Music An Appreciation 12th Edition Kamien Test Bank instant download all chapter

Music An Appreciation 12th Edition
Kamien Test Bank

Go to download the full and correct content document:
https://testbankdeal.com/product/music-an-appreciation-12th-edition-kamien-test-ban
k/
More products digital (pdf, epub, mobi) instant
download maybe you interests ...
Music An Appreciation 11th Edition Kamien Test Bank
https://testbankdeal.com/product/music-an-appreciation-11th-
edition-kamien-test-bank/
Music An Appreciation 11th Edition Kamien Solutions

Manual
https://testbankdeal.com/product/music-an-appreciation-11th-
edition-kamien-solutions-manual/
Music An Appreciation Brief 8th Edition Roger Kamien

Test Bank
https://testbankdeal.com/product/music-an-appreciation-brief-8th-
edition-roger-kamien-test-bank/
Music An Appreciation Brief 8th Edition Roger Kamien

Solutions Manual
https://testbankdeal.com/product/music-an-appreciation-brief-8th-
edition-roger-kamien-solutions-manual/
Enjoyment of Music 12th Edition Forney Solutions Manual
https://testbankdeal.com/product/enjoyment-of-music-12th-edition-
forney-solutions-manual/
McKnights Physical Geography A Landscape Appreciation

12th Edition Hess Test Bank
https://testbankdeal.com/product/mcknights-physical-geography-a-
landscape-appreciation-12th-edition-hess-test-bank/
McKnights Physical Geography A Landscape Appreciation

12th Edition Hess Solutions Manual
https://testbankdeal.com/product/mcknights-physical-geography-a-
landscape-appreciation-12th-edition-hess-solutions-manual/
Experience Music 4th Edition Charlton Test Bank
https://testbankdeal.com/product/experience-music-4th-edition-
charlton-test-bank/
Microbiology An Introduction 12th Edition Tortora Test

Bank
https://testbankdeal.com/product/microbiology-an-
introduction-12th-edition-tortora-test-bank/
Part V
The Classical Period
1. Classicism, as a stylistic period in Western music, roughly encompassed the years ______.
A. 1450-1600
B. 1600-1750
C. 1750-1820
D. 1820-1900
Accessibility: Keyboard Navigation
Bloom's: Remember
Learning Objective: Summarize European culture in the classical era
Topic: Classicism
Feedback: The Classical period lasted from 1750-1820.
2. The preclassical period roughly encompassed the years ______.

A. 1600-1750
B. 1730-1770
C. 1770-1820
D. 1820-1900
Bloom's: Remember
Topic: Classicism
Feedback: In music history, the transition from the baroque style to the full flowering of the classical is called the preclassical
period; it extends from roughly 1730 to 1770.
3. The fully developed classical style in music flourished during the period ______.
A. 1600-1750
B. 1730-1770
C. 1770-1820
D. 1820-1900
Bloom's: Remember
Topic: Classicism
Feedback: The fully developed classical style in music flourished from about 1770 to 1820.
4. Which of the following statements is not true of the classical period?

A. Philosophers and writers in the classical period believed that custom and tradition, rather than reason, were the best guides to
human conduct.
B. During the early eighteenth century, the heavy, monumental baroque style gave way to the more intimate rococo style, with its
light colors, curved lines, and graceful ornaments.
C. By the late eighteenth century, the rococo style had been superseded by the neoclassical style, which attempted to recapture
the "noble simplicity and calm grandeur" of ancient Greek and Roman art.
D. Philosophers and writers in the classical period saw their time as a great turning point in history and called it the "age of
enlightenment."
Bloom's: Understand
Topic: Classicism
Feedback: Philosophers and writers—especially Voltaire (1694–1778) and Denis Diderot (1713–1784)—saw their time as a
turning point in history and referred to it as the “age of enlightenment.” They believed in progress, holding that reason, not
custom or tradition, was the best guide for human conduct.
5. Carl Philipp Emanuel Bach and _____ were two of the more important preclassical composers.
A. Jean Honoré Fragonard
B. Johann Christian Bach
5-1
Copyright © 2017 McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent
of McGraw-Hill Education.
C. Johann Sebastian Bach
D. Joseph Haydn
Bloom's: Remember
Learning Objective: Know the important trends in European music from 1750 to 1820
Topic: Classical music
Feedback: Among the important pioneers in this new style were Carl Philipp Emanuel and Johann Christian, both sons of Johann
Sebastian Bach.
6. Which of the following composers is not considered a master of the classical period?
A. Johann Christian Bach
B. Ludwig van Beethoven
C. Wolfgang A. Mozart
D. Joseph Haydn
Bloom's: Remember
Feedback: Although Johann Christian Bach was an important early pioneer of the classical style, he is not considered a master of
the period.
7. Which of the following statements is not true?

A. In the classical period, composers were influenced by folk and popular music.
B. While a late baroque musical composition may convey a single emotion, a classical composition will fluctuate in mood.
C. Composers in the classical period continued to use terraced dynamics in their compositions.
D. The basso continuo was gradually abandoned during the classical period.
Bloom's: Understand
Topic: Dynamics
Feedback: Classical composers’ interest in expressing shades of emotion led to the widespread use of gradual dynamic change—
crescendo and decrescendo. These composers did not restrict themselves to the terraced dynamics (abrupt shifts from loud to
soft) characteristic of baroque music.
8. Which of the following characteristics is not typical of the music of the classical period?
A. Classical melodies are tuneful and easy to remember.
B. Classical compositions fluctuate in mood.
C. A classical composition has a wealth of rhythmic patterns.
D. Classical music is basically polyphonic.
Bloom's: Understand
Topic: Texture
Feedback: Music in the classical period generally avoided dense polyphony, favoring homophonic textures.
9. Which of the following statements is not true of the music of the classical period?
A. Classical composers stressed balance and clarity of structure.
B. The standard orchestra, comprised of four sections, evolved during the classical period.
C. The basso continuo was the nucleus of the instrumental ensemble.
D. Classical melodies are among the most tuneful and easy to remember.
Bloom's: Understand
Feedback: The basso continuo was a characteristic feature of baroque music and was eventually abandoned by classical
composers.
10. What did the typical orchestra of the classical period consist of?
5-2
A. A loose ensemble of available instruments
B. Strings, woodwinds, horns, trumpets, and timpani
C. Strings with harpsichord continuo
D. Woodwinds, trombones, drums, and strings
Bloom's: Remember
Learning Objective: List the instruments of the orchestra in the classical era
Feedback: A typical orchestra in the classical period might consist of:

Strings: 1st violins, 2nd violins, violas, cellos, double basses
Woodwinds: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons
Brass: 2 French horns, 2 trumpets
Percussion: 2 timpani
11. Which of the following instruments were not normally included in the classical orchestra?
A. Horns
B. Trombones
C. Timpani
D. Trumpets
Bloom's: Remember
Learning Objective: List the instruments of the orchestra in the classical era
Topic: Instrument families
Feedback: Trombones were used by Haydn and Mozart, but only in opera and church music, not in solely instrumental works.
There use became more common later, in Romantic-era music.
12. What is a symphony?

A. A sonata for orchestra
B. A work for solo instrument
C. A work for chorus and orchestra
D. A work for piano solo
Bloom's: Remember
Learning Objective: Describe the major forms of instrumental music in the classical era
Topic: Symphony
Feedback: Recall that the term sonata originally described a composition in several movements for one to eight instruments. In
the classical period, the amount of instruments grew into a larger orchestra, and the sonata became a symphony.
13. What was social mobility like during the classical period?
A. A limited sociological factor
B. Ruthlessly stamped out by the aristocracy
C. Promoted and encouraged by the church
D. An important factor in the rise of the middle class
Bloom's: Remember
Feedback: As the eighteenth century advanced, more people made more money, increasing social mobility. Merchants, doctors,
and government officials could afford larger homes, finer clothes, and better food, giving rise to a prospering middle class. In
fact, during the classical period, the middle class had a great influence on music.
14. Political and economic power shifted to the middle class from the aristocracy and the ______.
A. church
B. military
C. colonial powers
D. military-industrial complex
Bloom's: Remember
5-3
Feedback: With the rise of a prosperous middle class, the aristocracy, nobility, and the church lost some of their influence in
people's lives.
15. In the classical period, serious composition was flavored by ______.

A. folk and popular music
B. heroic and mythological plots
C. elaborately ornamented improvisational melodies
D. All answers are correct.
Bloom's: Understand
Feedback: In the classical period, serious composition was flavored by folk and popular music. The classical masters sometimes
used familiar tunes as themes for symphonies and variations.
16. The prospering middle class in the classical period sought aristocratic luxuries such as ______.
A. theater
B. literature
C. music
Bloom's: Remember
Feedback: The prospering middle class sought aristocratic luxuries like theater, literature, and music.
17. Public concerts presented by the Concert des Amateurs in Paris in the 1770s were conducted by ______.
A. Ludwig van Beethoven
B. Joseph Haydn
C. the Chevalier de Saint-Georges
D. Johann Christian Bach
Bloom's: Remember
Feedback: In Paris, a concert organization called the Concert des Amateurs assembled a large orchestra, conducted during the
1770s by the Chevalier de Saint-Georges (1739–1799), a black composer and violinist.

