Music Appreciation Test #4

Romanticism, as a stylistic period in Western music, encompassed the years ______. A. 1450-1600 B. 1600-1750 C. 1750-1820 D. 1820-1900

Which of the following is not characteristic of romanticism? A. A fascination with fantasy B. An emphasis on balance and clarity of structures C. An enthusiasm for the culture of the Middle Ages D. An interest in exoticism and the past

Which of the following is not a characteristic aspect of romanticism in literature and painting? A. Emotional restraint B. Emotional subjectivity C. Exoticism D. Fantasy

Of all the inspirations for romantic art, none was more important than ______. A. the aristocracy B. ancient Greek art and culture C. nature D. the church

Which of the following composers is not associated with the romantic period? A. Giuseppe Verdi B. Wolfgang Amadeus Mozart C. Robert Schumann D. Frédéric Chopin

Drawing creative inspiration from cultures of lands foreign to the composer is known as ______. A. exoticism B. nationalism C. program music D. verismo

What is program music? A. Music that depicts aspects of nature B. Vocal music that tells a story C. Instrumental music associated with a story, poem, idea, or scene D. All answers are correct.

Which of the following statements is not true? A. Romantic music puts unprecedented emphasis on self-expression and individuality of style. B. Fascination with the melodies, rhythms, and colorful materials from distant lands is a romantic trend known as musical nationalism. C. Romantic composers relied upon a more prominent use of chromatic harmony, or the use of chords containing tones not found in the prevailing major or minor scale. D. A romantic composition tends to have a wide variety of keys and rapid modulations. The fascination with non-European music and the inclusion of musical elements from those cultures into romantic compositions is known as exoticism.

The deliberate intent to draw creative inspiration from the composer's own homeland is known as ______. A. exoticism B. individualism C. nationalism D. verismo

How did composers express musical nationalism in their music? A. By using the rhythms of the dances of their homelands B. By using their national legends as subject matter C. By basing their music on the folk songs of their country D. All answers are correct.

An orchestra toward the end of the romantic period might include close to ______ musicians. A. 24 B. 40 C. 60 D. 100

The orchestra in the romantic period ________. A. was basically the same as in the classical period B. ranged from twenty to sixty players C. was larger and more varied in tone color than the classical orchestra D. had a limited dynamic range due to the primitive nature of the brass instruments

The 1844 Treatise on Modern Instrumentation and Orchestration that signaled the recognition of orchestration as an art in itself was written by ______. A. Franz Liszt B. Robert Schumann C. Hector Berlioz D. Bedich Smetana

Which of the following statements is not true of the piano in the early romantic period? A. A cast-iron frame was introduced to hold the strings under greater tension. B. The use of the damper pedal allowed a sonorous blend of tones from all registers of the piano. C. The piano's range remained basically the same as in the classical period. D. The piano's hammers were covered with felt.

A slight holding back or pressing forward of tempo in music is known as ______. A. ritardando B. rubato C. accelerando D. fermata

Altering the character of a melody by changes in dynamics, orchestration, or rhythm is a romantic technique known as ______. A. thematic transformation B. melodic evolution C. rubato D. development

Which of the following statements is not true? A. Romantic composers rejected the basic forms of the classical period and preferred to develop new forms of their own. B. Hector Berlioz's Treatise on Modern Instrumentation and Orchestration, published in 1844, signaled the recognition of orchestration as an art in itself. C. Musical nationalism was expressed when romantic composers deliberately created music with a specific national identity. D. To intensify the expression of the music, romantic performers made use of rubato, the slight holding back or pressing forward of tempo.

Because of the French Revolution and the __________________, many aristocrats could no longer afford to maintain private opera houses, orchestras, and "composers in residence." A. American Revolution B. Napoleonic Wars C. French and Indian War D. wages of skilled performers

Which of the following statements is not true? A. Romantic composers wrote primarily for a middle-class audience whose size and prosperity had increased because of the industrial revolution. B. Romantic musicians often composed to execute a commission or meet the demands of an aristocratic or church patron. C. Music conservatories were founded in Chicago, Cleveland, Boston, Oberlin, and Philadelphia during the 1860s. D. The nineteenth-century public was captivated by virtuosity.

