were overtly
nationalistic.
TRUE
Learning Objective: Define nationalism in 19th-century music

Learning Objective: Recall historical and cultural characteristics of the early twentieth century
Topic: nationalism
6-1
Copyright © 2016 McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of
McGraw-Hill Education.
4. Romantic composers and artists shunned the occult in their works, believing that to
represent the supernatural in art was to invite it into their lives.
FALSE

5. The romantic period was the first to witness the phenomenon of the superstar, the virtuoso
performer, on the public concert stage.
TRUE

Topic: musical techniques
Topic: performers
6. The virtuoso violinist who rose to superstar status, in part by cultivating the rumor that he
had sold his soul to the devil in exchange for phenomenal technical abilities, was Franz
Schubert.
FALSE

Topic: Franz Schubert
Topic: performers
7. During the 1800s, middle-class households frequently hosted catered musical evenings
known as salons.
TRUE

Topic: chamber music
6-2
8. A good composer must be able to play every instrument for which he or she writes music.
FALSE
Topic: instrument families
Topic: performers
Topic: style
9. All art songs use long, narrative poems that alternate between narrative and dialogue.
FALSE
Learning Objective: Describe the forms of the art song

Learning Objective: Describe the functions of the art song
Topic: art song
Topic: form
10. The greatest lieder composer was Franz Schubert.

TRUE

Learning Objective: Understand characteristics of music in works by Schubert
Topic: art song
11. Franz Schubert was a member of the growing upper middle class.
FALSE
6-3
12. Franz Schubert was a very prolific composer.

TRUE

13. In spite of his poverty, Schubert received a fairly good education because he was able to
obtain a place in the choir of the Imperial Court Chapel.
TRUE
14. Schubert was a lawyer before he became a musician.

FALSE
15. Schubert found great success as a composer for the theater.

FALSE
6-4
16. Clara Wieck was being groomed as a virtuoso performer when Robert Schumann met her.
TRUE
Topic: Clara Schumann
Topic: Robert Schumann
Topic: performers
17. Robert Schumann was a schoolteacher before he became a full-time composer.

FALSE
18. Robert Schumann had a long, successful career as a concert pianist.

FALSE
Topic: performers
Topic: piano music
19. Franz Schubert started a music journal called Neue Zeitschrift für Musik.
FALSE

20. Clara Wieck's father tried to stop her marriage to Robert Schumann.
TRUE
6-5
21. Clara Schumann's concert career continued even after she married Robert Schumann.
TRUE

Topic: performers
Multiple Choice Questions
22. Which of these subjects was NOT popular with romantic artists?
A. The exotic
B. The supernatural
C. Reason and logic
D. Nature

23. The violinist who was so virtuosic that it was said he had sold his soul to the devil was
A. Robert Schumann.
B. Franz Schubert.
C. Niccolò Paganini.
D. George Sand.

Topic: performers
Topic: string instruments
6-6
24. A musical setting of a poem for solo voice and piano is a(n)
A. art song.
B. etude.
C. sonata.
D. aria.

Topic: art song
Topic: keyboard instruments
Topic: style
Topic: voices
25. A narrative poem set to music is a(n)

A. lied.
B. aria.
C. ballad.
D. sonata.

Topic: art song
Topic: style
Topic: voices
26. An art songs that utilizes the same melody for every verse of a poem is
A. in aria form.
B. in strophic form.
C. through composed.
D. in modified strophic form.

Topic: art song
Topic: form
6-7
27. A formal structure of many art songs that uses the same melody for some verses of poetry
while setting other verses to new melodies is called
A. strophic form.
B. through-composed form.
C. da capo form.
D. modified strophic form.

Topic: art song
Topic: form
Topic: style
28. A German art song is called a(n)

A. operetta.
B. aria.
C. lied.
D. ballad.

Topic: style
29. "Erlkönig" was composed by

A. Robert Schumann.
B. Franz Schubert.
C. Clara Schumann.
D. Aurore Dudevant.
Topic: art song
6-8
30. The poet of "Erlkönig" was

A. Goethe.
B. George Sand.
C. Daniel Stern.
D. Robert Schumann.

Topic: art song
31. "Erlkönig" is a(n)

A. strophic art song.
B. modified-strophic art song.
C. aria.
D. through-composed art song.
Learning Objective: Describe new approaches to tone color, chords, harmony, tonality, rhythm, and melody
Topic: art song
Topic: form
32. A series of art songs meant to be performed as a unit is called a(n)

A. operetta.
B. ballad.
C. song cycle.
D. opera.

Topic: art song
Topic: form
Topic: song cycle
6-9
33. The song cycle Dichterliebe was written by

A. Clara Schumann.
B. Robert Schumann.
C. Franz Schubert.
D. Niccolò Paganini.

Topic: art song
Topic: song cycle
34. "Im Wunderschönen Monat Mai" is

A. a song from Dichterliebe.
B. a ballad by Franz Schubert.
C. an opera by Robert Schumann.
D. a song by Clara Schumann.

Topic: art song
Topic: song cycle
35. "Im Wunderschönen Monat Mai" is

A. through composed.
B. in modified strophic form.
C. in strophic form.
D. a da capo aria.

Topic: art song
Topic: form
Topic: song cycle
6-10
36. "Liebst du um Schönheit" is

A. a song from Dichterliebe.
B. a ballad by Franz Schubert.
C. an opera by Robert Schumann.
D. a song by Clara Schumann.

Topic: art song
37. The composer _____ attempted suicide.

A. Niccolò Paganini
B. Franz Schubert
C. Clara Schumann
D. Robert Schumann
38. Clara Schumann was best known as a

A. performer.
B. composer.
C. dancer.
D. publicist.
Topic: performers
Topic: piano music
6-11
39. The composer _____ became the principal teacher of the piano division of the Hoch
Conservatory of Music.
A. Robert Schumann
B. Clara Schumann
C. Franz Schubert
D. Daniel Stern
Topic: performers
Topic: piano music
Matching Questions
40. Match each term with its definition.
1. Modified strophic
form Each verse of a poem is set to exactly the same music. 2
Some verses of a poem are set to the same music, with
2. Strophic form others being set to different music. 1
3. Through
composed Each verse of a poem is set to different music. 3

Topic: art song
Topic: form
Topic: style
41. Upright pianos were developed solely for music in bars and brothels.
FALSE

Topic: piano music
6-12
42. Music publication declined during the romantic period because fewer people could afford
professionally printed musical scores.
FALSE

43. The demand for music teachers increased during the romantic period as more people
began learning to play the piano.
TRUE

Topic: piano music
44. Franz Liszt played from memory, something that was fairly new at the time.
TRUE

Topic: Franz Liszt
Topic: performers
Topic: piano music
Topic: style
45. Franz Liszt usually performed in small, intimate salons.

FALSE

Topic: Franz Liszt
Topic: performers
Topic: piano music
6-13
46. Liszt and Chopin lived in Paris at the same time.

TRUE
Topic: Frédéric Chopin
Topic: Franz Liszt
Topic: performers
Topic: piano music
47. Liszt required very little technical ability from performers of his works.
FALSE

Learning Objective: Know key features and structures of piano music
Topic: Franz Liszt
Topic: performers
Topic: piano music
48. Chopin's mistress was a novelist who went by the pen name of George Sand.
TRUE
49. Liszt wrote only for the piano.

FALSE
Topic: Franz Liszt
Topic: performers
Topic: piano music
6-14
50. The symphonic poem and the tone poem are the same thing.
TRUE

Topic: form
Topic: symphony
51. Chopin composed in all the popular instrumental genres of the romantic period.
FALSE

Learning Objective: Understand characteristics of music in works by Chopin
Topic: piano music
Topic: style
52. Chopin was a brilliant composer, but he would not play his works for other people.
FALSE
Topic: performers
Topic: piano music
53. Chopin's polonaises and mazurkas are based on Polish dance rhythms.
TRUE

Topic: piano music
Topic: rhythm
6-15
54. Robert Schumann composed in nearly every piano genre.

TRUE

Topic: piano music
Topic: style
55. Character pieces are so called because they always portray the characters of the
composer's close friends.
FALSE

Topic: form
Topic: style
56. During her lifetime, Clara Schumann was primarily known as a performer.
TRUE
Topic: performers
Topic: piano music
57. Thanks to early technology, we can listen to many recorded performances by Liszt and
Chopin.
FALSE
Topic: Franz Liszt
Topic: performers
Topic: piano music
6-16
58. The piano did not have eighty-eight keys until the 1800s.
TRUE

59. Which of the following technical advances for the piano did NOT happen during the
1800s?
A. The number of keys reached eighty-eight.
B. Felt hammers replaced leather ones.
C. Piano builders invented a model with the strings parallel to the floor.
D. The cast-iron frame was developed.

Topic: piano music
60. Two of the prominent composers for piano during the romantic period were
A. Mozart and Beethoven.
B. Verdi and Wagner.
C. Bach and Haydn.
D. Liszt and Chopin.

Topic: Franz Liszt
Topic: performers
Topic: piano music
6-17
61. The composer who is said to have turned the piano sideways to show his hands was
A. Frédéric Chopin.
B. Franz Liszt.
C. George Sand.
D. Robert Schumann.
Topic: Franz Liszt
Topic: performers
Topic: piano music
Topic: style
62. Chopin usually performed in

A. intimate salon settings.
B. large concert halls.
C. opera houses.
D. churches.

Topic: performers
Topic: piano music
63. Franz Liszt was

A. German.
B. French.
C. Hungarian.
D. Polish.
Topic: Franz Liszt
Topic: performers
6-18
64. Frédéric Chopin was

A. German.
B. Italian.
C. Hungarian.
D. Polish.
Topic: performers
Topic: piano music
65. Liszt worked in all of the following capacities EXCEPT as a

A. composer.
B. pianist.
C. singer.
D. conductor.
Topic: Franz Liszt
Topic: performers
Topic: piano music
Topic: voices
66. In which of the following genres did Liszt compose?

A. Masses
B.
Symphonic (tone) poem
C. Piano music
D. All of the above

Topic: Franz Liszt
Topic: mass
Topic: piano music
Topic: style
Topic: symphony
6-19
67. Which new genre did Liszt develop?

A. Character piece
B. Art song
C. Song cycle
D. Symphonic poem
Topic: Franz Liszt
Topic: form
Topic: style
Topic: symphony
68. In which of the following genres did Chopin compose?

A. Opera
B. Symphony
C. Piano music
D. All of the above

Topic: performers
Topic: piano music
Topic: style
6-20
69. Chopin expressed Polish nationalism in his music primarily through his
A. polonaises and mazurkas.
B. concertos and symphonies.
C. études and nocturnes.
D. art songs and sonatas.

