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Part V - The Classical Period
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Part V
The Classical Period
Multiple Choice Questions
1. Classicism, as a stylistic period in western music, roughly encompassed the years

A. 1450-1600.
B. 1600-1750.
C. 1750-1820.
D. 1820-1900.
The Classical period lasted from 1750-1820.
Bloom's: Remember
Learning Objective: Summarize European culture in the classical era
5-1
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McGraw-Hill Education.
2. The preclassical period roughly encompassed the years

A. 1600-1750.
B. 1730-1770.
C. 1770-1820.
D. 1820-1900.
In music history, the transition from the baroque style to the full flowering of the classical is
called the preclassical period; it extends from roughly 1730 to 1770.
Bloom's: Remember
5-2
3. The fully developed classical style in music flourished during the period
A. 1600-1750.
B. 1730-1770.
C. 1770-1820.
D. 1820-1900.
The fully developed classical style in music flourished from about 1770 to 1820.
Bloom's: Remember
4. Which of the following statements is not true of the classical period?

A. Philosophers and writers in the classical period believed that custom and tradition, rather
than reason, were the best guides to human conduct.
B. During the early eighteenth century, the heavy, monumental baroque style gave way to the
more intimate rococo style, with its light colors, curved lines, and graceful ornaments.
C. By the late eighteenth century, the rococo style had been superseded by the neoclassical
style, which attempted to recapture the "noble simplicity and calm grandeur" of ancient Greek
and Roman art.
D. Philosophers and writers in the classical period saw their time as a great turning point in
history and called it the "age of enlightenment."
Philosophers and writers—especially Voltaire (1694-1778) and Denis Diderot (1713-1784)—

saw their time as a turning point in history and referred to it as the "age of enlightenment."
They believed in progress, holding that reason, not custom or tradition, was the best guide for
human conduct.
Bloom's: Understand
5-3
5. Carl Philipp Emanuel Bach and _____ were two of the more important preclassical
composers.
A. Jean Honoré Fragonard
B. Johann Christian Bach
C. Johann Sebastian Bach
D. Joseph Haydn
Among the important pioneers in this new style were Carl Philipp Emanuel and Johann
Christian, both sons of Johann Sebastian Bach.
Bloom's: Remember
Learning Objective: Know the important trends in European music from 1750 to 1820
6. Which of the following composers is not considered a master of the classical period?
A. Johann Christian Bach
B. Ludwig van Beethoven
C. Wolfgang A. Mozart
D. Joseph Haydn
Although Johann Christian Bach was an important early pioneer of the classical style, he is
not considered a master of the period.
Bloom's: Remember
5-4
7. Which of the following statements is not true?

A. In the classical period, composers were influenced by folk and popular music.
B. While a late baroque musical composition may convey a single emotion, a classical
composition will fluctuate in mood.
C. Composers in the classical period continued to use terraced dynamics in their
compositions.
D. The basso continuo was gradually abandoned during the classical period.
Classical composers' interest in expressing shades of emotion led to the widespread use of
gradual dynamic change—crescendo and decrescendo. These composers did not restrict
themselves to the terraced dynamics (abrupt shifts from loud to soft) characteristic of baroque
music.
Bloom's: Understand
8. Which of the following characteristics is not typical of the music of the classical period?
A. Classical melodies are tuneful and easy to remember.
B. Classical compositions fluctuate in mood.
C. A classical composition has a wealth of rhythmic patterns.
D. Classical music is basically polyphonic.
Music in the classical period generally avoided dense polyphony, favoring homophonic
textures.
Bloom's: Understand
5-5
9. Which of the following statements is not true of the music of the classical period?
A. Classical composers stressed balance and clarity of structure.
B. The standard orchestra, comprised of four sections, evolved during the classical period.
C. The basso continuo was the nucleus of the instrumental ensemble.
D. Classical melodies are among the most tuneful and easy to remember.
The basso continuo was a characteristic feature of baroque music and was eventually
abandoned by classical composers.
Bloom's: Understand
10. The typical orchestra of the classical period consisted of

