Deck 16: Prelude: Music after Beethoven: Romanticism

Question 1

Who provided the Romantics with the ideal of the individual and is considered the philosophical father of the French Revolution?

A) Jean-Jacques Rousseau
B) Ludwig van Beethoven
C) Franz Schubert
D) Victor Hugo

Answer 1

A

Question 2

Which is true of the social revolution of the nineteenth century?

A) Composers such as Liszt personally crossed class boundaries.
B) From the start, the ruling class refused to accept the new emotional music.
C) Composers such as Wagner refused to join the revolutionaries.
D) Composers failed to infiltrate the upper classes; this fueled a rebellious, impassioned creative output.

Answer 2

A

Question 3

In the nineteenth century,which of the arts was believed to be the most capable of expressing inner experience and emotion?

A) sculpture
B) theater
C) painting
D) music

Answer 3

D

Question 4

The quality most prized by Romantic artists was:

A) conformity to musical forms and genres set up in the Classical era.
B) dislike for the Middle Ages.
C) the integrity of the expression of individual feeling.
D) the ability to cross over into artistic areas other than one's own.

Question 5

The Romantic movement in literature first arose in:

A) France and Austria.
B) Italy and Spain.
C) Belgium and the Netherlands.
D) England and Germany.

Question 6

Which musical genres became established on the concert stage by the end of the nineteenth century?

A) operas and organ recitals
B) concertos and symphonies
C) lieder and string quartets
D) cantatas and masses

Question 7

Increasingly,the focal point for the performance of Romantic music was the:

A) concert hall.
B) court.
C) church.
D) chamber music salon.

Question 8

What is chromaticism?

A) changing key in the middle of a composition
B) changing tone colors frequently in an orchestral composition
C) using irregular phrase lengths
D) using all twelve notes of the scale liberally

Question 9

The term Romantic was:

A) applied by music critics in the twentieth century.
B) used by writers of literature in the nineteenth century and adopted by musicians.
C) applied only to music, not literature, of the nineteenth century.
D) applied only to literature, not music, of the nineteenth century.

Question 10

The composer most responsible for elevating music to a new level of respect during the Romantic era is:

A) Ludwig van Beethoven.
B) Franz Liszt.
C) Wolfgang Amadeus Mozart.
D) Gustav Mahler.

Question 11

Which statement is false?

A) Romantic melodies had more regular phrase lengths than Classical melodies.
B) Romantic melodies used a greater range of notes than Classical melodies.
C) Romantic melodies had more sustained climaxes than Classical melodies.
D) Romantic melodies had less regular rhythms than Classical melodies.

Question 12

In which stylistic period was chromaticism used the most?

A) Baroque
B) Romantic
C) Classical
D) Renaissance

Question 13

Which is true of the relationship between Romantic composers and the public?

A) With the popularity of public concerts, composers and the public saw eye to eye on what sort of music fit the Romantic ideal.
B) Popular performers and composers such as Liszt and Wagner helped close the gap between the Romantic artist and the public.
C) Nineteenth-century audiences became more conservative and more critical of innovative composers.
D) The music of innovative composers such as Liszt, Wagner, and Mahler was embraced enthusiastically by a forward-looking public in the nineteenth century.

Question 14

Which is true of the relative status of music in the nineteenth century?

A) Music was the most important of the arts.
B) Music became less and less important as a separate art form because various art forms were combined.
C) Music rose to the same status as literature.
D) Music was the least important of the arts.

Question 15

Which describes the highest goal of music in the nineteenth century?

A) a return to religious mysticism and spiritual values
B) light entertainment, with comedy reigning supreme
C) a search for freedom of individual emotional expression
D) artificial, intellectual entertainment and the suppression of individual emotions

Question 16

The composer who started a magazine to defend the music of the Romantics against public indifference was:

A) Franz Liszt.
B) Robert Schumann.
C) Richard Wagner.
D) Gustav Mahler.

Question 17

An early monument to supernatural Romanticism was the opera The Magic Bullet by:

A) Franz Schubert.
B) Carl Maria von Weber.
C) Richard Wagner.
D) Hector Berlioz.

Question 18

Which statement is false?

A) Romantic melodies were longer and less predictable than those in earlier musical periods.
B) In Romantic music, harmony was enjoyed for its own sake and was used for emotional expression.
C) In Romantic music, rhythm was treated more freely than before.
D) Romantic harmonies were clearer and more diatonic, and they established a stronger sense of tonality than in earlier musical periods.

Question 19

Which describes Romantic composers' view of form and harmony?

A) Romantic composers did not allow form or genre to restrain spontaneous creativity.
B) Romantic composers fought to maintain all the forms and genres of the Classical era.
C) Romantic composers adhered strictly to genre but escaped the restraints of Classical forms.
D) Romantic composers adhered strictly to Classical forms but escaped the restraints of strict genres.

Question 20

Which is true of Romantic composers such as Beethoven,Liszt,and Verdi?

A) They avoided all involvement in political and social revolution, feeling that music transcended politics.
B) They wanted to promote emotional expression without disrupting the established social order.
C) People used their music to promote revolutionary movements, but the composers did not associate themselves with such movements.
D) As rebels against the social order, they associated themselves with revolutionary and libertarian politics.

Question 21

Miniatures were generally heard:

A) as separate compositions.
B) as the third movement of a Romantic multimovement work.
C) as part of a sonata.
D) between opera acts or scenes.

Question 22

Who was Jean-Jacques Rousseau? Why is he important to the Romantic movement in all the arts? What were his views on music and the expression of feelings?

Question 23

The important new member of the Romantic orchestra was the:

A) concertmaster.
B) continuo player.
C) conductor.
D) moderator.