Topic: nationalism
Topic: piano music
Topic: rhythm
Topic: style
70. Which of the following is NOT a genre for piano?

A. Nocturne
B. Tone poem
C. Polonaise
D. Mazurka
Topic: orchestra
Topic: piano music
Topic: style
Topic: symphony
6-21
71. Which of the following composers was extremely important to the development of
romantic piano music?
A. Frédéric Chopin
B. Franz Liszt
C. Robert Schumann
D. All of the above

Topic: Franz Liszt
Topic: piano music
72. A(n) ______ is a romantic composition for piano that portrays a single mood, emotion, or
idea.
A. character piece
B. étude
C. mazurka
D. polonaise

Topic: style
73. In which of the following genres did Robert Schumann compose?

A. Character piece
B. Sonata
C. Concerto
D. All of the above
Topic: concerto
Topic: form
Topic: sonata
Topic: style
6-22
74. Which of the following composers was NOT also known as a virtuosic performer?
A. Frédéric Chopin
B. Robert Schumann
C. Clara Schumann
D. Franz Liszt
Topic: performers
Topic: piano music
75. During her lifetime, Clara Schumann was known primarily as a

A. performer.
B. composer.
C. wife and mother.
D. teacher.

Topic: performers
Topic: piano music
Topic: style
Matching Questions
6-23
76. Match each genre with its definition.
A single-movement work for orchestra that tells a story or

conveys a series of moods.
1. Étude 3
A fairly short piano piece portraying a single mood,

emotion, or idea.
2. Character piece 2
A study piece for piano.

3. Symphonic
poem 1
A piano piece based on a Polish dance.
4. Mazurka 4
Topic: form
Topic: rhythm
Topic: style
6-24
77. Match each composer with his or her description.
This composer used Polish dance rhythms to express

nationalism in music.
1. Frédéric
Chopin 1
This composer increased the difficulty level of piano music and

turned the piano so the audience could see his/her hands.
2. Clara
Schumann 4
This composer wrote in virtually all piano genres and

considered Fantasiestücke to among be his/her best works for
piano.
3. Robert
Schumann 3
Though an active composer, this artist was primarily know as a

performer.
4. Franz Liszt 2
Topic: Franz Liszt
Topic: performers
Topic: piano music
Topic: style
6-25
78. Program music is instrumental music with no direct link to anything extramusical.
FALSE
Learning Objective: Define program music, and know its key features and structure
Topic: program music
79. Program music was invented during the romantic period.

FALSE
80. Before turning to music, Hector Berlioz studied to be a doctor.

TRUE
Topic: Hector Berlioz
81. Berlioz's father was very supportive of his decision to become a composer.
FALSE
6-26
82. Symphonie fantastique is a piece of program music that describes Berlioz's passion for the
Shakespearean actress Harriet Smithson.
TRUE
Learning Objective: Recognize examples of program music
Learning Objective: Understand characteristics of music in works by Berlioz
83. On hearing Symphonie fantastique, Harriet Smithson had Berlioz committed to an

asylum.
FALSE
84. Berlioz's music was always highly popular with French audiences.
FALSE

Topic: style
85. Berlioz was also an author.

TRUE
6-27
86. Symphonie fantastique is a symphonic poem.

FALSE
Topic: symphony
87. Berlioz portrays an opium dream in Symphonie fantastique.

TRUE
88. Hector Berlioz invented the symphonic poem.

FALSE

Topic: Franz Liszt
Topic: symphony
89. Richard Strauss and Franz Liszt were also important composers of program music.
TRUE
Topic: Franz Liszt
6-28
90. Program music is always governed by the sonata form.

FALSE
Topic: form
Topic: sonata form
91. Franz Liszt composed both symphonic poems and program symphonies.
TRUE

Topic: Franz Liszt
Topic: symphony
92. A theme from Richard Strauss's symphonic poem Also sprach Zarathustra was used as
the theme for the film 2001: A Space Odyssey.
TRUE
Topic: symphony
6-29
93. Music that "is composed for the appreciation of musical sound" and does not tell a story is
called
A. program music.
B. absolute music.
C. opera.
D. art song.

Topic: absolute music
94.
Romantic program music was structured around all of the following EXCEPT:
A. dramatic incidents.
B. poetic images.
C. purely musical elements.
D. elements in nature.

Topic: absolute music
Topic: nationalism
Topic: nature
6-30
95. _____ was one of the greatest composers of romantic program music.
A. Ludwig van Beethoven
B. Clara Schumann
C. Franz Schubert
D. Hector Berlioz
Topic: Ludwig van Beethoven
Topic: style
96. Which literary figure had a profound impact on Berlioz?

A. Marlowe
B. Shakespeare
C. Milton
D. Cervantes

97. Two composers who were also authors were

A. Hector Berlioz and Robert Schumann.
B. Hector Berlioz and Franz Schubert.
C. Robert and Clara Schumann.
D. Robert Schumann and Franz Schubert.
6-31
98. In addition to being a composer and author, Berlioz was also known as a great
A. actor.
B. singer.
C. orchestrator.
D. chef.
Topic: orchestra
99. _____ wrote the book Treatise on Instrumentation and Orchestration.

A. Berlioz
B. Strauss
C. Schumann
D. Liszt

Topic: orchestra
100. Symphonie fantastique is a(n)

A. opera.
B. song cycle.
C. concerto.
D. program symphony.
Topic: symphony
6-32
101. In Symphonie fantastique, Berlioz uses a device called the idée fixe, which is
A. a musical theme that appears in all five movements.
B. a musical theme borrowed from an opera based on Hamlet.
C. a musical idea he composed as a teenager and fixated on for years.
D. a theme from Gregorian chant.
Topic: form
Topic: melody
Topic: symphony
102. The melody Berlioz inserts into the fifth movement of Symphonie fantastique to
represent judgment day is from
A. Schumann's opera Hamlet.
B. Mozart's Requiem Mass.
C. the "Dies irae."
D. an early composition of his, based on the death of his mother.

Topic: mass
Topic: melody
6-33
103. Berlioz altered the idée fixe in Symphonie fantastique by using a technique known as
A. thematic modulation.
B. thematic variation.
C. thematic alteration.
D. thematic transformation.
Topic: form
Topic: melody
104. Which of the following did NOT compose program music?

A. Franz Schubert
B. Hector Berlioz
C. Franz Liszt
D. Richard Strauss
Topic: Franz Liszt
105. Which composer invented the symphonic poem?

A. Robert Schumann
B. Franz Liszt
C. Hector Berlioz
D. Richard Strauss
Topic: Franz Liszt
Topic: form
Topic: symphony
6-34
106. Which composer wrote the program symphony Faust?

A. Richard Strauss
B. Hector Berlioz
C. Franz Liszt
D. Robert Schumann
Topic: Franz Liszt
Topic: symphony
107. How many movements does a symphonic poem usually have?

A. One
B. Two
C. Three
D. Four
Topic: form
Topic: symphony
108. How many movements does a program symphony usually have?

A. One
B. Two
C. Three
D. As many as needed
Topic: form
Topic: style
Topic: symphony
Matching Questions
6-35
109. Match each composer with the correct composition.
1. Richard Strauss Faust Symphony 2

2. Franz Liszt Symphony fantastique 3
3. Hector Berlioz Also Sprach Zrathustra 1
Topic: Franz Liszt
Topic: symphony
110. J.S. Bach and Mozart were early nationalistic composers.

FALSE

Topic: Johann Sebastian Bach
Topic: Wolfgang Amadeus Mozart
Topic: nationalism
111. The romantic period saw a rise in nationalistic music and art.
TRUE

Topic: nationalism
6-36
112. One way that romantic composers created nationalistic music was to use folk-song
melodies.
TRUE

Topic: melody
Topic: nationalism
Topic: rhythm
113. The Russian ruler who introduced Western customs into Russian culture was Tsar
Nicholas I.
FALSE
Topic: nationalism
114. The only European country that did not have a nationalistic movement in music was
England.
FALSE
Topic: nationalism
115. Edvard Grieg was a nationalistic composer from Norway.

TRUE

Topic: nationalism
6-37
116. Bedřich Smetana was a nationalistic Russian composer.

FALSE

Topic: Bedřich Smetana
Topic: nationalism
117. Smetana attempted to ignore Western musical styles completely in his compositions.
FALSE

Topic: nationalism
118. Austria ruled Bohemia for many years; thus, local musicians knew the music of
composers such as Liszt and Berlioz.
TRUE

Topic: Franz Liszt
Topic: style
119. Smetana composed operas in the Czech language.

TRUE

Learning Objective: Recognize examples of romantic operas
Topic: nationalism
Topic: opera
6-38
120. Smetana shared with Beethoven the affliction of deafness.

TRUE
121. Smetana is best known for his operas and tone poems.
TRUE

Topic: opera
Topic: symphony
122. The only work of Smetana's that is performed today is Má Vlast.

FALSE
123. "The Moldau" is nationalistic only in its use of folk song.

FALSE

Topic: nationalism
Topic: symphony
6-39
124. Music intended to promote the character and interests of a nation is referred to as
A. programmistic.
B. nationalistic.
C. absolute.
D. Marxist.

Topic: nationalism
125.
When creating nationalistic music, romantic composers based their works on all of the following EXCEPT:
A. historical subjects.
B. exotic subjects from other countries.
C. national or political subjects.
D. folk songs.

Topic: nationalism
126. Western customs were first introduced to Russia in the

A. late 1600s.
B. early 1800s.
C. late 1700s.
D. late 1800s.
Topic: nationalism
Topic: style
6-40
127. One of the first Russian composers to create "Russian" music was
A. Bedřich Smetana.
B. Modest Mussorgsky.
C. Mikhail Glinka.
D. Franz Liszt.

Topic: nationalism
128. The group of Russian composers who emphasized Russian spirit over Western influence
referred to themselves as
A. the "Five."
B. the Russian school.
C. the composers of the tsar's court.
D. the Korsakov brothers.

Topic: Modest Petrovich Mussorgsky
Topic: nationalism
129. Which composer was not part of the Russian Five?

A. Borodin
B. Mussorgsky
C. Smetana
D. Rimsky-Korsakov
Topic: nationalism
6-41
130. Which composer was a Russian nationalist?

A. Nikolai Rimsky-Korsakov
B. Jean Sibelius
C. Ralph Vaughan Williams
D. Manuel de Falla

Topic: nationalism
131. _____ was the composer of Scheherazade.

A. Jean Sibelius
B. Nikolai Rimsky-Korsakov
C. Modest Mussorgsky
D. Ottorino Respighi
Topic: symphony
132. The composer of Pictures at an Exhibition and the opera Boris Godunov was
A. Nikolai Rimsky-Korsakov.
B. Edward Elgar.
C. Edvard Grieg.
D. Modest Mussorgsky.

