section 5 Example
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Orchestration
The technique of setting music for instruments in various combinations. Page 192
Through-composed
Song structure that is composed from beginning to end without repetitions of large sections. Page 196
Modified strophic form
Song structure that combines elements of strophic and through-composed forms; a variation of strophic form in which a section might have a new key, rhythm, or varied melodic pattern. Page 196
Lied
German for “song”; most commonly associated with the solo art song of the nineteenth century, usually accompanied by piano.
Page 195
Lieder
Plural of Lied. Page 196
Song cycle
Group of songs, usually Lieder, that are unified musically or through their texts. Page 196
Art song
A song that sets a text connected to a tradition of high-art poetry. See also Lied. Page 195
Strophic form
Song structure in which the same music is repeated with every stanza (strophe) of the poem. Page 196
Rubato
Borrowed time; common in Romantic music, in which the performer hesitates here or hurries forward there, imparting flexibility to the written note values.
Also tempo rubato. Page 204
Minstrel shows
Racially charged theatrical variety shows featuring white performers in blackface, acting out “idealized scenes from the plantation.” Page 212
Minstrelsy
See minstrel show. Page 213
Absolute music
Music that has no literary, dramatic, or pictorial program. Also called pure music. Page 228
Bel canto
Beautiful singing; elegant Italian vocal style characterized by florid melodic lines delivered by voices of great agility, smoothness, and purity of tone. Page 234
Impressionism
A French movement developed by visual artists who favored vague, blurring images intended to capture an “impression” of the subject.
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Impressionism in music is characterized by exotic scales, unresolved dissonances, parallel chords, rich orchestral tone color, and free rhythm. Page 256
Ninth chord
Five-note chord spanning a ninth between its lowest and highest pitches. Page 256
Program music
Instrumental music endowed with literary or pictorial associations, especially popular in the nineteenth century. Page 216
Thematic transformation
Musical expansion of a theme by varying its melodic outline, harmony, or rhythm. Also thematic transformation. Page 218
Singspiel
Comic German drama with spoken dialogue; the immediate predecessor of Romantic German opera. Page 242
Music drama
Wagner’s term for his operas. Page 244
Leitmotifs
“Leading motive,” or basic recurring theme, representing a person, object, or idea; widely used in Wagner’s music dramas. Page 244
Overture
Single-movement concert piece for orchestration, typically from the Romantic period and often based on a literary program. Page 221
Incidental music
Music written to accompany dramatic works. Page 222
Symphonic poem
One-movement orchestral form that develops a poetic idea, suggests a scene, or creates a mood, generally associated with the Romantic era. Also tone poem. Page 222
Tone poem
One-movement orchestral form that develops a poetic idea, suggests a scene, or creates a mood, generally associated with the Romantic era. Also symphonic poem. Page 222
Romantic melody is best described as:
Lyrical and Singeable
Romantic harmony is best described as:
chromatic and treated expressively
Which of the following is NOT typical of Romantic music?
Select one:
a. smaller orchestras
b. interest in new orchestral forms
c. increased dissonance for expression
Select one:
a. smaller orchestras
b. interest in new orchestral forms
c. increased dissonance for expression
smaller orchestras
Who was NOT an author of the Romantic era?
Select one:
a. Victor Hugo
b. William Shakespeare
c. Walter Scott
Select one:
a. Victor Hugo
b. William Shakespeare
c. Walter Scott
William Shakespeare
Nicolò Paganini was:
a virtuoso violinist
Which is NOT a considered a work with an “exotic” narrative?
Select one:
a. Madame Butterfly
b. Brahms’s Symphony No. 2
c. Aïda
Select one:
a. Madame Butterfly
b. Brahms’s Symphony No. 2
c. Aïda
Brahms’s Symphony No. 2
Which is NOT a new instrument added to the Romantic orchestra?
Select one:
a. piccolo
b. English horn
c. French horn
Select one:
a. piccolo
b. English horn
c. French horn
French horn
Musicians and composers achieved a higher social status during the Romantic era than in the Classical era.
True
Nationalistic feelings inspired composers to incorporate folk songs and dances from their native lands into their works.
True
Romantic composers rarely used dynamic markings and other expressive comments in their scores to communicate their intentions to musicians.