The composer whose career was a model for many romantic composers was ______. A. Ludwig van Beethoven B. Joseph Haydn C. Johann Sebastian Bach D. Wolfgang Amadeus Mozart

All of the following romantic composers were also virtuoso instrumentalists giving solo recitals except ______. A. Clara Wieck Schumann B. Franz Liszt C. Niccolò Paganini D. Hector Berlioz

A romantic composer who earned his living as a touring virtuoso was ______. A. Franz Liszt B. Hector Berlioz C. Frédéric Chopin D. Franz Schubert

A composer who earned his/her living as a violin virtuoso was ______. A. Clara Schumann B. Niccolò Paganini C. Robert Schumann D. Frédéric Chopin

. What did the rise of the urban middle class lead to? A. The piano becoming a fixture in every middle-class home B. The formation of many orchestras and opera groups C. The development of regular subscription concerts D. All answers are correct.

When music conservatories were founded, women ______. A. were admitted only as vocalists B. were at first accepted only as students of performance, but by the late 1800s could study musical composition C. could only study musical composition, since performance was considered undignified D. were not admitted

A very important musical part of every middle-class home during the romantic period was the ______. A. resident composer/performer B. piano C. violin D. flute

One of the few composers fortunate enough to be supported by private patrons was ______. A. Franz Liszt B. Franz Schubert C. Hector Berlioz D. Peter Ilyich Tchaikovsky

Music criticism was a source of income for both Hector Berlioz and ______. A. Robert Schumann B. Franz Liszt C. Niccolò Paganini D. Giuseppe Verdi

An art song is a musical composition for ______. A. solo voice and piano B. solo voice and orchestra C. multiple voices D. All answers are correct.

The word ___________ is commonly used for a romantic art song with a German text. A. lied B. durchkomponiert C. chanson D. ballade

The German composers of art songs favored, among others, the lyric poetry of Johann Wolfgang von Goethe and ______. A. Heinrich Heine B. Victor Hugo C. William Wordsworth D. Walt Whitman

Which of the following statements is not true of the romantic art song? A. The art song is restricted to strophic form. B. A song cycle is a set of romantic art songs that may be unified by a story line that runs through the poems, or by musical ideas linking the songs. C. Composers sought to make hte music bring out the meaning and atmosphere of the text. D. The accompaniment of a romantic art song is an integral part of the composer's conception, and it serves as an interpretive partner to the voice.

. The mood of an art song is often set by a brief piano introduction and summed up at the end by a piano section called a ______. A. conclusion B. postlude C. song cycle D. finale

Schubert's Winterreise and Schumann's Dichterliebe are examples of ______. A. song cycles B. Romantic symphonies C. character pieces D. Romantic operas

Schubert was born in ______. A. Vienna B. London C. Paris D. Berlin

What was Schubert's primary source of income? A. His position as music director to a noble court B. Touring as a virtuoso performer C. Performing as church organist D. His musical compositions

Schubert ______. A. was widely acknowledged as a composer in his lifetime B. was very self-critical, which accounts for his meager output C. produced his greatest works after the age of forty D. was the first great master of the romantic art song

Schubert wrote a number of symphonies and chamber works that are comparable in power and emotional intensity to those of his idol, ______. A. Beethoven B. Berlioz C. Mozart D. Haydn

Which of the following statements is not true? A. Franz Schubert led a bohemian existence, living with friends because he had no money to rent a room of his own. B. Schubert labored at great length over each of his compositions, which accounts for his small output. C. At the time of his death, Schubert's reputation was mainly that of a fine song composer. D. In addition to symphonies, operas, string quartets and other chamber works, Schubert composed over six hundred songs.

Schubert's songs number more than ______. A. 50 B. 100 C. 250 D. 600

Schubert wrote compositions in every musical genre except ______. A. string quartets B. piano concertos C. symphonies D. operas

Schubert was eighteen years old when he composed the song Erlkönig, set to a poem by ______. A. Schubert himself B. Heinrich Heine C. Victor Hugo D. Johann Wolfgang von Goethe

The form of The Erlking is ______. A. strophic B. modified strophic C. through-composed D. None of these

The Erlking, in Schubert's song of that name, is a romantic personification of _______. A. ghosts B. death C. a galloping horse D. nature

The piano's relentless rhythm in Erlkönig (The Erlking) unifies the episodes of the song and suggests the ______. A. galloping horse B. joy of the child C. steadiness of the father D. approach of death

Which of the following is not true of Robert Schumann's works? A. They are intensely autobiographical. B. They are usually linked with descriptive titles, texts, or programs. C. They are frequently lyricterm-50al in nature. D. They are all written for the piano.