A. Political and economic power shifted during the classical period from the middle class to the aristocracy and the church.
B. Joseph Haydn's contract of employment shows that he was considered a skilled servant, like a gardener or gamekeeper.
C. Townspeople organized public concerts where, for the price of admission, they could hear the latest symphonies and
concertos.
D. Comic operas in the classical period treated middle-class subjects, had folklike tunes, and sometimes even ridiculed the
aristocracy.
Bloom's: Understand
Feedback: In the classical era, political and economic power shifted away from the aristocracy and the church and towards the
middle class.
19. Joseph Haydn was content to spend most of his life as what?
A. An independently wealthy composer
B. A professional free-lance musician
C. An employee of a wealthy aristocratic family
5-4
D. A church musician and organist
Bloom's: Remember
Learning Objective: Recall the biography of Franz Joseph Haydn
Topic: Franz Joseph Haydn
Feedback: For almost thirty years, starting when he was twenty-nine, Haydn entered the service of the Esterházys, the richest and
most powerful of the Hungarian noble families.
20. Haydn's contract of employment shows that he was considered ______.

A. a skilled servant
B. a freelance musician
C. a visiting guest composer
D. an equal by his employer
Bloom's: Remember
Feedback: As a highly skilled servant, Haydn was to compose all the music requested by his patron, conduct the orchestra, coach
singers, and oversee the instruments and the music library.
21. Vienna, when Haydn, Mozart, and Beethoven were active, ______.
A. was the fourth-largest city in Europe
B. was the seat of the Holy Roman Empire
C. had a population of almost 250,000
Bloom's: Remember
Learning Objective: Evaluate the importance of Vienna in the musical life of the classical era
Topic: Ludwig van Beethoven
Topic: Wolfgang Amadeus Mozart
Feedback: During the classical era, Vienna was a nexus of artistic, intellectual, and political life. As the seat of the Holy Roman
Empire, it was a bustling cultural and commercial center with a cosmopolitan character. Its population of almost 250,000 (in
1800) made Vienna the fourth largest city in Europe.
22. Composers in the classical period took middle-class tastes into account by doing what?
A. Flavoring their serious compositions with folk and popular music
B. Writing comic operas that sometimes ridiculed the aristocracy
C. Writing dance music for public balls
Bloom's: Understand
Feedback: Composers in the classical period took middle-class tastes into account, writing pieces that were easy for amateur
musicians to play and understand. They turned from serious to comic opera and incorporated folk melodies and dance rhythms
into their serious works. Often, they would hold performances of their works in public halls and theaters.
23. In the classical period, comic operas sometimes ______.

A. were based on the Old Testament
B. ridiculed the aristocracy
C. were in Latin
Bloom's: Remember
5-5
Feedback: Comic operas of the classical period appealed to middle-class subjects and used folklike tunes, sometimes even
ridiculing the aristocracy. They rarely included religious subjects and most of the operas were written in either French, Italian, or
German.
24. In Vienna, Haydn and Mozart ______.

A. avoided each other
B. became close friends
C. were jealous of each other
D. never met
Bloom's: Remember
Learning Objective: Evaluate the importance of Vienna in the musical life of the classical era
Feedback: In Vienna, Haydn and Mozart became close friends and influenced each other’s musical style.
25. Sonata form is used frequently as the form for the ________ movement of a multimovement work.
A. first
B. slow
C. final fast
Bloom's: Remember
Learning Objective: Know the structure of sonata (sonata-allegro) form
Topic: Sonata form
Feedback: The sonata form is flexible and can be used for the first (usually allegro), slow second, or final fast movements of a
multimovement work. It is not generally used for the third movement, which is usually based on a dance.
26. Which of the following is not part of a sonata form movement?

A. Recapitulation
B. Exposition
C. Development
D. Rondo
Bloom's: Remember
Topic: Sonata form
Feedback: Rondo is its own form, featuring a tuneful main theme (A) which returns several times in alternation with other
themes. It is not a part of sonata form.
27. Sonata form consists of three main sections: exposition, development, and ______.
A. introduction
B. recapitulation
C. motives
D. transition
Bloom's: Remember
Topic: Sonata form
Feedback: A sonata-form movement consists of three main sections: the exposition, where the themes are presented; the
development, where themes are treated in new ways; and the recapitulation, where the themes return.
28. In the exposition of a sonata-form movement, what happens?

A. The closing theme is in the tonic key.
B. A new theme is always presented in the bridge.
C. The second theme is in a new key.
D. A new meter enters with the second theme.
5-6
Bloom's: Remember
Topic: Sonata form
Feedback: In the exposition section of a sonata form, the first theme is presented in the tonic (home) key, the bridge contains
modulation from the home key to new key, leading into a second theme in the new key . The closing section is in the key of the
second theme.
29. In the recapitulation of a sonata-form movement, what happens?

A. The closing section is in the tonic key.
B. A new theme is presented in the bridge.
C. The second theme is in a new key.
D. There is no second theme.
Bloom's: Remember
Topic: Sonata form
Feedback: In the recapitulation section of a sonata form, the closing section returns to the tonic key, giving the entire form a
sense of balance and symmetry.
30. At the end of a classical exposition there usually is a ______.

A. new tempo indication
B. new time signature
C. repeat sign
D. coda sign
Bloom's: Remember
Topic: Sonata form
Feedback: At the end of a classical exposition there is usually a repeat sign to indicate that the whole exposition is to be played
again.

A. The development section of a sonata form almost always takes the main thematic material through several different keys.
B. The second theme returns in the recapitulation of a sonata form movement in an exact repetition of its statement in the
exposition.
C. The coda of a sonata form movement rounds off the movement by repeating themes or developing them further.
D. A fast movement in sonata form is sometimes preceded by a slow introduction that creates a strong feeling of expectancy.
Bloom's: Understand
Topic: Sonata form
Feedback: In the recapitulation, the first theme, bridge, second theme, and concluding section are presented more or less as they
were in the exposition, with one crucial difference: all the principal material is now in the tonic key. In the exposition, the second
them is presented in a new key.
32. A transitional passage that leads to a contrasting section is called a ______.

A. coda
B. theme
C. bridge
D. motive
Bloom's: Remember
Topic: Sonata form
Feedback: A bridge, or transition, leads to new, contrasting material, usually in the form of a second theme.
33. A modulation from the home key to a new key in the exposition of a sonata form movement takes place in the ______.
5-7
A. coda
B. theme
C. bridge
D. motive
Bloom's: Remember
Topic: Sonata form
Feedback: The bridge in the exposition section of a sonata movement is used to modulate from the first theme in the tonic key to
a second theme in a new key.
34. A feeling of harmonic tension and forward motion is created in the exposition of a sonata form movement by ______.
A. the conflict of tonalities between the first and second themes
B. the introduction of a new theme in the bridge
C. retaining the same tonality for both themes
D. changing the meter of the second theme
Bloom's: Understand
Topic: Sonata form
Feedback: In the exposition, the modulation from the home key to a new key creates a feeling of harmonic tension and forward
motion.
35. Short musical ideas or fragments of themes that are developed within a composition are called ______.
A. codas
B. rides
C. melodies
D. motives
Bloom's: Remember
Topic: Sonata form
Feedback: Motives are short musical ideas developed within a composition. A motive can sound very different depending on how
it is treated; it can be taken through changes of melody, rhythm, or dynamics.
36. The three main sections of a sonata-form movement are often followed by a concluding section known as the ______.
A. coda
B. theme
C. bridge
D. motive
Bloom's: Remember
Topic: Sonata form
Feedback: A composer can give a sonata movement a powerful feeling of conclusion by following the recapitulation with a coda.
A coda rounds off a movement by repeating themes or developing them further. It always ends in the tonic key.
37. How should the sonata form be viewed as?

A. A rigid mold into which musical ideas are poured
B. Another term for the symphony
C. A set of principles that serve to shape and unify contrasts of theme and key
D. A set of variations on a theme
Bloom's: Understand
Topic: Sonata form
Feedback: The sonata form is a flexible structure and set of principles that allow composers to shape material through contrasts of
themes and keys.
5-8
38. Each successive variation in a theme with variations ______.
A. retains some elements of the theme
B. is usually in a new key
C. is usually in the same key
D. presents a new melodic idea
Bloom's: Understand
Learning Objective: Know the structure of a theme and variations movement
Topic: Theme and variations
Feedback: In a theme-and-variations form, each variation is usually about the same length as the theme. However, each variation
has its own identity, created through changes of melody, rhythm, harmony, accompaniment, dynamics, or tone color. The core
melody may appear in the bass, or it may be repeated in a minor key instead of a major key.
39. Theme-and-variations form may be schematically outlined as ______.

A. AABB
B. AA'A''A'''A''''
C. ABA
D. ABACADA
Bloom's: Remember
Feedback: In a theme and variations, a basic musical idea—the theme—is repeated over and over and is changed each time. This
form may be outlined as theme (A)—variation 1 (A )— variation 2 (A )—variation 3 (A ), and so on.

A. Each variation in a theme-and-variations form is unique and may differ in mood from the theme.
B. The form called theme and variations is widely used in the classical period, either as an independent piece or as one movement
of a symphony, sonata, or string quartet.
C. The recapitulation section is an important way for a composer to develop variations in a theme-andvariations form.
D. In a theme-and-variations movement, a basic musical idea is repeated over and over and is changed each time.
Bloom's: Understand
Feedback: A theme and variations does not contain a recapitulation section; that appears only in sonata form.
41. Which of the following elements is usually not changed in varying the theme in theme-and-variations form?
A. Melody
B. Harmony
C. Length
D. Rhythm
Bloom's: Understand
Feedback: Changes of melody, rhythm, harmony, accompaniment, dynamics, or tone color may be used to give a variation its
own identity, but the length of each variation is roughly the same.
42. The _________ movement of Haydn's Surprise Symphony is in theme-and-variations form.