False
The Industrial Revolution produced more refined, but also more expensive, musical instruments.
false
The French Revolution fostered the rise of a middle-class society.
True
Characteristics in nineteenth-century music reveal an conscious break from the past.
True
Orchestration was of little value in nineteenth-century composition.
false
The Bohemian artist rejected the social norms of the establishment.
True
Nineteenth-century composers sought to make their instruments “sing.”
True
Symphonies by Romantic composers are shorter than those of the Classical era.
False
A song form in which the same melody is repeated for each stanza, often heard in popular music, is known as:
strophic form
A song form that is composed from beginning to end without repetitions of whole sections is called:
through-composed form
A group of Lieder unified by a descriptive or narrative theme is known as a:
song cycle
A Lied is an art song for solo voice and piano sung in ______.
German
Schubert’s Erlking was written:
early in his life
The text of The Erlking was written by:
Goethe
Schubert wrote approximately_____ songs.
six hundred
Schubert died young from:
Syphilis
What is the form of Schubert’s song Erlking?
through-composed
What does the triplet rhythm in the piano accompaniment symbolically represent in this song?
the horse’s hooves
Which best characterizes the range for the father’s role in the song?
low range
What expressive technique does Schubert use in the boy’s cry, My father, my father?
high range and dissonance
How is the character of the Erlking differentiated musically in the song?
medium range and major mode
The composer normally writes the lyrics for the Lied.
False
Lieder composers often set the same text as other Lieder composers
true
The piano was declining in popularity at the time of the Romantic Lied.
False
Two prominent German Romantic poets whose texts were often set to music were Heinrich Heine and Johann Wolfgang von Goethe.
True
Romantic Lieder texts often speak of love and/or nature.
true
Women composers wrote Lieder in the Romantic era.
True
Schubert wrote symphonies based on the forms established by Classical composers.
True
According to legend, a child touched by the Erlking must die.
True
The art song became a popular repertory for amateur and professional musicians in the nineteenth century
True
Frédéric Chopin spent most of his productive career in:
France
Chopin was romantically involved with George Sand, the renowned:
French novelist
Which genre is NOT a part of Chopin’s compositional output?
French novelist
Which is the best definition of tempo rubato?
robbed time
Chopin’s Mazurka in B-flat minor is set in _____ meter.
triple
What best describes the character of the Chopin’s Mazurka?
dancelike
Chopin paid homage to his Eastern European ancestry by composing:
mazurkas and polonaises
The piano changed little technically during the nineteenth century.
false
The piano was the most central instrument in nineteenth-century musical culture.
true
The short, lyric piano work might be considered the instrumental equivalent to the nineteenth-century Lied.
true
The nineteenth century was an age of great virtuoso pianists.
true
Romantic-era piano works often had fanciful titles.
true
Steinway was important in the history of the Romantic-era piano.
true
Chopin lived a long and productive life, turning to the church in his later years.
false
The mazurka was originally a noble, processional dance
false
Melody plays no role in Chopin’s piano music.
false
Who was NOT a woman composer of the Romantic era?
Select one:
a. Fanny Mendelssohn Hensel
b. George Sand
c. Clara Schumann
Select one:
a. Fanny Mendelssohn Hensel
b. George Sand
c. Clara Schumann
George Sand
Which role did women NOT generally play in Romantic society?
Select one:
a. conductors
b. music patrons
c. performers and composers
Select one:
a. conductors
b. music patrons
c. performers and composers
conductors
Which genre did Fanny Mendelssohn Hensel NOT contribute to?
Select one:
a. songs
b. opera
c. piano music
Select one:
a. songs
b. opera
c. piano music
opera
From a trip to which country did Fanny Mendelssohn Hensel draw inspiration for her work The Year?
Italy
During her later years, Fanny Mendelssohn Hensel was responsible for:
organizing the famous family Sunday concerts
The aristocratic woman who had an important influence on Liszt’s later years was:
Princess Carolyne Sayn-Wittgenstein
The overall tempo of the melody in “September: At the River” by Fanny Mendelssohn Hensel is best described as
adagio
The concept of “river” in “September: At the River” by Fanny Mendelssohn Hensel is expressed by:
quick-moving notes that accompany the melody
The music of which Mendelssohn was overlooked until recently?