A. a loose ensemble of available instruments.
B. strings, woodwinds, horns, trumpets, and timpani.
C. strings with harpsichord continuo.
D. woodwinds, trombones, drums, and strings.
A typical orchestra in the classical period might consist of:
Strings: 1st violins, 2nd violins, violas, cellos, double basses

Woodwinds: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons
Brass: 2 French horns, 2 trumpets 
Percussion: 2 timpani
Bloom's: Remember
Learning Objective: List the instruments of the orchestra in the classical era
5-6
11. Which of the following instruments were not normally included in the classical orchestra?
A. Horns
B. Trombones
C. Timpani
D. Trumpets
Trombones were used by Haydn and Mozart, but only in opera and church music, not in
solely instrumental works. There use became more common later, in Romantic-era music.
Bloom's: Remember
Learning Objective: List the instruments of the orchestra in the classical era
12. A symphony is a
A. sonata for orchestra.
B. work for solo instrument.
C. work for chorus and orchestra.
D. work for piano solo.
Recall from the last part that the term sonata originally described a composition in several
movements for one to eight instruments. In the classical period, the amount of instruments
grew into a larger orchestra, and the sonata became a symphony.
Bloom's: Remember
Learning Objective: Describe the major forms of instrumental music in the classical era
13. Social mobility during the classical period was

A. a limited sociological factor.
B. ruthlessly stamped out by the aristocracy.
C. promoted and encouraged by the church.
D. an important factor in the rise of the middle class.
As the eighteenth century advanced, more people made more money, increasing social
mobility. Merchants, doctors, and government officials could afford larger homes, finer
clothes, and better food, giving rise to a prospering middle class. In fact, during the classical
period, the middle class had a great influence on music.
Bloom's: Remember
5-7
14. Political and economic power shifted to the middle class from the aristocracy and the
A. church.
B. military.
C. colonial powers.
D. military-industrial complex.
With the rise of a prosperous middle class, the aristocracy, nobility, and the church lost some
of their influence in people's lives.
Bloom's: Remember
15. In the classical period, serious composition was flavored by

A. folk and popular music.
B. heroic and mythological plots.
C. elaborately ornamented improvisational melodies.
D. All answers are correct.
In the classical period, serious composition was flavored by folk and popular music. The
classical masters sometimes used familiar tunes as themes for symphonies and variations.
Bloom's: Understand
16. The prospering middle class in the classical period sought aristocratic luxuries such as
A. theater.
B. literature.
C. music.
The prospering middle class sought aristocratic luxuries like theater, literature, and music.
Bloom's: Remember
5-8
17. Public concerts presented by the Concert des Amateurs in Paris in the 1770s were
conducted by
A. Ludwig van Beethoven.
B. Joseph Haydn.
C. the Chevalier de Saint-Georges.
D. Johann Christian Bach.
In Paris, a concert organization called the Concert des Amateurs assembled a large orchestra,
conducted during the 1770s by the Chevalier de Saint-Georges (1739-1799), a black
composer and violinist.
Bloom's: Remember

A. Political and economic power shifted during the classical period from the middle class to
the aristocracy and the church.
B. Joseph Haydn's contract of employment shows that he was considered a skilled servant,
like a gardener or gamekeeper.
C. Townspeople organized public concerts where, for the price of admission, they could hear
the latest symphonies and concertos.
D. Comic operas in the classical period treated middle-class subjects, had folklike tunes, and
sometimes even ridiculed the aristocracy.
In the classical era, political and economic power shifted away from the aristocracy and the
church and towards the middle class.
Bloom's: Understand
5-9
19. Joseph Haydn was content to spend most of his life

A. as an independently wealthy composer.
B. as a professional free-lance musician.
C. serving a wealthy aristocratic family.
D. as a church musician and organist.
For almost thirty years, starting when he was twenty-nine, Haydn entered the service of the
Esterházys, the richest and most powerful of the Hungarian noble families.
Bloom's: Remember
Learning Objective: Recall the biography of Franz Joseph Haydn
20. Haydn's contract of employment shows that he was considered