Clara Wieck was _______. A. the daughter of Schumann's piano teacher B. a virtuoso pianist C. Schumann's wife D. All answers are correct.

During the first ten years of his creative life, Schumann published only ______. A. songs B. piano pieces C. symphonies D. musical criticism

Robert Schumann's Fantasiestücke is a(n) ______. A. etude for piano students B. song cycle C. composition for orchestra D. cycle of piano pieces

Johannes Brahms ______. A. was an admirer of Robert Schumann, but never met him B. was a violinist who performed Clara Schumann's compositions C. was a close friend of Clara and Robert Schumann D. married Clara Schumann after her husband died

Clara Schumann was a ______. A. virtuoso pianist B. composer C. touring performer D. All answers are correct.

A leading pianist of the nineteenth century, Clara Schumann ______. A. never composed any music B. did some composing, but considered herself primarily a performer C. was discovered to have composed some works for Brahms D. performed only the music of her husband Robert

In the 1830s, Paris was ______. A. a center of romanticism B. the artistic capital of Europe C. the home of Victor Hugo, Honoré de Balzac, and Heinrich Heine D. All answers are correct.

Chopin expressed his love of Poland by composing polonaises and ______. A. polkas B. folk songs C. waltzes D. mazurkas

While in Paris, Chopin ______. A. married the famous writer Aurore Dudevant B. earned a good living by teaching piano to the daughters of the rich C. gave a great number of successful public concerts D. All answers are correct.

Most of Chopin's pieces ______. A. are exquisite miniatures B. are composed for a wide variety of ensembles C. have a limited variety of moods D. have literary programs or titles

A slow, lyrical, intimate composition for piano, associated with evening and nighttime, is the ______. A. etude B. mazurka C. waltz D. nocturne

Chopin's Revolutionary Étude develops the pianist's left hand because _______. A. the left hand must play rapid passages throughout B. it is played only by the left hand C. it takes nearly an hour to perform D. the left hand plays the main melody

A study piece, designed to help a performer master specific technical difficulties, is known as ______. A. a nocturne B. an étude C. a polonaise D. a lied

Which of the following statements is not true? A. In the 1830s Paris was a center of romanticism and the artistic capital of Europe. B. Chopin was a shy, reserved man who disliked crowds and preferred to play in salons rather than in public concert halls. C. Many of Chopin's most poetic effects come from the sensitive exploitation of the piano's pedals. D. Chopin's piano études, compositions designed to help a performer master specific technical difficulties, are primarily technical exercises without much musical value.

The ___________ is a dance in triple meter that originated as a stately processional for the Polish nobility. A. polka B. mazurka C. waltz D. polonaise

Which of the following statements is not true? A. To display his incomparable piano mastery, Liszt composed his Transcendental Études and made piano transcriptions of Paganini's violin pieces. B. During the last years of his life, Liszt settled in Rome to devote himself to his religious duties and stopped composing. C. As a stupendous performer, innovative composer, and charismatic personality, Franz Liszt typified the romantic movement. D. The literary works of Johann Wolfgang von Goethe were among Franz Liszt's favorite inspirations.

As a youth, Franz Liszt was influenced by the performances of ______. A. Richard Wagner B. Hector Berlioz C. Robert Schumann D. Niccolò Paganini

During his teens and twenties, Franz Liszt lived in ______. A. Rome B. Weimar C. Paris D. Budapest

Until the age of thirty-six, Franz Liszt toured Europe as a virtuoso ______. A. pianist B. conductor C. cellist D. All answers are correct.

Liszt abandoned his career as a traveling virtuoso to become court conductor at __________, where he championed works by contemporary composers. A. Rome B. Weimar C. Paris D. Budapest

Liszt's piano works are characterized by ______. A. an unprecedented range of dynamics B. rapid octaves and daring leaps C. arpeggios D. All answers are correct.

The writer whose literary works greatly inspired Franz Liszt was ______. A. William Shakespeare B. Johann Wolfgang von Goethe C. Robert Schumann D. Marie d'Agoult

Liszt typified the romantic movement because he ______. A. had a charismatic personality B. was a stupendous performer C. was an innovative composer D. All answers are correct.