Moses
A lost manuscript of Fanny Mendelssohn Hensel, in her own handwriting, that contained “September: At the River” was discovered in:
1789
In the recently discovered manuscript of Fanny Mendelssohn Hensel’s “September: At the River” poetry of which nineteenth-century poet was included:
Goethe
Women seldom composed for the piano in the Romantic era.
false
Fanny Mendelssohn Hensel wrote several large-scale works as well as many Lieder.
true
Women played a critical role in music making in the nineteenth century, except as teachers.
false
Music composed for the home was associated with masculine character traits.
false
Fanny Mendelssohn Hensel was enthusiastically encouraged to pursue a musical career by her family
false
Fanny Mendelssohn Hensel lived a long and productive life.
false
Each of the pieces in the manuscript of Fanny Mendelssohn Hensel’s Das Jahr was originally accompanied by poetry and artwork.
true
Nineteenth-century songwriters in the United States combined elements of:
a. European art song
b. both a and b
c. opera
b. both a and b
c. opera
The songs of which nineteenth-century composer remain popular today?
Stephen Foster
Foster’s My Old Kentucky Home was inspired by:
a. his limited visits to the American South
b. Harriet Beecher Stowe’s Uncle Tom’s Cabin
c. both a and b
b. Harriet Beecher Stowe’s Uncle Tom’s Cabin
c. both a and b
Foster’s Jeanie with the Light Brown Hair is primarily composed in what texture?
homophonic, with some polyphony
Stephen Foster is known for his ballads, minstrel show tunes, and plantation songs.
true
Music in eighteenth- and early nineteenth-century America was wildly divergent from European traditions.
false
Stephen Foster’s music was popular only after his death.
false
The term “popular” means belonging to “the people.”
true
The famous American tunes “Oh, Susanna!, Beautiful Dreamer, and Jeanie with the Light Brown Hair all were composed by Harry Burleigh.
false
Stephen Foster’s music sympathized with the plight of the slaves in the American South.
true
The music that accompanies the lyrics of “Jeanie with the Light Brown Hair” reflects Foster’s Anglo-Irish cultural heritage.
true
Stephen Foster enjoyed tremendous financial success in New York City during his thirties
false
Stephen Foster’s Jeanie with the Light Brown Hair was inspired by real life experiences.
true
Instrumental music that has some literary or pictorial association is called:
program music
Music lacking any literary or pictorial association is called:
absolute music
The inspiration for Berlioz’s Symphonie fantastique was:
the actress Harriet Smithson
The main theme, heard transformed in each movement of the Symphonie fantastique, is called:
the idée fixe
Which best describes the character of the fourth movement of Symphonie fantastique?
a diabolical march
What does the loud chord immediately after the statement of the idée fixe in the solo clarinet at the end of the fourth movement in Berlioz’s Symphonie fantastique represent?
the falling of the guillotine’s blade
In which movement is the Dies irae (Day of Wrath) theme from the Mass for the Dead heard?
the fifth
Berlioz’s Symphonie fantastique exemplifies the type of program music known as:
the program symphony
Which of the following is NOT true about Hector Berlioz?
Select one:
a. Some of his works have a literary basis.
b. He was a German Romantic composer.
c. He was a genius at orchestration
Select one:
a. Some of his works have a literary basis.
b. He was a German Romantic composer.
c. He was a genius at orchestration
He was a German Romantic composer.
The character development in Sinfonie fantastique is realized musically through the thematic development of the_______.
idée fixe
One of Berlioz’s key innovations was his orchestration effects.
true
Hector Berlioz looked to the writings of Shakespeare as the basis for both operas and symphonic works.
true
Hector Berlioz wrote a good deal of music that was meant to evoke images and ideas.
true
Music that is designed without intended literary or pictorial meanings is called program music.
false
Program music composers do not indicate the intended meaning of the program music.
false
Which of the following is a type of program music written to accompany plays?
incidental music
Which term describes a one-movement work for orchestra with a literary program?
symphonic poem
Which term describes a one-movement work possibly written to introduce a larger work but played independently?
concert overture
Which composer is generally credited with the first use of the term symphonic poem?