A. a skilled servant.
B. a freelance musician.
C. a visiting guest composer.
D. an equal by his employer.
As a highly skilled servant, Haydn was to compose all the music requested by his patron,
conduct the orchestra, coach singers, and oversee the instruments and the music library.
Bloom's: Remember
21. Vienna, when Haydn, Mozart, and Beethoven were active,

A. was the fourth-largest city in Europe.
B. was the seat of the Holy Roman Empire.
C. had a population of almost 250,000.
During the classical era, Vienna was a nexus of artistic, intellectual, and political life. As the
seat of the Holy Roman Empire, it was a bustling cultural and commercial center with a
cosmopolitan character. Its population of almost 250,000 (in 1800) made Vienna the fourth
largest city in Europe.
Bloom's: Remember
Learning Objective: Evaluate the importance of Vienna in the musical life of the classical era
5-10
22. Composers in the classical period took middle-class tastes into account by
A. flavoring their serious compositions with folk and popular music.
B. writing comic operas that sometimes ridiculed the aristocracy.
C. writing dance music for public balls.
Composers in the classical period took middle-class tastes into account, writing pieces that
were easy for amateur musicians to play and understand. They turned from serious to comic
opera and incorporated folk melodies and dance rhythms into their serious works. Often, they
would hold performances of their works in public halls and theaters.
Bloom's: Understand
23. In the classical period, comic operas sometimes

A. were based on the Old Testament.
B. ridiculed the aristocracy.
C. were in Latin.
Comic operas of the classical period appealed to middle-class subjects and used folklike
tunes, sometimes even ridiculing the aristocracy. They rarely included religious subjects and
most of the operas were written in either French, Italian or German.
Bloom's: Remember
24. In Vienna, Haydn and Mozart

A. avoided each other.
B. became close friends.
C. were jealous of each other.
D. never met.
In Vienna, Haydn and Mozart became close friends and influenced each other's musical style.
Bloom's: Remember
Learning Objective: Evaluate the importance of Vienna in the musical life of the classical era
5-11
25. Sonata form is used frequently as the form for the ________ movement of a
multimovement work.
A. first
B. slow
C. final fast
The sonata form is flexible and can be used for the first (usually allegro), slow second, or final
fast movements of a multimovement work. It is not generally used for the third movement,
which is usually based on a dance.
Bloom's: Remember
Learning Objective: Know the structure of sonata (sonata-allegro) form
26. Which of the following is not part of a sonata form movement?

A. Recapitulation
B. Exposition
C. Development
D. Rondo
Rondo is its own form, featuring a tuneful main theme (A) which returns several times in
alternation with other themes. It is not a part of sonata form.
Bloom's: Remember
27. Sonata form consists of three main sections: exposition, development, and
A. introduction.
B. recapitulation.
C. motives.
D. transition.
A sonata-form movement consists of three main sections: the exposition, where the themes
are presented; the development, where themes are treated in new ways; and the recapitulation,
where the themes return.
Bloom's: Remember
5-12
28. In the exposition of a sonata-form movement

A. the closing theme is in the tonic key.
B. a new theme is always presented in the bridge.
C. the second theme is in a new key.
D. a new meter enters with the second theme.
In the exposition section of a sonata form, the first theme is presented in the tonic (home) key,
the bridge contains modulation from the home key to new key, leading into a second theme in
the new key. The closing section is in the key of the second theme.
Bloom's: Remember
29. In the recapitulation of a sonata-form movement

A. the closing section is in the tonic key.
B. a new theme is presented in the bridge.
C. the second theme is in a new key.
D. there is no second theme.
In the recapitulation section of a sonata form, the closing section returns to the tonic key,
giving the entire form a sense of balance and symmetry.
Bloom's: Remember
30. At the end of a classical exposition there usually is a

A. new tempo indication.
B. new time signature.
C. repeat sign.
D. coda sign.
At the end of a classical exposition there is usually a repeat sign to indicate that the whole
exposition is to be played again.
Bloom's: Remember
5-13