A. first
B. second
C. third
D. fourth
Bloom's: Apply
5-9
Feedback: The second movement (andante) of Haydn’s Symphony No. 94 in G Major (Surprise Symphony) is a theme and
variations.
43. The minuet-and-trio movement of a classical symphony, string quartet, or other work, is in ____________ form.
A. ABA
B. AABB
C. AA'A''A'''A''''
D. ABACABA
Bloom's: Remember
Learning Objective: Know the structural pattern of a minuet and trio
Topic: Minuet and trio
Feedback: The minuet and trio is in ternary form (A B A): minuet (A), trio (B), minuet (A).
44. The movement of a symphony that is often patterned after a dance is the ______.
A. first
B. second
C. third
D. fourth
Bloom's: Understand
Feedback: The minuet and trio, or minuet, is often used as the third movement of classical symphonies, string quartets, and other
works. Like the movements of the baroque suite, the minuet originated as a dance. Sometimes, a scherzo was used instead of a
minuet.
45. The minuet first appeared around 1650 as a(n) ______.

A. instrumental composition for concert performance
B. prayer in Germany at the end of the Thirty Years War
C. dance at the court of Louis XIV of France
D. country dance in England
Bloom's: Remember
Feedback: The minuet first appeared at the court of Louis XIV of France around 1650 and was danced by aristocrats throughout
the eighteenth century.
46. The character of the minuet is best described as ______.

A. brisk and lively
B. quiet and relaxed
C. heavy and ponderous
D. stately and dignified
Bloom's: Understand
Feedback: The minuet was a stately, dignified dance in which the dancing couple exchanged curtsies and bows.
47. The minuet is in _______ meter.

A. duple
B. triple
C. quadruple
D. common
Bloom's: Remember
5-10
Feedback: The minuet is a waltz-type dance, in triple meter.
48. Which of the following is not a characteristic of the minuet?

A. Triple meter
B. Moderate tempo
C. Quick, lively tempo
D. ABA form
Bloom's: Understand
Feedback: The minuet was written in ABA form, in triple meter, and at a moderate tempo. If the tempo was too quick or lively,
the audience would have difficulty dancing in a stately, dignified manner.

A. The minuet movement of a symphony or string quartet is almost always the last movement.
B. The character of the minuet is best described as brisk and lively.
C. In many of Beethoven's compositions, the third movement is not a minuet but a related form in triple meter called a scherzo.
D. The scherzo differs from the minuet in that it moves more quickly, generating energy, rhythmic drive, and rough humor.
Bloom's: Understand
Feedback: The character of a minuet is stately and dignified, not brisk or lively (that description is more appropriate for a scherzo
or allegro movement).
50. In many of Beethoven's works, there is a _______ movement instead of the minuet.
A. presto
B. scherzo
C. fugato
D. ritornello
Bloom's: Remember
Feedback: In many of Beethoven’s compositions, the third movement is not a minuet but a related form called a scherzo. Like a
minuet, a scherzo is usually in ABA form and triple meter, but it moves more quickly, generating energy, rhythmic drive, and
rough humor. (Scherzo is Italian for joke.)
51. The scherzo differs from the minuet in that it ______.

A. moves more quickly
B. has a different form
C. has a different meter
Bloom's: Understand
Feedback: Similar to a minuet, a scherzo is usually in A B A form and triple meter, but it moves more quickly, generating energy,
rhythmic drive, and rough humor.
52. A _____________ is a musical composition that is usually light in mood, and meant for evening entertainment.
A. minuet and trio
B. aubade
C. serenade
5-11
D. rondo
Bloom's: Remember
Feedback: A serenade is a work that’s usually light in mood, meant for evening entertainment.
53. The double bass in the classical orchestra, as in Mozart's Eine Kleine Nachtmusik, often does what?
A. Has a separate and distinct bass part
B. Doubles the cello part in the same register
C. Doubles the cello part an octave lower
D. Plays only accents on stressed beats
Bloom's: Understand
Feedback: The double bass, in the context of an orchestra, often doubles the cello part an octave lower, to reinforce the
fundamental tones of the harmony.
54. When performers encounter the phrase, da capo, they ______.

A. play extremely quietly
B. look at the conductor
C. play the written part an octave higher
D. return to the beginning of the piece and repeat the music
Bloom's: Remember
Feedback: Da capo means "from the beginning," indicating that the performer should return to the beginning of the piece and
repeat the music until further direction.
55. The rondo may be schematically outlined as _______.

A. ABACABA
B. AABB
C. ABBABC
D. ABA
Bloom's: Remember
Learning Objective: Know the structural pattern of a rondo
Topic: Rondo
Feedback: A rondo form establishes a main theme that returns often, alternating with contrasting sections. Common rondo
patterns are ABACA and ABACABA.
56. The main theme in a rondo movement is usually ______.

A. lively, pleasing, and simple to remember
B. stately and dignified
C. extremely fast
D. slow, grave, and mournful
Bloom's: Understand
Topic: Rondo
Feedback: In a rondo, the main theme is usually lively, pleasing, and simple to remember, so that the listener can easily recognize
its return.
57. Which of the following is not true about the rondo?

A. Its use ended in the classical period.
B. The main theme is usually lively, pleasing, and simple to remember.
5-12
C. It features alternating and contrasting sections.
D. It was often combined with elements of sonata form.
Bloom's: Understand
Topic: Rondo
Feedback: The popularity of the rondo did not end with the classical period. It was used by twentieth-century composers such as
Igor Stravinsky and Arnold Schoenberg.
58. The return of the main theme in rondo form is all the more welcome because it is usually ______.
A. in a contrasting key
B. in the tonic key
C. slow and dignified
D. in varied form
Bloom's: Understand
Topic: Rondo
Feedback: The return of the main theme is usually stated in the tonic key, making it welcome after contrasting sections.
59. The sonata-rondo ______.

A. may be outlined as ABA-development section-ABA
B. combines rondo form with elements of sonata form
C. usually has a lively, pleasing, and simple to remember theme
Bloom's: Understand
Topic: Rondo
Feedback: A sonata-rondo combines elements of a rondo, such as a lively, pleasing, simple theme with those of a sonata, such as
a development section.
60. The main theme of the rondo does what?

A. Returns only once in the movement
B. Is usually slow and dignified
C. Seldom ends the movement
D. Is usually in the tonic key
Bloom's: Remember
Topic: Rondo
Feedback: The main theme of a rondo, is usually in the tonic key, is lively, returns frequently throughout the movement, and
closes the movement.
61. Because of its character, the rondo most often serves as a ______.
A. slow movement
B. first movement
C. set of variations
D. finale
Bloom's: Remember
Topic: Rondo
Feedback: A rondo often serves as a finale, because its liveliness, regularity, and buoyancy bring a happy sense of conclusion.
62. The rondo was used ______.

A. only in the classical symphony and quartet
B. only as an independent composition
5-13
C. as late as the twentieth century
D. exclusively in the classical period
Bloom's: Remember
Topic: Rondo
Feedback: The rondo was used either as an independent piece or as one movement of a symphony, string quartet, or sonata. Its
popularity lasted through to the twentieth century, used by composers such as Igor Stravinsky and Arnold Schoenberg.

A. A rondo movement features a tuneful main theme which returns several times in alternation with other themes.
B. The rondo as a musical form was not used in musical compositions after the classical period.
C. A common rondo pattern is ABACABA.
D. Rondo form is often combined with elements of sonata form to produce the sonata-rondo.
Bloom's: Understand
Topic: Rondo
Feedback: The popularity of the rondo did not end with the classical period. It was used by twentieth-century composers such as
Igor Stravinsky and Arnold Schoenberg.
64. What is a symphony?

A. A musical composition for orchestra, usually in four movements
B. A work typically lasting between 20 and 45 minutes
C. An extended, ambitious composition exploiting the expanded range of tone color and dynamics of the classical orchestra
Bloom's: Remember
Learning Objective: Know the pattern of movements in a symphony of the classical era
Topic: Symphony
Feedback: A symphony is an extended, ambitious composition typically lasting between 20 and 45 minutes, exploiting the
expanded range of tone color and dynamics of the classical orchestra. A classical symphony usually consists of four movements
which evoke a wide range of emotions through contrasts of tempo and mood.
65. The usual order of movements in a classical symphony is ______.

A. fast, dance-related, slow, fast
B. fast, slow, dance-related, fast
C. fast, slow, fast, slow
D. slow, fast, slow, fast
Bloom's: Remember
Topic: Symphony
Feedback: A typical sequence is (1) a vigorous, dramatic fast movement; (2) a lyrical slow movement; (3) a dancelike movement
(minuet or scherzo); and (4) a brilliant or heroic fast movement.
66. The first movement of a classical symphony is almost always fast, and in _____ form.
A. sonata
B. rondo
C. minuet
D. ABA
Bloom's: Remember
Topic: Symphony
Feedback: Classical composers almost always wrote the first movement of a symphony is sonata form.
67. Which of the following is not true of the symphony?

5-14
A. It is a musical composition for orchestra, usually in four movements.
B. It is a sonata for orchestra.
C. It is an extended, ambitious composition exploiting the expanded range of the color and dynamics of the classical orchestra.
D. It is a musical composition for solo instrument and orchestra.
Bloom's: Understand
Topic: Symphony
Feedback: A symphony can be thought of as a sonata for orchestra. It is an extended, ambitious composition that is usually in
four movements. A composition for solo instrument and orchestra is known as a concerto.
68. The slow movement of a symphony is usually not ______.

A. the second movement
B. likely to feature broad, songlike melodies
C. in the tonic key
Bloom's: Understand
Topic: Symphony
Feedback: Unlike the other movements in the symphony, the slow movement is generally not in the tonic key.