Topic: nationalism
Topic: piano music
6-42
133. Which composer was an English nationalist?

A. Jean Sibelius
B. Edvard Grieg
C. Edward Elgar
D. Ottorino Respighi

Topic: nationalism
134. Which composer was a Finnish nationalist?

A. Edvard Grieg
B. Modest Mussorgsky
C. Jean Sibelius
D. Edward Elgar

Topic: nationalism
135. The composer regarded as the founder of the Czech national school was
A. Modest Mussorgsky.
B. Jean Sibelius.
C. Bedřich Smetana.
D. Edward Elgar.

Topic: nationalism
6-43
136. Which composers influenced Smetana's progressive musical ideas and his spirit of
nationalism?
A. Liszt and Berlioz
B. Mozart and Beethoven
C. Sibelius and Elgar
D. Mussorgsky and Glinka

Topic: Franz Liszt
Topic: nationalism
137. The cycle of symphonic poems composed by Smetana is called

A. The Bartered Bride.
B. Symphonie fantastique.
C. "The Moldau."
D. Má Vlast.

Topic: nationalism
Topic: song cycle
Topic: symphony
138. The symphonic poem that traces the progress of the Moldau River is called
A. Má Vlast.
B. "Vtlava."
C. The Bartered Bride.
D. Sheherazade.
Topic: nationalism
Topic: nature
Topic: symphony
6-44
139. The opera that established Smetana's reputation as a nationalistic composer was
A. Má Vlast.
B. Boris Godunov.
C. The Bartered Bride.
D. A Life for the Tsar.

Topic: nationalism
Topic: opera
140. "The Moldau" is a(n)

A. symphonic poem.
B.
absolute symphony.
C. opera.
D. art song.
Topic: nationalism
Topic: symphony
141. Which of the following is NOT portrayed in "The Moldau"?

A. A peasant wedding
B. A swordfight
C. A hunt
D. Nymphs dancing

Topic: nationalism
Topic: symphony
6-45
Matching Questions
142. Match each composer with the country where he was born.
1. Edvard Grieg Norway 1

2. Manuel de Falla Russia 4
3. Ralph Vaughan Williams England 3
4. Modest Mussorgsky Spain 2

Topic: nationalism
143. Match each composer with his composition.
1. Modest Mussorgsky A Life for the Tsar 2

2. Mikhail Glinka Pictures at an Exhibition 1
3. Bedřich Smetana Scheherazade 4
4. Nikolai Rimsky-Korsakov The Bartered Bride 3

Topic: nationalism
144. Incidental music is music that is intended to accompany a play.

TRUE

Topic: performers
Topic: style
6-46
145. Concert overtures and incidental music are the same thing.
FALSE

Topic: form
Topic: orchestra
Topic: overture
146. Concert overtures are never programmatic.

FALSE
Topic: overture
147. "Concert overture" is another name for "opera overture."

FALSE

Topic: overture
148. Unlike tone poems, concert overtures have a strong musical organization.
TRUE

Topic: form
Topic: orchestra
Topic: overture
6-47
149. Tchaikovsky's music is more cosmopolitan than that of composers such as Glinka and
Mussorgsky.
TRUE
Topic: Peter Ilyich Tchaikovsky
Topic: style
150. Tchaikovsky was the first Russian composer to gain international recognition.
TRUE

151. Tchaikovsky was essentially self-taught.

FALSE
152. Tchaikovsky was employed for a number of years as a professor.

TRUE
6-48
153. Tchaikovsky's relationship with his benefactress, Nadezhda von Meck, was a stormy,
intimate one that resulted in three illegitimate daughters.
FALSE
154. Tchaikovsky's marriage was a disastrous failure.

TRUE
155. Tchaikovsky is perhaps best known for his ballets.

TRUE
Topic: style
156. Tchaikovsky's Romeo and Juliet was intended for performance with the play.
FALSE

Topic: style
6-49
157. A fantasy overture is the same thing as a concert overture.

TRUE

Topic: overture
158. In spite of its name, Tchaikovsky's Romeo and Juliet is based on the relationship of two
of his friends, not on Shakespeare's play.
FALSE
Topic: overture
159. Music written to accompany a play is called

A. a program symphony.
B. a concert overture.
C. a tone poem.
D. incidental music.

Topic: form
Topic: style
6-50
160. A type of program music that is a fairly short, single-movement work for concert-hall
performance is called
C. a tone poem.

Topic: form
Topic: overture
Topic: style
161. Which of the following is NOT a concert overture?

A. The Hebrides by Mendelssohn
B. The Consecration of the House by Beethoven
C. Tragic Overture by Brahms
D. Overture to The Marriage of Figaro by Mozart

Topic: form
Topic: overture
162. Concert overtures differ from symphonic poems in that they

A. are in a single movement.
B. have a strong musical organization.
C. are programmatic.
D. are always considered to be absolute music.
Topic: overture
Topic: style
Topic: symphony
6-51
163. Tchaikovsky's Swan Lake and The Nutcracker are

A. ballets.
B. concert overtures.
C. cantatas.

164. Tchaikovsky's Romeo and Juliet is

C. a tone poem.
Topic: overture
165. A fantasy overture is the same thing as a(n)

A. opera overture.
B. French overture.
C. concert overture.
D. oratorio overture.

Topic: overture
6-52
166. Which Russian composer was the first to gain international recognition?
A. Modest Mussorgsky
B. Mikhail Glinka
C. Bedřich Smetana
D. Peter Ilych Tchaikovsky
167. Tchaikovsky married Antonia Milyukova because

A. her father made it a requirement if Tchaikovsky wanted the position of concertmaster at
the opera.
B. Nadezhda von Meck made it a stipulation for the receipt of her patronage.
C. Antonia threatened to commit suicide if he didn't.
D. she was the love of his life.
168. Tchaikovsky's relationship with Nadezhda von Meck took place entirely
A. in a small Moscow house.
B. via letters.
C. at the theater where she was a prima donna.
D. in public places.
169. Much of Tchaikovsky's depression and many of his problems stemmed from
A. poverty.
B. being homosexual in a society that did not tolerate it.
C. his unhappy love affair with Nadezhda von Meck.
D. the loss of his beloved wife in childbirth.
6-53
170. Which of these works by Tchaikovsky is NOT a ballet?

A. The Nutcracker
B. Swan Lake
C. Romeo and Juliet
D. The Sleeping Beauty

Topic: overture
171. Tchaikovsky's most performed work is probably

A. The Nutcracker.
B. the Pathétique symphony.
C. The Sleeping Beauty.
D. Symphonie fantastique.
Topic: performers
172. Which formal structure did Tchaikovsky use in his Romeo and Juliet?
A. Free form
B. A form based on Shakespeare's play
C. Sonata form
D. Theme and variations

Topic: form
Topic: overture
Topic: sonata form
6-54
173. Which of the following composers did NOT create a composition based on
Shakespeare's Romeo and Juliet?
A. Verdi
B. Gounod
C. Bernstein
D. Tchaikovsky
Matching Questions
174. Match each composition with its composer.
1. "The Moldau" from Má Vlast Hector Berlioz 2

2. Symphonie fantastique Bedřich Smetana 1
3. Romeo and Juliet Peter Ilyich Tchaikovsky 3
175. Match each musical term with its definition.
1. Program
symphony A multimovement work with extramusical associations. 1
A fairly long, single-movement work with extramusical
2. Concert overture associations. 4
3. Incidental music Music for a play. 3
4. Symphonic A single-movement, self-contained work for
poem performance in the concert hall. 2
Topic: overture
Topic: style
Topic: symphony
6-55
176. The romantic concerto was a vehicle for virtuosic display.

TRUE

Topic: concerto
Topic: orchestra
Topic: performers
177. During the romantic period, virtuoso technical displays were limited to piano music.
FALSE
Topic: concerto
Topic: performers
178. Through born Jewish, Felix Mendelssohn was raised as a Christian.

TRUE
Topic: Felix Mendelssohn
179. Felix and Fanny Mendelssohn began performing in musicales organized by their mother,
Leah.
TRUE
Topic: Fanny Mendelssohn Hensel
6-56
180. Felix and Fanny Mendelssohn received a good musical education.

TRUE
181. Felix Mendelssohn studied music with Beethoven.

FALSE
182. Fanny Mendelssohn is best known for her revival of J. S. Bach's St. Matthew Passion.
FALSE
183. Most of Felix Mendelssohn's piano music consists of short character pieces.
TRUE

184. Mendelssohn held a position as an orchestral conductor in Leipzig.

TRUE
Topic: performers
6-57
185. Felix Mendelssohn's sister Fanny was a well-known concert pianist whose fame rivaled
Clara Schumann's.
FALSE
Topic: performers
186. Felix was very supportive of Fanny's compositional endeavors.

TRUE
187. Felix published some of Fanny's music with his own compositions.
TRUE
188. Fanny's husband, Wilhelm Hensel, did not want her to perform or write music once they
were married.
FALSE
Topic: performers
6-58
189. Mendelssohn wrote his own cadenza for his Violin Concerto in E minor.
TRUE

Topic: concerto
Topic: form
190. Most romantic composers wrote the cadenzas for their concertos, rather than allowing
performers to improvise them.
TRUE
Topic: concerto
Topic: form
191. The first movement of Mendelssohn's Violin Concerto in E minor is not in sonata form.
FALSE

Topic: concerto
Topic: form
Topic: sonata form
6-59
192. The most popular instruments for romantic concertos were the
A. flute and harpsichord.
B. piano and trumpet.
C. piano and violin.
D. violin and harpsichord.

Topic: concerto
193. The romantic trend toward virtuosity began with

A. Ludwig van Beethoven.
B. Johannes Brahms.
C. Niccolò Paganini.
D. Robert Schumann.

Topic: performers
Topic: style
194. Fanny and Felix Mendelssohn studied music with

A. Ludwig van Beethoven.
B. Wolfgang Amadeus Mozart.
C. Carl Zelter.
D. J.S. Bach.
6-60
195. Which work by J.S. Bach did Mendelssohn revive, initiating widespread performances of
Bach's music?
A. The "Coffee Cantata"
B. The St. Matthew Passion
C. Brandenburg Concerto no. 2
D. "Wachet auf" ("Sleepers, Awake")

Topic: Johann Sebastian Bach
Topic: Passion
Topic: style
196. Which of the following compositions is NOT by Felix Mendelssohn?