A. The development section of a sonata form almost always takes the main thematic material
through all twelve chromatic keys.
B. The second theme returns in the recapitulation of a sonata form movement in an exact
repetition of its statement in the exposition.
C. The coda of a sonata form movement rounds off the movement by repeating themes or
developing them further.
D. A fast movement in sonata form is sometimes preceded by a slow introduction that creates
a strong feeling of expectancy.
In the recapitulation, the first theme, bridge, second theme, and concluding section are
presented more or less as they were in the exposition, with one crucial difference: all the
principal material is now in the tonic key. In the exposition, the second them is presented in a
new key.
Bloom's: Understand
32. A transitional passage that leads to a contrasting section is called a

A. coda.
B. theme.
C. bridge.
D. motive.
A bridge, or transition, leads to new, contrasting material, usually in the form of a second
theme.
Bloom's: Remember
5-14
33. A modulation from the home key to a new key in the exposition of a sonata form
movement takes place in the
A. coda.
B. theme.
C. bridge.
D. motive.
The bridge in the exposition section of a sonata movement is used to modulate from the first
theme in the tonic key to a second theme in a new key.
Bloom's: Remember
34. A feeling of harmonic tension and forward motion is created in the exposition of a sonata
form movement by
A. the conflict of tonalities between the first and second themes.
B. the introduction of a new theme in the bridge.
C. retaining the same tonality for both themes.
D. changing the meter of the second theme.
In the exposition, the modulation from the home key to a new key creates a feeling of
harmonic tension and forward motion.
Bloom's: Understand
5-15
35. Short musical ideas or fragments of themes that are developed within a composition are
called
A. codas.
B. rides.
C. melodies.
D. motives.
Motives are short musical ideas developed within a composition. A motive can sound very
different depending on how it is treated; it can be taken through changes of melody, rhythm,
or dynamics.
Bloom's: Remember
36. The three main sections of a sonata-form movement are often followed by a concluding
section known as the
A. coda.
B. theme.
C. bridge.
D. motive.
A composer can give a sonata movement a powerful feeling of conclusion by following the
recapitulation with a coda. A coda rounds off a movement by repeating themes or developing
them further. It always ends in the tonic key.
Bloom's: Remember
5-16
37. Sonata form should be viewed as

A. a rigid mold into which musical ideas are poured.
B. another term for the symphony.
C. a set of principles that serve to shape and unify contrasts of theme and key.
D. a set of variations on a theme.
The sonata form is a flexible structure and set of principles that allow composers to shape
material through contrasts of themes and keys.
Bloom's: Understand
38. Each successive variation in a theme with variations

A. retains some elements of the theme.
B. is usually in a new key.
C. is usually in the same key.
D. presents a new melodic idea.
In a theme-and-variations form, each variation is usually about the same length as the theme.
However, each variation has its own identity, created through changes of melody, rhythm,
harmony, accompaniment, dynamics, or tone color. The core melody may appear in the bass,
or it may be repeated in a minor key instead of a major key.
Bloom's: Understand
Learning Objective: Know the structure of a theme and variations movement
5-17
39. Theme-and-variations form may be schematically outlined as

A. AABB.
B. AA'A''A'''A''''.
C. ABA.
D. ABACADA.
In a theme and variations, a basic musical idea—the theme—is repeated over and over and is
changed each time. This form may be outlined as theme (A)—variation 1 (A)— variation 2
(A²)—variation 3 (A‴), and so on.
Bloom's: Remember

A. Each variation in a theme-and-variations form is unique and may differ in mood from the
theme.
B. The form called theme and variations is widely used in the classical period, either as an
independent piece or as one movement of a symphony, sonata, or string quartet.
C. The recapitulation section is an important way for a composer to develop variations in a
theme-and-variations form.
D. In a theme-and-variations movement, a basic musical idea is repeated over and over and is
changed each time.
A theme and variations does not contain a recapitulation section; that appears only in sonata
form.
Bloom's: Understand
5-18
41. Which of the following elements is usually not changed in varying the theme in theme-
and-variations form?
A. Melody
B. Harmony
C. Length
D. Rhythm
Changes of melody, rhythm, harmony, accompaniment, dynamics, or tone color may be used
to give a variation its own identity, but the length of each variation is roughly the same.
Bloom's: Understand
42. The _________ movement of Haydn's Surprise Symphony is in theme-and-variations

form.
A. first
B. second
C. third
D. fourth
The second movement (andante) of Haydn's Symphony No. 94 in G Major (Surprise

