Question 1

During the Enlightenment, also referred to as the Age of Reason, thinkers gave free reign to the pursuit of truth and the discovery of natural laws.  a. true   b. false

Accepted Answer

a

Question 2

Which idea did NOT emerge during the Enlightenment?  a. the principles of social justice, equality, religious tolerance, and freedom of speech   b. the importance of communicating passion no matter what sort of imbalance, contradiction, or formal inconsistency might result   c. a new appreciation for such middle-class values as honesty, common sense, and hard work   d. philosophers pursuing rational scientific, philosophical, and political beliefs   e. renewed interest in democratic government

Accepted Answer

b

Question 3

Spurred on by economic self-interest and the principles of Enlightenment philosophers, the middle class of France and America rebelled against the monarchy.  a. true   b. false

Accepted Answer

a

Question 4

How did composers treat melody during the Classical period?  a. short, balanced phrases create tuneful melodies; more vocal than instrumental in character   b. long, singable lines with powerful climaxes and chromatic inflections for expressiveness   c. larger leaps, wider range, and more chromaticism, reflecting the influence of virtuosic solo singing; melodic patterns idiomatic to particular musical instruments emerge; introduction of melodic sequence   d. melodies are rarely tuneful or singable, often twisting and turning in rapidly undulating patterns   e. wide-ranging, disjunctive lines are often chromatic and dissonant; angularity is accentuated through octave displacement

Accepted Answer

a

Question 5

Identify the statement that correctly describes the harmonic style of the era.  a. Functional chord progressions govern harmonic movementâharmony moves purposefully from one chord to the next.   b. A greater use of chromaticism makes the harmony richer and more colorful; sudden shifts to remote chords occur for expressive purposes.   c. Clearly defined chord progressions begin to develop; tonality is reduced to major and minor keys.   d. Dissonance no longer must move to consonance but may move to another dissonance; sometimes there is no audible tonal center (atonality).   e. The harmonic rhythm varies dramatically, creating a dynamic flux and flow; simple chordal harmonies are made more active by an \"Alberti\" bass.

Accepted Answer

e

Question 6

Which answer correctly describes the rhythm of Classical period music?  a. Rhythms are flexible, often languid, and therefore meter is sometimes not clearly articulated; tempo can slow to a crawl to allow for \"the grand gesture.\"   b. The rhythm becomes more stop-and-go, and there is greater rhythmic variety within a single movement.   c. The rhythm is usually free and flexible, with irregular accents, making it difficult to determine the meter; rhythmic ostinatos give feeling of stasis.   d. The rhythms are vigorous and energetic; conflicting simultaneous meters (polymeters) and rhythms (polyrhythms) make for temporal complexity.   e. Exciting, driving, energized rhythms propel the music forward with vigor; a \"walking\" bass creates a feeling of rhythmic regularity.

Accepted Answer

b

Question 7

The texture of Classical period music is generally  a. homophonic, with a thinner bass and a middle range; hence, it is light and transparent.   b. homophonic, but dense and rich because of the larger orchestra; the sustaining pedal on the piano also adds density.   c. monophonic, with an emphasis on the solo voice.   d. chordal, and homophonic texture predominates; the top and bottom lines are the strongest as basso continuo creates a powerful bass to support the melody above.   e. polyphonic in texture for four or five lines, although occasional passages of chordal homophonic texture are inserted for variety.

Accepted Answer

a

Question 8

Which period is known as the Classical Period?  a. 1750-1820   b. 1770-1900   c. 1700-1850   d. 1475-1600   e. 1685-1750

Accepted Answer

a

Question 9

Which definition is correct for \"Alberti bass\"?  a. a numerical shorthand that tells the player which unwritten notes to fill in above the written note   b. instead of having the pitches of a chord sound all together, notes are played in succession to provide a continual stream of sound   c. a motive or phrase in the bass that is repeated again and again   d. a bass line that moves at a moderate pace, mostly in equal note values and often stepwise up or down the scale   e. a popular, triple-meter dance of the late eighteenth and nineteenth centuries

Accepted Answer

b

Question 10

What is a \"comic opera\"?  a. a genre or opera that makes use of serious historical or mythological subjects, da capo arias, and a lengthy overture   b. an Italian operatic style in which the subject matter concerns the unpleasant realities of everyday life   c. a style of singing and a type of Italian opera that features the beautiful tone and brilliant technique of the human voice   d. a genre of opera originating in the eighteenth century that portrayed everyday characters and situations , used spoken dialogue and simple songs, and often included sight gags, bawdy humor, and social satire   e. a musical comedy originating in Germany with spoken dialogue, tuneful songs, and topical humor