A. In most classical symphonies, each movement is a self-contained composition with its own themes.
B. Beethoven's concluding movement of a symphony tends to be triumphant and heroic in character and sometimes is meant as
the climax of the whole symphony.
C. The opening movement of a classical symphony is almost always slow and in ABA form.
D. A classical symphony usually consists of four movements that evoke a wide range of emotions through contrasts of tempo and
mood.
Bloom's: Understand
Topic: Symphony
Feedback: The opening movement of a classical symphony is usually quick and lively and in sonata form.
70. The lyrical slow movement of a symphony is most often the ______.
A. first
B. second
C. third
D. fourth
Bloom's: Understand
Topic: Symphony
Feedback: The slow movement of a symphony is most often the second.
71. The slow movement of a classical symphony ______.

A. is usually in theme and variations form
B. is generally not in the tonic key
C. tends to be more heroic and triumphant in character
Bloom's: Understand
Topic: Symphony
Feedback: The second movement of a symphony is mostly used to provide contrast and is rarely in the tonic key. It is generally
slow and can be in a variety of forms, such as sonata, rondo, or theme and variations.
5-15
72. The last movement of a classical symphony ______.
A. is most often in sonata or sonata-rondo form
B. is usually fast, lively, and brilliant, but somewhat lighter in mood than the opening movement
C. is always in the tonic key of the symphony
Bloom's: Understand
Topic: Symphony
Feedback: The fourth, concluding movement of a classical symphony is usually fast, lively, and brilliant. It is always in the tonic
key and in sonata or sonata-rondo form.
73. One way that unity is often achieved in the classical symphony is by the use of the same ______.
A. key in three of its four movements
B. theme in each of its four movements
C. key in all four movements
D. rhythm in all four movements
Bloom's: Understand
Topic: Symphony
Feedback: In most classical symphonies, each movement is a self-contained composition with its own set of themes. A theme in
one movement will only rarely reappear in a later movement. But a symphony is unified partly by the use of the same key in
three of its movements.
74. A classical concerto usually lasts around _______.

A. 5 minutes
B. 20 to 45 minutes
C. an hour
D. 10 to 20 minutes
Bloom's: Remember
Learning Objective: Know the movements and characteristics of a concerto of the classical era
Topic: Concerto
Feedback: Like symphonies, concertos can last anywhere from twenty minutes to forty-five minutes.
75. A classical concerto is a three-movement work for ______.

A. instrumental soloist and orchestra
B. symphonic orchestra
C. instrumental soloist and piano
D. vocal soloist and orchestra
Bloom's: Remember
Topic: Concerto
Feedback: A classical concerto is a three-movement work for an instrumental soloist and orchestra. It combines the soloist’s
virtuosity and interpretive abilities with the orchestra’s wide range of tone color and dynamics.

A. A classical concerto combines the virtuosity and interpretive abilities of a soloist with the wide range of tone color and
dynamics of the orchestra.
B. Cadenzas in a classical concerto were indicated in the score by a fermata, and the soloist was expected to improvise, there
being no music in the score at that point.
C. A typical sequence of movements in a classical concerto is fast, slow, dance-related, fast.
D. The first movement of a classical concerto is in sonata form, but has two expositions, one for the orchestra and one for the
soloist.
Bloom's: Understand
5-16
Topic: Concerto
Feedback: In contrast to a symphony’s four movements, a classical concerto has three: (1) fast, (2) slow, and (3) fast. A concerto
has no dance-related movement.
77. The favored solo instrument in the classical concerto was the ______.
A. harpsichord
B. cello
C. piano
D. clarinet
Bloom's: Remember
Topic: Concerto
Feedback: Although classical concertos featured different solo instruments (violin, cello, horn, trumpet, clarinet, and bassoon) the
piano was the most favored and featured instrumental soloist.
78. What is the essence of a classical concerto?

A. Development of a single theme over the course of the work
B. Dance-related third movement
C. Use of fugal techniques
D. Interplay between a soloist and the orchestra
Bloom's: Understand
Topic: Concerto
Feedback: The main purpose of a concerto is to display the interplay, or dialogue, between a soloist and the orchestra.
79. A typical sequence of movements in a classical concerto is ______.

A. fast, slow, fast
B. slow, fast, slow
C. fast, dance-related, fast
D. fast, slow, dance-related, fast
Bloom's: Remember
Topic: Concerto
Feedback: A classical concerto is typically in three movements: fast, slow, fast.
80. The first movement of a classical concerto ______.

A. is in the same form as a classical symphony
B. has two expositions
C. is usually a long cadenza
D. does not have a development section
Bloom's: Remember
Topic: Concerto
Feedback: A classical concerto begins with a movement in sonata form, containing two expositions. The first is played by the
orchestra, which presents several themes in the home key. The second exposition begins with the soloist’s first notes.
81. The classical concerto differs from the symphony in that it does not have a ___________ movement.
A. sonata form
B. slow
C. minuet or scherzo
D. rondo finale
Bloom's: Understand
5-17
Topic: Concerto
Feedback: A classical concerto has no dance-related movement, such as a minuet or scherzo.
82. A classical concerto greatly relies on a soloist's ______.

A. education
B. independence
C. virtuosity
D. ability to conduct
Bloom's: Understand
Topic: Concerto
Feedback: Concertos have many sections that require a soloist to have a certain level of virtuosity; they are often showpieces for
a soloist, especially the cadenza section.
83. A brilliant solo section in a concerto designed to display the performer's virtuosity is called ______.
A. a cadenza
B. a fermata
C. a pause
D. da capo
Bloom's: Remember
Topic: Concerto
Feedback: In the first movement and sometimes in the last movement, there is a special unaccompanied showpiece for the soloist,
the cadenza (Italian for cadence).
84. A pause in the score of a concerto, preceding a cadenza, is indicated by a ______.

A. signal from the soloist
B. signal from the concertmaster
C. signal from the conductor
D. fermata
Bloom's: Remember
Topic: Concerto
Feedback: The pause before a cadenza is indicated in the score by a fermata, which is placed over a suspenseful chord. The
suspense leads into the entry of the soloist’s cadenza.
85. Classical chamber music is designed ______.

A. to display the virtuosity of the players
B. for the intimate setting of a small room
C. exclusively for performance by paid professional musicians
D. to be conducted by experienced orchestral directors
Bloom's: Understand
Learning Objective: Know the characteristics of classical chamber music
Topic: Chamber music
Feedback: Classical chamber music is designed for the intimate setting of a room (chamber) in a home or palace, rather than for a
public concert hall. Chamber music was often written for nonprofessional musicians of the aristocracy or middle class.
86. The most important form of classical chamber music is the ______.
A. piano trio
B. string quintet
C. string quartet
D. violin and piano sonata
5-18
Bloom's: Remember
Feedback: The most important form in classical chamber music is the string quartet, written for two violins, a viola, and a cello.
Haydn, Mozart, and Beethoven wrote some of their most important music in this form.
87. A major factor that distinguishes chamber music from the symphony or concerto is that chamber music ______.
A. does not use sonata form
B. is performed in concert halls
C. does not have difficult parts
D. is performed by one player per part
Bloom's: Remember
Feedback: Chamber music is performed by a small group of two to nine musicians, with one player to a part.
88. The string quartet ______.

A. usually consists of four movements
B. is the most important form in classical chamber music
C. is written for two violins, viola, and cello
Bloom's: Remember
Feedback: The string quartet is the most important form in classical chamber music. It is written for two violins, a viola, and a
cello and usually consists of four movements.
89. The classical string quartet is a musical composition for ______.

A. violin, viola, cello, and bass
B. two violins, viola, and cello
C. violin, guitar, viola, and cello
Bloom's: Remember
Feedback: The instrumentation for a string quartet is: two violins, viola, and cello. This provides the most flexibility and range
for musical ideas.

A. Classical chamber music does not need a conductor.
B. The piano trio is a musical composition for three pianos.
C. Chamber music is subtle and intimate, intended to please the performer as much as the listener.
D. String quartet is the most important form of chamber music.
Bloom's: Understand
Feedback: The piano trio is a chamber piece written for violin, cello, and piano.
91. The usual order of movements in a classical string quartet is ______.

A. fast, slow, minuet or scherzo, fast
B. fast, slow, fast, slow
C. slow, fast, slow, fast
D. fast, rondo, fast
5-19
Bloom's: Remember
Feedback: A string quartet is similar to a symphony in the way its four movements unfold: (1) fast, (2) slow, (3) minuet or
scherzo, (4) fast.
92. The piano trio is a musical composition for ______.

A. three pianos
B. violin, piano, and continuo
C. violin, cello, and piano
D. piano and two violins
Bloom's: Remember
Feedback: The piano trio was written for violin, cello, and piano.
93. Haydn was fortunate in having a long and fruitful, as well as financially stable, relationship with the noble Hungarian family
of ______.
A. Esterházy
B. Stefanházy
C. Liszt
D. Kadar
Bloom's: Remember
Feedback: For almost thirty years, Haydn composed most of his music for performance in the palaces of the Esterházys, the
family who employed him.
94. Which of the following was not one of Haydn's duties while in the service of the Esterházys?
A. Composing all the music requested by his patron
B. Conducting the orchestra
C. Coaching the singers for operatic performances
D. Writing a cantata each week for Sunday services.
Bloom's: Remember
Feedback: Although Haydn's duties for the Esterházys included composing all the music requested by his patron, conducting the
orchestra, coaching singers, and overseeing the instruments and the music library, it did not include writing cantatas for church
services every Sunday.
95. Haydn's contract of employment shows that he was considered ______.