Symphony) is a theme and variations.
Bloom's: Apply
43. The minuet-and-trio movement of a classical symphony, string quartet, or other work, is
in ____________ form.
A. ABA
B. AABB
C. AA'A''A'''A''''
D. ABACABA
The minuet and trio is in ternary form (A B A): minuet (A), trio (B), minuet (A).
Bloom's: Remember
Learning Objective: Know the structural pattern of a minuet and trio
5-19
44. The movement of a symphony that is often patterned after a dance is the
A. first.
B. second.
C. third.
D. fourth.
The minuet and trio, or minuet, is often used as the third movement of classical symphonies,
string quartets, and other works. Like the movements of the baroque suite, the minuet
originated as a dance. Sometimes, a scherzo was used instead of a minuet.
Bloom's: Understand
45. The minuet first appeared around 1650 as a(n)

A. instrumental composition for concert performance.
B. prayer in Germany at the end of the Thirty Years War.
C. dance at the court of Louis XIV of France.
D. country dance in England.
The minuet first appeared at the court of Louis XIV of France around 1650 and was danced
by aristocrats throughout the eighteenth century.
Bloom's: Remember
46. The character of the minuet is best described as

A. brisk and lively.
B. quiet and relaxed.
C. heavy and ponderous.
D. stately and dignified.
The minuet was a stately, dignified dance in which the dancing couple exchanged curtsies and
bows.
Bloom's: Understand
5-20
47. The minuet is in _______ meter.

A. duple
B. triple
C. quadruple
D. common
The minuet is a waltz-type dance, in triple meter.
Bloom's: Remember
48. Which of the following is not a characteristic of the minuet?

A. Triple meter
B. Moderate tempo
C. Quick, lively tempo
D. ABA form
The minuet was written in ABA form, in triple meter, and at a moderate tempo. If the tempo
was too quick or lively, the audience would have difficulty dancing in a stately, dignified
manner.
Bloom's: Understand

A. The minuet movement of a symphony or string quartet is written for listening, not dancing.
B. The character of the minuet is best described as brisk and lively.
C. In many of Beethoven's compositions, the third movement is not a minuet but a related
form in triple meter called a scherzo.
D. The scherzo differs from the minuet in that it moves more quickly, generating energy,
rhythmic drive, and rough humor.
The character of a minuet is stately and dignified, not brisk or lively (that description is more
appropriate for a scherzo or allegro movement).
Bloom's: Understand
5-21
50. In many of Beethoven's works, there is a _______ movement instead of the minuet.
A. presto
B. scherzo
C. fugato
D. ritornello
In many of Beethoven's compositions, the third movement is not a minuet but a related form
called a scherzo. Like a minuet, a scherzo is usually in ABA form and triple meter, but it
moves more quickly, generating energy, rhythmic drive, and rough humor. (Scherzo is Italian
for joke.)
Bloom's: Remember
51. The scherzo differs from the minuet in that it

A. moves more quickly.
B. has a different form.
C. has a different meter.
Similar to a minuet, a scherzo is usually in A B A form and triple meter, but it moves more
quickly, generating energy, rhythmic drive, and rough humor.
Bloom's: Understand
52. A _____________ is a musical composition that is usually light in mood, and meant for
evening entertainment.
A. minuet and trio
B. aubade
C. serenade
D. rondo
A serenade is a work that's usually light in mood, meant for evening entertainment.
Bloom's: Remember
5-22
53. The double bass in the classical orchestra, as in Mozart's Eine Kleine Nachtmusik, often
A. has a separate and distinct bass part.
B. doubles the cello part in the same register.
C. doubles the cello part an octave lower.
D. plays only accents on stressed beats.
The double bass, in the context of an orchestra, often doubles the cello part an octave lower,
to reinforce the fundamental tones of the harmony.
Bloom's: Understand
54. When performers encounter the phrase, da capo, they