Liszt created the ______________, a one-movement orchestral composition based to some extent on a literary or pictorial idea. A. concert overture B. symphonic poem C. piano concerto D. sonata

By the age of thirteen, Mendelssohn had written ____________ of astounding quality. A. vocal works B. sonatas C. symphonies and concertos D. All answers are correct.

Mendelssohn is known as the man who rekindled an interest in the music of ______. A. Giovanni Pierluigi da Palestrina B. Johann Sebastian Bach C. George Frideric Handel D. Franz Schubert

The high point of Mendelssohn's career was the triumphant premiere of his oratorio _____________ in England. A. Elijah B. Hebrides C. A Midsummer Night's Dream D. Fingal's Cave

Mendelssohn wrote in all musical forms except ______. A. symphonies B. operas C. string quartets D. oratorios

The three movements of Mendelssohn's Concerto for Violin ______. A. are unified by the process of thematic transformation B. are all in the same key C. all have separate cadenzas D. are played without pause

Mendelssohn's Concerto for Violin in E Minor opens with a(n) ______. A. orchestral exposition typical in concertos B. soloist, who presents the main theme C. slow introduction by the orchestra D. single bassoon tone

In the first movement of Mendelssohn's Concerto for Violin, the cadenza ______. A. is left to the performer to improvise B. appears at the end of the recapitulation, as is common in classical concertos C. is frequently omitted in performance D. appears at the end of the development section as a transition to the recapitulation

How is Mendelssohn's Concerto for Violin different from a typical concerto of the classical era? A. It does not have a cadenza. B. A classical concerto usually begins with an exposition while Mendelssohn's exposition includes the soloist. C. The solo violin part is not overly difficult. D. It has four movements while a classical concerto has three.

Mendelssohn's Violin Concerto was inspired by ______. A. his friendship the famous violinist Ferdinand David B. Napoleon Bonaparte's conquest of Europe C. Hector Berlioz's Symphonie fantastique D. a performance of the great violin virtuoso Niccolò Paganini

Instrumental music associated with a story, poem, idea, or scene, popular during the romantic period, is called ______. A. absolute music B. opera C. program music D. symphony

The work referred to by Beethoven as an "expression of feeling rather than painting" was his ______. A. Symphony (No. 5) B. Fidelio Overture C. Eroica Symphony D. Pastoral Symphony (No. 6)

Which of the following statements is not true? A. Musicians and audiences in the romantic period liked to read stories into all music, whether intended by the composer or not. B. The romantic concert overture was modeled after the opera overture, but the concert overture is not intended to usher in a stage work, being instead an independent composition. C. The symphonic poem, or tone poem, is a two-movement composition in sonata-allegro form. D. Tchaikovsky's Romeo and Juliet is an example of program music.

Nonprogram music is also known as _____________ music. A. pure B. absolute C. concert D. symphonic

A ____________ is an instrumental composition in several movements based to some extent on a literary or pictorial idea. A. nocturne B. program symphony C. polonaise D. concert overture

A ________________ is a one-movement orchestral composition based to some extent on a literary or pictorial idea. A. mazurka B. program symphony C. symphonic poem D. nocturne

The composer who developed the symphonic poem was ______. A. Franz Liszt B. Ludwig van Beethoven C. Franz Schubert D. Richard Strauss

Music intended to be performed before and during a play to set the mood for scenes or highlight dramatic action is known as ______. A. music drama B. incidental music C. absolute music D. play music

Today's movie scores may be regarded as examples of ______. A. pure music B. incidental music C. folk music D. absolute music

In 1830 Berlioz was awarded ______. A. a graduate fellowship B. a scholarship to the Paris Conservatory C. an Oscar D. the Prix de Rome

The writer whose works had the greatest impact on the young Berlioz was ______. A. Victor Hugo B. William Shakespeare C. Honoré de Balzac D. Heinrich Heine

The Fantastic Symphony reflects Berlioz's ______. A. intense nationalism B. experiences in Rome C. love for the actress Harriet Smithson D. interest in composing for small, intimate ensembles

Parisians were startled by Berlioz's Fantastic Symphony because of its ______. A. sensationally autobiographical program B. amazingly novel orchestration C. vivid description of the weird and diabolical D. All answers are correct.

