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A) True
B) False

Page 2
 8. Since starting school Sam had struggled with math. His teacher offered to help him with
math after school. Now Sam does well on his math assignments. The example of Sam's
teacher helping Sam with math to improve his math ability is an example of how nature
can influence development.
A) True
B) False

9. Today, developmental science studies mostly young children and adolescents.

A) True
B) False

10. The term plasticity refers to how a person's development is completely determined by
the environment.
A) True
B) False

11. Most periods of development are critical periods.

A) True
B) False

12. Within the context of Bronfenbrenner's ecological-systems approach, a person's

immediate surroundings, such as family or peer group, are part of the macrosystems
level.
A) True
B) False

13. Individuals in the same cohort are exposed to the same values, events, technologies, and
culture of the era.
A) True
B) False

14. The term cohort refers to individuals born in the same geographical region and within
the same social class.
A) True
B) False

Page 3
15. Socioeconomic status is also called social class.
A) True
B) False

16. Culture refers to a system of shared beliefs, conventions, norms, behaviors, and
expectations.
A) True
B) False

17. The difference-equals-deficit error may lead people to believe that their nation or culture
is better than others.
A) True
B) False

18. Race and ethnicity are the same thing.

A) True
B) False

19. Scientists believe that race is genetic.

A) True
B) False

20. Miguel worked in the fields and did not learn how to read or write until he entered
school at age 13. It will take him longer to learn to read at age 13 than it would have
when he was younger.
A) True
B) False

21. A positive correlation between how long parents stay when dropping off their children
at day care and how long it takes their children to become engaged in the toys and their
friends means that longer parental lingering is associated with longer delay in
engagement by the children.
A) True
B) False

Page 4
22. Developmental researchers agree that nature is much more important than nurture in
determining psychological outcomes such as intelligence and personality.
A) True
B) False

23. According to the dynamic-systems approach, human development is a static process.

A) True
B) False

24. Friends Jill and Susan both experienced poverty as children. In addition, they were
raised by single parents and went to a poor quality school. By the time they were in late
adolescence, Jill had dropped out of school and had two children. Susan, in contrast,
was academically ranked number one in her graduating class and had a full academic
scholarship to Harvard. This example illustrates the concept of differential
susceptibility.
A) True
B) False

25. The main advantage of scientific observation as a research method is that it allows the
scientist to determine cause and effect.
A) True
B) False

26. In an experiment, the group receiving the special treatment is referred to as the
comparison group.
A) True
B) False

27. The purpose of a survey is to allow a researcher to collect data quickly from a large
population.
A) True
B) False

28. One problem with the data from surveys is that participants may not tell the truth.
A) True
B) False

Page 5
29. Dr. Tucker wanted to learn how aggression changes across development. He designed a
study in which he assessed aggression among 100 children who were 3 years old and
then reassessed aggression among these individuals every three years until the
participants were 21 years old. Dr. Tucker's research design was cross-sectional.
A) True
B) False

30. In longitudinal research, the same people are measured at multiple assessment points
over a period of time.
A) True
B) False

31. Cross-sequential research is a combination of a cross-sectional approach and a

longitudinal approach.
A) True
B) False

32. When two variables are not connected, the correlation between them is zero.
A) True
B) False

33. Most research conducted on humans cannot begin without the approval of the
Institutional Review Board.
A) True
B) False

34. A volunteer showed up to participate in Dr. Allen's research study. Dr. Allen failed to
inform the volunteer that her participation was voluntary. Dr. Allen was being ethical in
conducting the study, as sharing with the volunteer that research participation is
voluntary is not part of informed consent.
A) True
B) False

Page 6
Answer Key
1. B
2. B
3. A
4. A
5. A
6. B
7. A
8. B
9. B
10. B
11. B
12. B
13. A
14. B
15. A
16. A
17. A
18. B
19. B
20. A
21. A
22. B
23. B
24. A
25. B
26. B
27. A
28. A
29. B
30. A
31. A
32. A
33. A
34. B

Page 7
1. What does the science of human development seek to understand?
A) the meaning of life
B) theories that have not been subjected to scientific testing
C) the works of Freud, Piaget, and Erikson
D) how and why people change over time

2. Dr. Furth is curious about whether a specific brain chemical can be suppressed if a
patient is given a large dose of vitamin E. Dr. Furth's question demonstrates the
step in the scientific method.
A) first
B) second
C) third
D) fourth

3. Dr. Hernandez predicts that a certain drug will help patients with schizophrenia. Her
prediction is called _.
A) a conclusion
B) empirical evidence
C) a hypothesis
D) a result

4. A researcher designed and conducted an experiment to determine whether 350 mg of a

certain drug would help patients with bipolar disorder. By designing and conducting this
experiment, the researcher _.
A) drew conclusions
B) demonstrated proof
C) tested the hypothesis
D) confirmed the results

5. Dr. Henderson is curious to know more about how children develop over time. To avoid
relying on opinion or personal bias, Dr. Henderson should .
A) use the scientific method to collect data and establish facts
B) have the children undergo psychoanalysis
C) talk with many children's parents
D) read Dr. Spock's book, Baby and Child Care

Page 1
 6. The first step in the scientific method involves _.
A) posing a question
B) conducting research
C) supporting or refuting a hypothesis
D) developing a hypothesis

7. The second step in the scientific method involves _.

A) posing a question
B) conducting research
C) developing a hypothesis
D) sharing the results

8. The third step in the scientific method involves _.

A) posing a question
B) conducting research
C) sharing the results
D) developing a hypothesis

9. The fourth step in the scientific method involves _.

A) posing a question
B) conducting research
C) developing a hypothesis
D) supporting or refuting a hypothesis

10. Empirical evidence is based on .

A) theories and speculation
B) observation, experience, or experiment
C) inferences rooted in personal biases
D) opinions generated by several groups of people

11. After posing a question, a researcher using the scientific method .

A) draws conclusions
B) runs an experiment
C) selects a group of participants
D) develops a hypothesis

Page 2
12. The final step in the five steps of the scientific method is to _.
A) test a hypothesis
B) pose a question
C) conduct research
D) report the results

13. What is a researcher's first step when designing a research study on children's language
acquisition?
A) recruit children and their parents as participants in the study
B) develop a hypothesis on the way language is acquired in children
C) pose a research question about language acquisition
D) draw conclusions on the way children acquire language

14. A hypothesis is a(n) .

A) experiment
B) prediction that can be tested
C) conclusion drawn from research
D) replication of a scientific study

15. What is replication of a study?

A) the repetition of a study using different participants
B) the repetition of a study using the same participants
C) designing a new study based on information from a previous study
D) designing a new study using new ideas and information

16. Dr. Kong conducts a study in which he finds that smoking is correlated with an
increased risk of high blood pressure. He publishes his results, and Dr. Meco reads the
report about the study. Then Dr. Meco does the same study using different participants
in another city. Dr. Meco's work is an example of _.
A) scientific controversy
B) replication
C) ethics
D) observation

Page 3
17. Dr. Seldor does a study in which she finds that alcohol consumption is correlated with
an increased risk of diabetes. She publishes her results, and Dr. Al-Jaher reads the report
about the study. Then Dr. Al-Jaher does the same study using different participants in
another nation. Dr. Al-Jaher's work is an example of _.
A) scientific controversy
B) replication
C) empirical evidence
D) a hypothesis

18. Parents who spend a great deal of time and money trying to find the best school for their
children believe in the importance of as it relates to development.
A) nurture
B) replication
C) nature
D) classical conditioning

19. The term for all of the environmental influences that affect development after
conception is .
A) proteins
B) nurture
C) nature
D) amino acids

20. In the science of human development, “nature” refers to _.

A) the genes that people inherit
B) environmental influences
C) patterns of development
D) developmental differences

21. In the science of human development, “nurture” refers to _.

A) universal traits
B) biological traits
C) environmental influences
D) unique traits

22. Most developmental psychologists believe that development is the result of _.

A) nature and nurture acting separately
B) primarily nature
C) nature and nurture acting together
D) primarily nurture

Page 4
23. Dr. Towne believes that heredity is primarily responsible for personality traits. Dr. West
believes that environmental influences are primarily responsible for personality traits.
They are on different sides of the debate.
A) nature versus nurture
B) intelligent design versus evolution
C) genes versus development
D) traits versus conditioning

24. Susie, who is 5 years old, is the tallest person in her kindergarten class. When her
teacher asked her how she got so tall, Susie said proudly, “My mom and dad are tall,
and I eat good food!” Susie's statement reflects that she understands that human
development comes from _.
A) heredity
B) the environment
C) learning
D) environment and heredity combined

25. Which is an example of the influence of nature?

A) having a mother who smoked during pregnancy
B) having the gene for epilepsy
C) eating a healthy diet
D) living in a loud neighborhood

26. The impact of any good or bad experience depends on _.

A) nature
B) nurture
C) nature and nurture
D) neither nature nor nurture

27. Even though Chris has genetic markers that put him at higher risk for a particular
disease, he never shows any signs of the disorder. What factor explains this?
A) genes
B) environment
C) epigenetics
D) rearing

