A) Elite audiences B) Classical venues C) Mass appeal D) Silent films
A) The 1960s B) The 1980s C) The 1970s D) The 1950s
A) Charlie Parker B) Louis Armstrong C) Ornette Coleman D) Duke Ellington
A) Sun Ra B) Count Basie C) Glenn Miller D) Benny Goodman
A) Fats Waller B) Art Tatum C) Albert Ayler D) Bix Beiderbecke
A) Stan Getz B) Chet Baker C) Dave Brubeck D) Miles Davis
A) The 1990s B) The 1970s C) The 1980s D) The 1960s
A) Simple and commercial B) Traditional and acoustic C) Soft and melodic D) Aggressively avant-garde or pretentiously progressive
A) Disco producers B) Grunge pioneers C) Post-punk artists D) Glam metal bands
A) Miles Davis B) Greg Tate C) John Coltrane D) Ornette Coleman
A) 1998 B) 1988 C) 1968 D) 1978
A) Rock B) Hip-hop C) Jazz D) Post-punk
A) Hey Jude B) Let It Be C) Revolution 9 D) Yesterday
A) The Beatles (The White Album) B) Revolver C) Sgt. Pepper's Lonely Hearts Club Band D) Abbey Road
A) 1972 B) 1970 C) 1964 D) 1968
A) The exact middle track B) The penultimate track C) The final track D) The opening track
A) A passive acceptance of the status quo B) A celebration of traditional values C) A strict adherence to classical rules D) A critique of existing aesthetic conventions
A) Below the standard traditions B) Outside tradition C) Directly inside traditional boundaries D) At the very center of classical tradition
A) Symphonic style B) Electronic style C) Baroque style D) Romantic style
A) Josquin des Prez B) Richard Wagner C) John Cage D) Anton Webern
A) Larry Sitsky B) Edward Lowinsky C) Ryan Minor D) John Cage
A) Harry Partch B) Ryan Minor C) Edward Lowinsky D) Larry Sitsky
A) Igor Stravinsky's Rite of Spring B) Claude Debussy's La Mer C) Arnold Schoenberg's Pierrot Lunaire D) John Cage's 4'33"
A) To improvise loudly without stopping B) To play only classical melodies C) To sing instead of playing D) Not to play their instruments during its entire duration
A) Not a musical work in the normal sense, only an occasion for a Zen-like meditation B) An acoustic failure C) A traditional symphony D) A standard orchestral masterpiece
A) Strict adherence to harmonic rules B) Political, social, and cultural critique C) Relaxation and soothing of the listener D) Pure commercial entertainment
A) Igor Stravinsky, Richard Strauss, Arnold Schoenberg, Anton Webern, George Antheil, and Claude Debussy B) Only John Cage and Harry Partch C) Richard Wagner and Josquin des Prez exclusively D) Milton Babbitt, Luciano Berio, Elliott Carter, and György Ligeti
A) They never conceived their music for the purpose of goading an audience B) They rejected the use of instruments entirely C) They only composed electronic music D) Their music was too traditional and tonal
A) Milton Babbitt and Elliott Carter B) Igor Stravinsky and Claude Debussy C) Arnold Schoenberg and Anton Webern D) John Cage and Harry Partch
A) To promote mainstream cultural values B) To preserve traditional culture without alteration C) To break through various rules and regulations of traditional culture D) To replicate classical rules precisely
A) Only commercial success B) Everything else C) Political critique D) Audience participation
A) A traditional and comforting sound world B) A purely commercial sound world C) A transcendental and mysterious sound world D) A predictable and harmonious sound world
A) Major scales, diatonic harmony, and rhythm B) Hint, metaphor, symbol, association, imagery, synesthesia and perception C) Strict counterpoint, fugue, and sonata-allegro form D) Literal storytelling and clear narrative structures
A) Commercial pop melodies B) Standard classical themes and variations C) Strictly chronological historical events D) Seemingly unrelated but essentially very important events |