A. a skilled servant
B. a freelance musician
C. a visiting guest composer
D. an equal by his employer
Bloom's: Remember
Feedback: Although greatly respected and admired, Haydn was still subservient to his employers; he was a highly-skilled servant.
96. Although Haydn spent most of his time in Hungary, he often traveled to ________, where his music was performed often and
greatly admired.
A. Paris
5-20
B. Venice
C. Florence
D. London
Bloom's: Remember
Learning Objective: Summarize the musical works of Franz Joseph Haydn
Feedback: Haydn traveled frequently to London, which welcomed him with open arms. His works were performed often there
and he became a celebrity there.
97. Haydn's two popular oratorios are entitled The Seasons and ______.
A. The Creation
B. The Magic Flute
C. Judas Maccabaeus
D. Elijah
Bloom's: Remember
Feedback: In his late sixties, Haydn composed two oratorios, The Creation (1798) and The Seasons (1801). They were so popular
that choruses and orchestras were formed for the sole purpose of performing them.
98. Haydn was a prolific composer, as demonstrated in part by his 68 string quartets and 104 ______.
A. operas
B. serenades
C. songs
D. symphonies
Bloom's: Remember
Feedback: Haydn, a master of the symphony, wrote 104 of them.
99. Which of the following is not a characteristic of Haydn's music?

A. The music is robust and direct, radiating a healthy optimism.
B. The minuets often romp and stomp rather than bow and curtsy.
C. It is mostly static, showing few changes in texture and orchestration.
D. Many works have a folk flavor, due to the use of actual peasant tunes and original melodies in folklike style.
Bloom's: Understand
Feedback: Haydn’s music, like his personality, is robust and direct; it radiates a healthy optimism. Much of it has a folk flavor
(due to his use of actual folk melodies) and has great contrasts in texture, dynamics, and orchestration.
100. Along with his symphonies, Haydn's ___________ are considered his most important works.
A. operas
B. string quartets
C. baryton trios
D. serenades
Bloom's: Remember
Feedback: Haydn's sixty-eight string quartets are among the most important of his vast output. He was a pioneer of the form
(some scholars believe that Haydn actually invented it).
101. Mozart was born in ______.

5-21
A. Salzburg, Austria
B. Eisenach, Germany
C. Bonn, Germany
D. Rohrau, Austria
Bloom's: Remember
Learning Objective: Recall the biography of Wolfgang Amadeus Mozart
Feedback: Wolfgang Amadeus Mozart (1756–1791), was born in Salzburg, Austria.
102. By the age of six, Mozart could ______.

A. play the harpsichord and violin
B. improvise fugues and write minuets
C. read music perfectly at sight
Bloom's: Remember
Feedback: A child prodigy, by the time Mozart was six, he could play the harpsichord and violin, improvise fugues, write
minuets, and read music perfectly at first sight.

A. Mozart wrote masterpieces in all the musical forms of his time.
B. Between the ages of six and fifteen, Mozart was continually on tour in England and Europe.
C. In his later years, Mozart was financially well off, widely acclaimed, and sought after by an adoring public.
D. Mozart's trips to Italy enabled him to study and master the current operatic style.
Bloom's: Remember
Feedback: As celebrated as Mozart was in his early life, his later years were a struggle and he died heavily in debt at only thirty-
six.
104. Between the ages of six and fifteen, Mozart ______.

A. received an excellent formal education in Salzburg
B. went to Vienna to study with Haydn
C. was continually on tour in England and Europe
D. played in the archbishop's orchestra in Salzburg
Bloom's: Remember
Feedback: As a child prodigy, Mozart was warmly welcomed all around Europe. Between the ages of six and fifteen he was
continually on tour. He played for Empress Maria Theresa in Vienna, Louis XV at Versailles, George III in London, and
innumerable aristocrats along the way. On his trips to Italy he was able to master the current operatic style, which he later put to
superb use.
105. Mozart tried to find fame and fortune by moving to _________, at the age of twenty-five.
A. Vienna
B. Salzburg
C. London
D. Paris
Bloom's: Remember
5-22
Feedback: When he was twenty-five, Mozart left provincial Salzburg and traveled to Vienna, intending to achieve success as a
freelance musician.
106. Mozart composed his Requiem ______.

A. for his own funeral
B. as an exercise for his composition teacher
C. on commission from a stranger
D. to help his pupil Süssmayr
Bloom's: Remember
Learning Objective: Summarize the musical works of Wolfgang Amadeus Mozart
Topic: Requiem
Feedback: While working on his opera, Die Zauberflöte (The Magic Flute), Mozart was visited by a stranger who carried an
anonymous letter commissioning a requiem, a mass for the dead.
107. Mozart's Requiem was ______.

A. composed by a nobleman using Mozart's name
B. a high point in his career
C. an early work
D. finished by one of his pupils
Bloom's: Remember
Topic: Requiem
Feedback: Mozart died before finishing his Requiem. Afterwards, it was completed by his friend and pupil Franz Süssmayer.
108. Which of the following is not one of Mozart's three masterpieces of Italian opera?
A. Così fan tutte
B. The Marriage of Figaro
C. Orfeo
D. Don Giovanni
Bloom's: Remember
Feedback: All of the above were Mozart operas, except for Orfeo, which was written by Claudio Monteverdi.
109. Why did Mozart's music fall out of favor with Vienna audiences towards the end of this life?
A. The Viennese thought that it was too complicated and contained too many dissonances.
B. The nobility prohibited performances of his music because of his politics.
C. Many people thought that his music was old-fashioned.
D. The Viennese were very musically intelligent and thought Mozart's music was not well crafted.
Bloom's: Understand
Feedback: Mozart wrote music that was very complex and, as a result, many average listeners found it hard to follow and too
demanding. They also thought that he used too many dissonances, giving his music a dark quality.
110. Don Giovanni, in Mozart's opera of that name, is _____.

A. a despotic Italian nobleman
B. the legendary Spanish lover
C. Sir John Falstaff
D. the servant to Leporello
Bloom's: Remember
5-23
Topic: Opera
Feedback: Don Giovanni is based on the tales of Don Juan, the legendary Spanish lover.
111. Mozart's Symphony No. 40 ______.

A. is in G major
B. has only three movements
C. featured an emotional intensity uncommon for the time
Bloom's: Understand
Topic: Symphony
Feedback: Mozart's Symphony No. 40 was in G minor and consisted of four movements, typical of a classical symphony.
Unusual for its time, the work was full of passion and intense emotional energy, foreshadowing the coming Romantic period.
112. The Third Symphony of Beethoven was originally composed to commemorate the deeds of _________ as the embodiment
of heroism and democratic ideals.
A. George Washington
B. Napoleon Bonaparte
C. the Marquis de Lafayette
D. the Duke of Wellington
Bloom's: Remember
Learning Objective: Summarize the musical works of Ludwig van Beethoven
Topic: Symphony
Feedback: In 1803 Beethoven composed the gigantic Third Symphony, the Eroica, in honor of Napoleon. When he learned,
however, that Napoleon had proclaimed himself emperor of the French, Beethoven crossed out the dedication and later wrote on
the title page “Heroic Symphony composed to celebrate the memory of a great man.”
113. Beethoven ______.

A. was a brilliant pianist
B. was self-educated and had read widely, but was weak in elementary arithmetic
C. began to feel the first symptoms of deafness in his twenty-ninth year
Bloom's: Remember
Learning Objective: Recall the biography of Ludwig van Beethoven
Feedback: Beethoven was a brilliant and virtuosic pianist, earning him much acclaim. Although self-educated, he was
intellectual, curious and read widely (although was poor in mathematics). Tragically, he began to grow deaf when he was only
twenty-nine years old.

A. The finale of Beethoven's Ninth Symphony is based on Schiller's poem about human brotherhood, Ode to Joy.
B. Beethoven opened new realms of musical expression that profoundly influenced composers throughout the nineteenth century.
C. Like Haydn and many other composers of the classical period, Beethoven depended on the aristocracy for his financial well-
being.
D. In the finale of his Ninth Symphony, Beethoven took the unprecedented step of using a chorus and four solo vocalists.
Bloom's: Remember
Feedback: Beethoven was a pioneer and innovator in music, as well as in business. Unlike many of his predecessors and even
contemporaries, Beethoven made his living independently of aristocratic support, solely through freelance means.
5-24
115. We have a record of Beethoven's struggle with his musical material because he did what?
A. Described his struggles in letters to friends
B. Showed his workflow in musical sketchbooks
C. Told his troubles to his biographer
D. Kept a diary
Bloom's: Remember
Feedback: Beethoven struggled greatly with his compositions. He carried music sketchbooks everywhere, jotting down new
ideas, revising and refining old ones. The final versions of his works were often hammered out through great labor.
116. Beethoven's late works, composed after he was totally deaf, include ______.
A. Missa solemnis
B. String quartets
C. The Ninth Symphony
Bloom's: Remember
Feedback: Despite his deafness, Beethoven had a creative outburst after 1818 that produced some of his greatest works: the late
piano sonatas and string quartets, the Missa solemnis, and the Ninth Symphony.
117. What following technique did Beethoven use more extensively in his late works?
A. Fugal counterpoint
B. Monophony
C. Operatic form
D. Basso continuo
Bloom's: Remember
Feedback: During his later works, Beethoven often used the fugue to express new musical concepts.
118. Beethoven's sixteen __________ are generally considered among the greatest music ever composed.
A. piano concertos
B. string quartets
C. piano sonatas
D. symphonies
Bloom's: Remember
Feedback: The sixteen string quartets are considered to be among the greatest music composed, containing an incredible marriage
of technique and inspired creativity.
119. Beethoven is often credited as being ______.