Page 5
28. Brooke and her half-brother Colton were raised in an impoverished home, where they
were often left home alone while both parents worked more than one minimum-wage
job to support the family. Despite this upbringing, Brooke has developed into a happy,
healthy adult, while Colton has developed into a depressed alcoholic. Even though they
shared an upbringing, their different outcomes indicate that they had _.
A) epigenetics
B) differential susceptibility
C) different nurture
D) different environments

29. Even though Aaron eats well and exercises regularly, by age 70 he developed type 2
diabetes. Clement, on the other hand, eats fast food regularly and rarely exercises. At 70
years of age, his blood sugar levels remain in the normal range. What might account for
the differences in their outcomes?
A) differential susceptibility
B) cultural differences
C) sex differences
D) cohort differences

30. Differential susceptibility means that certain people have genes that .
A) make them more vulnerable to particular experiences
B) contribute similarly to a specific developmental outcome
C) do not impact development within the context of particular experiences
D) have an unknown impact on individuals

31. The tragic case of Brenda/David revealed that some sex differences are mainly a result
of _.
A) upbringing
B) culture
C) nurture
D) epigenetics

32. By the age of 1, most babies raised in English-speaking households have lost the ability
to distinguish the sounds of the two Ts in the Hindi language. This loss of ability that
accompanies increasing ability illustrates the concept that development is _.
A) multidirectional
B) multicontextual
C) multicultural
D) multidisciplinary

Page 6
33. The human fetus develops fingers and toes between 28 and 54 days after conception but
cannot develop fingers and toes before or after that time. This is an example of . A)
a sensitive period
B) a critical period
C) discontinuity
D) continuity

34. Which example clearly illustrates a critical period?

A) a child learning to walk
B) a child learning a second language before age 4
C) a fetus developing fingers and toes between 28 and 54 days in utero
D) a child learning to ride a bike between 5 and 6 years of age

35. Which example clearly illustrates a sensitive period?

A) a child being born blind
B) an egg being fertilized
C) a fetus developing fingers and toes
D) a child learning to speak a second language

36. Between 1957 and 1961, many pregnant women took thalidomide to alleviate morning
sickness; this drug disrupted a(n) period of prenatal development.
A) sensitive
B) critical
C) early
D) late

37. During her pregnancy, a woman in Honduras worked in a field that had been treated
with pesticides. When her son was born, she was horrified to find that he had no limbs.
Her pesticide exposure must have occurred during a(n) period of prenatal
development.
A) critical
B) early
C) late
D) sensitive

Page 7
38. Bobby was not taught to read until he was an adolescent. When he did learn to read, it
was much harder for him to learn, and it took him longer to learn to read than it would
have during his early- to middle-childhood years. Bobby had a hard time learning to
read because he did not learn to do so during the period.
A) critical
B) early
C) late
D) sensitive

39. Which developmentalist was the first to emphasize the role of context on development?
A) Vygotsky
B) Piaget
C) Bronfenbrenner
D) Skinner

40. Which term is associated with Urie Bronfenbrenner's ecological-systems approach?

A) mastosystems
B) microsystems
C) extrasystems
D) intrasystems

41. In Bronfenbrenner's ecological-systems approach, the refers to the interactions

among systems.
A) macrosystem
B) exosystem
C) microsystem
D) mesosystem

42. What term did Bronfenbrenner use to describe the impact of the specific time in history
on a person's development?
A) macrosystem
B) exosystem
C) microsystem
D) chronosystem

Page 8
43. Dorothy was born during the Great Depression. Within the context of the
ecological-systems approach, knowing this fact allows one to know about her .
A) chronosystem
B) exosystem
C) microsystem
D) macrosystem

44. Dwayne was born to a single mother living in Chicago. Within the context of the
ecological-systems approach, knowing this fact allows one to know something about his
_.
A) chronosystem
B) exosystem
C) microsystem
D) macrosystem

45. Dr. Kilbey is studying the impact of exosystems on human development. Which of these
would she be most interested in examining?
A) cultural values and economic processes
B) family and peer groups
C) medical centers and religious institutions
D) the development of the skeletal structure in children

46. The ecological-systems approach was proposed by _.

A) Maslow
B) Baltes and Baltes
C) Bronfenbrenner
D) Skinner

47. In Bronfenbrenner's ecological-systems model, a hospital in the community is an

example of which system?
A) the ecosystem
B) the microsystem
C) the health-care system
D) the exosystem

Page 9
48. In Bronfenbrenner's ecological-systems model, family and peers are part of a person's
_.
A) microsystem
B) exosystem
C) macrosystem
D) social system

49. A person's macrosystem includes _.

A) political processes
B) the peer group
C) school and church
D) historical setting

50. Within Bronfenbrenner's ecological-systems approach, he called the historical context

that affects other systems the _.
A) ecosystem
B) chronosystem
C) mesosystem
D) macrosystem

51. Bettie belongs to one cohort; Zahara belongs to another. The only required difference
between these two women is .
A) membership in community groups
B) socioeconomic status
C) age
D) ethnic or racial group

52. High school classmates are part of the same .

A) social construction
B) network
C) socioeconomic status
D) cohort

53. The people in which of the following groups can be defined as members of the same
cohort?
A) women who are pilots
B) men with learning disabilities
C) citizens of the United States
D) current middle school students

Page 10
54. Jamal, Wei, Liam, and Vladimir were all born and raised in England. Which statement
is true?
A) They could share the same ethnicity.
B) They come from different ethnic groups.
C) They could share the same culture.
D) They come from different cultures.

55. Jack observed his coworker Jane crying when she was called into the boss's office. Jack
thinks that crying at work is a sign of weakness that makes women unfit for
employment in his industry. Jack is displaying .
A) critical thinking
B) a social construction
C) work culture orientation
D) the difference-equals-deficit error

56. People whose ancestors were born in the same region and who usually share the same
language and religion are called a(n) _.
A) race
B) ethnic group
C) socioeconomic group
D) exosystem

57. According to the text, race is _.

A) part of the microsystem
B) a social construction
C) defined by heritage
D) multidirectional

58. Some social scientists believe that focusing on exaggerates minor differences
between people.
A) skin color
B) diversity
C) genetic analysis
D) culture

59. Social scientists are convinced, based on genetic analysis, that race is a(n) _ .
A) biological difference
B) culture
C) social construction
D) ethnicity

Page 11
60. The domain includes development of emotions, temperament, and social skills.
A) biosocial
B) cognitive
C) psychosocial
D) biopsychosocial

61. The domain includes all of the mental processes that a person uses to obtain
knowledge or to think about the environment.
A) biosocial
B) cognitive
C) psychosocial
D) biopsychosocial

62. The domain includes all of the growth and change that occur in a person's body
and the genetic, nutritional, and health factors that affect that growth and change.
A) biosocial
B) cognitive
C) psychosocial
D) biopsychosocial

63. Genes alone do not determine development. Human traits can be molded, which has led
to the understanding that many human characteristics are _.
A) plastic
B) epigenetic
C) static
D) diverse

64. Plasticity refers to the .

A) fact that many academic fields contribute data to the science of development
B) universals and specifics of human development in many cultural settings
C) vast array of contexts in which development occurs
D) potential for human traits to be molded during development but also to remain
durable

65. What is plasticity?

A) a time in development when it is optimum to develop certain traits or abilities
B) the amount of flexibility a human possesses at birth
C) the idea that human traits may change or stay the same over time
D) the idea that human traits are mostly inborn

Page 12
66. Which of these is an example of plasticity?
A) a man who consistently drives his car too fast
B) a teenager who spends a summer in Chile and learns to speak Spanish
C) a woman who leaves her job to stay home with her newborn
D) a person who is in a coma

67. The idea that human development is an ongoing, ever-changing interaction between the
body, mind, and every aspect of the environment is known as the _.
A) dynamic-systems approach
B) theory of evolution
C) concept of universality
D) domino effect

68. If a researcher watches 1-week-old babies and records how many times they open and
close their eyes while lying in their cribs, he is most likely using _.
A) the case-study method
B) a controlled experiment
C) cross-sectional research
D) scientific observation

69. Scientific observation allows for the _.

A) study of individuals' behaviors in a systematic and objective manner
B) determination of cause-and-effect relationships
C) precise control of the environment so that a cause-and-effect relationship can be
assessed
D) systematic manipulation of variables

70. Which statement about scientific observation is true?

A) It requires a large number of participants.
B) It requires specialized equipment such as video recorders.
C) It involves recording behavior systematically and objectively.
D) It must take place in a lab setting.

71. Which of the following is an example of naturalistic observation?

A) A 1-year-old is brought to a laboratory and observed while playing.
B) A researcher goes to a 1-year-old's home and observes the baby at play.
C) A researcher divides a group of 1-year-olds into an experimental group and a
control group.
D) The parents of 1-year-olds are interviewed about their baby's play patterns.

Page 13
72. Experiments allow researchers to _.
A) study the natural environment
B) study the complexity of an individual
C) use the scientific method in a cost-effective way
D) determine a cause-and-effect relationship

73. When a researcher wants to determine the cause of a particular behavior, the appropriate
research method to use is a(n) .
A) case study
B) scientific observation
C) experiment
D) survey

74. What is a dependent variable?

A) It is the measured variable that may change depending on manipulation of an
independent variable.
B) It is any unmeasured variable that is uncontrolled within the context of the
experiment.
C) It is the variable that is intentionally manipulated by the researcher.
D) It is an external variable that cannot be controlled by the researcher.

