History of Music Exam 2

The most influential 19th century treatise on orchestration was written in the early 1840s by a. Berlioz b. Hans von Bulow c. Wagner d. Mendelssohn e. Robert Schumann

A. Berlioz

The principle musico-theatrical strength of the early 19th century Italian scene form is a. its ability to depict character and plot development through contrasting musical themes and affects b. its development of a continous arioso style of singing accompanied by orchestral music c. its capacity to accommodate modulations between keys d. its emphasis on the orchestral development of thematic material e. its integration of solo and choral singing

A. Its ability to depict character and plot development through contrasting musical themes and affects

Fairylike or elfin string writing is a hallmark of scherzo movements or scherzo-like passages by a. Mendelssohn b. Berlioz c. Robert Schumann d. Schubert e. Beethoven

A. Mendelssohn

In the first half of the 19th century, nationalism in Italy and Germany emerged differently than in France mainly because a. neither Italy nor Germany were cohesive nation-states until the second half of the century b. France was ruled by a stable monarchy during this period, while Germany and Italy experienced frequent political upheavals c. Italy and Germany were fighting French occupation until 1848, and so had no opportunity to foster native unification movements d. France had been a republic since 1783, while Italy and Germany were ruled by hereditary monarchies during this period e. until 1848, the politics of Italy and Germany were controlled by the Holy Roman Empire, which governed from Vienna

A. Neither Italy nor Germany were cohesive nation-states until the second half of the century

The mid 19th century Cecilian and Oxford movements encouraged a. the composition and performance of liturgical choral music in Renaissance polyphonic style b. the revival of Baroque opera c. the adaptation of Italian opera style to church music d. the use of instruments in church e. the writing of choral music for Protestant congregations

A. The composition and performance of liturgical choral music in Renaissance polyphonic style

The literary source for Berlioz's 1839 "dramatic symphony" for orchestra, soloists, and chorus is by a. William Shakespeare b. Johann Wolfgang von Goethe c. Friedrich Schiller d. Pierre Corneille e. Victor Hugo

A. William Shakespeare

Romantic composers like Schubert and Mendelssohn used lyrical, long themes in their symphonic works. How did this tendency affect their treatment of sonata form? a. they focused in their development sections not on the lyrical material, but on new or secondary motivic material b. they elided the exposition with the recapitulation so as not to disfigure the lyrical material c. they separated their lyrical themes into short motivic components that were amenable to development d. they wrote exceptionally long development sections that could accommodate prolonged contrapuntal presentations of their lyrical themes e. they avoided sonata form in the outer movements of their symphonies and leaned toward ternary form, which was more amenable to lyrical thematic material

A. they focused in their development sections not on the lyrical material, but on new or secondary motivic material

Eighteenth and early nineteenth century classics in European concert repertoire became more prominent during the nineteenth century because of a. a popular disdain for modern, flashy, virtuostic works b. a spreading belief in the intellectual and moral values ensconced in classical repertoire c. the lack of musicians able to perform new music d. a decline in the amount of new music being composed in the nineteenth century e. a shift from church patronage toward government patronage of composition and performance

B. A spreading belief in the intellectual and moral values ensconced in classical repertoire

The main function of the tempo di mezzo in a typical Rossinian opera scene is to a. return to the tonic key of the scena b. introduce a change in the character's circumstances or a plot twist c. introduce a section of choral music d. provide the soloist an opportunity to sing a lyrical aria expressing their emotions at that moment. e. provide orchestral accompaniment for the soloist's exit

B. Introduce a change in the character's circumstances or a plot twist

Robert Schumann played a pivotal role in locating and publicizing the unknown compositions of a. Clara Schumann b. Schubert c. Beethoven d. JS Bach e. Handel

B. Schubert

The early chamber works of Schubert and Mendelssohn were modeled on a. the late string quartets of Beethoven b. the chamber music of Haydn and Mozart c. the chamber music of Berlioz d. Renaissance polyphonic vocal music e. no previous composers' works

B. the chamber music of Haydn and Mozart

Which of the following statements is true of both Schumann's Fourth Symphony and Mendelssohn's Violin Concerto? a. they are in the same key b. they contain movements that are linked to each other without pause c. they are examples of program music d. they have 3 movements e. they strongly influenced the design of Berlioz's Symphonie fantastique

