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    module 7

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    Musicians and composers achieved a higher social status during the Romantic era than they had 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 Bohemian artist adhered to the social norms of the establishment.
    false
    The French Revolution fostered the rise of a middle-class society.
    true
    The French Revolution signaled the transfer of power from the hereditary landholding aristocracy to the _____.
    middle class
    The large size of the Romantic orchestra resulted in the need for a _____.
    conductor
    Which of the following is NOT typical of Romantic music?
    smaller orchestras
    A Lied is an art song for solo voice and piano sung in _____.

    Correct!

    german
    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 in which form?
    through-composed form
    According to legend, a child touched by the Elfking must die.
    false
    Most Lied composers wrote their own words for the song.
    false
    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.
    Correct!
    true
    After his conservatory studies, Chopin spent most of his productive career in _____.
    france
    Chopin was romantically involved with George Sand, the renowned French _____.
    novelist
    Romantic-era piano works often had fanciful titles.

    Correct!

    true
    The nineteenth century was an age of great virtuoso pianists.
    true
    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.
    Correct!
    true
    What best describes the character of Chopin’s Mazurka?
    dancelike
    Which genre is NOT a part of Chopin’s compositional output?
    string quartets
    Berlioz was a devoted fan of Beethoven.
    true
    Hector Berlioz looked to the writings of Shakespeare as the basis for both operas and symphonic works.
    true
    In which movement is the Dies irae (Day of Wrath) theme from the Mass for the Dead heard?
    the fifth
    Instrumental music that has some literary or pictorial association is absolute music.
    false
    Instrumental music that has some literary or pictorial association is called _____.
    program music
    The inspiration for Berlioz’s Symphonie fantastique was _____.
    the actress harriet smithson
    The main theme, heard transformed in each movement of Berlioz’s Symphonie fantastique, is called the _____.
    idee fixe
    How many symphonies did Brahms write?
    four
    The Romantic symphony featured an orchestra larger than that of the Classical masters.
    true
    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
    The third movement of a nineteenth-century symphony is most likely in _____ form.
    dance or scherzo
    Which composer nurtured Brahms’s talents, going as far as taking him into his home?
    Correct!
    robert schumann
    Which of the following is NOT a characteristic of the nineteenth-century symphony?
    small orchestra
    Ballet has been a part of theatrical entertainments since the Renaissance.
    true
    Tchaikovsky was the first Russian _____.
    whose music apealed to west
    The pas de deux, or dance for two, was developed by the choreographer Marius Petipa.
    true
    The overall structure of both the Dance of the Sugar Plum Fairy and the Trepak from Tchaikovksy’s Nutcracker is best outlined as _____.
    A-B-A
    Which new instrument did Tchaikovsky introduce to ballet?
    celestra

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