75. What is an independent variable?

A) It is the measured variable that may change depending on manipulation of an
independent variable.
B) It is any unmeasured variable that is uncontrolled within the context of the
experiment.
C) It is the variable that is intentionally manipulated by the researcher.
D) It is an external variable that cannot be controlled by the researcher.

76. What is the only research method that can establish a cause-and-effect relationship?
A) a case study
B) a survey
C) an experiment
D) scientific observation

Page 14
77. An example of a dependent variable in an experiment might be _.
A) gender
B) blood type
C) eye color
D) level of depression

78. In an experiment, the group of participants who receive the imposed treatment or special
condition is referred to as the group.
A) independent
B) dependent
C) experimental
D) comparison

79. To determine whether vitamin D consumption slows the progress of multiple sclerosis, a
researcher would most likely use _.
A) an experiment
B) a survey
C) naturalistic observation
D) the case-study method

80. is a quick way to study the development of a large group of people.

A) A case study
B) Survey research
C) A cohort-sequential study
D) Longitudinal research

81. Which of the following is a benefit of using the survey method in research?
A) It is the best way to gather completely accurate information.
B) It is simple to verify the accuracy of the responses.
C) The responses are very objective.
D) The results provide good information for understanding groups.

82. Because there is a boy who is a bully in Dr. Hirsh's 8-year-old son's class, he wonders
whether boys might be more likely to be bullies than girls. The best way for Dr. Hirsh to
answer this question would be to conduct .
A) a case study
B) survey research
C) a cohort-sequential study
D) longitudinal research

Page 15
83. Which of the following is one of the problems associated with survey research?
A) Data collection takes too long.
B) It costs more than other research methods.
C) Respondents may not tell the truth.
D) It is difficult to recruit participants.

84. Dr. Bloom wanted to learn whether ice cream preferences are different at different
stages of development. For her study, she conducted a one-time assessment in which she
asked a group of 5-year-olds, a group of 15-year-olds, and a group of 30-year-olds to
identify their favorite ice cream. Dr. Bloom conducted a _.
A) case study
B) cross-sectional study
C) longitudinal study
D) cross-sequential study

85. Dr. Breslin would like to determine whether age affects reaction time, and he needs to
find the answer quickly. Which research method would you recommend?
A) case study
B) cross-sectional study
C) longitudinal study
D) cross-sequential study

86. Which factor is a problem with longitudinal research?

A) the aging of the participants
B) finding new participants for each time measurement
C) changing historical context
D) participants failing to change their behavior despite repeated tests

87. Which type of research design combines the cross-sectional design with the longitudinal
research design?
A) cross-sequential
B) cross-sectional
C) meta-sequential
D) cross-longitudinal

Page 16
88. The Seattle Longitudinal Study began with several groups of people, ranging in age
from 25 to 81. Then the researchers retested each group every seven years. This study is
a good example of a design.
A) cross-sequential
B) cross-sectional
C) meta-sequential
D) cross-longitudinal

89. A correlation does not indicate that one variable causes the other to occur; rather, it
indicates that there is a between the two variables.
A) proof
B) validity C)
reliability D)
relationship

90. A negative correlation is when .

A) both variables decrease
B) both variables increase
C) one variable increases while the other variable decreases
D) change in one variable is unrelated to change in the other variable

91. A zero correlation is when .

A) one variable increases while the other decreases
B) both variables decrease
C) both variables increase
D) there is no connection between the variables

92. The more Hank eats, the less hungry he feels. The correlation between Hank's food
intake and his hunger is _.
A) positive
B) negative
C) zero
D) causal

93. If a researcher finds a positive correlation between school grades and school attendance,
one can conclude that .
A) high attendance and high grades occur together
B) high attendance causes high grades
C) high attendance rarely means high grades
D) high grades cause high attendance

Page 17
94. If a researcher finds that there is a correlation between secondhand smoke and children's
asthma, he can be certain that .
A) secondhand smoke causes children's asthma
B) secondhand smoke does not cause children's asthma
C) children exposed to smoke in utero often get asthma
D) asthma and secondhand smoke have some connection

95. Quantitative research relies on data that can be .

A) collected exclusively with surveys
B) categorized, ranked, or numbered
C) reported in professional journals
D) analyzed in narrative form

96. Data that is reported in numbers is known as .

A) qualitative
B) quantitative
C) narrative
D) categorical

97. Data that is reported in narrative form is known as .

A) qualitative
B) quantitative
C) numerical
D) categorical

98. Dr. Carlson interviewed a group of respondents, who replied in narrative form. Dr.
Carlson is collecting data.
A) quantitative
B) correlational
C) cross-sequential
D) qualitative

99. IRB stands for _.

A) Institutional Review Board
B) International Research Board
C) Internal Review Board
D) Intelligence Research Board

Page 18
100. Participants in a research study must understand and agree to the research procedures
and also be made aware of any potential risks associated with the research participation.
This process is known as _.
A) holding harmless
B) informed consent
C) release of liability
D) rite of research

Page 19
Answer Key
1. D
2. A
3. C
4. C
5. A
6. A
7. C
8. B
9. D
10. B
11. D
12. D
13. C
14. B
15. A
16. B
17. B
18. A
19. B
20. A
21. C
22. C
23. A
24. D
25. B
26. D
27. C
28. B
29. A
30. A
31. D
32. A
33. B
34. C
35. D
36. B
37. A
38. D
39. C
40. B
41. D
42. D
43. A
44. C

Page 20
45. C
46. C
47. D
48. A
49. A
50. B
51. C
52. D
53. D
54. C
55. D
56. B
57. B
58. A
59. C
60. C
61. B
62. A
63. A
64. D
65. C
66. B
67. A
68. D
69. A
70. C
71. B
72. D
73. C
74. A
75. C
76. C
77. D
78. C
79. A
80. B
81. D
82. B
83. C
84. B
85. B
86. C
87. A
88. A
89. D
90. C

Page 21
 91. D
92. B
93. A
94. D
95. B
96. B
97. A
98. D
99. A
100. B

Page 22
 1. The science of human development seeks to understand people—all kinds of
people, everywhere, of every age—change over time.

2. In order to minimize subjective opinions and personal biases when conducting research,
it is important to employ the method.

3. A hypothesis is a specific prediction that can be with empirical evidence.

4. Empirical evidence refers to _.

5. In scientific research, repeating a study with different participants is known as _.

6. The term that refers to the traits inherited at conception is .

7. Tim told his friend that he is tall because he inherited “tall” genes from his dad. Tim
was claiming that was responsible for his height.

8. refers to environmental influences on traits.

9. The combination of all environmental influences that affect a developing person is

called .

10. The science of the interaction between nature and nurture is known as .

11. A period of development is a time in which something must or must not occur to
ensure normal development.

12. A period of development is a time in which a particular development occurs

easily.

13. Thalidomide only caused birth defects if a pregnant woman ingested the drug during the
period of prenatal development.

Page 1
14. Tanner's friends do well in school, but Tanner has never really done well in school.
They decide to meet once a week to study, and soon Tanner is doing better in school.
Within the ecological-systems perspective, the influence of Tanner's friends on Tanner's
school performance comes from the _.

15. A(n) is a group of people born at about the same time that experience the same
historical events and cultural shifts.

16. A person's income and level of education is part of his or her status.

17. The system of shared ideas, beliefs, and patterns of behavior is known as _.

18. Two people from different cultures may value the need for achievement or success
differently because of the of each culture.

19. The human tendency to assume that people unlike us are inferior is called the
error.

20. People of a specific group share certain attributes such as national origin,
religion, and language.

21. Our text suggests that the word is a social construction that should be eliminated
from our scientific vocabulary.

22. Development is divided into three domains: biosocial, , and psychosocial.

23. Human traits can be molded, and yet people maintain a certain durability of identity.
This indicates that development is _.

24. The approach called refers to the idea that human development is an ongoing and
ever-changing interaction.

25. observation requires researchers to record behaviors systematically and

objectively.

Page 2
26. Dr. Clady counts how many times an infant kicks her legs when lying on her back in her
crib. Dr. Clady is using the method of _.

27. Researchers who want to establish that one variable causes another must use a research
design called a(n) _.

28. Differences between the experimental group and the group are examined in
experiments.

29. A(n) is a quick way to collect data from a large number of people.

30. Dr. Paul is curious whether a tendency toward aggression changes with age. He gathers
a group of 5-year-old children and administers a test to assess their aggressive
tendencies. He then retests the children when they are 10 years old and again when they
are 15 years old. This type of research is known as _.

31. Cross-sequential research can be thought of as a mix between a cross-sectional design

and a(n) design.

32. As children get older, they tend to sleep fewer hours. This relationship is an example of
a(n) correlation.

33. research data can be categorized, ranked, or numbered.

