Music Chp 20

Front 1

The French Revolution began in

Back 1

1789

Front 2

Initially, the goals of the French Revolution included all of the following except

Back 2

- respect for the rights of the individual.
- political and religious freedom.
X a powerful monarch to rule the country by divine right.
-democratic reforms.

Front 3

(T/F) Napoleon Bonaparte was the political and military leader who eventually achieved the goals and reforms of the Enlightenment.

Back 3

FALSE

Front 4

Napoleon was defeated in

Back 4

1815

Front 5

The French intellectual, called the "father of Romanticism," who turned from a rational to an emotional approach to life and art was

Back 5

Jean-Jacques Rousseau.

Front 6

(T/F) Around the turn of the nineteenth century, painters turned from classical subjects and styles to a subjective and highly emotional artistic expression.

Back 6

TRUE

Front 7

(T/F) The artist who was called the Great Romantic but considered himself a classicist was Eugene Delacroix.

Back 7

TRUE

Front 8

All of the following were TRUE regarding the Romantic period around the turn of the nineteenth century except

Back 8

X even as music performance moved from the private chamber to the public concert hall, the quality and quantity of music remained unchanged.
-the range of volume increased significantly as composers called for the very softest and very loudest effects.
-"monster," grandiose performances were greatly appreciated.
-oratorios were sometimes given festival performances with over five hundred people participating.

Front 9

The orchestra used in the first performance of Haydn's Creation in 1798 had _____ pieces.

Back 9

180

Front 10

(T/F) Because Beethoven's piano music was lighter and more refined than that of Mozart, the Viennese piano was redesigned to be quieter in the early nineteenth century.

Back 10

FALSE

Front 11

(T/F) Between 1800 and 1830, metal braces were added to the piano to increase the amount of tension the strings could bear, and a cast-iron frame was added, making the piano essentially like our modern instrument.

Back 11

TRUE

Front 12

During the early nineteenth century, the harp was improved, acquiring "double __________," that allowed it to play flat as well as sharp notes.

Back 12

action

Front 13

(T/F) In the transition from the Classical to the Romantic periods, the role and number of wind instruments was greatly reduced to make room for the expanding brass section.

Back 13

FALSE

Front 14

The effort to increase the capacity of the various brass instruments to produce rapid changes in pitch led to the addition of __________, which greatly enhanced their melodic capabilities.

Back 14

valves and pistons

Front 15

The __________ was invented in 1816, enabling composers to indicate exactly the tempo they desired for any composition.

Back 15

metronome

Front 16

__________ was one of the first major composers to use metronome markings.

Back 16

Ludwig van Beethoven

Front 17

Beethoven and his younger contemporary, Schubert, inherited all of the following musical traditions except

Back 17

-solo and orchestral forms that had been developed by Haydn and further explored by Mozart and could now be carried to the limits of expression.
-a variety of instruments to provide the range of colors Romantics desired in their orchestras.
X less precise notation than was used previously.
-the opportunity to indicate exactly the manner in which they wanted their music performed.

Front 18

(T/F) Like Mozart before him, Beethoven was a talented prodigy who received a careful and thorough musical education.

Back 18

FALSE

Front 19

(T/F) Beethoven developed a close relationship with Haydn because their personalities were so closely matched.

Back 19

FALSE

Front 20

__________, who had the reputation of being the best pianist in Vienna, was afflicted in his late twenties with an ear disease that eventually led to total deafness.

Back 20

Ludwig van Beethoven

Front 21

Although Beethoven mastered the forms of the Classical style, he also altered them by

Back 21

- disguising the dividing points between large sections.
- extending the length of the development section in sonata-allegro movements.
-expanding the length and role of the coda to that of a second development.
ALL OF THE ABOVE

Front 22

For the third movement of his symphonies, Beethoven often replaced the traditional minuet and trio with the lighter, faster __________, altering the tempo and mood of the movement while preserving the three-part design.

Back 22

scherzo and trio

Front 23

(T/F) Beethoven made frequent use of the sonata-allegro design, and he always kept its traditional proportions.

Back 23

FALSE

Front 24

Beethoven liked to combine forms: the __________ retains the key relationship of the sonata-allegro but alternates themes in the fashion of a rondo.

Back 24

sonata-rondo

Front 25

All of the following are TRUE of Beethoven's music except

Back 25

-his music reflects the conflicts of his personality and experience.
X his music shows a lack of sudden mood changes, to the point of being static.
- his robust humor is apparent in his music.
- his intense suffering is expressed in his music.

Front 26

It is customary to divide Beethoven's work into _____ periods.

Back 26

three

Front 27

(T/F) Beethoven's Ninth Symphony has a choral fourth movement based upon Schiller's "Ode to Joy," that continues to thrill audiences today.

Back 27

TRUE

Front 28

__________, a transitional figure who composed in both the Classical and Romantic styles, was the only "Viennese" composer who was actually from Vienna.

Back 28

Franz Schubert

Front 29

Schubert absorbed the Classical appreciation of __________, and his chamber pieces are beautifully organized according to Classical principles.

Back 29

form

Front 30

(T/F) When Schubert died in 1828, he was just 31 years old and not widely known as a composer.

Back 30

TRUE

Front 31

The term universally applied to German art songs is

Back 31

Lieder.

Front 32

Some of Schubert's most effective songs are included in song sets or song __________, which had texts by the same poet.

Back 32

cycles

Front 33

An outstanding trait of Beethoven's Ninth Symphony is the use of the

Back 33

chorus and orchestra

Front 34

In the "Erlkönig" Schubert uses the piano to suggest

Back 34

the galloping horse.

Front 35

-instrument to measre tempo

Back 35

metronome

Front 36

-brief melodic phrase, often with strong rhythmic interest, appropriate of extended development
-often serves as a motto or recurring them throht a movement or a composition

Back 36

motive

Front 37

-setting of a well-known poet's work to music by a serious composer

Back 37

art song

Front 38

German art songs

Back 38

Lieder

Front 39

-set of songs by one composer, often with texts by the same poet
-the songs may be related by subject, melodic material, or both

Back 39

song cycle