Which of the following statements is not true? A. Berlioz was an extraordinarily imaginative and innovative orchestrator. B. All of Berlioz's major works are dramatic in nature and relate either to a literary program or to a text. C. In 1830 Berlioz won the Paris Conservatory's Prix de Rome which granted him two years' subsidized study in Rome. D. Berlioz's reputation outside France was even lower than it was in his homeland.

In order to support his family, Schumann turned to ______. A. medicine B. musical journalism C. arranging concerts D. teaching

Outside France, Berlioz enjoyed a great career as a(n) ______. A. conductor B. concert pianist C. singer D. impresario

Berlioz was extraordinarily imaginative in treating the orchestra, creating ____________ never before heard. A. tone colors B. rhythms C. harmonies D. forms

The contrasting episodes of Berlioz's Fantastic Symphony are unified by the recurrence of a theme known as the ______. A. subject B. Smithson theme C. leitmotif D. idée fixe

Which of the following instruments is not part of the orchestra for Symphonie fantastique? A. Organ B. Cello C. Cornet D. Bells

The citizen's sense of national identity and patriotic feelings were intensified by ______. A. romanticism, which glorified love for one's national heritage B. common bonds of language, culture, and history C. military resistance to Napoleon D. All answers are correct.

The fourth movement of Berlioz's Fantastic Symphony depicts a ______. A. march to the scaffold B. ball C. dream of a witches' Sabbath D. scene in the country

Which of the following statements is not true? A. During the nineteenth century, Europeans felt strongly that their homelands merited loyalty and selfsacrifice. B. In the romantic era, it was felt that the "national spirit" of a people resided in the "folk," the peasantry. C. Composers used folk tunes in their serious compositions to give their works a national identity. D. The strongest impact of musical nationalism was felt in Italy, France, Germany, and Austria.

The strongest impact of musical nationalism was felt in ______. A. Russia B. the Scandinavian countries C. Poland and Bohemia D. All answers are correct.

Who laid the groundwork for a nationlist style in Russian music? A. Mily Balakirev B. Modest Mussorgsky C. Mikhail Glinka D. Nikolai Rimsky-Korsakov

The opera that laid the groundwork for a Russian national style, A Life for the Tsar, was composed by ______. A. Modest Mussorgsky B. César Cui C. Nikolai Rimsky-Korsakov D. Mikhail Glinka

The founder of Czech national music was ______. A. César Cui B. Antonin Dvo?ák C. Bedrich Smetana D. Boris Godunov

Smetana grew up when Bohemia was under ____________ domination. A. German B. Austrian C. Polish D. Russian

Even though Smetana was deaf at the time, he composed a musical work depicting Bohemia's main river as it flows through the countryside. The name of the river, and the musical composition, is the ______. A. Moldau B. Seine C. Danube D. Thames

The German master _____________ recommended Dvo?ák music to his own publisher, resulting in a rapid spread of Dvo?ák fame. A. Joseph Haydn B. Richard Wagner C. Franz Liszt D. Johannes Brahms

Antonin Dvo?ák music was first promoted by ______. A. Hector Berlioz B. Richard Wagner C. Johannes Brahms D. Franz Liszt

Dvo?ák "found a secure basis for a new national [American] musical school" in ______. A. the music of New York B. African American spirituals C. western art music as taught at the National Conservatory of Music D. the traditional folk music of European immigrants

In 1892, Dvo?ák went to ___________, where he spent almost three years as director of the National Conservatory of Music. A. London B. Prague C. New York D. Leipzig

Antonin Dvo?ák's Symphony No. 9 ______. A. is his most famous work B. is subtitled From the New World C. glorifies both the Czech and the American folk spirit D. All answers are correct.

In the first movement of the New World Symphony, Dvo?ák ______. A. used the form of the scherzo B. quoted the black spiritual Swing Low, Sweet Chariot C. composed a theme that resembles Swing Low, Sweet Chariot D. began the symphony with an allegro first theme

The popular character of the New World Symphony can be traced to the composer's use of ___________ often found in folk music. A. syncopations B. pentatonic scales C. modal scales D. All of these

Which of the following statements is not true? A. Tchaikovsky's progress in music was so rapid that after graduating from the St. Petersburg Conservatory he became professor of harmony at the new Moscow Conservatory. B. Tchaikovsky was a happily-married family man with a cheerful, self-confident outlook. C. Tchaikovsky, while not a member of the "Russian Five," considered himself Russian, in the fullest sense of the word. D. Tchaikovsky, with elements of French, Italian, and German music as well as Russian folk songs, fused national and international elements to produce intensely subjective and passionate music.