A. the pioneer of light classical music
B. the bridge between the classical and romantic periods
C. the inventor of the symphony
D. the first musician to incorporate folk tunes into serious compositions
Bloom's: Remember
Feedback: Beethoven's music, especially his later pieces, combined classical structures and form with the emotional intensity that
would become the hallmark of romantic music. He is therefore often thought of as the bridge between the two styles.
5-25
120. Beethoven's only opera is entitled ______.
A. The Magic Flute
B. Madame Butterfly
C. Don Giovanni
D. Fidelio
Bloom's: Remember
Topic: Opera
Feedback: Beethoven only wrote one opera, Fidelio.
121. The opening motive of Beethoven's Symphony No. 5 has a ____________ rhythm.
A. short-long-short
B. short-short-short-long
C. long-long-short
D. short-short-long
Bloom's: Understand
Topic: Symphony
Feedback: The Fifth Symphony opens with one of the most famous rhythmic ideas in all music, a short-short-short-long motive.
Beethoven reportedly explained this four-note motive as “fate knocking at the door.”
122. Beethoven, in comparison with earlier composers, was far more extensive and explicit in marking __________ in his scores.
A. dynamics
B. expressive indications
C. tempos
D. all of these
Bloom's: Understand
Feedback: Beethoven was one of the first composers to explicitly mark his intentions in the score. Tempo, dynamic, and
expressive indications are marked far more extensively in his scores than in those of earlier composers. Directions such as,
“Somewhat lively and with deepest feeling,” would never have appeared previously.
123. Beethoven greatly expanded the _____________ section of the sonata-form movement and made it more dramatic.
A. introduction
B. exposition
C. development
D. recapitulation
Bloom's: Understand
Topic: Sonata form
Feedback: Always the innovator, Beethoven greatly expanded a sonata's development section, making it even more dramatic. It
often contains a powerful crescendo that leads to a climactic return of the first theme at the start of the recapitulation.
Category # of Questions
Accessibility: Keyboard Navigation 123
Bloom's: Apply 1
Bloom's: Remember 79
Bloom's: Understand 43
Learning Objective: Describe the major forms of instrumental music in the classical era 1
Learning Objective: Evaluate the importance of Vienna in the musical life of the classical era 2
5-26
Learning Objective: Know the characteristics of classical chamber music 8
Learning Objective: Know the important trends in European music from 1750 to 1820 11
Learning Objective: Know the movements and characteristics of a concerto of the classical era 11
Learning Objective: Know the pattern of movements in a symphony of the classical era 10
Learning Objective: Know the structural pattern of a minuet and trio 9
Learning Objective: Know the structural pattern of a rondo 9
Learning Objective: Know the structure of a theme and variations movement 4
Learning Objective: Know the structure of sonata (sonata-allegro) form 13
Learning Objective: List the instruments of the orchestra in the classical era 2
Learning Objective: Recall the biography of Franz Joseph Haydn 6
Learning Objective: Recall the biography of Ludwig van Beethoven 4
Learning Objective: Recall the biography of Wolfgang Amadeus Mozart 5
Learning Objective: Summarize European culture in the classical era 9
Learning Objective: Summarize the musical works of Franz Joseph Haydn 5
Learning Objective: Summarize the musical works of Ludwig van Beethoven 8
Learning Objective: Summarize the musical works of Wolfgang Amadeus Mozart 6
Topic: Chamber music 8
Topic: Classical music 15
Topic: Classicism 4
Topic: Concerto 11
Topic: Dynamics 1
Topic: Franz Joseph Haydn 13
Topic: Instrument families 1
Topic: Ludwig van Beethoven 15
Topic: Minuet and trio 9
Topic: Opera 2
Topic: Requiem 2
Topic: Rondo 9
Topic: Sonata form 14
Topic: Symphony 14
Topic: Texture 1
Topic: Theme and variations 4
Topic: Wolfgang Amadeus Mozart 13
5-27
Another random document with
no related content on Scribd:
I have a distinct recollection of so much. Then I think I
must have lain stunned for half-a-minute. My first clear
thought was of thankfulness at having escaped the black
deep water, so awfully close.
"Not yet death!" flashed through my mind; and I said

aloud, "How foolish I have been!"
Next I had a sense that I was very much hurt

somewhere; but I thought I would get up; and when I tried
to move an inch, the pain in my knee was so fearful, that I
was obliged to desist at once.
I do not fancy I made any sound, for screaming is not

at all in my line; but I did feel dismayed. The position was
not an enviable one. I hoped that the pain might lessen
soon; but it did not.
Then I recollected that I must try to make known where

I was: and I called repeatedly—"Maggie!" "Denham!"
"Help!" But there was no response. Indeed, I scarcely
expected any. Even if the rest of my party had not already
gone home without me,—and I began to feel sure that this
must be the true state of the case,—they would content
themselves easily with the conjecture that I might have
started first alone, and would not search far. The woman in
the cottage had very likely retired with her family for the
night. Unless a passer-by came near the edge of
Gurglepool, my voice from the depth would be unheard;
and stray passers-by, on such a spot and at such an hour,
were in the highest degree improbable.
I tried again to rise: but in vain. I tried to drag myself,

crawling, to the path, only a yard or two off, but I could not.
The least motion gave intolerable agony.
Darkness seemed to be coming all at once, in a rush.
Outside Gurglepool, no doubt, it was pleasant twilight still;
but I lay in black shadow; the straight rocky sides rising
steeply for sixty feet or more, all around, in a circle broken
only by the path. Small bushes sprouted out here and there
from some tiny ledge; and overhead was a circular grey
sky. That was all I could see. Dim light above, under the
grey sky-roof; no light below. I could just make out the
surface of the still water, near to my side. No sound or stir
of life was to be heard.
It was strangely solemn to be there, all alone; fir from

any human being; clear and calm in mind; but unable to
stir.
While I kept absolutely still, the pain was so far

bearable, that I could think. But the more I thought, the
more I saw that I could do nothing, except endure passively
until help should come. To climb the path was physically
impossible.
Help of course would come in time:—but when?

It was strangely solemn to be there all alone.
That was the question. If the rest of the party had

started without me, they would not expect me to arrive till
perhaps an hour after themselves: and then they would
wait before doing anything practical. I knew how indignant
and grieved Thyrza would be, at the mere thought of my
having been left behind alone. Perhaps she would see Mr.
Stockmoor: or send some one to meet me. By that time,
however, I scarcely saw what she or anybody could do. The
walk over the hills in darkness would be no easy matter:
and how could they guess where I might be found?
I saw all this very plainly, and it did seem that I should
almost certainly have to remain where I was until the
morning. The marvel to me now is that I could view the
prospect so quietly. I do not think it was stupefaction. I only
felt that Christ my Master was with me—absolutely and
actually present—whatever might happen: that He would
never forsake His own. And four little simple lines kept
running in my head:
"His Arm is beneath me,

His Eye is above:
His Spirit within me
Says—'Rest in My love.'"
It seemed at last a certainty that the trick, of which I

had not liked to suspect the others, had really been
planned. Otherwise I must surely have heard their voices
calling my name, when they returned from the search.
"Poor children! How silly of them!" I thought. For I knew

that in punishing me, they would—as is so often the case—
have punished themselves. And then I reverted to Thyrza,
and I did grieve to picture her trouble.
Suppose she went to the Farm, and told Mr. Stockmoor!

And suppose—suppose Arthur Lenox were there still! Would
he come in search of the missing governess? I felt that
anything I might have to endure would be worth such a
consummation.
The sound of a slow drop—drop—drop on the pool-

surface was followed by big splashes upon my face. Rain
came fast; no soft shower, but a pelting sheet of water,
hissing down the muddy pathway. Ascent would be worse
than ever after this. I should have been thankful for my
waterproof cloak, lying far above on the edge. In five
minutes my clothes were soaked.
Blacker and blacker grew the sky, heavier and heavier
the rain. It was one of Nature's shower-baths. I was soon
thoroughly chilled and shivering, less able to bear up. I
remember the thought occurring, "Even if I live till daylight,
this may mean fatal illness,—may mean the worst!" And
then the question, "Would it be 'the worst' to me?" And a
murmured, "Even so, my Father,—if so it should seem good
in Thy sight."
How long a time passed thus I cannot tell, for I could

not see the face of my watch. Every two or three minutes I
still called forlornly for aid, though I felt the effort to be
almost useless.
After what must have been a considerable while, I tried

to change my position. In so doing, I put out one hand,
perhaps a foot off,—not on the bank, as I expected, for it
splashed into water.
Then—the pool was rising!
At once I understood. The woman had explained to me

how these waters did rise in heavy rain, slowly mounting up
and up, towards the mouth of the hole, curdling fiercely
round like water in a saucepan vehemently stirred, and
finally "boiling" over on the grass outside.
I think I must have been getting at last a little stupefied

with pain and cold; for I kept picturing this to myself, in a
dreamy fashion, wondering if the waters would carry me up
as they rose, and would whirl me round in eddying circles,
till finally I was cast out upon the grassy slope.
Or I might instead be sucked downwards, drawn into

the quiet river below, carried through dark underground
passages, and perhaps, a mile or two farther on, be washed
out through holes into light of day, just where the hidden
river bubbles up once more upon its stony bed, as I had
seen it when driving past in the dog-cart.
Maggie would be the one to be pitied,—poor Maggie! I

felt such intense compassion for her. I thought of Eustace,
and of Keith's death. It did seem strange, if something akin
to that were to happen again in the family. Not the same,
yet so far alike that Maggie would certainly be blamed for
my death. People would say, "How terrible for Maggie! Such
a result from one little bout of girlish temper and silliness!"
But would that be true? Was it not rather the end of a long
downsliding on Maggie's part: a persistent yielding to ill
temper and perversity?
I think I wanted to live most of all for Maggie's sake. It

seemed to me that my death just then would throw such a
shadow over her life.
Of Miss Millington I thought little, and this now seems to

me singular. Maggie's face haunted me. I kept seeing the
rounded peach-bloom cheeks, and the sweet half-shy grey
eyes, just as I had seen them when she stepped forward to
speak to Arthur Lenox. And, strange to say, the face grew
more dear, just because he had looked upon it admiringly.
Until those lonely hours in Gurglepool hollow, I never

dreamt how I loved Maggie, despite all her coldness. I can
recall saying, with quite a gleam of joy, "If I get through
this, I shall be able now to write to my friend as she wishes,
about her darling."
The downpour continued, and the pool still rose. I could

feel the water creeping, creeping, like a snake of ice about
my feet.
I found myself wondering what the process of drowning

would be like. Should I just fade away into a peaceful
unconsciousness, or would there be struggling and
oppression? Two or three descriptions which I had read
came to me, written by some who had gone through the
actual experience, so far as all loss of sense. "Not worse in
any case than what many have to bear in their own beds," I
thought.
And—"When thou passest through the waters I will be

with thee!" was as if whispered to my mind.
"Why, I am passing through them now," I said aloud.
Yet how far I realised danger, I do not know. For in the

midst of all this, I tried to reckon how many hours must
pass before I could hope to be rescued. Then I wondered
again whether—perhaps—Arthur Lenox might come. And I
seemed to see him and Maggie wandering together, out of
my reach.
Consciousness must have been a little vague at times.