B. they contain movements that are linked to each other without pause

Over the course of the nineteenth century, average orchestra sizes increased by approximately a. 15% b. 45% c. 125% d. 250% e. 375%

C. 125%

The New York and Vienna Philharmonic Orchestras were both founded in the a. 1790s b. 1810s c. 1840s d. 1870s e. 1890s

C. 1840s

The Sacred Harp is a. an oratorio by Mendelssohn b. an oratorio by Handel that influenced Mendelssohn c. a collection of American hymns in shape-note noation d. a partsong by Schubert e. a hymn tune by Lowell Mason

C. A collection of American hymns in shape-note noation

The main key areas of the first movement exposition of Schubert's C Major Quintet are a. C and G b. C and E c. C, E flat, G d. C, F, G e. C, E flat, G flat, A

C. C, E flat, G

Rossini's Una voce poco fa and Bellini's Casta Diva both a. come from comic operas b. are based on real historical subject matter c. contain contabile and cabaletta sections d. lack a temo di mezzo section e. include prominent choral sections

C. Contain contabile and cabaletta sections

Both Schumann's Fourth Symphony and Berlioz's Harold en Italie a. contain a choral movement b. are examples of program music c. have cyclic forms d. were composed after 1840

C. Have cyclic forms

A composition of Berlioz's music with Mendelssohn's world yield the conclusion that a. Berlioz, unlike Mendelssohn, frequently composed program music b. Berlioz, unlike Mendelssohn, used existing melodies as symbolic references in his music c. Mendelssohn, unlike Berlioz, composed frequently and fluently for piano d. Mendelssohn, unlike Berlioz, wrote symphonic works that integrated voices with orchestra e. Berlioz, unlike Mendelssohn, composed pieces inspired by his travels

C. Mendelssohn, unlike Berlioz, composed frequently and fluently for piano

Consider the quote: "the composer has not made the least concession to passing fashion or to even more imperious demands of singers and their vanity..." This writer was especially critical of a. the style of French grand opera b. folk song in German Romantic opera c. the status of singers in Italian bel canto opera d. spoken dialogue in opera e. supernatural themes in opera

C. The status of singers in Italian bel canto opera

Harold en Italie features a prominent solo part for a. oboe b. violin c. viola d. horn e. piano

C. Viola

The composer whose legacy most broadly influenced musical developments during the 19th century was a. JS Bach b. Handel c. CPE Bach d. Beethoven e. Mozart

D. Beethoven

In the 1820s and 1830s, Mendelssohn played a pivotal role in reviving the vocal music of a. Beethoven b. Palestrina c. Haydn d. JS Bach e. Pergolesi

D. JS Bach

Goethe's Faust inspired a. Schumann's Fourth Symphony and Schubert's Die Nacht b. Schubert's Unfinished Symphony and Schumann's Fourth Symphony c. Berlioz's Symphonie fantastique and his Harold en Italie d. Mendelssohn's octet and Berlioz's Symphonie fantastique e. Mendelssohn's Fourth Symphony and Berlioz's King Lear overture

D. Mendelssohn's octet and Berlioz's Symphonie fantastique

After Beethoven, the most important model for Robert Schumann's orchestral compositions was a. Clara Schumann b. Berlioz c. Liszt d. Schubert e. Chopin

D. Schubert

The first repoertoire of the eighteenth century to be absorbed into a permanent canon of admired works in the nineteenth century was a. the chamber music of Corelli b. the keyboard suites of Francois Couperin and Jean-Phillipe Rameau c. the keyboard music of Bach d. the oratorios of Handel and Haydn e. the operas of Vivaldi and Scarlatti

D. The oratorios of Handel and Haydn

Literary sources for popular operas of the 1820s and 1830s included works by all of the following authors except a. Sir Walter Scott b. Friedrich Schiller c. Victor Hugo d. William Shakespeare e. Emile Zola

E. Emile Zola

The recurring principal theme of the Symphonic fantastique is transformed in all the following ways except a. key b. instrumentation c. tempo d. meter e. mode

E. Mode

Choral societies served all of the following important functions in musical and social life in the early 19th century except a. occupying leisure time b. developing sense of local community c. exposing less musically sophisticated people to quality repertoire d. cultivating spiritual and ethical values e. preserving authentic 18th century choral performance practices