34. Research that asks open-ended questions is known as _.

35. The Institutional Review Board (IRB) determines whether a research project follows
certain guidelines.

Page 3
Answer Key
1. how and why
2. scientific
3. tested (evaluated) (examined)
4. data
5. replication
6. nature
7. nature
8. Nurture
9. nurture
10. epigenetics
11. critical
12. sensitive
13. critical
14. microsystem
15. cohort
16. socioeconomic
17. culture
18. norms (social constructions)
19. difference-equals-deficit
20. ethnic
21. race
22. cognitive
23. plastic
24. dynamic systems
25. Scientific
26. scientific observation
27. experiment
28. comparison (control)
29. survey
30. longitudinal
31. longitudinal
32. negative
33. Quantitative
34. qualitative
35. ethical (ethics)

Page 4
 1. List in order and explain each of the five basic steps of the scientific method.

2. Define nature and nurture and give an example of each. Also, describe the
nature–nurture debate.

3. Describe the perspective that most modern developmentalists take on the nature–nurture
debate. Provide an example of a research topic that illustrates this perspective.

4. Define a critical period and a sensitive period. Explain the difference between the two
periods, and give an example of each.

5. Explain Urie Bronfenbrenner's ecological-systems theory and describe his five systems.

6. Define cohort, explain its effects, and give an example of one.

7. Describe culture and explain why researchers who are interested in human development
study different cultures.

8. Define and discuss the term plasticity as it relates to human development. What factors
influence plasticity in development? Offer at least one example of plasticity that has
operated or is operating in your own life.

9. Name and define the three main research designs for studying age-related changes.
Explain the problems associated with each.

10. Imagine that you are interested in the relationship between age and reading ability for
children at 8 and 12 years old. Briefly define a cross-sectional research design and
summarize how you could test this relationship using that design.

11. Define correlation and give an example. Can one determine cause and effect from
correlations? Explain why or why not.

12. What practices must be built into a research study to protect participants?

Page 1
13. What are ethics and why are ethical standards so important to scientific research?

Page 2
Answer Key
1. Step 1: Begin with curiosity. Pose a question based on a theory, prior research, or
personal observation. Step 2: Develop a hypothesis, which is a specific research
question that can be tested through research. Step 3: Test the hypothesis. Design and
conduct research to gather empirical evidence (data). Step 4: Draw conclusions. Using
the evidence gathered in the research, conclude whether the hypothesis is supported or
refuted. Step 5: Report the results by sharing the data, conclusions, and alternative
explanations with other scientists.

Good (5 pts) Fair (3 pts) Weak (0-1 pts)

List steps of States the five steps in States three of the States fewer than thre
scientific method in order steps in order steps or does not stat
order the steps in order
Explain each step Describes the five Describes three steps Describes fewer than
steps three steps or does no
describe steps
accurately
2. Nature refers to the influence of genes on a person, and nurture refers to environmental
influences on a person. Environmental influences begin with the health and diet of the
embryo's mother and continue lifelong, including family, school, community, and
society. An example of nature would be having a gene that predisposes one to addiction.
An example of nurture would be having that gene but avoiding addictions as a result of
not being exposed to abuse or parental addictions. The debate concerns how much of
any person's characteristics, behaviors, or emotions is the result of genes and how much
is the result of the person's experiences.

Good (5 pts) Fair (3 pts) Weak (0-1 pts)

Define nature and Accurately defines Accurately defines Does not accurately
nurture both terms and gives one term and gives at define both terms or
an example of each least one accurate supply accurate
example examples
Describe the debate Accurately describes Accurately describes Does not accurately
both sides of the one side of the debate describe the debate
debate
3. Modern researchers have learned that neither nature alone nor nurture alone can provide
a complete way to understand development. Both nature and nurture matter, as both
genes and environment affect nearly every characteristic. The study of language
acquisition illustrates the perspective that nature and nurture interact. Babies start
speaking because of maturation of the brain, mouth, and vocal cords (nature). This
allows them to express connections between objects and words (nurture), which could
not occur unless people talked to them (nurture).

Good (5 pts) Fair (3 pts) Weak (0-1 pts)

Page 3
 State researchers' States modern Is vague about modern Incorrectly states
viewpoint researchers' stance that researchers' stance modern researchers'
both matter stance
Provide an example Gives an example Gives a vague Gives an incorrect
example example or doesn't
give an example
4. A critical period is a time when something must occur to ensure normal development,
and a sensitive period is a time when a specific developmental task occurs most easily.
An example of a critical period would be the fetus growing arms and legs and hands and
feet—this can occur only at a specific time in utero. Language development is an
example of a sensitive period. It occurs most easily at a young age but can occur at a
later age as well.

Good (5 pts) Fair (3 pts) Weak (0-1 pts)

Define and Defines both periods; Defines just one Fails to define both
differentiate differentiates between period or is vague periods or fails to
them about differentiation differentiate
Give examples Gives a correct example Gives a correct Does not give any
for each period example of either examples
period
5. Bronfenbrenner believed that each person is affected by his or her social context. Over
the course of his career, he identified five systems. The first is the microsystem (e.g.,
one's family and peer group), the second is the exosystem (school, clubs, and church),
and the third is the macrosystem (larger social setting, such as cultural values and
economic policies). The fourth system, called the chronosystem, is the role of historical
context, and the fifth system, the mesosystem, is the interaction that occurs between all
of the other systems.

Good (5 pts) Fair (3 pts) Weak (0-1 pts)

Explain Clearly states what the Gives a vague Is unable to describe
ecological-systems theory is explanation of the the theory
theory theory
Identify the systems Identifies the five Identifies three of the Identifies fewer than
systems and gives an systems or gives three of the systems o
example of examples for three of gives fewer than thre
microsystem, the systems examples
exosystem, and
macrosystem
6. A cohort is a group of people born within a few years of each other who move through
time together. Cohorts travel through life affected by the interaction of their
chronological age with the values, events, technologies, and culture of the era. Cohort
examples will vary but should show an understanding of a cohort; common examples
include the Greatest Generation (people who lived through the Great Depression and
World War II), the baby-boom generation (born between 1946 and 1964), Generation X
(born between 1965 and 1980), and the Millennials (Generation Y, born between 1980
and 2000).

Page 4
 Good (5 pts) Fair (3 pts) Weak (0-1 pts)
Explain cohort Correctly defines Defines cohort Does not define
cohort and explains its without explaining its cohort correctly
effects on members effects on members
Give an example Gives an example of a Gives a vague Gives an incorrect
cohort example of a cohort example or doesn't
give an example
7. Culture is a strong social construction, a concept created by a society. Such social
constructions affect how people think and act—what they value, praise, ignore, and
punish. Different cultures may view the same behavior or phenomenon as either an asset
or a deficit. Therefore, by studying different cultures, researchers can identify which
patterns are universal among humans and which occur only in certain cultures. This
provides insights into the effects of different environments.

Good (5 pts) Fair (3 pts) Weak (0-1 pts)

Describe culture Clearly describes Gives a definition of Does not define
culture culture without culture
describing it
Explain why Clearly explains why Is vague about why Does not explain wh
researchers study researchers study researchers study researchers study
different cultures different cultures different cultures different cultures
8. Plasticity is the molding of human traits while simultaneously maintaining some
durability of identity. The idea of plasticity is that human development is an ongoing,
ever-changing interaction between the body and the mind and between the individual
and every aspect of his or her environment. Influences that affect plasticity include
culture, upbringing, and genes. The example should relate to some aspect of growth in
one's life, such as how a high-functioning person on the autism spectrum can eventually
earn a college degree. (The autism remains [durability], but with school and other
societal interventions, the person can still achieve traditional milestones.)

Good (5 pts) Fair (3 pts) Weak (0-1 pts)

Define and discuss Defines and discusses Defines or discussesCannot define or
plasticity plasticity plasticity discuss plasticity
List factors that Lists three factors that Lists two factors that
Lists one or no factor
influence plasticity influence plasticity influence plasticitythat influence
plasticity
Give plasticity Gives an example of Gives a vague Does not give an
example plasticity example of plasticity example of plasticity
9. The three main research designs are cross-sectional, longitudinal, and cross-sequential.
In cross-sectional research, different groups of participants who are currently different
ages are recruited. In longitudinal research, one group of participants is tested multiple
times as they age. In cross-sequential research, the study begins as a cross-sectional
design and then the groups are retested multiple times, as in a longitudinal design.
Differences between groups in the cross-sectional method are attributed to age-related
changes, but they could be due to cohort effects. Longitudinal research is subject to

Page 5
 error as the participants may withdraw from the study before completing it, or they
might figure out what the study is about and change their behavior. The cross-sequential
design is least prone to error, but it is expensive and time-consuming.

Good (5 pts) Fair (3 pts) Weak (0-1 pts)

Name and define Correctly names and Names and defines Names and defines
three research defines the three main two designs one or no designs
designs research designs
Explain the problem Explains the problems Explains the problem Explains the problem
with each with each of the three with two designs with one or no design
research designs
10. A cross-sectional design compares groups of people of one age with at least one other
group of people of another age at a specific point in time. It is faster than a longitudinal
study because all of the data is immediately available. Ideally, the participants should be
matched at the same socioeconomic level.

To implement a cross-sectional design to test reading, first identify a group of children

aged 8 and another group aged 12. Second, evaluate each individual child's reading
ability. Finally, compare the children of different ages and look for differences in
reading ability.