Accepted Answer

d

Question 11

The \"pianoforte\" is  a. a piano outfitted with screws, bolts, washers, erasers, and bits of felt and plastic to transform the instrument from a melodic one to a percussive one.   b. a keyboard instrument that produces sound by depressing a key that drives a lever upward and forces a pick to pluck a string.   c. a general term for all keyboard instruments, including the harpsichord, organ, and piano.   d. the original name for the piano.   e. the transformation and reduction to the great staff of an orchestral score so that it can be played at the piano.

Accepted Answer

d

Question 12

The new comic opera, the opera of the middle class, in Italy was called  a. monody.   b. chamber opera.   c. Singspiel.   d. opera seria.   e. opera buffa.

Accepted Answer

e

Question 13

Due to the physical power required to play the pianoforte, the most common players of the new instrument were professional male musicians.  a. false   b. true

Accepted Answer

a

Question 14

Which quality contributed to the dynamic style of Classical music?  a. rapid changes in rhythmic patterns   b. the use of crescendos and diminuendos   c. alternating the mood between themes   d. quickly changing the texture from light and airy to dense and more contrapuntal   e. all of the above

Accepted Answer

e

Question 15

Identify the statement that does NOT apply to Vienna during the late eighteenth century.  a. Aristocratic patronage attracted musicians from throughout Europe.   b. Vienna was the capital of the old Holy Roman Empire.   c. Vienna was the largest city in Europe.   d. Because Vienna was the only large city for hundreds of miles, the aristocracy congregated there, especially during the winter.   e. Vienna boasted a greater percentage of noblemen among its population than did London or Paris.

Accepted Answer

c

Question 16

Which statement does NOT apply to Haydn\'s early years?  a. Because Haydn displayed great musical talent as a child, his father forced the boy to practice at all hours with the intent of exploiting him as a child prodigy.   b. During his late teens and early twenties, Haydn eked out a meager living as a freelance musician.   c. Haydn\'s father made wheels for a living but enjoyed making music.   d. Sent to Vienna to nurture his musical talent at St. Stephen\'s Cathedral, after ten years as a choirboy Haydn was dismissed when his voice broke.   e. Born in a farmhouse about twenty-five miles from Vienna, Haydn\'s life is a \"rags-to riches\" story.

Accepted Answer

a

Question 17

While Haydn toured Europe to acquire fame and fortune, what actually happened was that his compositions increased in breadth and substance because of his exposure to a wealth of musical styles.  a. true   b. false

Accepted Answer

b

Question 18

In which town was Mozart born?  a. Graz   b. Rohrau   c. Bonn   d. Salzburg   e. Leipzig

Accepted Answer

d

Question 19

Which composers are representative of the Classical period?  a. DvoÅÃ¡k, Tchaikovsky, Musorgsky, and Puccini   b. Mozart, Haydn, Beethoven, and Schubert   c. Debussy, Ravel, and FaurÃ©   d. Bach, Handel, Telemann, and Vivaldi   e. Josquin, Palestrina, Byrd, and Lasso

Accepted Answer

b

Question 20

All of the following statements regarding the early years of Mozart are accurate EXCEPT that:  a. Mozart wrote his first symphonies by the age of eight.   b. Mozart\'s father served as court composer to Joseph II of Austria, and he later gave composition lessons to Beethoven.   c. Mozart\'s father was the author of a best-selling book on learning to play the violin.   d. Mozart was born in Salzburg, Austria.   e. By the age of six, Mozart was playing the piano, violin, and organ, as well as composing.

Accepted Answer

b

Question 21

From 1781 until his death in 1791, Mozart lived almost exclusively in which city?  a. Salzburg   b. Bonn   c. Vienna   d. London   e. Paris

Accepted Answer

c

Question 22

Which statement about Mozart\'s compositions and his childhood experiences touring Europe is INCORRECT?  a. At the age of six, Mozart played for Empress Maria Theresa.   b. At fourteen, Mozart became a Knight of the Order of the Golden Spur.   c. Mozart toured northern Europe for three years; his first two symphonies were composed in London when he was eight years old.   d. Mozart became acquainted with a wealth of musical styles from across the continent.   e. As a result of Mozart\'s touring, he acquired fame and fortune, and he was court composer to Emperor Joseph II from 1780 until his untimely death in 1791.