Somehow it did not occur to me to try again to move. I had
quite ceased to call for help, and the very wish to be saved
faded gradually away. I hardly even observed that by-and-
bye the rain came to an end, and the pool was no longer
rising. All this must have taken much time: how much I
cannot tell.
There were cries at last,—shouts,—and I saw lanterns

above, gleaming through the darkness. I tried to call, but
could not, for my voice seemed gone; and I thought, "It
does not matter; they will find my cloak;" which indeed
came to pass.
Then I knew that somebody was descending the path,

followed by somebody else. I have been told since that I
was lying half in water, and my remembrance of the
exclamations around confirms this.
Some one drew me back gently,—so gently, that I
believed it must be Arthur. I did not say his name, but I
managed to look up, and I saw—not Captain Lenox, but Sir
Keith Denham.
For a moment, I could hardly believe that it was Sir

Keith,—his face was so stern and grieved and pale. I felt no
surprise at seeing him. There was one sharp stab of
disappointment; and then all other thoughts were lost in the
pain of being moved.
I shall never forget the ascent of that path; though

indeed it was managed beautifully. Two other men helped
Sir Keith and Mr. Stockmoor; and sometimes one or another
slipped. They could not help it; but the least jar was terrible
to me; and I did not lose sense for a moment.
Then followed the long long drive in the waggonette,

with its ceaseless jolting. Thyrza was there, and she held
me in her dear arms all the while, tears often running down
her cheeks. I cannot remember my first sight of Thyrza.
They say that she was on the edge of Gurglepool, and that
almost the only words I spoke were just these, "I am so
sorry for poor Maggie." The remark would be natural
enough; but I can remember little of anything, beyond the
pain, and Thyrza's distress, and Sir Keith's stern gentleness.
We reached home at last, and faces and voices came

round. The sound of Maggie's sobbing went to my heart,
and I believe I burst into tears then for the first time. They
kept her away from me.
In the early morning, a doctor from Beckbergh arrived.

I had thought the pain in my knee all night as much as I
could possibly endure: but I had to bear worse from his
hands. It was not a case of broken bones, but of severe
dislocation, with terrible bruises and swelling. At first he
feared permanent injury to the bone. That fear, I am
thankful to say, is now going off. He told me everything
depended on absolute rest and stillness for the limb; and
indeed I have done my best to be quiet, though it was not
easy.
For three weeks, only Lady Denham and Thyrza and

Rouse were allowed in my room. During some days I had a
sharp touch of rheumatic fever, from lying so long in wet
clothes. Things are much better now, and I have permission
to amuse myself by writing a little at times: so when alone
with Thyrza, I ask for my journal. The knee has still to be
kept motionless. But my doctor speaks of the improvement
in it as astonishingly rapid.
"Thanks, partly, to your being so good a patient," he

says.
It was strange that Lady Denham and Sir Keith should

have unexpectedly arrived at the Farm that very afternoon.
Captain Lenox had left only one hour earlier, walking off
with his carpet-bag, and telling nobody where he meant to
go. Sometimes I do long to know what passed between him
and Miss Millington,—but of course I shall never hear.
Friday. September 18.—Having written the above,

piecemeal, up to this day, I hope to resume my more
regular journalising.
It is now over four weeks since the accident. Maggie

and the twins come in daily to see me: but they are all
three more or less constrained and uncomfortable. Nona
chatters. Elfie looks pinched and forlorn. Maggie seems at a
loss what to say or do. I have seen none of them alone, and
scarcely an allusion has been made to the real cause of my
illness. I think it best to wait; not to try to force any
expressions of regret. There is unhappily an adverse
influence.
Miss Millington has not been near me yet. I am told that

she says, "It is kinder not to crowd the room."
CHAPTER XXVI.
AUTHORSHIP—WHETHER? AND HOW?
FROM MISS GRAHAM TO MAGGIE.
Tuesday. September 15.
DEAR MISS ROMILLY,—I am sorry that I could

not write sooner about your MS., but work has
been pressing.
I think I warned you in my last letter that if

you would have an opinion from me as to your
powers, it must be an honest opinion. That does
not at all mean that what I say must finally
settle the question for you. I may take a
different view of the matter from somebody
else; and I may be mistaken. But what I think I
must say. It would be no kindness to lure you
on with false promises, contrary to my real
expectation.
You have sent me a good deal more than the

few pages for which I asked. I have waited till I
could look carefully through the whole: though
twenty pages would have been enough.
The first question is respecting this particular

MS., and I can unhesitatingly advise you not to
offer it to any publisher: for no publisher will
undertake to bring it out. There is a want of
plot, a want of style, a want of care and finish,
a want of force and interest, from beginning to
end, which must tell fatally against it.
It is astonishing how few young people—or

people of any age—have any clear idea of what
is required in writing for the press. They have a
vague impression that the best writers can
"dash off" a thing effectively in a hurry, when
required; therefore, they suppose, all that a
young and unpractised hand has to do is to sit
down when the fancy seizes him or her, scribble
recklessly whatever comes into his or her head,
and be sublimely sure that "anything will do" for
a much-enduring public.
I do not deny that many experienced writers

can "dash off" a thing well, or that the most
rapid writing is often the best. But the rush of
sudden power is generally the outcome of hard
thinking, often of hard struggling up to it. I am
not certain whether you will understand what I
mean; and if not, further words will scarcely
y
make my meaning clear. Of course there have
been instances of hasty and brilliant hits from
unpractised hands. These, however, are so rare
that ordinary mortals—perhaps I should say
ordinary would-be authors—have no business to
count on any such possibility. In ninety-nine
cases out of a hundred, to say the least,
success presupposes hard work.
I have noted in pencil on your MS. a few of

the more egregious errors in style and
grammar. Some of them might be corrected by
careful re-writing, if the story were worth
further attention: which it is not!
Now we come to the second question,—as to

your future. Is it, or is it not, worth while for
you to set the vocation of literature before your
mind as a distinct aim?
I am more reluctant here to give a decisive

opinion. You are young still. You may have
certain latent powers which might be worth
developing. Carelessly as your MS. is scribbled,
I detect a certain ease of expression, rather
beyond that of the ordinary run of girls. The
plot is no plot: and the characters are feeble:
but about the little boy there is an occasional
touch of reality, which deserves commendation.
You will not count this too encouraging, yet it

is all I can honestly say: There are no such
signs of marked talent, still less of any spark of
genius, that I may venture to say, "Go on, and
prosper."
It is for you to decide whether you will give
up literary efforts, and be content to live a
simple womanly life,—that may be busy and
beautiful enough, if you will,—or whether you
will prepare to enter the lists.
If you decide on the last,—mark my words!—

it will not mean ease, or laziness, or self-
indulgence. A successful literary career is no
idle career. And the sooner you begin—not to
publish, but to prepare for future publishing,—
the better.
Though you cannot write yet for the press,

you must write and re-write, for practice. You
must read much and steadily. You must study
life and human nature. You must go through the
best authors, with careful noting of the style of
each. You must bind yourself to habits of
regular work, and not allow your plans to be
lightly broken. Authorship is business, not play:
and it must be treated as business.
It may be that your literary bent is strong

enough not to be checked by all this: that you
have in your heart a conviction of future
success, which will nerve you to meet toil and
failure undaunted until you do succeed: that
you feel or believe yourself so distinctly called
of God to this career, as to render it a duty for
you to go straight forward.
If so, I would not deter you. Strive your

utmost: and in time you will learn whether or
no you really are called to it; whether or no,
any measure of the gift is really yours.
But if you merely think it would be nice to
write because a great many people write in
these days; or because you want to make a
little money, and authorship seems the easiest
fashion of doing so,—then you had better give
up the notion at once. That does not mean
success.
One word more. You need not suppose, from

what I have said, that a life of authorship is all
toil or all difficulties. There are grand delights in
it. I can say this from my own experience. I
would not willingly exchange it for any other
life. But there cannot be heights without
valleys: and whether you know anything of the
heights must depend upon whether it is the life
that God has willed for you.
If you decide to pursue your efforts, send me

a short MS. a year or two hence, and I will tell
you how you are getting on.—Believe me, yours
truly—
LETITIA GRAHAM.
FROM MAGGIE TO NELLIE.
Friday. September 18.
DARLING NELLIE,—I promised to send you

the letter from Miss Graham whenever it should
come; so I suppose I must; but you won't like it
any more than I do. I think it's an awfully
stupid letter, and I am sure she can't be at all a
nice sort of person. I wonder if writing books
always makes people get so disagreeable when
they are middle-aged. That is two of them, and
I dare say Gladys will be just the same by-and-
bye, which would be three.
I am sure Gladys hasn't done nearly all that,