E. Preserving authentic 18th century choral performance practices

Choral societies flourished in the first half of the 19th century in all of the following cities except a. Boston b. Leipzig c. Dresden d. Manchester e. Vienna

E. Vienna

Schubert's Trout Quintet is so named because a. it was written on a commission from the Viennese ensemble called the Trout Quintet b. the movements of the quintet present a programmatic description of the adventures of a fisherman c. it was dedicated to the violist Sigismund Trout, a friend of Schubert d. it was written during a summer stay in the Austrian spa town of Trout e. the fourth movement is a set of variations on a song by Schubert

E. the fourth movement is a set of variations on a song by Schubert

Consider the quote "the composer has not made the lease concession to passing fashion or to the even more imperious demands of singers and their vanity..." The critic is likely expressing his admiration for a. Der Freishutz b. Il Barbiere di Siviglia c. Norma d. Les huguenots e. Leonora

a. Der Freishutz

The composer most responsible for establishing the conventions of grand opera was a. Giacomo Meyerbeer b. Gioachino Rossini c. Hector Berlioz d. Mikhail Glinka e. Vincenzo Bellini

a. Giacomo Meyerbeer

Strauss's tone poems were heavily influenced by a. Liszt b. Brahms c. Bruckner d. Wolf e. Schutz

a. Liszt

Verdi's early operas were modeled largely on a. Rossinian bel canto operas b. French grand operas of the 1830s c. German Romantic operas of the 1820s d. classical Italian operas by Haydn and Mozart e. operas comiques

a. Rossinian bel canto operas

Verdi's last 2 operas were both on subjects drawn from the works of a. Shakespeare b. Manzoni c. Goethe d. Schiller e. Dante

a. Shakespeare

Eugene Scribe was a. a librettist of several grand operas b. the composer of Robert le diable c. the director of the Paris Opera in the 1830s d. the composer of operas comiques e. Bellini's favorite librettist

a. a librettist of several grand operas

A typical Rossini overture comprises a. a two-part form, with a slow introduction followed by a fast binary pair resembling an exposition and recapitulation b. a two-part form, with a slow, ceremonial section dominated by dotted rhythms followed by a fast imitative polyphonic section c. a three-part sonata form with an exposition, development, and recapitulation d. a three-part form, with a fast sonatina section, a lyrical slow section, and a fast, dancelike section in triple meter e. a multi-section orchestral suite comprising no less than 4 or 5 important themes that are heard later in the opera

a. a two-part form, with a slow introduction followed by a fast binary pair resembling an exposition and recapitulation

Opera was largely neglected by British composers in the 19th century due to a. an already established and dominant tradition of English spoken drama that native opera could not displace b. British nationalist rejection of Italian culture c. Britain's lingering resentment of France after the Napoleonic wars d. the lack of theaters in England's major cities in which to perform opera e. prohibitions against vocal music in London theaters

a. an already established and dominant tradition of English spoken drama that native opera could not displace

Wagner's ring cycle is about a. conflicting desires for power and love among mythological and human characters b. the defeat of a monstrous race of gnomes by the gods of German mythology c. the adulterous love of a knight and a princess d. a magical ring that will be the reward of a hero who defeats an evil dwarf e. the captain of an enchanted ship who sails the oceans in eternal pursuit of the magical ring that can lift his curse

a. conflicting desires for power and love among mythological and human characters

As opposed to reminiscence motives, Wagnerian leitmotives a. connote change in character and drama through their musical development and combination with other leitmotives b. are most often first introduced in the orchestra c. are usually long, lyrical melodic themes d. are never transposed e. refer to abstract ideas rather than concrete things

a. connote change in character and drama through their musical development and combination with other leitmotives