Good (5 pts) Fair (3 pts) Weak (0-1 pts)

Define Describes Describes Gives a vague or
cross-sectional cross-sectional design cross-sectional design incorrect description
design and identifies that but doesn't elaborate of cross-sectional
participants should be about having similar design
of a similar socioeconomic status
socioeconomic status for participants
Summarize how to Identifies the three Identifies two parts of Identifies one part or
do the research parts of the research the research design cannot identify the
design research design
11. A correlation exists between two variables when one variable changes (increases or
decreases) as the other variable changes. Examples will vary but should illustrate this
concept, such as the number of people who drown increases as the number of ice cream
sales increases. It is impossible to determine cause and effect from correlations. Even
though correlations indicate a connection between two variables, they cannot determine
the reason for the connection since no other variables are controlled. In the example
above, people drowning and ice cream sales both increase during hot weather, so the
correlation is caused by neither variable.

Good (5 pts) Fair (3 pts) Weak (0-1 pts)

Define correlation Gives a strong Gives an adequate Gives inaccurate or n
definition for definition for definition of
correlation correlation correlation

Page 6
 Give an example of a Offers a good example Offers a vague or Offers an incorrect or
correlation of a correlation weak example of a no example of a
correlation correlation
Explain relationship States that causation Implies that causation States that causation
between causation cannot be determined can be determined can be determined
and correlation from a correlation from a correlation from a correlation
12. Researchers must ensure that people's participation is 1) voluntary, 2) confidential, and
3) harmless. They must obtain the informed consent of all participants. Informed
consent means that participants must understand and agree to the procedures after being
told of any risks involved. If children are involved, consent must be obtained from the
children as well as their parents. Participants must also be allowed to end their
participation at any time.

Good (5 pts) Fair (3 pts) Weak (0-1 pts)

Summarize States all three conditions; States two conditions; States one condition;
practices to describes informed explains informed fails to explain
protect consent and that consent or that informed consent
participants participants can end participants can end
participation participation
13. Ethics are a set of moral principles and specific practices that protect both participants
and the integrity of research. Ethical standards provide study participants with the
assurance of informed consent and knowing that their participation is voluntary,
confidential, and that they will not be harmed.

Ethics are also a vital part of the reporting process after the research has been
conducted. Reports of findings should be accurate, and the study should be able to be
replicated under the same conditions. Collaboration, replication, and transparency are
essential ethical safeguards for all scientists.

Good (5 pts) Fair (3 pts) Weak (0-1 pts)

Define ethics Defines ethics Defines ethics only as they Does not define ethic
apply to participants or the
reporting process
Explain the States several ways in Identifies only how ethics Does not explain wh
importance of which ethics protect are important for ethical standards are
ethics participants and how participants or their important
ethics protect findings importance on the reporting
and replication process and replication

Page 7
1. Science is needed in the study of human development because _.
A) nonempirically based opinions arise from research
B) people usually agree on how children should be raised
C) research provides data and facts that will enable people to fulfill their potential
D) the information we get from research is definitive

2. Which step of the scientific method involves making a specific prediction?

A) draw conclusions
B) test the hypothesis
C) pose a question
D) develop a hypothesis

3. Other names for the nature versus nurture debate include _.

A) learning versus experience
B) experience versus environment
C) heredity versus genetics
D) heredity versus environment

4. In the nature–nurture debate, most developmentalists believe that .

A) nature is more influential
B) nature and nurture combine to determine outcomes
C) nurture is more influential
D) nature and nurture are both unimportant when compared to genes and environment

5. People who came of age during the Great Depression all come from the same .
A) region
B) socioeconomic class
C) race
D) cohort

6. The difference-equals-deficit error causes us to assume that .

A) genetics make us who we are
B) people unlike us are inferior
C) the environment makes us who we are
D) what is considered normal is the same across cultures

Page 1
 7. According to social scientists, race is _.
A) part of the microsystem
B) a social construction
C) defined by heritage
D) multidirectional

8. The multidisciplinary approach .

A) emphasizes the biological factors in development
B) underestimates the role of cognition in development
C) considers the biological, psychological, and social influences in development
D) is unpopular in modern psychology

9. Human development is plastic, which means that traits .

A) are rigid and unchanging
B) can be molded, yet are durable
C) are flexible and never durable
D) are entirely dependent on experience

10. Which of the following is a characteristic of scientific observation?

A) It requires a large number of participants.
B) It requires specialized equipment such as video recorders.
C) It involves observing and recording behavior systematically.
D) It must take place in a lab setting.

11. The only research method that establishes a possible cause-and-effect relationship is
_.
A) a case study
B) a survey
C) an experiment
D) scientific observation

12. For which research method is the primary data source information gained from
interviews and questionnaires?
A) case study
B) survey
C) correlational
D) scientific observation

Page 2
13. Which of these research designs studies changes over time?
A) survey
B) cross-sequential
C) cross-durational
D) observational

14. What does it mean when a correlation exists between two variables?
A) There is a relationship between two variables.
B) Cause and effect have been established.
C) One variable caused the other to change.
D) A relationship between two variables was not established.

15. Which is unethical research behavior?

A) halting the study if potential harm is suspected
B) offering a modest incentive to participate
C) changing the data to support the hypothesis
D) reporting results to participants

Page 3
Answer Key
1. C
2. D
3. D
4. B
5. D
6. B
7. B
8. C
9. B
10. C
11. C
12. B
13. B
14. A
15. C

Page 4
Another random document with
no related content on Scribd:
composer’s works. For, far from being an imitator of Schumann’s
style, he appeared at once in his own strong personality and as a
stranger, who even in Leipsic was not understood. Yet he found
publishers for three pianoforte sonatas, a scherzo, a trio and several
songs. For years the interest in him was confined to a small circle. He
stayed for a while in Hanover, making from there several concert
tours with Joachim or Stockhausen, the great singer, another
devoted friend, visiting also Schumann in his retreat in the Endenich
hospital. In his variations on a theme from Schumann’s Op. 99, he
gave a touching expression to his sympathy with the master’s
sufferings. After the publication of these and the ballads Op. 10,
Brahms devoted several years to profound study. Schumann’s praise
had not spoiled him, nor was he discouraged by the lack of success.
For a few seasons he was the director of the orchestra and chorus in
Detmold, spending also some time in Hamburg and in travelling.
Meanwhile he finished many songs and choruses, two serenades for
orchestra, and two sextets. In Jan., 1859, he played in Leipsic his first
great pianoforte concerto; most of the criticisms thereon were,
however, such as to now excite our mirth. It was in Switzerland and
Vienna that his genius found a sincere recognition. About thirty
years ago the writer first saw Brahms in his Swiss home; at that time
he was of a rather delicate slim-looking figure, with a beardless face
of ideal expression. Since then he has changed in appearance, until
now he looks the very image of health, being stout and muscular, the
noble, manly face surrounded by a full gray beard. The writer well
remembers singing under his direction, watching him conduct
orchestra rehearsals, hearing him play alone or with orchestra,
listening to an after-dinner speech or private conversation, observing
him when attentively listening to other works, and seeing the modest
smile with which he accepted, or rather declined, expressions of
admiration.
The Alpine summits and glaciers had great attractions for Brahms,
but also the welcome which he was always sure to find in Basel and
Zürich. For his permanent home he selected Vienna, in 1862, where
he was surrounded by the spirits of the classic masters. He was
received most favorably. His interpretation of Bach, Beethoven,
Schubert and Schumann was particularly praised. He was appointed
chorus master of the Sing-Academie for a season, and prepared a
memorable performance of Bach’s Passion Music. Yet his genius
would not allow him to devote much time to such services, and once
only in later years he accepted a similar appointment, directing from
1872–1875 the concerts of the “Society of the Friends of Music.”
Aside from this all his time was devoted to composing, interrupted
only by frequent journeys to performances of his works, and by
giving valuable assistance in the revision of the works of Couperin,
Mozart and Chopin. During the first years of his residence in Vienna
he finished many important chamber works, variations, waltzes and
Hungarian dances for the pianoforte, and vocal compositions of
every kind. The first great success was won by the “German
Requiem,” begun after the death of his mother in 1866, and
completed, for the greater part, in Switzerland, in the two following
years. After the first famous performance in the Bremen Cathedral in
the spring of 1868, it was soon heard in other cities and was greatly
admired, although certain features were severely criticised. Other
works of high importance followed: the “Song of Destiny,” “Rinaldo,”
the “Rhapsody,” Op. 53, the “Song of Triumph” for the celebration of
the happy ending of the Franco-German war, besides many songs,
chamber works, and the charming Love-Song Waltzes. By all these
works Brahms rose gradually higher and higher in the general
estimation both at home and abroad. But he steadfastly avoided the
one field in the reform of which all musical interest seemed to centre,
—the opera. Perhaps the time will come when we may be fully
informed as to his relation to dramatic music and the reasons which
kept him away from the stage. Much might be guessed. But it is
needless to pay attention to mere rumors and suppositions. There
were other fields in which he was called upon to achieve great things.
Nothing shows better the greatness of Brahms’ artistic character
than the fact that, in spite of Schumann’s prophecy and many early
instrumental masterpieces, he waited with his first symphony until
he was a man of over forty years. Four great symphonies have
appeared between 1876 and 1885, preceded by orchestral variations
on a theme of Haydn; also, during the same time, two overtures, a
second pianoforte concerto, one for violin, two smaller choruses with
orchestra, chamber works, piano pieces and songs. Another great
choral composition, “Deutsche Fest-und Gedenksprüche,” a double
concerto for violin and violoncello, Gipsy songs and many other vocal
and chamber works complete the list of his more recent
compositions. And more great things may be expected from him. If
there is anything inspiring in the present aspect of musical art, it is
the fact that Johannes Brahms is still among us, physically and
mentally as strong as if perpetual youth were granted to him. Indeed,
the graces and heroes have not only kept watch at his cradle, but
guided him throughout his long career.