Franz Liszt
The chief difference between a symphonic poem and a program symphony is:
the number of movements in the work
Mendelssohn’s music for Shakespeare’s A Midsummer Night’s Dream is a famous example of:
incidental music
Which type of program best describes Smetana’s The Moldau?
geographic/historic, depicting actual events or places
Which category of program music best describes The Moldau?
symphonic poem
Grieg’s Peer Gynt is a work that suggests _________ nationalism.
Scandinavian
Which nationalist composer was asked to revise his music to suit a political censor?
Verdi
The Moldau is part of a cycle of works known as:
My Country
Composers expressed their nationalism through music by basing their compositions on:
a. both a and b
b. songs and dances of their people
c. the celebration of a national hero, event, or place
b. songs and dances of their people
c. the celebration of a national hero, event, or place
Bedøich Smetana represents the:
Bohemian nationalist school
Nikolai Rimsky-Korsakov represents the:
Nikolai Rimsky-Korsakov represents the:
Edvard Grieg represents the:
Scandinavian nationalist school
Antonín Dvoøák represents the:
Czech nationalist school
Jean Sibelius represents the:
Scandinavian nationalist school
Manuel de Falla represents the:
Spanish nationalist school
In the nineteenth-century nationalism was not a concern among composers.
false
Often composers are commissioned to write nationalistic music.
true
Composers like Tchaikovsky only selected inspiration from their own country in writing program music.
false
Symphonic poems have between three to five movements.
false
In the nineteenth century nationalist music was often inspired by folklore.
true
Which of the following is NOT a characteristic of the nineteenth-century symphony?
small orchestra with limited winds
b. colorful harmonies
c. lyrical melodies
small orchestra with limited winds
b. colorful harmonies
c. lyrical melodies
small orchestra with limited winds
The third movement of the nineteenth-century symphony is most likely in:
dance or scherzo form
The opening melody of the third movement in Brahms’s Symphony No. 3 is given to which instrument?
. the cellos
Which composer nurtured Brahms’s talents, taking him into his home?
Robert Schumann
Brahms wrote his Requiem mass in memory of:
his mother
How many symphonies did Brahms write?
four
Unlike the symphonic poem, the genre of symphony is often absolute music, without a program.
true
The Romantic symphony follows the exact forms and proportions of the Classical genre of Beethoven.
false
The Romantic symphony cycle typically has three movements.
false
The first movement of a Romantic symphony is usually the most dramatic and features the use of sonata-allegro form.
true
The scherzo movement in nineteenth-century symphonies generally is characterized by a slow march tempo.
false
Romantic composers often wrote a longer last movement of a symphony to balance the first.
true
The Romantic symphony required a larger orchestra than that of the Classical masters.
true
Brahms wrote all four of his symphonies after he turned forty.
true
Brahms’s Symphony No. 3 in F major uses none of the forms often found in late eighteenth-century symphonies.
false
In his Symphony No. 3, Brahms incorporates a melodic idea from the first movement into the other movements as well.
true
The literary basis for Verdi’s Rigoletto is:
a play by Victor Hugo
What is the historical setting for Rigoletto?
an Italian court, during the Renaissance era
Which is NOT a Verdi opera based on a Shakespeare play?
Select one:
a. Aida
b. Otello
c. Falstaff
Select one:
a. Aida
b. Otello
c. Falstaff
Aida
Which Verdi opera is set in Egypt?
Aida
Which opera did Verdi write based on the story of the king of Babylon?
Nabucco
In the nineteenth century opera excerpts were marketed to domestic consumers via:
four-hand piano arrangements
The American debut tour of international singing sensation Jenny Lind was managed by:
P. T. Barnum
Il barbiere di Siviglia and Guillaume Tell by Gioachino Rossini both exhibit which style of singing?
straight-tone
Giuseppe Verdi is viewed as an Italian nationalist composer.
true
Rigoletto is an opera based on Victor Hugo’s novel The Hunchback of Notre Dame.
false
Jenny Lind was a famous nineteenth-century composer of opera.
false
Many Romantic composers looked to faraway lands or cultures for their opera plots.
true
Nineteenth-century Italian opera is characterized by the use of the bel canto style of singing.
true
After her husband began to flourish as a composer, Giuseppina Strepponi enjoyed continued success as an opera singer.
false
In the late nineteenth century France, Germany, and Italy developed distinct national styles.
true
Light German opera featuring spoken dialogue is called:
Singspiel
What did Wagner call his large-scale sung theatrical works?
music drama
How many music dramas make up Wagner’s The Ring of the Nibelung?
four
Which term refers to Wagner’s concept of a total artwork, encompassing all the arts?