Accepted Answer

e

Question 23

Which musical tradition was NOT influential in the development of Mozart\'s musical style?  a. French Baroque   b. English choral   c. Spanish flamenco   d. German polyphony   e. Italian vocal

Accepted Answer

c

Question 24

Mozart found the system of aristocratic patronage irritating, and after several unpleasant scenes with his patron, he cut himself free and moved to Vienna, determined to make a living as a freelance musician.  a. false   b. true

Accepted Answer

b

Question 25

Identify the INCORRECT statement regarding Mozart\'s life in Vienna during the 1780s.  a. Mozart was responsible for an orchestra that was never larger than twenty-five musicians and saw to it that all musicians appeared in uniform and followed instructions.   b. Mozart composed in the early morning and late afternoon or evening unless prevented by a concert.   c. Mozart became nearly penniless after a severe recession.   d. Mozart gave daily piano lessonsâmostly to young womenâfrom nine to one.   e. Mozart was well known to the other Classical master composer, Joseph Haydn.

Accepted Answer

a

Question 26

The term sonata refers to a genre performed by  a. an orchestra.   b. a string quartet or quintet.   c. a solo instrument.   d. all of the above.   e. a chorus and soloists.

Accepted Answer

c

Question 27

Which trait is NOT characteristic of the transition theme as it occurs during the exposition of a sonata-allegro form?  a. The theme usually consists of running scales, arpeggios, and melodic sequences.   b. It is sometimes referred to as the bridge theme because it carries the music from one key to another.   c. Rapid figural patterns convey a feeling of motion.   d. It generally has a strong melodic identity of its own.   e. It modulates to the dominant or relative major key.

Accepted Answer

d

Question 28

Which is the most accurate statement about musical form during the Classical period?  a. No new forms are created; rather, traditional forms are used and extended in length.   b. Traditional forms involving clear-cut repetitions are rarely used.   c. A few standard forms regulate much of the music.   d. Chance music permits random happenings and noises in the environment to shape a musical work.   e. Strict musical forms are not often used; most vocal music is through-composedâthat is, it has no musical repetitions and hence no standard formal plan.

Accepted Answer

c

Question 29

Identify the INACCURATE statement regarding the typical recapitulation in sonata-allegro form.  a. The recapitulation provides a sense of harmonic stability.   b. Themes occur in the same order as in the exposition.   c. The recapitulation is not an exact, note-for-note repetition of the exposition.   d. The transition theme regularly requires modification.   e. The second theme is played in the dominant or relative major key.

Accepted Answer

e

Question 30

Identify the form that began during the Classical period.  a. binary   b. rondo   c. sonata-allegro   d. ternary   e. theme and variations

Accepted Answer

c

Question 31

Which term best characterizes the B section in ternary form?  a. repetition   b. contrast   c. variation   d. all of the above   e. presentation

Accepted Answer

b

Question 32

The \"retransition\" is  a. the end of the development section, where the tonality often becomes stabilized on the dominant in preparation for the return of the tonic and the beginning of the recapitulation.   b. the concluding part of a musical phrase.   c. the unstable section, in sonata-allegro form, in which the tonality changes from tonic to dominant in preparation for the appearance of the second theme.   d. a short fugue set in some other musical form like sonata-allegro or theme and variations.   e. a showy passage for soloists that appears near the end of the movement in a concerto; it usually incorporates rapid runs, arpeggios, and snippets of previously heard themes.

Accepted Answer

a

Question 33

Identify the correct definition for \"exposition,\" as used in sonata-allegro form.  a. the unstable passage in which the tonality changes from tonic to dominant in preparation for the appearance of the second theme   b. the return to the first theme and tonic key following the development   c. a slow and stately passage that is usually filled with ominous or puzzling chords   d. the principal section in which all thematic material is presented   e. the section in which the thematic material is extended, transformed, or reduced to its essence

Accepted Answer

d

Question 34

What is meant by the term relative major?  a. the major key in a pair of major and minor keys that share the same key signature   b. a key that is not exactly major or minor but is closer in sound to major   c. the term for the second tonal area in sonata-allegro form   d. a scale that is major when it is played in an ascending pattern but is minor when it is in a descending pattern   e. the key built on the fifth degree of the scale

Accepted Answer

a

Question 35

\"Sonata-allegro form\" is  a. a dramatic musical form that involves an exposition, development, and recapitulation.   b. a form that was invented during the Classical period.   c. a form that has the potential for dramatic presentation, conflict, and resolution.   d. perhaps the most popular musical form of the Classical era.   e. all of the above.