JOHANNES BRAHMS.

In early youth.

Those who have met him will never forget the impression of his
strong personality. Nor will those who saw him conduct or heard him
play ever enter into the superfluous discussion whether he was a
great leader of orchestra and chorus or a master of his instrument.
For in both directions he was not only equal to the most exacting
demands, but always appeared as if inspired, and inspiring
everybody who sang or played under him or listened to the genius of
his music. At the pianoforte and the conductor’s desk he is a king,
but socially he appears unaffected and easy, neither reticent nor
predominating in conversation, jolly and kind among friends and
children. He has never married. Many honors have been conferred
upon him: the degrees of Doctor of Music by the University of
Cambridge, England, in 1877, and of Doctor of Philosophy by the
Breslau University in 1879; also several orders and the membership
of many societies and institutes. Throughout the musical world his
music, especially his instrumental works, is now received with
enthusiasm, although still finding a strong opposition on the part of
many critics of either too conservative or too progressive tendencies.
Yet the time is not far distant when it will be generally granted a high
position in the history of our art.

Fac-simile autograph manuscript of Canon by Brahms. “An Album

Leaf.”
 Fac-simile autograph letter from Johannes Brahms to Karl
Klauser.

Three prominent characteristics of Brahms’ works command our

admiration. From the start he appeared as a strong individuality, and
notwithstanding a leaning towards Bach’s polyphonic art and
harmonic wealth, Beethoven’s virile pathos and ideality of purpose,
and Schubert’s melodic charm, he has spoken his own distinct
language. In every field of composition except the opera he has
contributed masterpieces which show that in each he has to-day no
superior, and in but few an equal. Throughout he impresses us by the
fact that to him art has always been something sacred, worthy of
highest effort and noblest purpose. In this respect one may well
compare him to Bach or Beethoven or Schiller, of whom Goethe so
beautifully said, that “far behind him lay that which conquers us all,
—vulgarity.” Whoever honestly strives for the sympathy of his genius
must be filled with a like earnest spirit, willing to be guided by his
subtle art into ideal regions full of higher joys than common musical
amusements afford.
The wealth of his melodic, rhythmic and harmonic invention is
truly astonishing; his combinations are so new and often intricate,
the thematic material so rich or peculiar, its development so
elaborate, that it is a commonly expressed opinion that his music has
to do more with the intellect than with imagination and feeling. The
truth is, that no modern composer has expressed deeper and more
fervent feelings, either jubilant or sad, than Brahms. His great
intellect only guides the wealth of emotion in order to find a well
balanced, wholly original and artistic construction for the creatures
of his rich imagination. And he is an eminently modern composer;
with all his so-called conservative tendencies there is hardly a page in
his works which could have been written at an earlier stage of
musical art. Familiar with all the subtleties of modern expression
and innovations of harmony, rhythm, and instrumentation, he has
himself introduced many new and bold features.
To speak in detail of the one hundred and fifteen published works
of Brahms would require a space far beyond the limits of this sketch.
Thus only a summary classification is possible. Looking first at the
instrumental compositions, one cannot praise Brahms too highly,
that in opposition to prevailing tendencies towards a neglect of cyclic
forms in favor of free, rhapsodic or programmatic fantasias, he has
cultivated the former with supreme devotion, enriching and
modifying them in many ways, but so that they still appear as worthy
representatives of their types.
The three pianoforte sonatas and the Scherzo Op. 4 reveal the
cardinal features of his later chamber and orchestral works: a most
excellent thematic material, consisting often of but a few notes,
awakening highest expectations; a rich, ingenious development,
always coherent and logical; a Beethovenish virility; distinct
contrasts and wonderful climaxes in the lively opening and closing
movements, usually beginning directly with the principal subject, the
working-out section being especially interesting and elaborate, the
coda often of rare charm; the slow movements of delicate or intense,
always noble feeling, in the form of variations or a long cantilena; the
scherzos on a large plan, in three-four or six-eight time, very spirited,
with a quieter trio preceding the finale, except in No. 3, where a short
intermezzo is interpolated. Everywhere we note an ample and
effective use of syncopations, a peculiar style of accompaniments,
bold modulations and rhythmic devices, occasionally even some
programmatic suggestions. Few masters have shown such originality
and maturity in their first works.
Of independent pianoforte variations there are sixteen on a
touching theme of Schumann, eleven on a beautiful original theme,
thirteen on a Hungarian theme (with a combination of three-four
and four-four time), twenty-five splendid variations on a short theme
of Handel ending with a great fugue, some very difficult variations on
a theme of Paganini, and—in a more romantic spirit—nine for four
hands on that peculiar theme which Schumann had received “from
the spirits of Schubert and Mendelssohn.” Some of these important
works have a suggestive and refined sentimental character, others
are virtuoso pieces of the highest order. As regards free conception of
the variation form and variety of construction and mood, Brahms
goes decidedly farther than Beethoven or Schumann. He seems
inexhaustible in this form, which he used later most ingeniously also
in chamber and orchestra works. The four poetic ballads Op. 10, the
capriccios and intermezzos Op. 76 and two Rhapsodies Op. 79 are
fine concert pieces of a freer but always coherent style, often very
difficult. More popular are the famous Hungarian dances
(fascinating settings of melodies, the authorship of which Brahms
has never claimed), which he has orchestrated and arranged for four
hands. His waltzes Op. 39, also for four hands, are short character-
pieces of a bright, graceful or passionate spirit, in certain features
recalling Schubert and Schumann, yet so original that they have been
much imitated by younger composers. Several piano works for
technical study (after Weber, Chopin and Bach), and fine
arrangements of most of his chamber works and orchestra serenades
and of a gavotte of Gluck may at least be mentioned. The difficulties
of his pianoforte style, so rich in polyphonic figuration, harmonic
and rhythmic combinations, syncopations, and wide stretches,
especially abound in the two seldom-played concertos. Yet, without
the highest appreciation and sympathetic devotion, the greatest
virtuosity would never be able to make their inner life clear.
Like a giant appears the early written D minor concerto. Quick
modulations, syncopations, chains of trills and a Beethovenish
importance of themes and development impress us mightily in the
passionate first movement, divine sweetness in the long adagio,
while the finale, with its fantasia-like cadenza, rises from a simple
mood to the acme of enthusiasm. The B flat concerto Op. 83 has even
four movements, the long and romantic opening allegro being
followed by an allegro appassionato of a superior scherzo character,
the delightful andante by a highly effective allegro grazioso as finale.
In spite of the elaborate development and the variety of contrasting
moods, the whole work retains a bright and inspiring character. In
both concertos the important and richly scored symphonic
accompaniment only raises the solo part to greater prominence.
A fugue and a choral prelude with fugue are Brahms’ only but
significant compositions for the organ.
The chamber works secure our master a place of honor beside the
greatest representatives of this high branch of composition; they
comprise three sonatas for violin and two for violoncello and
pianoforte, five pianoforte trios (one with horn and one with
clarinet), three string quartets, three pianoforte quartets, three string
quintets (one with clarinet), one pianoforte quintet and two string
sextets. In the older works one feels often the struggle of a great soul
with strong passions, longings, hopes and anxieties, joys and pains,
yet not lacking in sunshine and humor, while in the more recent
compositions a quieter, more contemplative spirit prevails. The
classic arrangement of four movements forms the rule, most of them
being very elaborate and extensive, rich in themes of importance and
beauty, the working out and coda showing Brahms’ genius in the
finest light, the treatment of the different instruments being
throughout masterly. The complicated development often prevents
an immediate enjoyment, but increases our desire for a closer
acquaintance; for this counterpoint goes always hand in hand with
true feeling. In the opening movements the first part is not always
repeated, and other novel features are introduced; the slow
movements in the form of variations or of a long developed cantilena
often lift us into high and unwonted regions; the scherzos are so full
of genius that one wonders why Brahms has not used this form in his
symphonies. The finales are of the highest order, seldom reached by
other modern composers. In the works with horn and clarinets these
much neglected instruments have received a wonderful treatment in
music of great beauty. Unusual and complicated rhythms appear
frequently, but treated in a surprisingly easy way. The details are
throughout deeply interesting, yet often strange, even the most
peaceful movements requiring closest attention. If one of all these
great works must be distinguished as the greatest, we would name
the pianoforte quintet in F minor, Op. 34. Yet the very latest work,
the clarinet quintet, shows the same freshness and originality of
invention, wonderful thematic net-work, variety of distinctly
expressed moods, and the finale displaying an unsurpassed skill in
variations.
The two orchestra serenades are real gems of spirited, delightful,
well constructed music, one being for complete orchestra, the other
for violas, ’celli, basses, reed instruments and horns. Besides the
lively first and last movements and adagios they contain each a
scherzo and one of them two minuets.
The theme for the nine orchestra variations Op. 56 is taken from
one of Haydn’s divertimenti for wind instruments. They crown
Brahms’ glorious achievements in the writing of variations; for, far
from being “mere algebraic experiments,” they are delightful and
ingenious tone pictures of distinct character and mood, with a nearer
or more remote relation to the principal theme. The composer has
thus initiated a new field of independent orchestral music, already
successfully followed by others. The instrumentation is prominently
interesting. It is generally admitted that Brahms is very conservative
compared with Wagner and Berlioz in the matter of instrumentation.
At least he never allows orchestral colors to divert our attention from
the higher, inner meaning of a work. Yet in this score and in all his
other works for or with orchestra, there are many features either of
wonderful brilliancy or peculiar colors, which as novelties are worth
studying. The finale, built upon a much repeated bass figure,
successively joined by the different groups of the orchestra with
other themes, reaches a beautiful climax in the pompous return of
the original melody.
 JOHANNES BRAHMS.