Question 24

Miniatures were usually written for:

A) the orchestra.
B) voice and piano, or piano alone.
C) string quartets.
D) small opera companies.

Question 25

Music without singing but derived from a poem,story,or other literary source is called:

A) Gesamtkunstwerk.
B) a Romantic symphony.
C) thematic transformation.
D) program music.

Question 26

Thematic unity occurs:

A) within only one movement at a time.
B) when a composer uses the same themes in all the movements of a work.
C) mostly in theme and variations form.
D) only in the recapitulation section of sonata form.

Question 27

Romantic treatment of form was:

A) exact.
B) close to that of the Classical era.
C) free and spontaneous.
D) innovative but highly structured.

Question 28

Compared to the Classical orchestra,the typical Romantic orchestra was:

A) larger but had fewer different kinds of instruments.
B) larger and blended tone colors in new ways.
C) larger but had more instruments, such as the piano, in the continuo section.
D) smaller but had new stringed instruments.

Question 29

Miniatures were given all of the following types of titles except:

A) general titles such as prelude or impromptu.
B) formal titles such as sonata or rondo.
C) poetic titles such as Why? or Spring Song.
D) dance titles such as mazurka or waltz.

Question 30

Define the term Romantic and give the source of the term.Explain who applied it to this style period.

Question 31

Compared to earlier compositions,Romantic grandiose compositions had:

A) more narrated sections.
B) more movements and increased performing forces.
C) small forms linked together.
D) more adherence to strict formal structures.

Question 32

Briefly describe the status of music in relation to the other arts in the nineteenth century.

Question 33

Romantic treatment of tone color included:

A) combining and blending different instrumental tone colors in innovative ways.
B) keeping the sections of the orchestra distinct and clear.
C) giving the brass section the melody most of the time.
D) using more flexible instrumentation in orchestral scores; parts could be played by a variety of instruments.

Question 34

The technique of having the same theme fragment reappear with some sort of variation at loosely recurring intervals is:

A) thematic transformation.
B) theme and variations form.
C) program music.
D) rondo variation form.

Question 35

The musical term applied to flexibility in rhythm is:

A) ritardando.
B) rallentando.
C) rubato.
D) accelerando.

Question 36

In nineteenth-century opera,the orchestra:

A) became less important as vocal lines became more important.
B) was reduced to a small group as opera houses became smaller.
C) became more important than the vocal lines; the voices now accompanied the orchestra.
D) increased in importance, sometimes providing special effects and overshadowing the voices.

Question 37

All of the following are characteristic of thematic unity in Romantic symphonic music except:

A) thematic transformation.
B) using the same themes in several symphonies.
C) using the same themes in all the movements of one symphony.
D) using different but vaguely similar themes in one work.

Question 38

When and where did the Romantic movement begin,and in which area of the arts?

Question 39

Briefly discuss the influence of the revolutionary political climate on musical trends in the nineteenth century.Refer to two nineteenth-century composers in your answer.

Question 40

Why were the Romantics seen as rebels?

Question 41

Define chromaticism and briefly discuss why Romantic composers explored its use in their music.

Question 42

Briefly describe the relationship between the concertgoer and the composer during the nineteenth century.Did this relationship improve or worsen as the twentieth century approached? How?

Question 43

Name and describe the two most highly valued qualities in Romantic creative activity.

Question 44

Briefly discuss the Romantic fascination with the supernatural and the macabre.

Question 45

Why was Shakespeare so popular with Romantic composers?

Question 46

How did the Romantics view the expressive capability of music as compared with the expressive capability of the other arts?

Question 47

Briefly describe the way in which Romantic composers used harmony in relation to melody and emotional expression.

Question 48

Define rubato.Briefly explain why it was an important element for Romantic composers and performers.

Question 49

What was the significance of the music magazine begun by Robert Schumann?

Question 50

Briefly describe Romantic melody in terms of range,phrase lengths,use of climax,and regularity of rhythm.

Question 51

Briefly discuss how artists in the nineteenth century crossed the barriers between literature,the visual arts,and music.

Question 52

Describe the negative aspect of the institutionalization of concerts in the nineteenth century.

Question 53

Briefly define Gesamtkunstwerk in terms of Wagner's operas.

Question 54

How did composers such as Carl Maria von Weber,Richard Wagner,and Hector Berlioz use the elements of music to summon up images of the supernatural and macabre?

Question 55

Compare and contrast the Classical orchestra (see Chapter 13)with the Romantic orchestra.Which families of instruments underwent the most growth and change?

Question 56

Compare and contrast the ways Classical composers and Romantic composers used orchestral tone colors.

Question 57

Contrast Classical and Romantic melody.

Question 58

Briefly describe the attitude embraced by Romantic composers toward form and harmony.

Question 59

Briefly explain why the concert hall became the most important place for musical performance in the nineteenth century.

Question 60

Briefly describe the status of tone color among other musical elements as used by Romantic composers.

Question 61

Define program music.

Question 62

How did miniature compositions deal with the problem of form?

Question 63

Briefly describe the nineteenth-century miniature composition.For what performing forces were miniatures usually written?

Question 64

How did grandiose compositions deal with the problem of form?

Question 65

Briefly discuss how program music deals with the problem of form.

Question 66

Describe the principle of thematic unity.Give examples of some of the ways it is used in Romantic compositions.

Question 67

Briefly define thematic transformation.How does this technique contribute to thematic unity in a work?

Question 68

Briefly describe the attitude of Romantic composers toward the use of form.

Question 69

Briefly explain the grandiose compositions of the Romantic era.Briefly describe three ways in which these works are grandiose.