In contrast to Rossini's operas, Donzetti's operas a. make more flexible use of the multi-section Italian scene form b.comprise only serious operas, and no comedies c. abandon the multi-section Italian scene form in favor of amorphous continuity of music and drama d. dispense with choruses, featuring only solo and small ensemble singing e. have plots that are based only on literary fiction

a. make more flexible use of the multi-section Italian scene form

Despite many differences, Brahms's Fourth Symphony and Strauss's Don Quixote both a. prominently use variation techniques b. exemplify program music c. are for chamber ensembles d. comprise 4 separate movements e. were written within the same decade

a. prominently use variation techniques

Both Orphee aux enfers and The Pirates of Penzance a. satirized contemporary and historical operatic conventions b. emulated the leitmotivic techniques of Wagner c. preserved the conventions of opera seria for contemporary audiences d. restored Greek classical myths as operatic subjects e. helped establish a new genre of through-composed light opera

a. satirized contemporary and historical operatic conventions

Wagner's influence on his contemporaries and successors was felt in all of the following areas except a. the revival of Renaissance modal polyphony b. the use of extreme chromatic harmony c. the use of referential musical motives d. the creation of large, innovative musical forms e. innovations in orchestration

a. the revival of Renaissance modal polyphony

Faure's mature musical language, as seen in songs such as Avant que tu ne t'en ailles, is distinguished by its a. use of common-tone relationships among chords that dilute the impulse toward resolution b. use of extreme chromaticism to build tension and impel harmonies toward strong cadences c. use of coloratura, wide-ranging vocal melody d. avoidance of dissonant harmonies e. densely polyphonic textures

a. use of common-tone relationships among chords that dilute the impulse toward resolution

The debate between advocates of program music and absolute music emerged in print during the a. 1840s b. 1850s c. 1860s d. 1870s e. 1880s

b. 1850s

Consider the following text excerpt: "Bat at last a change game over his heart, and one morning he rose with dawn, stepped before the sun, and spoke to it thus..." This excerpt is represented musically in a. Ein heldenleben b. Also sprach Zarathustra c. Don Quixote d. Orpheus e. Macbeth

b. Also sprach Zarathustra

The 4th movement of Brahm's Fourth Symphony testifies to the composer's interest in a. medieval modes b. Baroque variation technique c. classic rondo form d. romantic ternary song form e. cyclic return of earlier themes

b. Baroque variation technique

A prominent precedent for late 19th century techniques of thematic transformation is found in a. Beethoven's Pastoral symphony b. Berlioz's symphonie fantastique c. JS Bach's cantatas d. Handel's oratorios e. Bellini's operas

b. Berlioz's symphonie fantastique

A "cosmopolitan" musical style in French music in the later 19th century is best represented by the works of a. Gabriel Faure b. Cesar Franck c. Vincent D'Indy d. Nadia Boulanger e. Paul Verlaine

b. Cesar Franck

World fairs during the 1880s and 1890s immediately influenced European musical culture by showcasing the music of a. Latin America b. East Asia c. Africa d. the American Pacific Northwest e. the British Isles

b. East Asia

Sacred compositions by the Mighty Five were subsequently completed and/or orchestrated by a. Wagner b. Rimsky-Korsakov c. Verdi d. Dvorak e. Nikolay Rubinstein

b. Rimsky-Korsakov

Contrasting diatonic and chromatic musical idioms in Wagner laid the foundation for their prominent use to symbolize contrasts of reality and fantasy in the operas of a. Verdi and Puccini b. Rimsky-Lorsakov and Dvorak c. Bizet and Gounod d. Sullivan and Balfe e. Puccini and Leoncavallo

b. Rimsky-Lorsakov and Dvorak

The late 19th century French taste for exoticism is reflected in all of the following operas except a. Carmen b. Werther c. Lakme d. Les pecheurs de perles e. L'Africaine

b. Werther

Franz Brendel is remembered for a. premiering Johannes Brahms's Violin Concerto b. coining the term "New German School" c. writing the book On the Musically Beautiful d. conducting the premiere of Wagner's Tristan and Isolde e. the many popular Vinnese waltzes he composed

b. coining the term "New German School"

German Romantic opera is distinguished most sharply from contemporary French and Italian opera by a. its use of spoken dialogue b. its focus on natural and supernatural landscapes as important dramaturgical elements c. its use of orchestral color and diverse instruments d. its use of large performing forces and elaborate stagecraft e. its use of recurring motives identified with situations or characters presented earlier

b. its focus on natural and supernatural landscapes as important dramaturgical elements

Schopenhauer's philosophy resonated especially with Wagner's ideas about musical drama because it a. proposes that poetry is the art most capable of directly and concretely expressing our emotions b. proposes that music provides the most direct expression of the human condition c. supports the revolutionary political agenda of the ring cycle d. support's Wagner's own ideas about the importance of love in human history e. describes techniques of motivic development and chromaticism that were important to Wagner's technique

b. proposes that music provides the most direct expression of the human condition