From an engraving by Weger, after a

photograph from life.

The four symphonies in C minor, D, F and E minor are justly

regarded as the most important orchestral works of our generation.
Much is still written against them, and not everybody is willing or
able to share the enthusiasm which their good performance arouses
among the majority of cultivated audiences. Yet nothing can shake
their high position among all symphonic works written since the
great master of the immortal Ninth has left this earth. They have
each a very individual character and, although in the main the old
form is retained, new features are to be found in almost every
movement. The first symphony opens with an impressive sostenuto
introduction, the others begin at once with the principal subject of
the allegro. Usually the first part of the latter is brought to a formal
close and repeated; only in the fourth symphony, so rich in thematic
material, no repetition occurs, but a very elaborate working out
prepares for the climax reached in the concentrated recapitulation.
Everywhere noble themes are finely contrasted, wonderfully
developed, wholly or in fragments, in the working out, so as to hold
the listener in breathless suspense. The allegros of the first and
second symphonies have particularly fine codas. The slow
movements are not very extensive and are easily enjoyed, their
quieter and lofty mood being but little disturbed. However, the
adagio in No. 2 is more complicated, has richer material, more
frequent changes of key and rhythm, a more elaborate figure work
and a peculiarly intimate spirit. A remarkable innovation is the
consequent substitution for a minuet or scherzo of a sort of
intermezzo, full of grace, sunshine and innocent playfulness, hardly
disturbed by more serious episodes. Most extended is this in No. 4, a
rondo with themes of an almost grotesque character, surprising
details in their development and a spirit of true Beethoven-like
humor. Yet those of the first three symphonies are of no less
importance, having two distinct parts, of which the second one
(contrary to the older trio) has a livelier character. Especially that of
No. 2 is one of the most delightful orchestral pieces of modern
literature. That Brahms is indeed a symphonist of the highest rank, is
particularly evident in his finales. That of No. 1 is conceived in the
grandest spirit, opened by a solemn introduction of overwhelming
beauty and impressiveness, the allegro based on themes of rare
inspiration, their wonderful development rising from climax to
climax like a great triumphal procession. Still the finale of No. 2 is
not less inspiring; even more brilliant, with its glorious themes, the
splendid instrumentation and exciting coda. In No. 3 the closing
movement has the unusual minor key, is less dithyrambic, yet not
lacking in life, a choral-like episode forming a fine contrast, and the
whole ending happily in a long, quiet coda in F major with a poetic
reminiscence of the principal subject of the opening movement. One
may justly regard the finale of No. 4 as a musical wonder, a new
experiment gloriously carried out. It has the shape of a passacaglia,
an old dance constructed upon a ground bass. The theme consists of
eight bars, each represented by a chord, and is treated in about thirty
variations of the most ingenious contrapuntal devices, greatly
contrasted, yet so coherently that it sounds like an uninterrupted
logical development, holding our interest keenly alive and increasing
our enjoyment till the splendid end is reached.
We have thus seen how many strong features Brahms has
introduced in the symphonic form, without departing from its classic
foundation; but it is still more important that as a genius of a
superior mind and noble soul he had the right material in himself to
fill this greatest form of instrumental music with an adequate and
original inner life, reflecting the highest spirit of modern German
civilization.
The characteristic feature of the Academic Festival Overture is the
successive introduction of several German student melodies, not in
the form of a potpourri, as it has been unjustly regarded, but as
themes developed with consummate art, expressing the inspiration
of a solemn festival, of loyalty to the fatherland, of merrymaking and
youthful exultation. Every page shows the hand of a superior master.
Still greater is the tragic overture, its spirit reflecting a heroic
struggle, gloom, solemnity, but also hope and comfort; its form being
particularly interesting by an ingenious combination of the working
out and recapitulation into a sort of free, yet coherent, wonderfully
constructed and deeply impressive fantasia.
How much we should like to speak in detail of the two concertos
for violin and for violin and ’cello! It would be a misnomer to call
them symphonies with obligato solo parts, notwithstanding the very
elaborate orchestral score, but more incorrect to compare them with
any virtuoso concertos. Enormous technical difficulties are to be
conquered in the service of high musical purposes. The arrangement
is after the classic model, in three movements. Of these the slow
movements with their melodic breadth are the more enjoyable, while
the extensive outer movements, with their rich development of
peculiarly fine and original themes, require repeated hearings to
reveal all their innate beauty and greatness. And these works, too,
belong to the future and can afford to await their time for a general
appreciation.
Brahms’ earlier chorus works are an Ave Maria for female chorus
and orchestra, a funeral chant with wind instruments, four female
choruses with harp and two horns, seven Marianan songs, a setting
of the 23d Psalm for female chorus and organ, several motets and
part songs for four, five or six voices, sacred songs, and twelve
romances for female chorus, partly with piano accompaniment. Now
and then we are reminded of the style of Palestrina or old German
folk-songs, then again of Bach’s polyphonic art with fugues, simple
and double canons, yet throughout of a new, peculiar mode of
expression, full of poetic sentiment. Among the works of later years
we mention two motets, which are praised as Brahms’ highest
achievements in polyphonic writing, seven songs for mixed voices,
and many arrangements of old German folk-songs.
The German Requiem is of such great importance, that without a
knowledge of it neither a full estimation of Brahms’ individual genius
nor of the significance of the latest epoch of music in general can be
obtained. Taking from the old Latin funeral mass only the name,
Brahms selected certain verses from the Bible, expressing not only
the sadness and terror of death and judgment, but also hope and
consolation,—even thankfulness and praise. His work, independent
of any church service and to be sung in a living language, contains in
each note music which came from the depth of a noble soul and was
written by a master of the highest and most complicated field of
vocal composition. Entirely free from conventionalities or dry
learning, each of the seven numbers gives completely what his genius
was able to accomplish. It is indeed the great funeral chant of
modern music, at least for Germans and Protestants. Choruses I.,
IV., V. and VII. have a quiet character, finely expressing the milder
feelings above mentioned, yet with all their seeming simplicity
showing a consummate art in the details of their construction, No. V.
being mainly given to a difficult soprano solo. No. II. (“Behold all
flesh is as the grass”) is a peculiar funeral march in three-four time,
the chorus singing partly in unison to strange and impressive
orchestral music; after a touching animato (“Be patient unto the
coming of Christ”) the principal melody is repeated, followed by a
long fugue (“The redeemed of the Lord shall return again”). No. III.
opens with a baritone solo, lamenting the frailty of life, soon joined
by the chorus, rising to a climax expressive of hope. Then follows
that famous fugue, in an astonishingly rich polyphonic treatment,
moving over an uninterrupted, much criticised pedal point on D to
emphasize the words, that “the righteous souls are in the hand of
God.” No. VI. is regarded as the culmination of the work. After the
chorus’ lament that “Here on earth we have no continuing place,”
comfort is brought by the baritone voice unfolding the mystery of the
resurrection. The chorus repeat this and burst out in an ecstatic
vivace, “The trumpet shall sound, the dead shall be raised!...” “...
Grave, where is thy victory, death, where is thy sting?” In wonderful
modulations climax after climax is reached; finally in glorious C
major a double fugue is added, a hymn of praise to “the Lord of
honor and might,” whose proportion, art and impressiveness alone
suffice to make Brahms a compeer of the greatest masters of
polyphonic music. Throughout, chorus, orchestra and soloists have
to overcome the greatest difficulties, but seldom are their efforts
directed to more ideal purposes.

JOHANNES BRAHMS.

From a photograph from life by Fr.

Luckhardt, Vienna.

