Claude Debussy (1862-1918), Nocturnes No. 1, Nuages (1897-99) 1. The English horn motive is composed of notes from i m sorry scale? (Octatonic/pentatonic/whole tone/diatonic) 2. Phrases open minded in the excerpt with (tonal harmonic progressions/linear goal directed shapes/oscillation and repetition/all of the above) 3. The opening motive consists of alternate (sixths & fourths/fourths & thirds/sixths and also thirds/fifths and also thirds) 4. The to decrease chords in the strings room (parallel sevenths/parallel ninths/parallel triads/ninths in contrary motion) 5. The melody in the flute and harp is attracted from the (pentatonic scale/Dorian mode/octatonic scale/Lydian mode) 6. Melodic motion in the excerpt is chiefly (octatonic/diatonic/chromatic/pentatonic) 7. Form?

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Genre: symphonic city 1. Octatonic 2. Oscillation and repetition 3. Fifths and also thirds 4. Parallel ninths 5. Pentatonic scale 6. Chromatic 7. Modified ABA or rotational form
Maurice Ravel (1876-1937), Le tombeau de Couperin: Menuet (1914-17) Form? 1. Harmony in the excerpt is composed of parallel (major triads/minor triads/seventh chords/ninth chords) 2. The parallel fourth and also fifths indicate (Impressionism/medieval music/Renaissance motets/Impressionism and also medieval music) 3. The recurring accompanimental numbers suggest (horns/harps/percussion/drones or bagpipes) 4. Expression lengths are: (three measures/four measures/two and four measures/three and four measures) 5. Texture? 6. The concluding theme is played through which instruments in turn (piccolo, clarinet, English horn, strings/flute, oboe, bassoon, strings/piccolo, oboe, English horn, strings/piccolo, oboe, base clarinet, strings)
Genre: orchestral suite Form: rounded binary kind 1. Young triads 2. Impressionism and also medieval music 3. Drones or bagpipes 4. 4 measures 5. Polyphonic 6. Piccolo, oboe, English horn, strings
Arnold Schoenberg (1874-1951), Pierrot lunaire (1912) 1. The most significant 3-note motive consists of a (rising major third-falling boy third/rising young third-falling significant third/falling boy third-rising major third/falling significant third-rising young third) 2. Passacaglia is said by the use of (a base ostinato/a musical-textual refrain/melodic and also harmonic variations/a base ostinato w/ melodic and harmonic variations) 3. The descending scale played by the bass clarinet and viola are (whole tone/octatonic/atonal/chromatic) 4. The harmony is (tonal/octatonic/whole tone/atonal) 5. The descending scale heard in the opening recur in the final refrain (at the same pitch level/a action higher/a step lower/a third higher) 6. The format of singing is dubbed (bel canto/sotto voce/Sprechstimme/recitative)
Genre: melodrama (song cycle) speaker and also chamber ensemble 1. Rising minor third-falling major third 2. A bass ostinato w/ melodic and also harmonic variations 3. Totality tone 4. Atonal 5. A third greater 6. Sprechstimme
Alban Berg (1885-1935), Wozzeck (1917-22) (listen to act III) 1. The vocal an approach heard in the excerpt is (Klangfarbenmelodie/Sprechstimme/Singspiel/Gesamtkunstwerk) 2. The orchestral accompaniment rises by (thirds, then entirety steps/while steps, then half steps/half steps, then entirety steps/whole steps, then 4 minutes 1 tones) 3. The crescendo culminates in a rhythmic sample of how plenty of notes? (6/7/8/9) 4. The barroom piano plays an atonal (waltz/minuet/foxtrot/polka) 5. Leading as much as Wozzeck"s murder of Marie is a recurring pitch in the (tuba/timpani/bass drum/gong) 6. To produce an eerie sound, what carry out the violins play end the bridge of your instruments? (Double stops/arpeggios/tremolos/scales) 7. I beg your pardon of the following is NOT provided in Margret"s song? (balanced phrases/arching melodies/rhythmic motives/changing meters)
Genre: opera 1. Sprechstimme 2. Whole steps, then fifty percent steps 3. 8 4. Polka 5. Timpani 6. Tremolos 7. Changing meters
Igor Stravinsky (1882-1971), The Rite of spring (1911-13) 1. The texture consists of (melody and also accompaniment/layers of interdependent melodies/layer of live independence melodies/layers of elevation melodies and also motives) 2. The repeat the the A section is transposed (up a totality step/down a whole step/up a half step/down a fifty percent step) 3. The music unfolds using all however which of the following? (Oscillation/motivic development/juxtaposed blocks of sound/reps) 4. The music features all however which the the following? (Dissonant chords/whole ton harmony/irregular meters/surprising accents) 5. The melody that starts in the bassoons resembles a (chant/blues tube/bel canto aria/folk song) 6. I beg your pardon of the complying with can be figured out in the excerpt just by listening? (Irregular accents/a continual meter/changing meters/all that the above) 7. The motive heard in the brass is (diatonic/octatonic/whole tone/chromatic)