The careers of Anton Bruckner and Johann Strauss, Jr. most clearly reflect the growing division between a. church and concert music b. serious and light music c. orchestral and operatic music d. instrumental and vocal music e. program and absolute music

b. serious and light music

A canon of composers and masterpieces in the 19th century emerged due to a. the steady decline in amateur music-making b. the divergence between music thought to embody values and music meant for ephemeral pleasure c. the increasing size of orchestras d. the growing dominance of opera as a genre e. Richard Wagner's advocacy of orchestral composers and their music

b. the divergence between music thought to embody values and music meant for ephemeral pleasure

Hans von Bulow was a. the brother-in-law of Richard Wagner b. the first husband of Wagner's second wife c. the nephew of Franz Liszt d. the son-in-law of Johannes Brahms e. the half-brother of Cosima Liszt

b. the first husband of Wagner's second wife

Both Lucida di Lammermoor and Der Freishutz a. lack spoken dialouge b. use reminiscence motives c. use plots based on historical events d. use the orchestra as the predominant vehicle for expression e. abandon the Rossinian scene structure

b. use reminiscence motives

In Wagner's view of music history, the most important precedent for his own synthesis of drama and music was a. JS Bach's cantatas b. Mozart's opera c. Beethoven's symphonies d. Weber's operas e. Schubert's symphonies

c. Beethoven's symphonies

16th century music served as a model for a. Liszt's concertos b. Hugo Wolf's chamber music c. Bruckner's choral music d. Strauss's tone poems e. Brahms's Lieder

c. Bruckner's choral music

Brahms's Ein deutsches Requiem is a setting of texts from a. the Latin Mass for the dead b. medieval Minnelieder c. German translations of Old Testament scriptural texts d. spiritual poems by Morike and Eichendorff e. Mignon's funeral in Goethe's Wilhelm Meisters Lehrjahre

c. German translations of Old Testament scriptural texts

The emergence of a new Romantic style of ballet in the 1840s was much influenced by a. Jenny Lind b. Marguerite de Valois c. Marie Taglioni d. Charles de Beriot e. William Fry

c. Marie Taglioni

Late 19th century composers like Bruckner continued to exploit the 3 key exposition strategy first systematically used by a. JS Bach b. Mozart c. Schubert d. Wagner e. Brahms

c. Schubert

The most popularized, diverse aesthetic conflict among musicians and composers in the second half of the 19th century was that between adherents of a. Beethoven and Brahms b. Wagner and Liszt c. Wagner and Brahms d. Bach and Mozart e. Berlioz and Liszt

c. Wagner and Brahms

In Les Huguenots, historical events are connoted by a. 18th century dances b. 19th century folk songs c. a 16th century Lutheran chorale melody d. a 16th century eruption of Mount Vesuvius e. stage sets that depict 15th century Scotland

c. a 16th century Lutheran chorale melody

Denkmaler der Tonkunst (Monuments of Musical Art) was a. a collection of chorale preludes for organ by Anton Bruckner b. a treatise on music aesthetics by Eduard Hanslick c. a multi-volume edition of rediscovered Renaissance and Baroque music d. a collection of essays co-authored by Franz Liszt and Carolyne von Sayn-Wittgenstein e. a collection of the most popular symphonies of the early 19th century

c. a multi-volume edition of rediscovered Renaissance and Baroque music

Rossini spent his last four decades in Paris mainly a. writing several important grand operas b. teaching composition at the Paris conservatoire c. in comfortable retirement, mostly withdrawn from composing d. composing his last operas e. as Director of the Paris Opera

c. in comfortable retirement, mostly withdrawn from composing

Verdi's advances beyond Rossinian conventions in La traviata are most evident in his a. replacement of lyrical singing with Wagnerian musical prose b. abandonment of the tempo d'attaca and tempo di mezzo sections of scenes c. more prominent use of the orchestra to highlight the dramatic impact of important words and gestures d. use of many leitmotives throughout the opera e. replacement of recitative with continuous lyrical singing

c. more prominent use of the orchestra to highlight the dramatic impact of important words and gestures