A. play extremely quietly.
B. look at the conductor.
C. play the written part an octave higher.
D. return to the beginning of the piece and repeat the music.
Da capo means "from the beginning," indicating that the performer should return to the
beginning of the piece and repeat the music until further direction.
Bloom's: Remember
55. The rondo may be schematically outlined as

A. ABACABA.
B. AABB.
C. ABBABC.
D. ABA.
A rondo form establishes a main theme that returns often, alternating with contrasting
sections. Common rondo patterns are ABACA and ABACABA.
Bloom's: Remember
Learning Objective: Know the structural pattern of a rondo
5-23
56. The main theme in a rondo movement is usually

A. lively, pleasing, and simple to remember.
B. stately and dignified.
C. extremely fast.
D. slow, grave, and mournful.
In a rondo, the main theme is usually lively, pleasing, and simple to remember, so that the
listener can easily recognize its return.
Bloom's: Understand
57. Which of the following is not true about the rondo?

A. Its use ended in the classical period.
B. The main theme is usually lively, pleasing, and simple to remember.
C. It features alternating and contrasting sections.
D. It was often combined with elements of sonata form.
The popularity of the rondo did not end with the classical period. It was used by twentieth-
century composers such as Igor Stravinsky and Arnold Schoenberg.
Bloom's: Understand
58. The return of the main theme in rondo form is all the more welcome because it is usually
A. in a contrasting key.
B. in the tonic key.
C. slow and dignified.
D. in varied form.
The return of the main theme is usually stated in the tonic key, making it welcome after
contrasting sections.
Bloom's: Understand
5-24
59. The sonata-rondo

A. may be outlined as ABA-development section-ABA.
B. combines rondo form with elements of sonata form.
C. usually has a lively, pleasing, and simple to remember theme.
A sonata-rondo combines elements of a rondo, such as a lively, pleasing, simple theme with
those of a sonata, such as a development section.
Bloom's: Understand
60. The main theme of the rondo

A. returns only once in the movement.
B. is usually slow and dignified.
C. seldom ends the movement.
D. is usually in the tonic key.
The main theme of a rondo, is usually in the tonic key, is lively, returns frequently throughout
the movement, and closes the movement.
Bloom's: Remember
61. Because of its character, the rondo most often serves as a

A. slow movement.
B. first movement.
C. set of variations.
D. finale.
A rondo often serves as a finale, because its liveliness, regularity, and buoyancy bring a happy
sense of conclusion.
Bloom's: Remember
5-25
62. The rondo was used

A. only in the classical symphony and quartet.
B. only as an independent composition.
C. as late as the twentieth century.
D. exclusively in the classical period.
The rondo was used either as an independent piece or as one movement of a symphony, string
quartet, or sonata. Its popularity lasted through to the twentieth century, used by composers
such as Igor Stravinsky and Arnold Schoenberg.
Bloom's: Remember

A. A rondo movement features a tuneful main theme which returns several times in
alternation with other themes.
B. The rondo as a musical form was not used in musical compositions after the classical
period.
C. A common rondo pattern is ABACABA.
D. Rondo form is often combined with elements of sonata form to produce the sonata-rondo.
The popularity of the rondo did not end with the classical period. It was used by twentieth-
century composers such as Igor Stravinsky and Arnold Schoenberg.
Bloom's: Understand
5-26
64. Symphony may be defined as

A. a musical composition for orchestra, usually in four movements.
B. typically lasting between 20 and 45 minutes.
C. an extended, ambitious composition exploiting the expanded range of tone color and
dynamics of the classical orchestra.
A symphony is an extended, ambitious composition typically lasting between 20 and 45

minutes, exploiting the expanded range of tone color and dynamics of the classical orchestra.
A classical symphony usually consists of four movements which evoke a wide range of
emotions through contrasts of tempo and mood.
Bloom's: Remember
Learning Objective: Know the pattern of movements in a symphony of the classical era
65. The usual order of movements in a classical symphony is

A. fast, dance-related, slow, fast.
B. fast, slow, dance-related, fast.
C. fast, slow, fast, slow.
D. slow, fast, slow, fast.
A typical sequence is (1) a vigorous, dramatic fast movement; (2) a lyrical slow movement;
(3) a dancelike movement (minuet or scherzo); and (4) a brilliant or heroic fast movement.
Bloom's: Remember
66. The first movement of a classical symphony is almost always fast, and in _____ form.
A. sonata
B. rondo
C. minuet
D. ABA
Classical composers almost always wrote the first movement of a symphony is sonata form.
Bloom's: Remember
5-27
67. Which of the following is not true of the symphony?