Gesamtkunstwerk
What is the basis for the story of Die Walküre?
a medieval German epic poem
There are ____ Valkyries, all daughters of Wotan.
nine
Which best describes the character of Wotan?
the father of the gods
A leitmotif is:
a recurring melodic theme that signifies something
Which instrument precedes Wotan’s call to Loge?
trombone
Wagner had a theater built at Bayreuth specifically for the performance of his music dramas.
true
The role of the Valkyries was to carry fallen heroes from the battlefield to Valhalla on their winged horses.
true
Wagner employed a recurring theme called an idée fixe in his operas.
false
Germany is noted for its long-established opera traditions.
false
While in Dresden Wagner began to choose subjects derived from Germanic tales.
true
In his music dramas Wagner created short arias that lent themselves to being separated from the larger work for performance at home.
true
From which source did Verdi select his text for his Requiem?
the Roman Catholic Requiem Mass
Verdi’s Requiem is part of which Christian tradition?
Lutheran
Verdi’s Requiem was criticized by the Church in the nineteenth century for:
being excessively theatrical
The Dies irae section of Verdi’s Requiem contains all of the following, except:
Select one:
a. soprano solo
b. major key tonality
c. full orchestral accompaniment
Select one:
a. soprano solo
b. major key tonality
c. full orchestral accompaniment
major key tonality
The Requiem aeternam section of Verdi’s Requiem is marked by which characteristics?
a cappella performance
The fully completed Requiem by Verdi was dedicated to whom?
Alessandro Manzoni
In the Dies irae section of his Requiem Verdi creates a sense of awesome terror through the use of which musical tools?
a. both a and b
b. dramatic orchestration including brass and percussion
c. powerfully dramatic use of loud dynamics
b. dramatic orchestration including brass and percussion
c. powerfully dramatic use of loud dynamics
The nineteenth century witnessed an increasing interest in social choral-singing.
true
The nineteenth century was the first time, historically, where secular and sacred music on Christian practice became an issue.
false
Barbershop quartet music in the United States was influenced by singing traditions in nineteenth-century Europe.
true
Some of the major composers of choral music in the Romantic era include Fanny and Felix Mendelssohn, Verdi, and Brahms.
true
Verdi used the complete mass text for his Requiem
false
Verdi’s Requiem was written to commemorate the death of his mother:
false
The tone of Verdi’s Dies irae section in his Requiem is of quiet contemplitude.
false
The text of Verdi’s Requiem is derived from the Catholic tradition.
true
Prisoners condemned to die in Nazi concentration camps sang Verdi’s Requiem as an act of defiance.
true
Which of the following is NOT a characteristic of Impressionist music
large-scale forms
Some of Ravel’s music reflects his travels to:
Spain
The overall form of Debussy’s Prelude to “The Afternoon of a Faun” is best described as:
sonata-allegro
Which genre best describes the Prelude to The Afternoon of a Faun?
symphonic poem
The program for Debussy’s Prelude to “The Afternoon of a Faun” concerns:
a mythological creature in a dreamlike state
Which best describes the character of the opening theme of Debussy’s Prelude to The Afternoon of a Faun?
chromatic and languorous
Which melodic instrument is featured in the opening melody of Debussy’s Prelude to The Afternoon of a Faun?
flute
The whole-tone scale was a favored device of Impressionist composers.
false
Impressionist composers use various non-Western scale patterns in their works.
true
The Paris World Exposition of 1889 provided French composers the opportunity to hear various musical ensembles from around the world.
true
Impressionist composers often made use of a strongly accented meter.
false
Neoclassical artists and composers looked back to the Romantic era for inspiration.
false
Programmatic music continued in the Impressionist period.
true
Impressionist artists and composers looked to mythological themes for inspiration.
true
Debussy primarily utilized the sonata-allegro form in his large works.
false
Many composers in the early twentieth century continued to be influenced by non-Western music.
true
Debussy is considered to be an Impressionist composer
true
Debussy’s music rarely looks to influences from other cultures.
false
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