Genre: ballet 1. Layers of elevation melodies and also motives 2. Down a fifty percent step 3. Motivic development 4. Entirety tone harmony 5. Individual song 6. Irregular accents 7. Chromatic
Béla Bartók (1881-1945), Music for Strings, Percussion, and Celesta (1936) 1. Which ideal describes this opening xylophone solo? (Palindrome/virtuosic/speechlike/chromatic) 2. Transparent this excerpt the performing pressures (crescendo/rallentando/accelerando/decrescendo) 3. The celesta, piano and also harp play pentatonic __________, while the strings do a twisting design template with _________ octaves. (Arpeggios;tremolo/glissandos;drone/glissandos;tremolo/3rds;parallel) 4. Bártók lend from classical tradition right here by having the strings pass roughly a (motive/chromatic scale/fugue/subject) 5. In this movement"s last cadence, the timpani plays __________ versus the viola drone (a tritone/an 8ve/a glissando/stacatto)
Bessie smith (1894-1937), ago Water Blues (1927) 1. The low, skipping bass line motive interjected by the piano btwn the vocal heat phrases exemplifies a typically used african American musical trait well-known as (vamping/call and also response/chromaticism/trills) 2. In the opening vocal phrase, the native "five" and "dark" are sung as (blue notes/downward leaps/staccato notes/chromatic ascensions), which room a characteristic properties of this song"s music style. 3. What"s the harmonic kind of this verse? (Twelve bar blues/AB"/AABC/thirty 2 bar blues) 4. Poetic form? (AB"/ABA/ABC/AAB) 5. The piano"s introductory procedures exemplify what style(s)? (Stride/ragtime/Tin Pan Alley/Broadway)
Dmitri Shostakovich (1906-1975), Symphony No. 5 (1937) 1. All at once form? 2. Which trait exemplifies Mahler"s influence in this excerpt? (Its vocal favor orchestration/its sophisticated orchestration/the heavy use the staccato notes/the sweeping strings) 3. The repetition heard right here is usual of the (binary/tertiary/sonata/rondo) dorm generally employed in trio sections. 4. The trio is in the format of a (gigue/waltz/aria/lullaby)
Ruth Crawford Seeger (1901-1953), string Quartet 1931 (1931) 1. Form? 2. The short strings in this example are playing a procedure called rotation in which (at every restatement that the phrase, the first note is moved to the end/the moving lines space alternated btwn players/each player drops the end for one phrase/players happen their music around to every player after ~ 2 phrases) 3. What have the right to we gather around the composition? It"s (experimental/modernist/nationalistic/bitonal) 4. True to the dissonant counterpoint style this piece is composed within, what effect(s) do(es) the slurred notes on the low string present produce? (An obscured sense of meter/accents on differed beats/note groupings in twos, threes, and also fours/all the the above)
1. Palindrome 2. At every restatement the the phrase, the an initial note is moved to the end 3. Modernist 4. All of the above
Aaron Copland (1900-1990), Appalachian feather (1943-1944) 1. This song is (diatonic/polytonal/enharmonic/multiphonic) 2. The solo currently (include leaps that a fourth and 5th/are diatonic/suggest vast open, country spaces/all that the above) 3. What action does the base line do here? (A slow-moving descent/arpeggiates the triads/thwarts the return to the opening key/all that the above) 4. The flute excerpt (is allegro/suggests a equine gallop/suggests country fiddling/is adagio)
William provide Still (1895-1978), Afro-American Symphony (1930) 1. What"s the term because that the interaction right here btwn the flutes and clarinets? (Rotation/imitation/call and also response/subject and also answer) 2. Form? kind of theme? 3. What"s unusual around the restatement of the main theme in this symphonic work-related (the brass overcomes the melody play by the strings/this section has actually sparse instrumentation/the notes space swung/it"s no played tutti) 4. This melody consists of (a blue note/a recurring pitch pattern/a step, complied with by a leap/a contrafacta), i beg your pardon is properties of early on twentieth century african American music.