A. It is a musical composition for orchestra, usually in four movements.
B. It is a sonata for orchestra.
C. It is an extended, ambitious composition exploiting the expanded range of the color and
dynamics of the classical orchestra.
D. It is a musical composition for solo instrument and orchestra.
A symphony can be thought of as a sonata for orchestra. It is an extended, ambitious

composition that is usually in four movements. A composition for solo instrument and
orchestra is known as a concerto.
Bloom's: Understand
68. The slow movement of a symphony is usually not

A. the second movement.
B. likely to feature broad, songlike melodies.
C. in the tonic key.
Unlike the other movements in the symphony, the slow movement is generally not in the tonic
key.
Bloom's: Understand
5-28

A. In most classical symphonies, each movement is a self-contained composition with its own
themes.
B. Beethoven's concluding movement of a symphony tends to be triumphant and heroic in
character and sometimes is meant as the climax of the whole symphony.
C. The opening movement of a classical symphony is almost always slow and in ABA form.
D. A classical symphony usually consists of four movements that evoke a wide range of
emotions through contrasts of tempo and mood.
The opening movement of a classical symphony is usually quick and lively and in sonata
form.
Bloom's: Understand
70. The lyrical slow movement of a symphony is most often the

A. first.
B. second.
C. third.
D. fourth.
The slow movement of a symphony is most often the second.
Bloom's: Understand
71. The slow movement of a classical symphony

A. is usually in theme and variations form.
B. is generally not in the tonic key.
C. tends to be more heroic and triumphant in character.
The second movement of a symphony is mostly used to provide contrast and is rarely in the
tonic key. It is generally slow and can be in a variety of forms, such as sonata, rondo, or
theme and variations.
Bloom's: Understand
5-29
72. The last movement of a classical symphony

A. is most often in sonata or sonata-rondo form.
B. is usually fast, lively, and brilliant, but somewhat lighter in mood than the opening
movement.
C. is always in the tonic key of the symphony.
The fourth, concluding movement of a classical symphony is usually fast, lively, and brilliant.
It is always in the tonic key and in sonata or sonata-rondo form.
Bloom's: Understand
73. One way that unity is often achieved in the classical symphony is by the use of the same
A. key in three of its four movements.
B. theme in each of its four movements.
C. key in all four movements.
D. rhythm in all four movements.
In most classical symphonies, each movement is a self-contained composition with its own set
of themes. A theme in one movement will only rarely reappear in a later movement. But a
symphony is unified partly by the use of the same key in three of its movements.
Bloom's: Understand
74. A concerto is a large-scale work in several movements for

A. an instrumental soloist.
B. an instrumental soloist and orchestra.
C. any combination of instruments.
D. symphonic orchestra.
A classical concerto is a three-movement work for an instrumental soloist and orchestra. It

combines the soloist's virtuosity and interpretive abilities with the orchestra's wide range of
tone color and dynamics.
Bloom's: Remember
Learning Objective: Know the movements and characteristics of a concerto of the classical era
5-30
75. A classical concerto is a three-movement work for

A. instrumental soloist and orchestra.
B. symphonic orchestra.
C. instrumental soloist and piano.
D. vocal soloist and orchestra.
A classical concerto is a three-movement work for an instrumental soloist and orchestra. It

combines the soloist's virtuosity and interpretive abilities with the orchestra's wide range of
tone color and dynamics.
Bloom's: Remember