A. Fingal's Cave (The Hebrides)
B. A Midsummer Night's Dream
C. Violin Concerto in E minor
D. St. Matthew Passion
197. Which composer did Mendelssohn hire to perform concerts with the Gewandhaus
Orchestra in Leipzig?
A. Fanny Mendelssohn
B. Clara Schumann
C. Niccolò Paganini
D. Robert Schumann
Topic: performers
6-61
198. Which of the following endeavors was Fanny Mendelssohn NOT involved in?
A. Music teacher
B. Performer
C. Composer
D. Director of a local choral group
Topic: performers
199. Fanny Mendelssohn's compositions include all of the following EXCEPT:

A. solo songs.
B. solo piano music.
C. an oratorio.
D. a symphony.
Topic: performers
Topic: style
200. Felix Mendelssohn composed the Violin Concerto in E minor for

A. his friend Ferdinand David.
B. Niccolò Paganini.
C. his sister Fanny.
D. himself.
Topic: concerto
Topic: performers
6-62
201. Mendelssohn's Violin Concerto in E minor is in

A. four movements.
B. a single long movement.
C. five movements.
D. three movements.

Topic: concerto
Topic: form
202. Mendelssohn's Violin Concerto in E minor differs from classical concertos in that it
A. is in one movement and resembles a tone poem.
B. has the soloist introduce the first theme before the orchestra plays it.
C. abandons the sonata form.
D. does not include a cadenza.
Topic: concerto
Topic: form
Topic: orchestra
203. The cadenza for Mendelssohn's Violin Concerto in E minor was

A. eliminated.
B. improvised by the performer.
C. written by Felix Mendelssohn.
D. written by Fanny Mendelssohn.

Topic: concerto
Topic: form
6-63
204. The first movement of Mendelssohn's Violin Concerto is in

A. sonata form.
B. theme and variations.
C. ballad form.
D. ritornello form.

Topic: concerto
Topic: form
Topic: sonata form
205. Which of the following is NOT a difference between Vivaldi's "Spring" and
Mendelssohn's Violin Concerto in E minor?
A. Mendelssohn's concerto is in four movements.
B. The instrumentation is different.
C. Vivaldi's concerto is programmatic.
D. The first movement of "Spring" is in ritornello form, and the first movement of the
Concerto in E minor is sonata form.
Topic: concerto
Topic: style
206. All romantic choral music consists of colossal works for large choirs.
FALSE

Topic: choral music
Topic: style
Topic: voices
6-64
207. Very few romantic composers wrote choral music.

FALSE

Topic: choral music
Topic: style
208. Several romantic composers wrote oratorios.

TRUE

Topic: oratorio
Topic: voices
209. Several romantic composers set Catholic religious texts to music.

TRUE

Topic: mass
Topic: oratorio
210. Verdi wrote a very large choral work using the text of the Requiem Mass.
TRUE

Learning Objective: Understand characteristics of music in works by Verdi
Topic: Giuseppe Verdi
Topic: choral music
Topic: mass
Topic: orchestra
Topic: style
Topic: voices
6-65
211. Berlioz tended to write for a very small orchestra.

FALSE
Topic: orchestra
212. Brahms used themes from his four symphonies in Ein Deutsches Requiem.
FALSE

Learning Objective: Understand characteristics of music in works by Brahms
Topic: Johannes Brahms
Topic: melody
Topic: requiem
213. Brahms was born into a fairly poor family.

TRUE
214. Brahms made a living early by playing piano in local taverns.

TRUE
6-66
215. Robert Schumann wrote an article praising Johannes Brahms when Brahms was just a
youth of twenty.
TRUE

216. The Academic Festival Overture was based, in part, on student drinking songs.
TRUE
Topic: overture
217. Brahms was a highly controversial composer during his life.

FALSE

Topic: style
218. A ladies' man, Brahms was married three times and had ten children.
FALSE
6-67
219. Brahms composed only for voice.

FALSE

Topic: choral music
Topic: voices
220. Brahms did not use the standard Latin text for his Requiem.
TRUE

Topic: choral music
Topic: requiem
Topic: voices
221. Composers in every historical period have written choral music.

TRUE

Topic: choral music
Topic: style
6-68
222. During the romantic period, composers wrote choral music in all of the following genres
EXCEPT the
A. oratorio.
B. part song.
C. motet.
D. madrigal.

Topic: choral music
Topic: opera
Topic: oratorio
Topic: style
223. Schumann's Scenes from Faust, Liszt's Faust Symphony, and Berlioz's Romeo and Juliet
are all
A. symphonic poems.
B. oratorios.
C. masses.
D. symphonic works with choral sections.

Topic: Franz Liszt
Topic: symphony
Topic: voices
224. Which of the following compositions was written by Hector Berlioz?

A. The Damnation of Faust
B. Scenes from Faust
C. Elijah
D. All of the above

6-69
225. Which of the following is NOT a religious text from the Catholic liturgy?
A. Oratorio
B. Mass
C. Requiem
D. Te Deum
Topic: mass
Topic: oratorio
Topic: requiem
226. Which of the following is NOT a large-scale, romantic choral work?

A. Brahms's Deutsches Requiem
B. Verdi's Requiem
C. Mendelssohn's Elijah
D. Berlioz's Symphonie fantastique

Topic: style
227. Which of the following compositions was NOT written by Brahms?

A. The Damnation of Faust
B. Liebeslieder Walzer
C. Rinaldo
D. Triumphlied
6-70
228. Brahms's popular work for piano, four hands, plus voices is
A. Rinaldo.
B. Schicksalslied.
C. Liebeslieder Walzer.
D. Ein Deutsches Requiem.

Topic: piano music
Topic: voices
229. Brahms's most important choral work is

A. Rinaldo.
B. Schicksalslied.
C. Ein Deutsches Requiem.
D. Elijah.

Topic: choral music
Topic: requiem
Topic: style
230. Brahms toured Germany as the accompanist to the Hungarian violinist

A. Joseph Joachim.
B. Eduard Reményi.
C. Franz Liszt.
D. Felix Mendelssohn.
Topic: performers
6-71
231. The violinist who introduced Brahms to Franz Liszt and Robert Schumann was
A. Niccolò Paganini.
B. Felix Mendelssohn.
C. Eduard Reményi.
D. Joseph Joachim.
Topic: Franz Liszt
232. The composer who helped launch Brahms's career was

A. Franz Schubert.
B. Robert Schumann.
C. Franz Liszt.
D.
Hector Berlioz.
233. The text of Brahms's Requiem is in

A. German.
B. Latin.
C. English.
D. Italian.
Topic: choral music
Topic: requiem
6-72
234. The text for Ein Deutsches Requiem comes from

A. the Catholic Mass for the Dead.
B. Brahms's own sacred poetry.
C. the Lutheran Bible.
D. his librettist Joseph Joachim.

Topic: requiem
235. Brahms's Requiem is intended to

A. offer prayers for the dead.
B. create a totally secular funeral setting.
C. be a highly dramatic funeral work.
D. console the living.

Topic: choral music
Topic: requiem
236. Brahms's Requiem has _____ movements.

A. three
B. two
C. seven
D. ten

Topic: form
Topic: requiem
6-73
237. Brahms's Requiem is written for an ensemble of _____

A. soloists and orchestra.
B.
soloists, choir and orchestra.
C. choir and orchestra.

D. orchestra only.

Topic: choral music
Topic: form
Topic: orchestra
Topic: voices
Matching Questions
238. Match each composition with its composer.
1.
Requiem
Felix Mendelssohn 2
2. Elijah Hector Berlioz 4
3. Ein Deutsches Requiem Giuseppe Verdi 1
4. The Damnation of Faust Johannes Brahms 3

Topic: choral music
Topic: requiem
6-74
239. Romantic composers completely abandoned the structural forms of the classical period.
FALSE

Topic: form
240. Beethoven's legacy cast a shadow over the romantic composers.

TRUE

Topic: style
241. Beethoven's techniques of symphonic expansion were the impetus for many of the
alterations made by romantic composers to the structure of the symphony.
TRUE
Topic: form
242. Franz Schubert is considered the great symphonist of the late romantic period.
FALSE

Topic: style
Topic: symphony
6-75
243. Schubert's "Unfinished" Symphony was left unfinished because the composer died
before he could complete it.
FALSE
Topic: symphony
244. Brahms's symphonies are considered masterworks on a par with Beethoven's.

TRUE

Topic: symphony
245. Brahms and Beethoven each wrote nine symphonies.

FALSE

Topic: symphony
246. Anton'n Dvořák was a Russian composer.

FALSE
Learning Objective: Understand characteristics of music in works by Dvořák
Topic: Antonín Dvořák
6-76
247. Anton'n Dvořák was employed by the National Conservatory of Music in New York.
TRUE
248. Anton'n Dvořák, a Bohemian composer, drew inspiration for some of his compositions
from African American spirituals and Native American music.
TRUE

Topic: nationalism
Topic: style
249.
Dvořák composed in virtually every musical genre popular in the nineteenth-century.
TRUE

Topic: form
Topic: style
6-77
250. The melodies of Dvořák's Ninth Symphony reflect the folk music of Russia and
Germany.
FALSE

Topic: melody
Topic: nationalism
Topic: style
251. Dvořák used unifying cyclical elements to link the movements of his Ninth Symphony in
much the same manner Beethoven employed in his Fifth Symphony.
TRUE

Topic: form
Topic: melody
Topic: style
Topic: symphony
252. Dvořák titled his Symphony No. 9 From the New World.
TRUE

Topic: symphony
253. Anton Bruckner wrote three Masses in addition to his symphonies.

TRUE
Topic: Anton Bruckner
Topic: mass
Topic: symphony
6-78
254.
The composer ranked as the most important church composer of the late nineteenth-century was Gustav Mahler.
FALSE

Topic: Gustav Mahler
Topic: symphony
255. Gustav Mahler was a conductor as well as a composer.

TRUE
Topic: performers
256. Mahler turned the melody of "Frère Jacques" into a funeral march in his Symphony no.
1.
TRUE
Topic: melody
Topic: symphony
6-79
257. Which composer is NOT considered a great romantic symphonist?

A. Franz Schubert
B. Johannes Brahms
C. Giuseppe Verdi
D. Anton'n Dvořák

Topic: style
258. How many symphonies did Schubert compose?

A. Four
B. Ten
C. Six
D. Nine

Topic: symphony
259. Who wrote the "Unfinished" Symphony?

A. Johannes Brahms
B. Franz Schubert
C. Anton Bruckner
D. Gustav Mahler
Topic: symphony
6-80
260. Which of the following wrote the fewest symphonies, yet is often considered the greatest
of the German romantic symphonists?
A. Gustav Mahler
B. Franz Schubert
C. Anton Bruckner
D. Johannes Brahms

Topic: symphony
261. How many symphonies did Brahms compose?