In Tristan and Isolde, the central idea of erotic desire is most directly conveyed by a. diatonic chord progressions b. a recurring leitmotive that represents female beauty c. the delay or avoidance of harmonic resolution d. the alliteration of particular consonants in the poetry e. the use of specific keys that symbolize erotic longing

c. the delay or avoidance of harmonic resolution

The Artwork of the Future and Opera and Drama are historically important documents because of a. their shocking racial claims b. their defense of traditional operatic styles against criticisms made by young composers c. their discussion of the poetic/musical techniques that Wagner would implement in his subsequent works d. their analysis of operatic composition from a Schopenhaurian perspective e. their bold statements of political positions that would subsequently energize revolutionaries in 1848-49

c. their discussion of the poetic/musical techniques that Wagner would implement in his subsequent works

All of the following claims are both true of both Der Freishutz and Ruslan and Lyudmila except a. their plots are set around the time of their composition b. they are based on stories by the same author c. they depict supernatural environments and characters d. they both include spoken dialogue e. they both borrow elements from French grand operas of the 1830s

c. they depict supernatural environments and characters

Conservatories were established in Moscow and St. Petersburg in the a. 1780s b. 1820s c. 1840s d. 1860s e. 1890s

d. 1860s

Important examples of grand opera include all of the following except a. Les Huguenots b. La muette de Portici c. Guillaume Tell d. L'elisir d'amore e. La favorite

d. L'elisir d'amore

European opera was first cultivated in the US in the city of a. Boston b. New York c. Philadelphia d. New Orleans e. San Francisco

d. New Orleans

The texts of La bonne chanson are poems by a. Voltaire b. Stephane Mallarme c. Edgar Allen Poe d. Paul Verlaine e. Jean Racine

d. Paul Verlaine

Brahm's First Symphony shows the influence of a. Beethoven's setting of poetry to a hymnlike melody in the finale of his Ninth Symphony b. Liszt's use of a literary program as the basis of his Faust symphony c. Berlioz's use of of an idee fixe that appears in every movement of his symphonie fantastique d. Schumann's use of slow introductions in his fourth symphony e. Bach's use of a ground bass as a repeating theme

d. Schumann's use of slow introductions in his fourth symphony

Stabreim is a. the german term for Wagner's concept of musical prose b. an evil gnome in Wagner's ring cycle c. the city where Wagner established a festival theater for performances of his works d. a poetic verse type that uses alliteration e. a poetic verse type that uses either iambic or trochaic meters together with end rhymes

d. a poetic verse type that uses alliteration

The libretto of Guillaume Tell was censored in several locales because the story dealt with a. sexual themes b. anti-clerical, atheistic ideas c. the assassination of a Holy Roman Emperor d. a popular uprising against an occupying power e. women's rights

d. a popular uprising against an occupying power

The development of musical styles in the later 19th century was strongly marked by a. rising audience demand for new compositions, and disdain for older music b. the lack of a musically cultivated audience for art music c. the shrinking size of orchestras d. greater representation of historical repertoire relative to new music on concert programs e. the gradual disappearance of program music and predominance of absolute music

d. greater representation of historical repertoire relative to new music on concert programs

The aesthetic differences between the New German School and the adherents of absolute music lay fundamentally in their different a. understandings of the role of Renaissance and Baroque musical styles in modern music b. ideas of how to create an authentic musical nationalism c. ideas of how to represent poetry or narratives in music d. interpretations of the implications of Beethoven's mature works e. ideas about whether to use or reject thematic transformation techniques

d. interpretations of the implications of Beethoven's mature works

The plot of La traviata is a good example of mid 19th century a. idealism b. symbolism c. exoticism d. realism e. classicism

d. realism

Nationalist composer of marginalized or subjugated regions of Europe and the new world emphasized their unique cultural identities by a. discarding and replacing the classical forms of the German tradition b. employing native folk melodic and harmonic idioms in their music c. mocking the conventions of the classical tradition in parody compositions d. replacing German and French texts of vocal works with translations in their native languages e. ignoring classical and romantic musical idioms and returning to a Renaissance style that represented a generic, universal music language

d. replacing German and French texts of vocal works with translations in their native languages

