Exam 4/Final Review

The group of young French composers including Poulenc and Auric active in the 1920s was collectively known as _____

Simultaneous use of duple and triple divisions of the beat is a hallmark of the composer

     The largest aesthetic conflict among musicians and composers in the second half of the nineteenth century was t

Metric modulation is a technique associated with

 Which statement regarding Brahms’s output is NOT true?

Performing the same melodic material at slightly different tempi, gradually forming and dispersing sonorities

The term New German School refers to

Minimalism in music originated as a

 Unlike his contemporaries Schoenberg and Berg, Webern

Prominent characteristics of Stravinsky’s pre–World War I works include all the following EXCEPT

Milhaud’s La création du monde was

To what aspect of Brahms’s music did Schoenberg feel a particular debt with his own compositional technique?

The proponents of the New German School and those of absolute music both believed that

Many of Debussy’s compositions, such as his Nocturnes, were especially influenced by

Compositions that assemble natural, mechanical & electronic sounds, rather than sounds produced by acoustic instruments

The development of tape recording technology in the 1930s made possible compositions such as

The concept of nonretrogradable rhythm describes how a rhythmic pattern

Which of the following claims is true of Janáček’s music?

When the ordering principle of 12-tone rows extends to other musical parameters such as rhythm, it is called ___ music

Which of the following statements is true of Krenek, Gershwin, Copland, and Milhaud?

Composers as diverse as Boulez and Feldman were inspired by the pointillistic atonal style of the composer ________.

Schoenberg’s argument for atonality was based in part on his observation that

Like Stravinsky, Bartók came to know folk music only secondhand through other scholars’ research.

   Sixteenth-century music served as a model for

Why was so much of Vaughan Williams’s music written in a familiar melodic and tonal idiom?

In moving from C min to C Maj in his 1st Symph, Brahms emulated the tonal trajectory and tonality of Beethoven’s Symph #

A precedent for the technique of chromatic saturation used in many modernist compositions is found in

   23.   The form of the standard mid-nineteenth-century American march was

Official condemnation of Shostakovich’s Lady Macbeth of the Mtsensk District was especially aimed at its

Varèse’s ideas about spatial music had an influence on the next generation of composers including Cage and Stockhausen

The development of the 12-tone row forced Schoenberg to abandon traditional forms and structural conventions.

   A prominent precedent for late-nineteenth-century techniques of thematic transformation is found in

The concept of developing variation was first described by

Klangfarbenmelodie is

Paul Whiteman’s concert billed as “An Experiment in Modern Music” was the venue for the premiere of what work?

Schoenberg, Berg, and Webern are collectively known as the ______, comparing them to Haydn, Mozart, and Beethoven.

Late-19th-C. composers like Bruckner continued to exploit the three-key exposition strategy first systematically used by

Harry Partch’s music uses unusual scales and tunings inspired by non-Westernmusic, and instruments of his own invention

Compositional practice in which performers determine important parameters of a composition’s execution (pitches, inst.)

The rhythmic practices of Indian music were especially influential on

_’s 1st symphony, written in his 40s, was oft compared to Beethoven’s symphs, w/ von Bulow calling it "Beethoven's 10th"

The development of musical styles in the later nineteenth century was strongly marked by

The movement to revive or imitate pre-Romantic music that took place from the 1910s through the 1950s is called

All the following composers are important representatives of minimalist musical styles EXCEPT

Large-scale structures, great length, lush harmonies, & sequential repetition in Bruckner’s symphs show ____'s influence

Aaron Copland was the first of many American composers who studied in France with the famous pedagogue ________.

Of the techniques that emerged after WWII, the only ones that remain vibrant in music today are those of total serialism

Cage and others composed pieces for ____ piano, whose unusual sounds are produced by inserting objects b/w the strings.

Olivier Messiaen’s innovations stimulated some European composers to use total serialism in their works.

Olivier Messiaen’s compositions were strongly influenced by his

 Nationalism was a powerful force in opera, but had a negligible impact on the abstract chamber & orchestral genres

Unlike Stravinsky and Bartók, Ives disdained vernacular and folk musical genres and did not use them in his music.

Anton Bruckner’s primary instrument was ________.

The Soviet artistic aesthetic used in the 1930s to underscore the progress of the Soviet state and its ideology:

Wagner’s influence on his contemporaries and successors was felt in all the following areas EXCEPT

The style of art and music that emerged in the 1960s and that deploys a few constructive elements in repetitive patterns

 Appalachian Spring

Rachmaninoff composed in a lyrical melodic style and w/ familiar harmonies partially to satisfy the tastes of audiences

In the United States, avant-garde composers of the postwar decades were widely and most often supported by:

Which of the following propositions was among Debussy’s aesthetic views?

A form of a twelve-tone row in which the order of the pitch classes is reversed is called the ________ form of the row.

Schoenberg’s career was a radical rejection of the ideas found in the tradition of classical music from Bach to Mahler.

  Mahler published explanatory programs at the beginnings of the scores of each of his nine symphonies.

Schoenberg, Berg, and Webern are collectively known as the ______, comparing them to Haydn, Mozart, and Beethoven.

Strauss’s tone poems were heavily influenced by

Pushed the idea that avant-garde comps. that are incomprehensible to most listeners are analogous to specialist research

An important innovation by Sousa in the composition of marches for concert performances was

Compositions of the 1950s and 1960s that synthesized techniques and styles of classical and jazz

Like Stravinsky, Bartók came to know folk music only secondhand through other scholars’ research.

       Which of the following most accurately describes early twentieth-century modernist music?

Music that does not establish short- or long-range tonal centers is often described as ________.

Which composer of the early twentieth century explored expressionism not only in his music but in his paintings too?

Brahms first established himself as a promising young musician in the early 1850s with the premiere of his 1st symphony

Women were not permitted to enroll at major universities in the late nineteenth century.