A. Four
B. Six
C. Nine
D. Ten

Topic: symphony
6-81
262.
Anton'n Dvořák drew inspiration for his works from all of the following musical genres EXCEPT:
A. Bohemian folk music.

B. Russian folk music.
C. Native American melodies.
D. African American melodies.

Learning Objective: Know key biographical facts about Antonín Dvořák
Topic: nationalism
263. Which musical style did Dvořák use to compose his Symphony no. 9?
A. "American" style
B. "Russian" style
C. "French" style
D. "German" style
Topic: style
Topic: symphony
6-82
264. What form did Dvořák use for the fourth movement of his Symphony no. 9?
A. Tone poem form
B. Strophic form
C. Fantasia form
D. Sonata form

Topic: form
Topic: sonata form
Topic: symphony
265. Which composer was Dvořák's patron and introduced him to a German publisher?
A. Franz Schubert
B. Gustav Mahler
C. Ludwig van Beethoven
D. Johannes Brahms

266. Which composer lived for a time in America?

A. Anton'n Dvořák
B. Franz Schubert
C. Johannes Brahms
D. Ludwig van Beethoven

6-83
267. Who introduced Dvořák to African-American spirituals?

A.
Anton Bruckner, his mentor.
B.
Johannes Brahms, his mentor.
C.
Henry T. Burleigh, his student.
D.
Gustav Mahler, his student.

Topic: style
268. Who wrote the symphony nicknamed From the New World?
A. Anton Bruckner
B. Franz Liszt
C. Anton'n Dvořák
D. Johannes Brahms

Topic: symphony
6-84
269. The Austrian composer _____ influenced Mahler and Schoenberg.

A. Johannes Brahms
B. Franz Schubert
C. Anton Bruckner
D. Anton'n Dvořák

270. The Austrian composer _____ included choral sections in his symphonies.
A. Franz Schubert
B. Gustav Mahler
C. Johannes Brahms
D. Anton Bruckner

Topic: choral music
Topic: style
Topic: symphony
271. The composer _____ wrote the song cycles Kindertotenlieder and Das Lied von der
Erde?
A. Johannes Brahms
B. Ludwig von Beethoven
C. Gustav Mahler
D. Franz Schubert

Topic: art song
6-85
272. Which musical genre did Mahler use to open the third movement of his Symphony no.
1?
A. Peasant dance
B. Viennese waltz
C. Austrian folk song
D. Funeral march

Topic: form
Topic: rhythm
Topic: symphony
273. What song is a primary theme of Mahler's Symphony no. 1, movement 3?

A. "Bruder Martin" ("Frère Jacques")
B. "Erlkönig"
C. Das Lied von der Erde
D. Kindertotenlieder

Topic: melody
274. How many symphonies did both Dvořák and Mahler complete?
A. Five
B. Four
C. Six
D. Nine

Topic: symphony
Matching Questions
6-86
275. Match each composer with the correct musical work.
1. Johannes Brahms Ein Deutsches Requiem 1

2. Felix Mendelssohn Violin Concerto in E minor 2
3. Anton'n Dvořák From the New World, Symphony no. 9 3

Topic: concerto
Topic: requiem
Topic: symphony
276. Match each composer with the correct description.
A late romantic German symphony composer who was

1. Johannes introduced to the music world in an article written by Robert
Brahms Schumann. 1
2. Gustav A late romantic Austrian symphonic composer who
Mahler included choral sections in many of his symphonies. 2
3. Franz A late romantic Bohemian symphonic composer who lived
Schubert in New York City for a time. 4
4. Anton'n An early romantic Austrian symphonic composer also
Dvořák known for his art songs. 3

Topic: style
6-87
277.
Paris was the opera capital of Europe during the early nineteenth-century.
TRUE
Topic: opera
278. In grand opera, plot integrity was often sacrificed for special effects.
TRUE

Topic: opera
279. The "Lone Ranger" theme was originally part of an opera by Verdi.
FALSE
Topic: melody
Topic: opera
280. Nineteenth-century Italian opera was, in part, influenced by French grand opera.
TRUE

Topic: opera
6-88
281. Bel canto is a nineteenth-century aria form.

FALSE
Topic: opera
Topic: voices
282. Bel canto singing emphasizes simplicity with very few demands on the voice.
FALSE
Topic: voices
283. It is appropriate to applaud after an opera singer finishes an aria, even if it is the middle
of a scene and the music continues.
TRUE

Topic: opera
Topic: performers
284. Though written about the plight of the Jews in Babylon, Giuseppe Verdi's opera Nabucco
was linked to the Italian crusade for freedom from Austria.
TRUE
Topic: opera
6-89
285. Verdi wrote grand opera in Italian.

TRUE

Topic: opera
Topic: style
286. Verdi's operas are generally more rooted in realism than Wagner's.
TRUE

Learning Objective: Understand characteristics of music in works by Wagner
Topic: Richard Wagner
Topic: opera
287. Verdi's operas are dominated by the orchestra.

FALSE

Topic: opera
Topic: orchestra
288. In Verdi's Aida, the Egyptian princess Amneris helps Aida and Radamès escape from the
tomb where they have been buried alive.
FALSE

Topic: opera
6-90
289. Giacomo Puccini was a child prodigy.

FALSE

Learning Objective: Understand characteristics of music in works by Puccini
Topic: Giacomo Puccini
290. Puccini's first opera, Le Villi, brought him instant, world-wide fame.
FALSE
Topic: opera
291. Puccini set several of his operas in exotic places such as China and Japan.
TRUE

Topic: opera
292. Puccini's La Bohème demonstrates how closely verismo opera reflected the romantic
middle class, thus creating a connection with its audiences.
TRUE
Topic: opera
6-91
293. In his La Bohème, Puccini emphasized the orchestra at the expense of the singers.
FALSE

Topic: opera
Topic: voices
294. With verismo opera, audiences are able to separate themselves from the troubles of the
characters, since they are usually gods and kings. This is one reason that verismo operas is
still popular today.
FALSE

Topic: opera
Topic: style
295. Which of the following is NOT an element of grand opera?

A. It involves large crowd scenes.
B. It has spoken dialogue.
C. It has elaborate scenery.
D. It has special effects.

Topic: opera
6-92
296. The "Lone Ranger" theme was originally written for ____.
A. Bizet's Carmen
B. Rossini's William Tell
C. Verdi's La Traviata
D. Puccini's La Bohème

Topic: melody
Topic: overture
297. What is the distinguishing feature of opéra comique?

A. It concentrates on the spectacular elements.
B. It is sung all the way through.
C. It has spoken dialogue.
D. It does not use aria.

Topic: opera
Topic: style
Topic: voices
298. _____ is a nineteenth-century opera based on a play by Beaumarchais that includes many
of the same characters as Mozart's Marriage of Figaro.
A. Rossini's William Tell
B. Rossini's Il Barbiere de Siviglia
C. Bizet's Carmen
D. Puccini's La Bohème
Topic: opera
6-93
299. _____ is a style of singing that emphasizes beauty, purity of tone, and agile vocal
technique.
A. A cappella
B. Prima donna
C. Bel canto
D. Bello virtuoso
Topic: voices
300. Besides Rossini, which of the following composers wrote operas that exemplified the
Italian early romantic vocal ideal?
A. Verdi and Puccini
B. Bizet and Gounod
C. Wagner and Leoncavallo
D. Donizetti and Bellini
Topic: opera
Topic: voices
301. Which composer brought Italian romantic opera to its height?

A. Gioacchino Rossini
B. Giuseppe Verdi
C. Vincenzo Bellini
D. Giacomo Puccini

Topic: opera
6-94
302. In Aida, the title role is sung by a ____.

A. mezzo soprano
B. soprano
C. bella virtuosa
D. verismo soprano

Topic: opera
Topic: voices
303. The music at the very end of Aida is

A. loud and triumphant.
B. brooding and stormy.
C. quiet and somber.
D. playfully cheerful.
Topic: opera
304. Verdi's last two operas have librettos based on

A. Shakespeare plays.
B. Beaumarchais's plays.
C. Verdi's own novels.
D. ancient myths.

Topic: opera
Topic: style
6-95
305. Which of the following opera composers often let the orchestra convey his philosophical
ideas, sometimes even allowing it to overshadow the singers?
A. Wagner
B. Verdi
C. Puccini
D. Rossini

Topic: opera
Topic: style
306. The Italian literary movement that rebelled against romantic tendencies toward escapism
and artificiality is known as
A. naturalism.
B. nationalism.
C. symbolism.
D. realism.

Topic: nature
Topic: style
307. An example of naturalism in opera can be found in

A. Meyerbeer's Les Huguenots.
B. Gounod's Faust.
C. Rossini's William Tell.
D. Bizet's Carmen.

Topic: nature
Topic: opera
6-96
308. The operatic movement rooted in naturalism and realism is called

A. naturalism.
B. nationalism.
C. verismo.
D. impressionism.

Topic: opera
Topic: style
309. Which opera was as a model for the three Italian composers who led the verismo
movement?
A. Aida
B. Carmen
C. Madama Butterfly
D. Faust

Topic: opera
Topic: style
310. Which composer was NOT a part of the verismo movement?

A. Giacomo Puccini
B. Ruggiero Leoncavallo
C. Pietro Mascagni
D. Giuseppe Verdi

Topic: opera
Topic: style
6-97
311. The opera that brought Puccini world fame was

A. Madama Butterfly.
B. Manon Lescaut.
C. La Bohème.
D. Le Villi.

Topic: opera
312. La Bohème is a(n)

A. opera buffa.
B. verismo opera.
C. lyric opera.
D. grand opera.

Topic: opera
Topic: style
313. The musical Miss Saigon has the same plot as Puccini's ____.
A. Madama Butterfly
B. Manon Lescaut
C. La Bohème
D. La Fanciulla del West

Topic: opera
Matching Questions
6-98
314. Match each type of opera with its description.
1. Lyric opera Light French opera with spoken dialogue. 4

2. Verismo French opera with plots from romantic drama or fantasy and
opera music that emphasized beautiful melodies. 1
3. Grand
opera French opera with spectacular production elements. 3
4. Opéra
comique Late-nineteenth-century Italian opera rooted in realism. 2

Topic: opera
Topic: style
315. Match each composer with his description.
An early Italian opera composer who wrote several

1. Vincenzo Bellini examples of opera buffa. 4
2. Giacomo
Meyerbeer A composer of French grand opera. 2
3. Charles Gounod A composer of Italian Bel canto opera. 1
4. Gioacchino
Rossini A composer of French lyric opera. 3

Topic: opera
Topic: style
316. Match each composer with his opera.
1. Charles Gounod Guillaume Tell 3

2. Giacomo Meyerbeer Carmen 4
3. Gioacchino Rossini Les Huguenots 2
4. Georges Bizet Faust 1

Topic: opera
Topic: style
6-99
317. Match each composer with his opera.
1. Ruggiero Leoncavallo La Bohème 4

2. Pietro Mascagni Pagliacci 1
3. Giuseppe Verdi Aida 3
4. Giacomo Puccini Cavalleria Rusticana 2

Topic: opera
Topic: style
318. German romantic opera was strongly tied to realism.