Nadezhda von Meck was ______. A. one of Tchaikovsky's lovers B. a wealthy benefactress who provided Tchaikovsky with an annuity C. Tchaikovsky's wife D. the inspiration for his Romeo and Juliet

Tchaikovsky's Sixth Symphony ______. A. is based on Romeo and Juliet B. was left unfinished by the composer C. has five movements D. ends with a slow, despairing finale

Which of the following was not a member of the Russian Five? A. Nikolai Rimsky-Korsakov B. Modest Mussorgsky C. César Cu D. Peter Ilyich Tchaikovsky

At its premiere in 1870, Tchaikovsky's Romeo and Juliet Overture was ______. A. a tremendous success B. a dismal failure C. performed by a chamber orchestra, with continuo D. enthusiastically applauded by the tsar

Tchaikovsky's Romeo and Juliet is ______. A. a ballet based on Shakespeare's play Romeo and Juliet B. a medley of popular melodies taken from his opera of that name C. an early programmatic symphony inspired by the characters in Shakespeare's play D. a concert overture consisting of a slow introduction and a fast movement in sonata form

The course of Brahms's artistic and personal life was shaped by the influence of the composer(s) _______. A. Antonin Dvo?ák B. Robert Schumann and his wife Clara C. Franz Liszt D. Richard Wagner and Hector Berlioz

Brahms wrote masterpieces in many musical forms, but never any ______. A. art songs B. operas C. choral works D. chamber music

Brahms's works, though very personal in style, are rooted in the music of ______. A. Joseph Haydn B. Wolfgang Amadeus Mozart C. Ludwig van Beethoven D. All answers are correct.

Brahms's musical trademarks included ______. A. bombastic flamboyance B. the use of two notes against three C. the use of da capo arias D. All answers are correct

Georges Bizet composed _________, one of the most popular and frequently performed operas in the world. A. Carmen B. Oberto C. Don Giovanni D. Tosca

Which of the following statements is true about the opera, Carmen? A. All the answers are correct. B. Although it is now wildly popular, the original production was unsuccessful. C. Critics objected to the sexual behavior and brutal murder of the main character. D. Bizet originally intended for there to be some spoken dialogue, but productions often replace the dialogue with recitative.

The Habañera and the Toreador Song are two famous arias from which opera? A. Carmen B. Die Walkure (The Valkyrie) C. Rigoletto D. La Bohème

Verdi studied music in _________, the city where Italy's most important opera house, La Scala, is located. A. Rome B. Florence C. Venice D. Milan

Verdi's first great success, an opera with strong political overtones, was _______. A. Oberto B. Aïda C. Nabucco D. La Traviata

Critics were often scandalized by the subject matter of Verdi's operas because they ______. A. symbolized a free and unified Italy B. commemorated the Suez Canal, which was not even in Europe C. were based on Shakespearean plays D. seemed to condone rape, suicide, and free love

Which of the following operas is not by Verdi? A. La Traviata B. Turandot C. Il Trovatore D. Otello

Giuseppe Verdi mainly composed his operas ______. A. for the Italian musical elite B. to glorify the singers C. for his fellow composers D. to entertain a mass public

Which of the following statements is not true? A. Giuseppe Verdi, the most popular of all opera composers, was born to a poor family in a tiny Italian village. B. The soul of a Verdi opera is its expressive vocal melody. C. Verdi composed primarily for the Italian musical elite, those who would best appreciate his talents. D. In the course of his long life, Verdi's style became less conventional, more subtle and flexible, with more imaginative orchestrations and richer accompaniments.

The soul of a Verdi opera is ______. A. extensive thematic development B. expressive vocal melody C. the situation comedy D. atmospheric orchestral parts

Verdi's later operas differ from his earlier ones in that they have ______. A. less difference between aria and recitative B. greater musical continuity C. more imaginative orchestrations D. All answers are correct.