Accepted Answer

e

Question 36

What is the \"coda\"?  a. the final and concluding section of some musical compositions   b. the return to the first theme and tonic key following the development   c. the new, contrasting material that appears in the middle section of ternary form   d. an instrumental work for a small ensemble that is intended as light entertainment   e. a succession of chords that move forward in a purposeful fashion

Accepted Answer

a

Question 37

Identify the correct definition for \"development.\"  a. the passage where the tonality often becomes stabilized on the dominant in preparation for the return of the tonic (and first theme)   b. the second phrase of a two-part melodic unit that brings a melody to a point of repose and closure   c. the principal section of sonata-allegro form, in which all thematic material is presented   d. the center-most portion of sonata-allegro form, in which the thematic material of the exposition is developed and extended, transformed, or reduced to its essence   e. a brief, self-contained composition contrasting with a previous piece

Accepted Answer

d

Question 38

Which theme in sonata-allegro form typically oscillates between the dominant and tonic chords?  a. first theme   b. second theme   c. transition theme   d. closing theme   e. all of the above

Accepted Answer

d

Question 39

Which section of sonata-allegro form is slow, stately, and filled with ominous or puzzling chords?  a. recapitulation   b. development   c. coda   d. exposition   e. introduction

Accepted Answer

e

Question 40

Which statement does NOT apply to Eine kleine Nachtmusik?  a. It is for strings alone or a small orchestra.   b. It is an example of a serenade.   c. It is one of Mozart\'s most popular compositions.   d. Mozart composed it for the outdoor wedding reception of a friend.   e. It was written during the summer of 1787.

Accepted Answer

d

Question 41

As a general rule, Classical composers restricted sonata-allegro form to the first movement of multimovement compositions.  a. false   b. true

Accepted Answer

a

Question 42

About half of the mature symphonies of Haydn and Mozart have brief introductions before the exposition begins.  a. false   b. true

Accepted Answer

b

Question 43

Which response is NOT an example of rondo form?  a. ABACABA   b. ABA   c. ABACA   d. ABACADA

Accepted Answer

b

Question 44

Which statement does NOT apply to Symphony No. 94, the \"Surprise\" Symphony?  a. It was Haydn\'s most celebrated composition.   b. It was first performed in London in 1792.   c. It expresses an introspective mood of tragedy and despair.   d. The audience cheered the second movement, demanding an encore.   e. It is in theme and variations form.

Accepted Answer

c

Question 45

Which movement of a sonata, quartet, or symphony was typically in a slow tempo?  a. fourth   b. third   c. second   d. first

Accepted Answer

c

Question 46

Mozart\'s Variations on \"Twinkle, Twinkle, Little Star\" are based on a(n)  a. English Christmas carol.   b. Italian operatic aria.   c. French folksong.   d. German patriotic song.   e. minuet tune that was popular throughout Europe.

Accepted Answer

c

Question 47

In a Classical string quartet or symphony, the third movement is usually  a. lively in tempo.   b. in ternary form.   c. light and elegant, and sometimes spirited in mood.   d. a minuet and trio.   e. all of the above.

Accepted Answer

d

Question 48

One of the ways Classical composers created variation within theme and variations form was by altering the length of the melody.  a. true   b. false

Accepted Answer

b

Question 49

Rondo and sonata-allegro were the only two forms invented during the Classical period.  a. true   b. false

Accepted Answer

b

Question 50

Which musical form was NOT important during the Classical period?  a. rondo   b. ternary   c. sonata-allegro form   d. ritornello form   e. theme and variations

Accepted Answer

d

Question 51

What is the unexpected occurrence in Haydn\'s Symphony No. 94 that gave it the name \"Surprise\"?  a. the addition of a chorus into the symphony   b. the first use of a clarinet in the orchestra   c. a sudden fortissimo chord   d. a sudden shift to a minor key   e. syncopation