Leonard Bernstein (1918-1990), West side Story "Cool" (1957) 1. Form? 2. The opened section presented the tune with timbres and a swinging rhythm reminiscent of: (chamber music/symphonies/cool jazz/Tin Pan Alley) 3. I m sorry is true the this excerpt? (The melody is disjointed and angular/the melody is supposed to it is in in the style of bebop/there are influential tritones/all that the above) 4. The gates here have actually an atonal sound bc they happen at (minor third/major third/minor fourth/minor sixth) intervals. 5. Which format does this excerpt include? (Twelve tone music/jazz and also bebop/neoclassical fugue/all of the above)
John Cage (1912-1992), Sonatas and also Interludes: Sonata V (1946-48) 1. What term finest describes exactly how the basic percussive sounds support the overlaying melodic material? (Ostinato/hemiola/syncopation/accented) 2. Just how does the performer switch btwn the much more "piano-like" sounds heard at the start of the excerpt and also the an ext "gong-like" sounds heard afterwards? (He inserts a steel bolt btwn the strings/he depresses the una chorda pedal/he inserts a rubber tape btwn the strings/he supplies his left hand come dampen the secrets while that plays) 3. The omission the the percussive sound at the finish of this piece suggest: (a cadence/Timelessness/a void/Chaos) 4. Form? 5. What"s the main performing force in this excerpt? (Tom toms/a synthesizer/prepared piano/celesta)
Genre: suite for ready piano 1. Hemiola 2. He depressed the una chorda pedal 3. A cadence 4. Binary 5. Prepared piano
Edgard Varèse (1883-1965), Poème électronique (1957-58) 1. Which activity from the accompanying movie does this excerpt reflect? (To all Mankind/From Darkness to Dawn/Spirit and also Matter/Harmony) 2. What perform we hear double in this excerpt that provides the item a sense of unification? (Metric grating noises/a partially chromatic three-tone slide/grating dissonances/all of the above) 3. This piece experiments v notions of (space/time/meter/dissonance) 4. What sounds perform we listen in this excerpt? (Electric sounds/percussion/a bell tolling/all that the above) 5. What gives this excerpt a sense of the spatial movement of sound? (Increasing and also decreasing textures/varied dynamics/the layering of various timbres/all that the above)
Genre: electro-acoustic tape item 1. To all Mankind 2. A partly chromatic three-tone on slide 3. Room 4. All of the above 5. All of the above
Krzysztof Penderecki (b. 1933), Threnody for the victims of Hiroshima (1960) 1. The "shimmering" top quality of this ar is developed by multiple variances that (vibrato/range/rhythm/bowing techniques) 2. These performers are playing (the greatest note on/on the leg of/col legno on/sul tasto on) 3. What term best describes this opened section? (Consonant/tone cluster/bitonality/monophonic) 4. The orchestra begins this last chord by playing sul ponticello, meaning: (with the wood of the bow/with bow on the bridge/with the bow over the fingerboard/with vibrato) 5. What classic Western art music ideas are missing in this work? (Melody/harmony/meter/all of the above)
Genre: Tone poem for cable orchestra 1. Vibrato 2. The highest possible note ~ above 3. Tone cluster 4. With bow on the bridge 5. All of the above
Bright Sheng (b. 1955), seven Tunes Heard in China (1995) 1. The main motive is (major/pentatonic/diatonic/minor) 2. The alternating, imitative motives right here suggest (polytonality/bitonality/modality/atonality) 3. Which feature says the impacts of J.S. Bach ~ above this composition? (The twin stops/the alternate registers/the cadence at the finish of the phrase/all the the above)
Steve Reich (1936), Tehillim (1981) 1. What"s the best way to explain the edge of this key melody? (Mainly stepwise/many leaps and also skips/highly chromatic/gradually descending) 2. The meter right here is (6/8 /dependent on the herbal speech rhythms of the text/ dependence on the percussion line/ indeterminate) 3. This melody is (diatonic/chromatic/pentatonic/enharmonic) 4. This piece sets (the Gospel according to Luke/the Tibetan "Book that the Dead"/a poem about heaven/Hebrew psalms) to music 5. The vocal lines start in (homophony/monophony/polyphony) and then (split into a canon/separate to a homophony/split right into a canon/join in homophony)
For 4 solo voices and ensemble or room orchestra 1. Manly leaps and skips 2. Dependence on the natural speech rhythms that the message 3. Diatonic 4. Hebrew psalms 5. Homophony; break-up into a canon
John Adams (b. 1947), short Ride in a Fast an equipment (1986) 1. The short pitched instruments change the feel of the metric pulse native (3/2/4) come (4/3/5) 2. The isn"t it spins this final section that this item that us hear (ostinatos/counterpoint/brass/a woodblock) 3. In the beginning of this piece, each instrumental layer to add a brand-new (hemiola/pitch/rhythm/timbre), gradually transforming the (meter/harmonic notion/tempo/texture), and also creating what Adams has actually termed "landscape"
Sofia Gubaidulina (b. 1931), Rejoice! Sonata for violin and also violoncello (1981) 1. At this moment in the piece the violin i do not care "transfixed" ~ above C#, acting as a an allegory for (transfiguration/meditation/isolation/resignation) in the piece.
First started tonal works--> atonal offered pitch course sets relocated to America after ~ nazis came to power Enduring unpopularity

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Emotional detachment, anti-Romantic ton choice for balance, coolness, objectivity, pure music Stravinsky, Bartók used