Rigoletto, the title role in Giuseppe Verdi's opera, is all of the following except ______. A. a hunchback B. a court jester to the Duke of Mantua C. the father of Gilda D. the romantic lover

The famous aria La Donna è Mobile is taken from Verdi's opera ______. A. Rigoletto B. Aïda C. Falstaff D. Il Trovatore

Giacomo Puccini's first successful opera was ______. A. Madame Butterfly B. La Bohème C. Manon Lescaut D. Turandot

Which of the following operas was not composed by Giacomo Puccini? A. Madame Butterfly B. Tosca C. Turandot D. Falstaff

An artistic trend of the 1890s, in which operas dealt with ordinary people and true-to-life situations, was known as ______. A. opera seria B. verismo C. exoticism D. Cavalleria rusticana

The movement in opera known as verismo is best exemplified by ______. A. Claudio Monteverdi B. Wolfgang Amadeus Mozart C. Giacomo Puccini D. Richard Wagner

Some of Puccini's operas feature exoticism, as in his use of melodic and rhythmic elements derived from Japanese and Chinese music in his operas ______. A. Turandot and Manon Lescaut B. La Bohème and Madame Butterfly C. Madame Butterfly and Turandot D. Tosca and Turandot

Giacomo Puccini's opera La Bohème takes place in ______. A. Seville B. Milan C. Rome D. Paris

In Puccini's La Bohème, Rodolfo is a young ______. A. painter B. poet C. philosopher D. musician

Mimi and Rodolfo meet for the first time in La Bohème because she has come to his door to ask for a ______. A. light for her candle B. drink of wine C. dinner date D. cup of sugar

Who sings the aria Che Gelida Manina (How cold your little hand is!) in La Bohème? A. Mimi B. Schaunard C. Rodolfo D. Marcello

Wagner's preeminence was such that an opera house of his own design was built in _________________, solely for performances of his music dramas. A. Paris, France B. Geneva, Switzerland C. Leipzig, Germany D. Bayreuth, Germany

______ was a fanatical supporter of Wagner and helped rescue his career in the 1860s. A. Franz Liszt B. Napoleon III C. Czar Alexander II D. King Ludwig of Bavaria

The composer who had an overwhelming influence on the young Wagner was ______. A. Johann Sebastian Bach B. Ludwig van Beethoven C. Johannes Brahms D. Hector Berlioz

Wagner was a virtuoso on the ______. A. piano B. violin C. clarinet D. None of these are correct.

Wagner was appointed conductor of the Dresden opera mainly because of the success of his first opera ______. A. The Ring of the Nibelung B. Die Götterdämmerung C. Parsifal D. Rienzi

During Wagner's time in Paris, what did he do? A. Conducted the famous premiere of his opera, Rienzi B. Was unable to get an opera performed and was reduced to musical hackwork C. Finished his masterpiece, Der Ring des Nibelungen (The Ring of the Nibelung) D. Built an opera house according to his specifications

Which of the following operas was not composed by Richard Wagner? A. Die Meistersinger von Nürnberg B. Tristan and Isolde C. Fidelio D. Parsifal

The librettos to The Ring of the Nibelung were written by ______. A. Arrigo Boito B. Richard Wagner C. King Ludwig of Bavaria D. Hans von Bülow

Richard Wagner's last opera was ______. A. Die Götterdämmerung B. Tannhäuser C. Rienzi D. Parsifal

A short musical idea associated with a person, object, or thought, used by Richard Wagner in his operas, is called ______. A. leitmotif B. lied C. unending melody D. speech-song

The orchestration in Wagner's operas is _______. A. light and simple B. full and colorful C. subservient to the singers D. limited to only the string section

Valhalla, in Wagner's Ring cycle, is ______. A. a city in New York State B. Wotan's castle C. the home of Siegfried D. the magic ring

Siegmund, in Wagner's opera Die Walküre, is ______. A. Sieglinde's brother, then wife B. Wotan's son by a mortal woman C. Siegfried's father D. All answers are correct.

What happens at the end of the first act of Wagner's opera Die Walküre? A. Sieglinde recognizes the stranger as her brother and renames him Siegmund. B. Siegmund draws the magical sword Notung from the tree. C. Siegmund embraces Sieglinde with passionate fervor. D. All answers are correct.

While Wagner's Ring cycle features fantastical elements such as gods, giants, and magic, the opera is really about ______. A. the Renaissance B. nineteenth-century society and culture C. his family lineage D. the colonization of Africa