Accepted Answer

c

Question 52

In rondo form, the A sections are called  a. repetitions.   b. rows.   c. ritornellos.   d. rondeaux.   e. refrains

Accepted Answer

e

Question 53

In Classical compositions, the rondo is typically light, quick, and jovial in nature.  a. true   b. false

Accepted Answer

a

Question 54

What did the trumpet and French horn lacking in Haydn\'s day that is now \"standard equipment\" on modern instruments?  a. a bell   b. a mouthpiece   c. a double reed   d. valves   e. all of the above

Accepted Answer

d

Question 55

How did Beethoven and later nineteenth-century composers alter the conventional format of the Classical symphony?  a. They replaced the elegant minuet with a boisterous scherzo.   b. They favored using rondo form for the third movement.   c. a and c   d. They made the second movement of their symphonies a fugue   e. They used theme and variations form for the first movement.

Accepted Answer

a

Question 56

Which movement in a sonata, quartet, or symphony tended to be in a lyrical and tender mood?  a. third   b. first   c. second   d. first and third   e. fourth

Accepted Answer

c

Question 57

Sonata-allegro form was most often used in which movements of a string quartet or symphony in the Classical period?  a. first and second   b. first and fourth   c. second and third   d. second and fourth   e. third and fourth

Accepted Answer

b

Question 58

Which movement of a string quartet or symphony was typically a bright, light-hearted, and sometimes humorous movement set in sonata-allegro, theme and variations, or rondo form?  a. first and fourth   b. first   c. third   d. second   e. fourth

Accepted Answer

e

Question 59

Which movement(s) in a Classical period symphony is (are) nearly always in minuet and trio form?  a. third   b. fourth   c. second   d. first   e. third and fourth

Accepted Answer

a

Question 60

Which definition accurately describes the term sinfonia?  a. a multimovement work for solo instrument or instrument with keyboard accompaniment   b. a one-movement orchestral work in three sections (fast-slow-fast) that originated as an overture in seventeenth-century Italian opera   c. a German musical comedy with spoken dialogue, tuneful songs, and topical humor   d. an instrumental work for a small ensemble originally intended as a light entertainment in the evening   e. a rapid, jovial work in triple meter that was often used in place of the minuet as the third movement in a string quartet or symphony

Accepted Answer

b

Question 61

What is a \"cadenza\"?  a. a showy passage for the soloist appearing near the end of the movement in a concerto   b. the concluding part of a musical phrase   c. the last movement of a multimovement composition, which usually works to a climax and conclusion   d. a multimovement work for solo instrument or instrument with keyboard accompaniment   e. in musical notation, a mark indicating that the performer(s) should hold a note or chord for an extended duration

Accepted Answer

a

Question 62

The best definition for \"solo concerto\" is  a. a work, usually in three or four movements, for keyboard or other solo instrument   b. a composition in which an orchestra and a single performer in turn present and develop the musical material in the spirit of harmonious competition   c. an instrumental work for a soloist originally intended as a light entertainment in the evening   d. a solo composition written for talented amateurs to play in their homes either for personal enjoyment or to entertain their friends   e. a dramatic musical form of the Classical and Romantic periods involving an exposition, development, and recapitulation, with optional introduction and coda

Accepted Answer

b

Question 63

Which response accurately describes the term sonata?  a. a work, usually in three movements, for keyboard or other solo instrument   b. a one-movement orchestral work in three sections (fast-slow-fast) that originated in Italy as an overture to seventeenth century operas   c. a form that originated in the concerto of the Classical period, in which first the orchestra and then the soloist present the primary thematic material   d. a slow, lyrical piece or movement within a larger work, for instruments, or instrument and voice, much favored by composers of the period   e. music performed in a small concert hall or private residence with just one performer on each part

Accepted Answer

a

Question 64

Identify the response that most accurately applies to \"The Emperor\'s Hymn.\"  a. The tune served as the basis for a theme and variations form in the second movement of Symphony No. 94, the \"Surprise\" Symphony, which was an unexpected present to the Austrian emperor.   b. It was written to serve as the Austrian national anthem.   c. It was a work commissioned by Napoleon as a public relations ploy to gain acceptance for his rule over the Austrian people.   d. all of the above   e. Inspired by the popularity of the \"Marseillaise,\" Mozart composed the melody to express the patriotic sentiment of the Austrian people.

Accepted Answer

b

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