The crucial difference between the repertoires of the Paris Opera and that city's Opera-Comique was that a. the paris opera produced only operas based on French history or French classical drama, while the opera comique permitted operas based on an unrestricted range of topics b. the paris opera performed only operas based on an unrestricted range of topics c. the opera comique performed only comic operas d. spoken dialogue was permitted in works performed at opera comique, but not in works performed at the paris opera e. ballet scenes were permitted in works performed at the opera comique, but not in works performed at the paris opera

d. spoken dialogue was permitted in works performed at opera comique, but not in works performed at the paris opera

The proponents of the New German School and those of absolute music both believed that a. medieval polyphony could provide a model for the composition of modern church music b. the 4 movement classical symphony was the ideal orchestral genre c. folk music was the foundation and best resource of modern composition d. their aesthetic positions were based on the proper understanding of Beethoven's music e. a chromatic harmonic language was always required for composing

d. their aesthetic positions were based on the proper understanding of Beethoven's music

Wagner and Verdi's main common achievement might best be summarized as follows a. they both created radically new forms of musical theater that were completely independent of the opera traditions of the past b. they both advocated and experimented with alternative kinds of poetry in their opera librettos c. they both achieved an unprecedented unity of word and music by composing the scores and writing the poetry of their operas d. they both developed new ways of using the orchestra as an expressive rather than merely accompanimental device in opera e. they both celebrated their respective national cultures by composing operas based mainly on their own nation's histories and mythologies

d. they both developed new ways of using the orchestra as an expressive rather than merely accompanimental device in opera

That Gounod's Faust was first performed as an opera comique indicates that it a. was first performed in concert form without sets or costumes b. was first performed at the Paris Opera c. was first performed in its original German-language version d. was performed with spoken dialogue e. was given a happy ending in which Faust and Marguerite are married

d. was performed with spoken dialogue

All of the following Italian operas were written specifically for performance in Paris except a. Don Carlos b. La favorite c. Don Pasquale d. Guillaume Tell e. Lucia di Lammermoor

e. Lucia di Lammermoor

The opening of diplomatic relations between the US and Japan in the mid 19th century provided the historical context for the plot of a. Il trovatore b. La forza del destino c. Turandot d. Tosca e. Madama Butterfly

e. Madama Butterfly

All of the following operas were based on poems and stories by Alexander Pushkin except a. Boris Godunov b. Eugene Onegin c. The Queen of Spades d. Ruslan and Lyudmila e. Parsifal

e. Parsifal

The concept of developing variation was first described by a. Herder b. Brendel c. Bulow d. Strauss e. Schoenberg

e. Schoenberg

The so-called Mighty Five Russian composers included all of the following except a. Balakirev b. Borodin c. Rimsky-Korsakov d. Musorgsky e. Tchaikovsky

e. Tchaikovsky

The Wolf's Glen scene from Der Freishutz has a musical design that features a. a principal tonic key of F# minor, whose dominant key C# minor is used for the central section of the scene b. a sonata-like exposition of motives, followed by their development and recapitulation c.a systematic modulation through the complete circle of fifths d. no coherent tonal organization at all, appropriate to the chaotic drama of the scene e. a referential harmony whose pitches are represented by important key areas throughout the scene

e. a referential harmony whose pitches are represented by important key areas throughout the scene

A distinguishing feature of early 19th century German opera was its a. nationalistic expurgation of foreign musical elements b. emphasis on lyrical and coloratura vocal technique c. lack of spoken dialouge d. cutting edge treatment of contemporary political and social subject matter e. integration of folk or folklike melodies

e. integration of folk or folklike melodies

One of the principal goals of France's Societe Nationale de Musique was to a. rehabilitate the reputation of German orchestral music in the wake of the Franco-Prussian war b. supervise the administration and finances of Paris's major musical venues c. promote the performance and imitation of Renaissance polyphonic works d. provide free music education in rural regions of France e. promote contemporary as well as 17th and 18th century French music

e. promote contemporary as well as 17th and 18th century French music

Wagner's Der fliegende Hollander most clearly illustrates the composer's interest in a. the conventions of French grand opera b. Norse mythology c. medieval poetic verse forms d. the philosophy of Schopenhauer e. the theme of redemption through sacrifice

e. the theme of redemption through sacrifice

Liszt's Les preludes and Brahms's Piano Quintet in Fm both a. exemplify the style and techniques developed by the New German school b. use leitmotives c. divide into four separate movements d. set a poem for chorus in their final movements e. use thematic transformation

e. use thematic transformation