1.
|
Music without instruments (or conventional singing voices) may seem an impossibility; but which of the following have been offered to the musical public in earlier generations? |
|
[ ] |
Mendelssohn's Songs without Words ['how come?] |
[ ] |
Bartok's Concerto for Orchestra ['wot, no soloist?'] |
[ ] |
Satie's Three Pieces in the form of a Pear ['what does a pear sound liike?'] |
[ ] |
All of these |
|
|
2.
|
Apart from the format of its title, what is remarkable about John Cage's work 4' 33"? |
|
[ ] |
It consists entirely of silence |
[ ] |
It can be performed without instruments |
[ ] |
It can be performed by any number or configuration of musicians (choir, string quartet, symphony orchestra) |
[ ] |
All of the above |
|
|
3.
|
Ernst Toch, in the 1920s, wrote a Geographical Fugue for 4 voices: what is musically surprising about that work? |
|
[ ] |
It is silent |
[ ] |
It uses spoken voices and actual words, in rhythm, but there is no demarcation of pitch (and hence no 'tune' dimension to the piece) |
[ ] |
The singers have to be in different, acoustically remote locations to perform it (so they can't hear one another) |
[ ] |
The precise locations of all the singers have to be established on a map |
|
|
4.
|
In the Alps there is a tradition of adding 'body music' to a dance ~ not 'just' tap- or clog-dancing. What is this called? |
|
[ ] |
Laendler |
[ ] |
Schuhplattler |
[ ] |
Holdauer |
[ ] |
Schlapps |
|
|
5.
|
Which of the following is/are reasonably famous as music in which the singer/s perform to 'open vowels', creating a clear vocal tone but without the encumbrance of actual words? |
|
[ ] |
Rachmaninov's Vocalise |
[ ] |
The women's fade-out chorus at the end of the final movement of Holst's Planets Suite |
[ ] |
Debussy's Nocturne No.3, Sirenes |
[ ] |
All of the above |
|
|
6.
|
In what form does an audience typically signal its approval of the sounds just made by musicians? |
|
[ ] |
Clicking |
[ ] |
Applause |
[ ] |
Stamping |
[ ] |
Whistling |
|
|
7.
|
In the passage between about 0:30 and 1:00+ of the Meredith piece, how might we best describe the use of the voices? |
|
[ ] |
All vowels and no consonants (like the Vocalise mentioned earlier) |
[ ] |
All consonants and no vowels |
[ ] |
The voices are silent, while other percussive noises are made using hands and/or feet |
[ ] |
The voices are humming on a monotone |
|
|
8.
|
If you heard the soundtrack between about 1:00 and just before 1:30, what might the sounds perhaps most likely remind you of in the real world? |
|
[ ] |
A short ride in a fast machine |
[ ] |
A steam train |
[ ] |
1 or more people cleaning a large institutional floor with squeezy mops |
[ ] |
A shoal of fish |
|
|
9.
|
Despite the lack of conventional pitch, which of the following standard features of 'mainstream music' is/are clearly present in this work? |
|
[ ] |
Pulse, with variation and syncopation |
[ ] |
Antiphony |
[ ] |
Dynamics |
[ ] |
All of the above |
|
|
10.
|
Other composers have written numerous musical jokes and novelties, not least 'Papa' Haydn ('father' of the symphony and string quartet, among much else). Which of the following is NOT such a genuine work by him? |
|
[ ] |
The oratorio Belshazzar's Feast in which the chorus shouts (rather than actually singing) the word telling us the king is 'slain' |
[ ] |
The 'Joke' String Quartet in Eb., Op.33 no.2, with its sudden pauses to catch out people who might be talking instead of listening |
[ ] |
The Surprise Symphony in which, after a quiet passage in the slow movement, a sudden full-orchestra chord would awaken anyone in the audience that might have dozed off |
[ ] |
The Farewell Symphony in whose last movement the players leave the stage one by one, until only two violinists remain |
|
|