FALSE

Topic: opera
Topic: style
319. Carl Maria von Weber's opera Der Freischütz includes elements of the supernatural.
TRUE

Topic: opera
Topic: style
6-100
320. In German romantic opera, supernatural beings often mingle with ordinary mortals.
TRUE

Topic: opera
Topic: style
321. Wagner wrote many of his works in the style of grand opera.
TRUE

Topic: opera
Topic: style
322. Wagner participated in the 1848-1849 revolutionary uprising, but was forgiven and
remained in Germany.
FALSE
323. Wagner called his operas verismo.

FALSE

Topic: opera
Topic: style
6-101
324. The four operas included in Der Ring des Nibelungen take a total of approximately
eighteen to twenty hours to perform.
TRUE
Topic: opera
325. Wagner had difficulty arranging performances of his operas.

TRUE
326. Wagner's operas were very small and conservative, using a minimum number of
performers.
FALSE

Topic: opera
Topic: style
327. Wagner married Franz Liszt's daughter Cosima.

TRUE
Topic: Franz Liszt
6-102
328. Wagner had a theater was built in Bayreuth especially for performances of his operas.
TRUE
Topic: opera
329. In spite of its length, Wagner completed Der Ring des Nibelungen in just one year.
FALSE
Topic: opera
330. Wagner's music features numerous arias, with total breaks between the many scenes
creating a sectional structure.
FALSE
Topic: opera
Topic: style
Topic: voices
331. The Lord of the Rings has elements of the same myths as Der Ring des Nibelungen.
TRUE
Topic: opera
6-103
332. The ring in Der Ring des Nibelungen is evil.

TRUE
Topic: opera
333. The music of the Star Wars movies uses the same concept of leitmotifs as Der Ring des
Nibelungen.
TRUE
Topic: opera
Topic: style
334. The caricature of the opera singer in a helmet with horns and breastplates comes from
Wagner's Der Ring des Nibelungen.
TRUE
Topic: opera
Topic: performers
335. Wagner's anti-Semitism helped make him Hitler's favorite composer.

TRUE
6-104
336. The first significant composer of truly German opera was

A. Richard Wagner.
B. Carl Maria von Weber.
C. Wolfgang Amadeus Mozart.
D. Ludwig van Beethoven.
Topic: opera
Topic: style
337. Carl Maria von Weber's operas were based on

A. German legends and songs.
B. Greek mythology.
C. realistic portrayals of life.
D. satirical tales of the nobility.

Topic: opera
Topic: style
338.
German romantic opera frequently includes all of the following EXCEPT:
A. the wild and mysterious forces of nature.

B. supernatural beings.
C. nationalism.
D. realism.

Topic: opera
6-105
339. The composer whose works represent the height of German romantic opera is
A. Carl Maria von Weber.
B. Wolfgang Amadeus Mozart.
C. Richard Wagner.
D. Ludwig van Beethoven.

Topic: opera
Topic: style
340. What concepts does Wagner discuss in "Oper und Drama?"

A. Orchestration techniques
B. Singing techniques
C. The foundations for music drama
D. Methods of opera direction
Topic: opera
Topic: style
341. The term Wagner used for his operas was

A. opera seria.
B. verismo.
C. music drama.
D. musica seriosa.

Topic: opera
Topic: style
6-106
342. Wagner's cycle of four operas based on Scandinavian and Germanic legends is called
A. Rienzi.
B. Der Ring des Nibelungen.
C. Der fliegende Holländer.
D. The Lord of the Rings.

Topic: opera
343. Where did the story for Der Ring des Nibelungen come from?
A. Tolkien's Lord of the Rings
B. Completely from Wagner's imagination
C. Scandinavian and Germanic legends
D. Italian and Spanish legends
Topic: opera
344. Which of the following operas was NOT written by Wagner?

A. Der Freischütz
B. Tristan und Isolde
C. Die Meistersinger von Nürnberg
D. Der Ring des Nibelungen

Topic: opera
6-107
345. To help the singers project over it, the orchestra in Wagner's Bayreuth theater was
placed
A. outside.
B. backstage.
C. in front of the stage.
D. under the stage.
Topic: opera
Topic: orchestra
Topic: performers
346. Gesamtkunstwerk means

A. fantasy artwork.
B. universal artwork.
C. developmental artwork.
D. comprehensive artwork.

Topic: opera
Topic: style
347. In Wagner's concept of Gesamtkunstwerk, the most important element of opera should
be
A. singing.
B. orchestra.
C. special effects.
D. drama.

Topic: opera
6-108
348. Melodies used to identify particular characters, objects, and ideas in Wagner's operas are
called
A. music drama.
B. Sprechsingen.
C. leitmotifs.
D. Gesamtkunstwerk.
Topic: opera
349. How many operas does Der Ring des Nibelungen contain?
A. It is a single opera.
B.
Two.
C.
Five.
D.
Four.

Topic: opera
6-109
350. Which movies embrace the same dramatic elements of good against evil and the search
for power as Wagner's Ring Cycle, proving that today's audiences still want the same story as
nineteenth-century audiences?
A. The Lord of the Rings and The Godfather
B. The Matrix and Star Wars
C. The Lord of the Rings and Star Wars
D. The Godfather and The Matrix
Topic: opera
351. Which movie used the actual melody of the leitmotif that represented the sword
Nothung?
A. Excalibur
B. Star Wars
C. Lord of the Rings
D. Spiderman
Topic: melody
Topic: opera
352. Although he was one of the greatest romantic composers, Wagner had a flaw that has
causes some modern listeners to reject his music. What was this flaw?
A. He was anti-Semitic.
B. His operas are too long.
C. His focus on old Germanic legends is tedious.
D. His focus on continuous music renders singers unimportant.
6-110
353. Which of the following is NOT a characteristic of romantic music?

A. Fluctuations in tempo
B. Largely polyphonic texture
C. A wide dynamic range
D. A weakened tonal center
Topic: texture
Matching Questions
354. Match each composer with the correct opera.
1. Richard Wagner Der Ring des Nibelungen 1

2. Giacomo Puccini Otello 3
3. Giuseppe Verdi Der Freischütz 4
4. Carl Maria von Weber Madama Butterfly 2

Topic: opera
Topic: style
355. Match each opera with its description.
1. Das Rheingold Opera no. 3 from Der Ring des Nibelungen 2

2. Siegfried Opera no. 2 from Der Ring des Nibelungen 4
3. Götterdämmerung Opera no. 1 from Der Ring des Nibelungen 1
4. Die Walküre Opera no. 4 from Der Ring des Nibelungen 3

Topic: opera
6-111
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Growth of market towns and of communications, still largely mule tracks
no doubt, was leading to fixation of language as discussed in an earlier
chapter. One may mention, incidentally, that old mule tracks persist on lands
in old-fashioned corners like the Channel Islands, where they are very
numerous, and may form rings around the demesnes of the more important
houses. The growth of markets was bringing neighbours together, weakening
dialectal differences, and so helping to fuse local groups into nations on a
basis of common language and common tradition expressed in growing
poetry and prose in the evolving languages. Against these influences must be
set that of the Roman heritage of universalism so vigorously represented by
the Church, which the Holy Roman Empire tried so hard to imitate.
The poverty of the villagers and their weakness in face of the dangers of
the forest and its wanderers, outlaws, and adventurers is an outstanding fact
of the development of the next phase. There was insufficient freedom for
agricultural experiment save to some extent in the monastery gardens, and
insufficient knowledge for useful discussion, so cultivation methods
remained in the grip of custom, with the modification due to the spread of
the three-field system. Even the fallows could not keep the land up to a
proper grade of fertility.
So traditional cultivation on lands owned or worked in common by the

villagers was ever under threat of disruption, and doubtless the severities of
climate and plague in the fourteenth century contributed their quota to the
disintegration of the old mode of life. The complaint of diminished fertility
made itself heard far and wide, and the end of the Middle Ages witnessed
the breakdown of the old village system in the west. Trade and the voyages
of discovery furnished supplementary sources of wealth, and the beginnings
of larger industry grew out of this. In East-Central Europe change was
delayed partly because there was still much forest land to be adapted, but
largely because of the absorption of the people in struggles against Turk and
Tatar. Even there, however, the old village system decayed in the end, and it
is only in central Russia that it has maintained itself among the Slavonic
peoples, who, almost to this day, from one point of view, may be looked
upon as colonists spreading in the forests and their borders in Muscovy.
Of the lands north of the Mediterranean, France was most favoured

agriculturally, and owed most to the Roman heritage of unity, and here grew
la grande nation, while farther east national growth was delayed largely by
attempts at an imperial unity, worked up as a device for defence against the
Turk and Tatar. National growth in isolated or semi-isolated lands like the
English plain, Holland, Sweden, and the central Scottish lowland was also a
feature, while the diverse outlooks of the diverse coasts of Ireland and the
weakness of that country's interior made the Green Isle the tragic type of the
island which is so generally disunited.
Villagers with common lands gave place, with many a struggle, to

