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