—reading and studying and writing everything
over and over again for years and years. Why,
she just began straight off to print books the
moment she wanted to. I don't mean that she
hadn't done any stories before, but not in the
way Miss Graham says; and I have written two
stories. I don't see why I shouldn't begin to
have books printed, when I like, just as Gladys
has. I certainly shan't wait a whole year. And I
don't mean to write to Miss Graham any more.
Miss Con seems getting on all right, only the

doctor won't let her move, except just to be put
on the sofa. I wish she would make haste and
get well: and then Lady Denham could go back
to the Farm and leave us in peace. She is so
unkind to poor dear Millie, and seems to think it
is all Millie's fault and mine that Miss Con fell
down Gurglepool path. And that is so unfair: for
of course we couldn't guess that Miss Con would
choose to tumble in such a place. Millie says it
was very stupid of her,—and so I think. And
Millie is sure Miss Con likes being an invalid,
and having a fuss made. But you mustn't let
Mother see this, because she is fond of Miss
Con.
I'm so very glad to hear such good accounts
of darling Mother. It does seem almost as if the
being downright ill had made her better. What
does Father mean by saying that perhaps you
will all come home soon? Is there really any
chance of that?
Lady Denham means to have an excursion

one day soon, now Miss Con is well enough to
be left. There's a big cave, miles away, which
we are to see. She and Sir Keith are going, and
she wants to take the twins and Thyrza and me.
I do think she might squeeze poor Millie in too,
but she won't. I've half a mind to stay at home,
if Millie does: only I want to see the cave.—
Believe me, darling, ever your loving sister—
M
AGGIE.
FROM THYRZA TO NELLIE.
PRIVATE September 19.
MY DEAR NELLIE,—I have written very short

letters lately, but nursing has taken up a great
deal of time. And besides—I did not want to say
too much at first. I wanted to leave Maggie to
tell for herself how things have really been. I
think Lady Denham felt the same, from
something she said one day.
But now all these weeks have gone, and I can
see quite clearly from your letters that Maggie
has not told,—at least that she hasn't said
much. I believe Lady Denham asked her
yesterday how much she had explained things
to you or Father: for I heard her make a
shirking sort of answer. She has learnt that
from Millie. It wasn't Maggie's way—once.
She is writing to-day, but I don't suppose she

will say much: and I think it is time for me to
speak out. You at least ought to understand, for
Miss Con's sake: and you may say just as much
or as little as you like to anybody else.
Isn't it good of Lady Denham to spend all

these weeks in the house, and to look after
everything? You should see the calm way in
which she rides over Millie's fads and tantrums.
I am afraid I do enjoy that. I never liked her or
Sir Keith half so well as I do now.
But about Gurglepool, and the accident,—it

really was the fault of Millie and the girls,—
Millie's most, because she twists Maggie round
her little finger, and Maggie manages the rest.
Only that doesn't set Maggie free from blame.
They were all very much put out, because

Miss Con insisted on going with them to
Gurglepool the first time. She thought it safer.
And they agreed among themselves to leave
her as much as possible alone, while they were
there, as a punishment.
Then somebody proposed—I can't find out
who, which makes me sure it was Millie,—that
they should slip off, and leave her to walk home
alone. Such a horrid unladylike trick! Nona was
to hide, and they would have a hunt, and Miss
Con was to be frightened and left to watch: and
then they would all slip away, and Nona would
join them outside the valley.
It was done too: and that was how Miss Con

was so hurt. She found Nona's scarf on the
Gurglepool path, and fancied she saw some one
lying below: and in going down, she slipped and
fell. I don't think the scarf was left there on
purpose.
I was at home with Elfie, and Lady Denham

and Sir Keith came in,—quite unexpectedly.
They had only travelled from York that day: and
they seemed very much disappointed to find
Captain Lenox gone.
Well—Millie and the rest came rushing in, all

heated, as if from a race. Millie grew demure in
a moment, when she saw who was there. Of
course, we asked after Miss Con: and Millie
said, "Oh, she's just behind!" which was not
true, though perhaps Millie tried to think it was.
And Maggie grew so red, I felt certain
something was wrong.
Sir Keith took the matter up at once, and

insisted on knowing all: and there was no
getting out of his questions.
Maggie owned at last that it was—"only fun,

but they had started first—just for fun—and of
course Miss Con would find it out directly, and
get home soon."
I never knew till then how severe Sir Keith

can look. One likes him the better for it:
because it wasn't displeasure for himself, but
for somebody else. I detest people to be always
and for ever defending themselves: but
defending others is quite a different thing.
I know I shouldn't like him to look at me as

he looked at Maggie. Lady Denham said
outright, in her quiet way, "I am ashamed of
you, Maggie!" And Sir Keith just turned away
from her, with almost a kind of contempt and I
heard him say to Denham—"You—a gentleman!
—To leave a lady unprotected in such a place
after dusk!"
Then Sir Keith said somebody must go at

once to meet Miss Con. Millie, who was tilting
up her chin in her offended fashion, declared
she couldn't, she was so tired: and Maggie only
looked doleful and said nothing. But Denham
offered at once,—I think he was so ashamed,
he was glad to do anything,—and Nona and I
said we would go too. And then we found that
Sir Keith meant to be with us.
We went a long way, first by the road, and

then over a hill: but of course there were no
signs of Miss Con. And by-and-by Denham was
puzzled about the right path, when it grew
dark. Sir Keith didn't know the short-cut to
Gurglepool, as he had never been that way.
Nona tried to guide us, but she failed too: and
Sir Keith said we must turn back at once, or we
should get lost ourselves, and not be able to
help Miss Con.
To make matters worse, tremendous rain

came on. We were like drowned rats by the
time we reached home. Maggie did look
miserable then, and no wonder. Millie kept
talking, talking perpetually about its being
nobody's fault. The one thing in life that she
does care for, is to shield her precious self from
blame. I suppose I ought not to write so of her,
but I cannot like Millie. She is so untrue.
I can't think what we should have done

without Sir Keith. He ordered out the
waggonette, sent for Mr. Stockmoor, and
arranged for two men to go over the hills with
lanterns, while he and Mr. Stockmoor and I
drove round by the road. It was very good of
Lady Denham to let me go. She made me
change my wet things, and then actually kissed
me, and said, "Don't be frightened, my dear.
Miss Conway has probably found shelter in a
cottage." Of course that did seem likely, only
one could not be sure.
When we reached the valley, the two men

joined us. They had seen nothing of Miss Con,
and I began to be almost in despair, for Mr.
Stockmoor seemed to think she must have
wandered away and been lost on these wild
hills.
We thought it would be best to go first to the

Music An Appreciation 12th Edition Kamien Test Bank instant download all chapter

Uploaded by

Copyright:

Available Formats

You might also like

Music An Appreciation 12th Edition Kamien Test Bank instant download all chapter

Uploaded by

Document Information

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Music An Appreciation 12th Edition Kamien Test Bank instant download all chapter

Uploaded by

Copyright:

Available Formats

Music An Appreciation 12th Edition

Kamien Test Bank

Music An Appreciation 11th Edition Kamien Test Bank

Music An Appreciation 11th Edition Kamien Solutions

Music An Appreciation Brief 8th Edition Roger Kamien

Music An Appreciation Brief 8th Edition Roger Kamien

McKnights Physical Geography A Landscape Appreciation

McKnights Physical Geography A Landscape Appreciation

Experience Music 4th Edition Charlton Test Bank

Microbiology An Introduction 12th Edition Tortora Test

Feedback: The Classical period lasted from 1750-1820.

2. The preclassical period roughly encompassed the years ______.

4. Which of the following statements is not true of the classical period?

7. Which of the following statements is not true?

Feedback: A typical orchestra in the classical period might consist of:

12. What is a symphony?

15. In the classical period, serious composition was flavored by ______.

18. Which of the following statements is not true?

20. Haydn's contract of employment shows that he was considered ______.

23. In the classical period, comic operas sometimes ______.

24. In Vienna, Haydn and Mozart ______.

26. Which of the following is not part of a sonata form movement?

28. In the exposition of a sonata-form movement, what happens?

29. In the recapitulation of a sonata-form movement, what happens?

30. At the end of a classical exposition there usually is a ______.

31. Which of the following statements is not true?

32. A transitional passage that leads to a contrasting section is called a ______.

37. How should the sonata form be viewed as?

39. Theme-and-variations form may be schematically outlined as ______.

40. Which of the following statements is not true?

42. The _________ movement of Haydn's Surprise Symphony is in theme-and-variations form.

45. The minuet first appeared around 1650 as a(n) ______.

46. The character of the minuet is best described as ______.

47. The minuet is in _______ meter.

Feedback: The minuet is a waltz-type dance, in triple meter.

48. Which of the following is not a characteristic of the minuet?

49. Which of the following statements is not true?

51. The scherzo differs from the minuet in that it ______.

54. When performers encounter the phrase, da capo, they ______.

55. The rondo may be schematically outlined as _______.

56. The main theme in a rondo movement is usually ______.

57. Which of the following is not true about the rondo?

59. The sonata-rondo ______.

60. The main theme of the rondo does what?

62. The rondo was used ______.

63. Which of the following statements is not true?

64. What is a symphony?

65. The usual order of movements in a classical symphony is ______.

67. Which of the following is not true of the symphony?

68. The slow movement of a symphony is usually not ______.

69. Which of the following statements is not true?

Feedback: The slow movement of a symphony is most often the second.

71. The slow movement of a classical symphony ______.

74. A classical concerto usually lasts around _______.

75. A classical concerto is a three-movement work for ______.

76. Which of the following statements is not true?

78. What is the essence of a classical concerto?

79. A typical sequence of movements in a classical concerto is ______.

Feedback: A classical concerto is typically in three movements: fast, slow, fast.