landholding by proprietors with labourers under them, and if in Britain the
labourer became landless and so fitted himself to become machine-fodder in
the Industrial Revolution, in France he struggled to keep his link with the
sacred soil of that sunny land, and ultimately won his position of ownership
in the Revolution of the end of the eighteenth century. This change made
itself felt as far as the Rhine, beyond which the peasant still remained subject
to heavy seigniorial dues. It is claimed that during the recent war there has
been a great move towards peasant proprietorship or something akin to it in
the lands near the eastern border of Europe-of-the-Sea, carrying eastward, as
it were, the work done one hundred years ago in France.
Facts about decline of the old village communities are legion, and cannot
even be listed here, but attention may be drawn to the spread of root crops
(for winter food for man and beast) in the seventeenth and eighteenth
centuries. This helped materially to break down traditionalism, for it
interfered with the old right of the villagers to free pasture of all the village
cattle all over the stubble left after harvest: the lands with root crops had to
remain enclosed. Of the new wealth brought in by individual proprietorship
and root crops and other agricultural experiments, we have much evidence in
the farmhouse buildings of the seventeenth and eighteenth centuries; those of
the years 1720-60 or so seem specially characteristic in Guernsey, Channel
Islands. But the problem of fertility was not solved, even though leguminous
crops were ploughed in and the chemical decomposition of the soil was
speeded up by liming. Trade and long sea voyages loomed larger in the lives
of the European peoples and industry grew ever larger, so that the urban
element gained immensely in numbers and influence. We thus have a picture
of the preface, as it were, to the Industrial Revolution, but another series of
changes had been working to the same end.
The spread of the habit of sea trade from the Mediterranean to North-west
Europe led to changes in the design and construction of ships. By the middle
of the seventeenth century old difficulties about disease due to stinking
bilge-water had largely been overcome, and ships were being built with
better proportions for speed and manoeuvring, and in the early eighteenth
century came the full adaptation of the fore-and-aft sail and the use of
mahogany and other hard woods from the tropics for ship furniture, and so
for house furniture too. With all this went increased size and speed of ships
and ability to tack effectively, and so, broadly, to follow a course even if
winds were variable. With all this new power and also the development of
armaments, Europe found herself in a position to exploit the other parts of
the earth inhabited by other races less well equipped. They gradually, nay
almost suddenly, became the producers of raw materials, food-stuffs, and
fertilizers for the vastly increasing populations of industrial Europe, which
began to teem in the manufacturing cities when coal and steam machinery
were added to the European equipment.
Along with this industrial development has gone the nationalist revival to
which reference has already been made in several places (pp. 23, 33, 35, 49,
62-3), a cultural movement which in the nineteenth century became
politically embittered, and which through its imperialistic outgrowths in
England, Germany, France, and Russia has been a main factor of the recent
war.
10
Aspects of Modern Europe
The Industrial Revolution supervened in England first. Her landless

labourers, her rather uncertain harvests, her severance from the Roman
tradition at the religious schism, her growth of sea-power and trade, as well
as the invention of James Watt, all contributed to this end. The necessary
coal was found in places mostly remote from the great centres of English
tradition, and industry grew where the civic heritage was weak and the lands,
even the common lands of the market towns, had been enclosed by
proprietors, who also often replaced the monks of the Middle Ages as
landlords without attempting to fulfil their other functions. The growth of
our huge industrial agglomerates on private land with an oligarchic
government of landowners, and, since 1830, factory owners and their
associates, has naturally had as a result the policy of non-interference, so that
crowding has been permitted and even encouraged, and the slum, which is
now deteriorating the quality of the population, is the inevitable result,
bringing in its train practically all the most serious social problems of our
day, the stunting of growth and judgement, the craving for excitement and
emotion as a substitute for thought, the aesthetic degradation which carries
with it the loss of keenness on one's work. To compensate for this we have
only got a vast accumulation of profits in the form of mobile capital, so
much of which has been blown into space in 1914-18. The accumulation of
capital, it should be appreciated, would have been far less had it not been
that industrial primacy and the primacy of the carrying trade happened, as
above suggested, to be closely associated in one and the same people.
From England the Revolution has spread along the coal belt through
northern France and Belgium, Germany, Bohemia, and Poland to Russia,
with characteristic modifications from region to region, according to the
local circumstances and social heritage of the people affected. But before
proceeding to note these differences it is important to realize one general
change which has many aspects. In the old village with its law based on the
custom of the neighbourhood, each had his or her place unless cast out: one's
status was all-important and not easily changed. In England the labourer
became landless, drifted to the factories, made a contract for his labour, and
so changed the organization of society from an organization based on status
to one based on contract. That change is still going on, and the remnants of
old ideas of status have struggled hard against such measures as death duties,
super-tax, and the rest, which all tend in the direction of making labour,
however disguised, the great medium of exchange. This big alteration from
status to contract has affected the whole of industrial Europe and has spread
thence as a ferment of change far beyond our continent, but in Europe the
change has hardly anywhere gone so far as it has in Britain.
In France coal was far less abundant than it was in England, and the
struggle for the soil went in favour of the peasantry rather than of the
plutocracy as with us. Both these facts, added to those of the sunny climate,
have made the Industrial Revolution far more feeble in France. The antiquity
and continuity of life in the market towns has led to the persistence of small
industries, often with a very long-standing personal link between master and
men; hence the difficulty of the impersonality of industrial organization from
which we suffer so badly in Britain is less general in France, though they
also have the limited company to contend with. The wealth of the country
for so many centuries has encouraged high-class—one might say, luxurious
—manufacture, and jewellery, porcelain, and silk are characteristic products.
The persistence of special quality lines in the cloth trade is another

feature, but on the whole the story of French industry has been one of half-
hearted effort only. The Treaty of Versailles puts an enormous amount of
iron ore into the French Customs Union, so that France becomes by far the
greatest European producer of iron minerals, though her coal supply is
deficient. It remains to be seen whether the French people will develop more
industrial activity in consequence of this, and also whether they will go in
for increased use of the hydro-electric power they have within their territory.
The Flemings have an old-established industrial and commercial tradition

much less divorced from peasant life than in our country. Their Walloon
neighbours, on the other hand, have entered into industrialism recently, and
their country has changed suddenly from a backward rural area to a very
busy manufacturing one, using large quantities of imported raw material.
The people were cultivators and stock-raisers by long tradition, and they
have tried to keep up this activity in some measure, while a protective
customs duty on meat keeps up the stock-raising business. Another
traditional (in fact racial) feature here is the genius for co-operation, and this
works itself out in widespread insurance schemes maintained by the people.
Among the Germans the background of industrial development was very

different from that which we have noted in Britain. Where the river valleys
leave the hills for the northern plain are old cities of great dignity and fame,
and though they were somewhat decadent after the decay of the Hanse, they
were strong enough to keep their common lands and their tradition of city
government from the Middle Ages. Coal was found along this zone, and it
became industrialized, but the new movement had to respect the cities,
which grew often on public land. The old city of Nürnberg developed
industrial refinements on the basis of craftsmanship, which owed a great deal
to the old business of distributing goods from the East brought up from
Venice to its mart. There was thus neither on the one hand the same general
growth of slums as in Britain, nor on the other the accumulation of immense
profits from slum development to be used as liquid capital for speculative
purposes. Moreover, the industrial effort in Germany was contemporaneous
with the effort to make Germany a real nation-state, and each movement
influenced the other. Much thought was given to the question of the national
balance-sheet, and industry was made to help agriculture by conversion of
waste products into fertilizers. Thus, though Germany was experiencing the
same cityward drift of people as Britain, her agriculture remained in a far
stronger position than ours, and with that went the probability of better
maintenance of the quality of the people. The wasting of resources on war,
the distrust created by aggressive intrigues, the loss of territory and minerals,
and the loss of health of the people through the blockade, all imply changes
in the situation of the German people, the consequences of which it is
difficult to foresee.
German industry utilized Polish labour in large quantities, and was much
concerned with the westward-flowing Slavonic stream which was said to be
altering the character of the German people. On the other hand, a German
stream of organization flowed eastward and south-eastward, and the
industrial fever made great strides in the latter half of the nineteenth century
in Bohemia, in Austria proper, in Upper Silesia, and in Poland. In Bohemia it
emphasized the differences between German and Slavonic elements of the
people; in Upper Silesia and in Poland the Germans were mainly found in
the towns, especially in the leader class, and often difference of language
and sentiment between masters and men was a very undesirable feature.
Polish industrial centres were correspondingly notorious for their bad

social conditions before the war.
The industrial fever spread to Russia, and of its entry into that country we
get a useful sketch in Kropotkin's Fields, Factories, and Workshops. Here
was a country with marked seasonal cycles, and often at first manufacture
was made a winter occupation, and was hoped by some to offer a means of
rescuing many of the people from some of the evils of the severe Russian
winter. In the Ukraine Poles seem to have done a good deal of the industrial
organization, and it was natural that German experience should carry great
influence. It was said that the co-operative, even communist, traditions of the
people accounted for much in the form of organization of industry, the guilds
or artels being a distinctive feature. Needless to say that, with transport ill
developed, education neglected, and self-government impossible under the
Tsar, Russian industry was of doubtful efficiency and social conditions bad.
One must, however, remember that industry was only beginning.
In addition to the main zone of industry which we have now followed

along the coal zone from Britain to Russia, the attempt was made near small
coalfields elsewhere, and even at times away from coal, to glean some of the
wealth industry brought. About 1895, however, hydro-electric power became
transmissible over long distances and thus much more applicable. This
change created new regions of industry in Scandinavia and around the Alps.
Both Sweden and Norway use this power, and it has made an immense
difference, especially to Norway. In the case of Norway the weakness of
class distinctions has led to the careful organization of good social
conditions, in spite of serious difficulties because of the very limited sites
available. In Switzerland, South Germany, and Italy, up to 1914, the use of
hydro-electric power was creating a valuable community of interest and
problems that was drawing the whole region together, while Switzerland was
becoming strong economically in a way undreamed of before. Post-war
developments will need to be watched with care and breadth of view. Hydro-
electric power was being developed in pre-war France, and will probably be
a great help to that country if greater care is taken on the social side than was
taken in the early stages of the movement. It has been claimed that a hydro-
electric power system could be developed all around the Iberian plateau, and
something is said to have been done recently towards its development. In the
British Isles only a few spots can give enough power to make an installation
an economic success in the present state of knowledge, so that in a water-
power age Britain would have a minor position. It seems doubtful at present
whether this form of power will become anything more than an accessory. It
is noteworthy that in the Alpine region it helps a population fundamentally
inclined to patient detailed work to build up an industry in fine electrical
machinery partly developed from an old watchmaking tradition.
The utilization of tidal power has been debated, and a scheme for the
Severn estuary, as well as one for the north coast of Brittany, has been
elaborated. Should this line of development be followed in the future,
Britain's position and the power of the tides at several points would assist
greatly.
For the present, however, the fashionable power is oil, of which, so far as
is known, Britain has only a very little, and in which the whole of Western
Europe is also poor. But oil is rather easily transportable, and Western
Europe's powers of transport are being used to exploit sources of oil in such
places as are not already in the sphere of influence of the United States of
America. However this may be disguised, it is none the less an indication of
Europe's increasing dependence on other regions for what her industry
needs. Large amounts of raw products now come from outside Europe, and
if power also comes from afar, Europe's advantages will be restricted to her
climate in its relation to efficiency, her capital, her tradition of skill which
she has endangered by the enormous amount of specialization developed
among her workers, and her ownership and control of transport by sea. On
this last point it is noteworthy that the great advance made by the United
States of America does not seem to be fully maintaining itself.
For the immediate future the incalculable water-power available in the