For the “Song of Triumph” Brahms selected some mysterious

verses from the Apocalypse. Of the three large numbers for double
chorus, orchestra and organ, some portions have been called direct
imitations of Handel; yet even there one finds enough of Brahms’
individuality and throughout an intense heartiness and directness of
feeling. In singing this music, one is overwhelmed by its grandeur.
The second number, more purely Brahms’, is of particular beauty,
the chorus “Let us rejoice” being joined by a cantus firmus of the
wood instruments on the choral “Now, thank ye all the Lord!” In No.
III., opened by a baritone solo, an enthusiasm is reached in the
Hallelujah surpassing any jubilant chorus music written since the
Ninth Symphony.
The “Deutsche Fest-und Gedenksprüche” have a uniform patriotic
purpose. There are again three large and most difficult numbers for
double chorus, without solo or accompaniment. No. I. refers to the
battle of Leipsic in 1813 and the regained liberty from the Napoleonic
bondage (“Our fathers hoped in thee, thou helpedst them,” etc.), and
has an imposing character of resolution and vigor. No. II., referring
to the collapse of the French in 1870, illustrates in lively contrasting
colors “a palace guarded by one strongly armed and remaining in
peace” and “an empire that falls in discord and becomes waste.” No.
III. praises the splendor of the new united empire, but warns its
people “to beware and guard thy soul well, that it shall never forget
the story which thine eyes have seen.” A deeply religious spirit also
pervades this great and but little known work.
The Rhapsody for alto solo, male chorus and orchestra treats a
portion of Goethe’s “Journey through the Hartz in Winter.” Once in
1777 the poet left a hunting party to pay an incognito visit to a young
admirer of his genius, who was in a Wertherish despondent
condition of mind. The impression received by this adventure gave
rise to one of his deepest yet somewhat mysterious poems, which
inspired Brahms to one of his greatest works. The opening orchestral
sounds touch our inmost heart; sighs and the anguish of a trembling
soul is their spirit; then the solo voice in tones of intense feeling asks
for comfort for one “who from the fullness of love drank hate of man
and in loneliness devours all that hath worth in him.” A peculiar
combination of three-two and six-four time illustrates finely this
anguish and restlessness. Gradually the music becomes more quiet,
till with a harp-like accompaniment, chorus and soloist sing a hymn
of indescribable beauty and loftiness, imploring “the all-loving
Father to enlighten the heart of the unfortunate, if but one tone from
his psalter can reach His ears.” The solo part requires a truly inspired
musician, whose voice is the instrument of his soul. The short chorus
is also a difficult task. Many times has the writer heard this heavenly
work, but never without its repetition being demanded and given.
Yet how little known it is in this country!
An extensive work for male chorus with tenor solo and orchestra is
the cantata “Rinaldo,” the text being again from Goethe. It deals with
a romantic story from Tasso’s “Jerusalem Delivered,” has partly a
solemn, partly a lively dramatic character and breathes the
refreshing air of the sea. The more or less extensive and elaborate
choruses are very different from the conventional style, the solo part
is unusually difficult and so exacting that an adequate performance is
seldom secured.
In three works Brahms has illustrated the relentlessness of Fate,
selecting poems of almost Greek grandeur and beauty. Hölderlin’s
“Song of Destiny” contrasts the blessed abode of the divine spirits
with the fate of the “restless, grief-laden mortals, who blindly wander
from one sad hour to another.” Schiller’s “Nänie” mourns “that even
the Beautiful fades and the Highest must die,” and “The Song of the
Fates,” from Goethe’s “Iphigenia,” warns the human race “to fear the
gods, doubly those whom they have exalted, for they turn from entire
races the light of their eyes.” The last work is for six, the others for
four chorus voices. Everywhere the orchestra is important, rich in
weird, characteristic effects. Bold modulations and rhythmic
combinations always in keeping with the composer’s high conception
of the poetry affect deeply ear and heart. Who but Brahms could have
found music so worthy of such profound poetical subjects! In the
“Song of Destiny” he even surpasses the poet by repeating at the end
the wonderful orchestral introduction indicating hope for our own
final attainment of the abode of the blessed spirits. The “Nänie” is
dedicated to the mother of the lamented painter Feuerbach, who had
been a true art companion of Brahms. Only a careful, sympathetic
rendering will reveal the beauty of this work. In the “Song of the
Fates” there is a movement of a quiet, melodious character, which
many critics have declared to be entirely contrary to the meaning of
the text. To us it seems more like a well justified, touching expression
of pious submission, wonderfully calming our excitement for the
mysterious ending with its harmonies and orchestral sounds never
heard before.
Brighter is the character of some works belonging to a field which
Schumann had specially cultivated, yet where Brahms shows again
such originality that he has been much imitated. His delightful vocal
quartets with piano accompaniment, graceful and bright or deep and
gloomy, charm greatly by their artistic construction, beauty of
thought, feeling and sound and peculiarity of colors. Still more
famous are the two collections of Love-Song Waltzes for voices and
piano for four hands, resembling the sparkling pianoforte waltzes
Op. 39, most varying in shape and mood, the words being mainly
from Daumer’s “Polydora,” those of the fine, quiet closing movement
in nine-four time being selected from Goethe. The eleven Gipsy
Songs Op. 102 are also meeting with an enthusiastic reception,
Hungarian spirit and rhythm giving them a peculiar color, the moods
being either humorous or passionate, melancholy or exuberant,
quartets alternating with solos, the accompaniment being as
elaborate as it is effective.
Of the twenty highly remarkable duets some have, in spite of many
harmonic and rhythmic finesses, quite a plain character, while others
are very elaborate, the voices either joining or alternating. As
particularly typical we mention “The Seas,” “The Nun and the
Knight,” “The Sisters,” “The Messengers of Love,” “Edward,” and
“Let us wander.”
Finally we have reached the field in which Brahms has been
especially fertile and original, his “Lieder.” To speak of them only in
a general way is difficult indeed. Thirty-one of the published 115
works contain nearly 200 songs. Throughout his whole career
Brahms has been writing songs; there was in his soul a lyric element,
kindled again and again by the beauty of feeling, thought and diction
of the great German poets, and he found a style of song-writing so
independent, that in spite of some more or less striking exceptions
one can hardly trace his relation to Schubert, Schumann and Franz.
He is their equal as regards wealth of invention, noble conception of
the text, finishing of details. Yet in treatment of the voice, relation
between vocal and instrumental part, and construction of the latter
he opens a new path. In the selection of poems he shows eminent
knowledge and taste. Many half-forgotten poems of a superior order
he has awakened to fresh life; others, which on account of their
peculiar metre or meaning have been avoided, have found in him an
unexpectedly effective interpreter. However, it seems to us as if the
poems often suffer transformation. They have inspired the composer
with certain tone-pictures, which in turn impose upon them very
distinctly the spirit of his own strong individuality. This individuality
is by no means always deep and heavy, for smiles and dancing are no
strangers to it. Often the melodies are as plain as folk-songs, but
always of great nobility. With a few notes the composer reaches our
hearts and lifts us at once into a higher region. Other melodies again
are as elaborate as a dramatic scene. The accompaniment,
inexhaustible in forms, yet never conventional, simple or with great
harmonic wealth and peculiar figuration, rivals the singer in
expressing the moods of the poem. Of the so-called folk-songs (old
German, Swiss, Bohemian, Scotch, Italian, etc.) some are treated
most artistically, others with a touching simplicity. Very few poems
composed by other masters are found among his list, and the favorite
poets Heine, Eichendorff, Chamisso are almost avoided. A
remarkable exception is the separately published “Moon-night,” very
different from Schumann’s jewel song, yet not inferior. Goethe,
Hölty, Platen, Tieck, Schenkendorf, Groth and Möricke are fully
represented, often by poems of an antique spirit and form. Keller,
Daumer, Heyse, Schack, Herder and many others inspired Brahms
too, and it is noteworthy that he had no music for meaningless
trivialities. The majority of these songs are devoted to love in all
possible phases and moods, often wonderfully reflected in scenes of
nature. There is perhaps more of twilight and autumn than of
sunshine and spring, but exultant and happy moods are well
represented,—also flowers, birds, woods, oceans and storms and the
stillness of the fields,—but all these more in a symbolic than realistic
conception and with a wonderful coloring of the prevailing mood.
The sweet little “Cradle song,” “Erinnerung,” “Minnelied,” “Wie bist
du, meine Königin?” “Meine Liebe ist grün,” “Von ewiger Liebe,”
“Ruhe, Süssliebchen,” “Mainacht,” “Vergebliches Ständchen” are
only a few familiar jewels among the rich collection; how many more
deserve the same sympathy and study from singers with noble
artistic ambitions! Special mention is due to the two fine songs for
alto with viola obligato Op. 91 and to the fifteen romances from
Tieck’s half-forgotten fairy tale “Die schöne Magelone,” which have a
most elaborate form and an intensely emotional character. Nowhere
indeed can one get a better estimate of Brahms’ high significance as a
song writer than here, where the poet appears like a dwarf in the
light of the composer’s higher genius.
 Greatness indeed remains Brahms’ characteristic feature,
wherever we look at him or at his works; greatness in ideas, purposes
and powers; greatness in self-criticism and faithfulness to the dignity
of his art; greatness in the devotion to past masters and
independence of contemporary influences; greatness in the sincerity
and simplicity of his manners and relation to the outer world. Never
appearing as a revolutionary spirit, yet he has himself introduced
many strong innovations in various fields, and for a long time his
works will not only afford profound enjoyment to earnest lovers of
our art, but be a source of the most valuable studies for those to
whom its further development will be entrusted. Long has he been
ignored, patiently has he waited, till the world has come to him to
respect in him the noblest musical genius of our time.

Louis Keeserborn
 CARL GOLDMARK

Reproduction of a photograph from life,

made by J. Löwy in Vienna.