monsoon lands, the immense and easily workable deposits of coal in Shansi
(North China), the coal and oil available in and near the United States of
America, the huge water-power that might be utilized in several parts of
America, the possibilities of tidal power in many regions, and the production
of power-alcohol from equatorial vegetation, are all interesting factors of a
situation the precariousness of which for the thickly populated areas of
Western Europe is obvious to all. With their organization based upon skill
and patience, the peoples of Central Europe may well go on developing,
perhaps even exploiting, the Russian and Turanian lands on their eastern
flank, as these latter do not seem likely to become industrial for some time.
On the other hand, a Sino-Japanese development of industry on a large scale
is always possible, and, if wisely managed, should have the benefit of the
skill, taste, and honesty of the Chinese merchant as well as of the skilful
industry of the Chinese workman, whose frugality and cheerfulness would
make him a formidable competitor. The signs of the times are thus in favour
of the departure of industrial primacy from Europe, however much political
effort may contrive to delay the change.
Before following out this thought it will be best to mention some of the
collateral developments in European and other lands more indirectly affected
by industrialism. The huge factory populations need food, and the imported
food supply of Europe is an enormous problem. Cereals and some fruits may
be carried with ease, but the factory hands and especially the miners and
furnacemen need meat, and though meat can be carried in refrigerators or
alive, yet imported meat suffers through transport. While therefore Australia,
Argentina, and other regions are very busy supplying stock products, there is
a good deal of stock-raising and dairy work to be done in Europe. Holland
and Denmark have specialized in this matter, and the latter made herself a
centre for dairy produce from Holland and Lithuania and even Russia before
1914. With political and social peace Ireland would undoubtedly develop in
this way. Several hill regions, like Central France and parts of Switzerland,
were also busy stock-raising, and are likely to prosper in this direction if
European industry maintains itself.
In Switzerland the high ledge-pastures or alps have a remarkable growth

of hay in spring after the snow melts, and this gives advantages over our
British high lands. For their better utilization it would be necessary to
improve the breeds of grasses, and important experiments for this purpose
are in progress in Wales. In the Highlands of Scotland the population is
decreasing fast, and thus Britain is losing a most valuable element in her
population, an element trained to endure hardness and traditionally interested
in serious thought.
The large financial resources of industrial populations and the

thriftlessness so inevitably developed under the circumstances of their life in
its present anarchic phase, further lead to a demand for luxury foods,
flowers, and so on, and Holland and the Channel Islands are notable
providers of these extras. The increase of fine machinery and other factors
make it fairly certain that olive oil will have a good market for a long time,
even if pea-nut oil is used alongside of it. Olive oil and fruits offer
opportunities for the Mediterranean.
Thus practically every part of Europe is directly or indirectly brought into
the process of industrial development, and all are increasingly dependent on
the world outside, however much the German people may have tried to
maintain their agriculture.
This dependence and the precariousness of Europe's industrial position,

added to the fact that with an effort and some amount of goodwill the
peoples of Europe could grow to understand one another, especially in view
of their common debt to the Roman heritage, make it unthinkable that what
is practically civil war can be tolerated much longer in Europe. Before 1914
the Labour Movement was clearly working towards the weakening of the
idea of the nation-state and its sovereignty, but the events of 1914 showed
that the movement had not yet gained a real hold on men's imagination. The
new League of Nations movement is an evidence of development of the
same line of thought among the thinkers of the Continent, and is slowly
gathering momentum through the creation of institutions with laws for their
guidance, and the promise of the growth of a body of lawyers as interested to
maintain those institutions as the lawyers of the nation-states have been to
maintain that form of organization. The League has had to take up the
question of the relations of Europe to distant lands, and has stood for a
principle of trusteeship, the fate of which is trembling in the balance. The
more hopeful Europeans see signs of the growth of co-operation, and find
indications of it even as between France and Germany. Britain is torn
between the attitudes of solidarity with Europe and of aloofness from Europe
and association with distant lands of English speech. Perhaps the
improvement of the League of Nations scheme or its transformation after
discussions with the leaders of the United States of America will give a
means to put an end to this dilemma by reconciling both aims.
Therein lies one of the greatest hopes for the salvaging of civilization,
though Britain's other problem of rescuing her population from degenerative
tendencies due to industrialism is as clamant for solution if the world's peace
is to develop. That industry should spread, that every people should maintain
an agricultural background, and that the peoples of Europe should find
means to co-operate in matters of imports from the tropics, transport
arrangements, and labour conditions, must be the hope of all who think of
the future seriously, even if this means the discarding of ambitions of power
which in less critical times disguised themselves under the cloak of
patriotism. This does not mean the destruction of patriotism, but rather its
ennoblement into a passion for the well-being and the health of future
generations of the people, for the enrichment of each heritage of language,
literature, tradition, and art by active effort, and for the growth of that
toleration which is the accompaniment of self-control and its attendant
liberty and peace.
[NOTE.—The writer wishes to express his most sincere thanks to his

friends and fellow workers in the fields of research concerned, especially to
Miss R. M. Fleming and Mr. H. J. E. Peake, and the late Professor V.
Giuffrida-Ruggeri.]
BIBLIOGRAPHICAL NOTES
Among the most important general reference works one must mention the
chief encyclopaedias, Reclus's Géographie universelle (also in English), the
International Geography, the Dictionnaire de Géographie universelle (V. de
S. Martin). Ratzel's Anthropogeographie and Brunhes's La Géographie
humaine and Géographie humaine de la France should also be mentioned
here. Bowman, The New World, has a fine collection of maps relating to the
political resettlement of Europe.
On Race Questions the standard book is W. Z. Ripley's famous work, The

Races of Europe, supplemented by G. Sergi's Europa in Italian and by a
number of papers by Keith, Parsons, Peake, Fleure, and others in the Journal
of the Royal Anthropological Institute during the last ten years. Dr. Haddon
and Mrs. Quiggin have issued a valuable revision of Keane's Man, Past and
Present. Déchelette's Archéologie is the standard work in its field and may
be supplemented from Burkitt's Prehistory and Macalister's Archaeology.
On Languages and their Distribution the student may begin by consulting

A. Meillet's Les Langues dans l'Europe nouvelle and L. Dominian on
Frontiers of Language and Nationality in Europe. From these books a
bibliography can be compiled to suit the student's purpose.
The evolution of social conditions in Europe is so complex that it has not

as yet received synthetic treatment, but some tentative efforts are useful if
read critically. Among them one may note the files of La Science sociale and
Demolins's Comment la route crée le type social, Guizot's Histoire de la
Civilisation en Europe, Kropotkin's Mutual Aid, his Fields, Factories, and
Workshops, and his Memoirs of a Revolutionist, as well as Jenks's works,
such as the little History of Politics, and Geddes's Cities in Evolution.
It is impossible to give an adequate list of books on special regions, but

the following will be found of value for various parts of the Continent
involved in the recent treaties:
P. Vidal de la Blache, Tableau de la Géographie de la France; P. Vidal de

la Blache, La France de l'Est; R. Blanchard, La Flandre; H. J. Mackinder,
The Rhine; Atlas de Finlande; P. Leroy Beaulieu, The Empire of the Tsars; A.
B. Boswell, Poland and the Poles; J. Cvijic, La Péninsule balkanique; M. I.
Newbigin, Geographical Aspects of Balkan Problems; M. E. Durham, The
Burden of the Balkans; E. de Martonne, La Valachie; A. Philippson, Das
Mittelmeergebiet; D. G. Hogarth, The Nearer East.
Further guidance to books on regions of Europe will be found in the

valuable handbooks issued by the British Government in two series, i.e. the
handbooks issued by the Intelligence Department of the Admiralty, and the
handbooks issued by the Historical Section of the Foreign Office.
The reader interested in some of the problems may wish to consult J.

Fairgrieve's Geography and World-Power, H. J. Mackinder's Democratic
Ideals and Reality, H. J. Fleure's Human Geography in Western Europe, and
C. B. Fawcett's Frontiers.
The standard journals have issued important articles by Hinks, Lyde,

Newbigin, and others on the rearranged boundaries of European states, and
among books concerned with the new Europe one may mention J. M.
Keynes, Economic Consequences of the Peace; I. Bowman, The New World;
M. I. Newbigin, Aftermath; and H. J. Fleure, The Treaty Settlement in
Europe.
The new Times Atlas is invaluable, and may be supplemented on the

historical side by use of the well-known historical atlases of F. Schrader,
Poole, Ramsay Muir, Diercke, and others. Several valuable maps occur only
in Vidal de la Blache, Atlas général.
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True / False Questions

Learning Objective: Examine developments and trends in romantic music

Learning Objective: Define nationalism in 19th-century music

Learning Objective: Examine developments and trends in romantic music

Learning Objective: Examine developments and trends in romantic music

Learning Objective: Examine developments and trends in romantic music

Learning Objective: Examine developments and trends in romantic music

Learning Objective: Describe the forms of the art song

10. The greatest lieder composer was Franz Schubert.

Learning Objective: Describe the forms of the art song

12. Franz Schubert was a very prolific composer.

Learning Objective: Examine developments and trends in romantic music

14. Schubert was a lawyer before he became a musician.

15. Schubert found great success as a composer for the theater.

17. Robert Schumann was a schoolteacher before he became a full-time composer.

18. Robert Schumann had a long, successful career as a concert pianist.

Learning Objective: Examine developments and trends in romantic music

Learning Objective: Examine developments and trends in romantic music

Multiple Choice Questions

Learning Objective: Examine developments and trends in romantic music

Learning Objective: Examine developments and trends in romantic music

Learning Objective: Describe the forms of the art song

25. A narrative poem set to music is a(n)

Learning Objective: Describe the forms of the art song

Learning Objective: Describe the forms of the art song

Learning Objective: Describe the forms of the art song

28. A German art song is called a(n)

Learning Objective: Describe the forms of the art song

29. "Erlkönig" was composed by

30. The poet of "Erlkönig" was

Learning Objective: Describe the forms of the art song

31. "Erlkönig" is a(n)

32. A series of art songs meant to be performed as a unit is called a(n)

Learning Objective: Describe the forms of the art song

33. The song cycle Dichterliebe was written by

Learning Objective: Describe the forms of the art song

34. "Im Wunderschönen Monat Mai" is

Learning Objective: Examine developments and trends in romantic music

35. "Im Wunderschönen Monat Mai" is

Learning Objective: Describe the forms of the art song

36. "Liebst du um Schönheit" is

Topic: Clara Schumann

37. The composer _____ attempted suicide.

38. Clara Schumann was best known as a

40. Match each term with its definition.

Learning Objective: Describe the forms of the art song

True / False Questions

Learning Objective: Examine developments and trends in romantic music

Learning Objective: Examine developments and trends in romantic music