A. A classical concerto combines the virtuosity and interpretive abilities of a soloist with the
wide range of tone color and dynamics of the orchestra.
B. Cadenzas in a classical concerto were indicated in the score by a fermata, and the soloist
was expected to improvise, there being no music in the score at that point.
C. A typical sequence of movements in a classical concerto is fast, slow, dance-related, fast.
D. The first movement of a classical concerto is in sonata form, but has two expositions, one
for the orchestra and one for the soloist.
In contrast to a symphony's four movements, a classical concerto has three: (1) fast, (2) slow,
and (3) fast. A concerto has no dance-related movement.
Bloom's: Understand
5-31
77. The favored solo instrument in the classical concerto was the
A. harpsichord.
B. cello.
C. piano.
D. clarinet.
Although classical concertos featured different solo instruments (violin, cello, horn, trumpet,
clarinet, and bassoon) the piano was the most favored and featured instrumental soloist.
Bloom's: Remember
78. The essence of a classical concerto is the

A. development of a single theme over the course of the work.
B. dance-related third movement.
C. use of fugal techniques.
D. interplay between a soloist and the orchestra.
The main purpose of a concerto is to display the interplay, or dialogue, between a soloist and
the orchestra.
Bloom's: Understand
79. A typical sequence of movements in a classical concerto is

A. fast, slow, fast.
B. slow, fast, slow.
C. fast, dance-related, fast.
D. fast, slow, dance-related, fast.
A classical concerto is typically in three movements: fast, slow, fast.
Bloom's: Remember
5-32
80. The first movement of a classical concerto

A. is in the same form as a classical symphony.
B. has two expositions.
C. is usually a long cadenza.
D. does not have a development section.
A classical concerto begins with a movement in sonata form, containing two expositions. The
first is played by the orchestra, which presents several themes in the home key. The second
exposition begins with the soloist's first notes.
Bloom's: Remember
81. The classical concerto differs from the symphony in that it does not have a ___________
movement.
A. sonata form
B. slow
C. minuet or scherzo
D. rondo finale
A classical concerto has no dance-related movement, such as a minuet or scherzo.
Bloom's: Understand
82. A classical concerto greatly relies on a soloist's

A. education.
B. independence.
C. virtuosity.
D. ability to conduct.
Concertos have many sections that require a soloist to have a certain level of virtuosity; they
are often showpieces for a soloist, especially the cadenza section.
Bloom's: Understand
5-33
83. A brilliant solo section in a concerto designed to display the performer's virtuosity is
called
A. a cadenza.
B. a fermata.
C. a pause.
D. da capo.
In the first movement and sometimes in the last movement, there is a special unaccompanied
showpiece for the soloist, the cadenza (Italian for cadence).
Bloom's: Remember
84. A pause in the score of a concerto, preceding a cadenza, is indicated by a

A. signal from the soloist.
B. signal from the concertmaster.
C. signal from the conductor.
D. fermata.
The pause before a cadenza is indicated in the score by a fermata, which is placed over a
suspenseful chord. The suspense leads into the entry of the soloist's cadenza.
Bloom's: Remember
85. Classical chamber music is designed

A. to display the virtuosity of the players.
B. for the intimate setting of a small room.
C. exclusively for performance by paid professional musicians.
D. to be conducted by experienced orchestral directors.
Classical chamber music is designed for the intimate setting of a room (chamber) in a home or
palace, rather than for a public concert hall. Chamber music was often written for
nonprofessional musicians of the aristocracy or middle class.
Bloom's: Understand
Learning Objective: Know the characteristics of classical chamber music
5-34
86. The most important form of classical chamber music is the

A. piano trio.
B. string quintet.
C. string quartet.
D. violin and piano sonata.
The most important form in classical chamber music is the string quartet, written for two
violins, a viola, and a cello. Haydn, Mozart, and Beethoven wrote some of their most
important music in this form.
Bloom's: Remember
87. A major factor that distinguishes chamber music from the symphony or concerto is that
chamber music
A. does not use sonata form.
B. is performed in concert halls.
C. does not have difficult parts.
D. is performed by one player per part.
Chamber music is performed by a small group of two to nine musicians, with one player to a
part.
Bloom's: Remember
88. The string quartet

A. usually consists of four movements.
B. is the most important form in classical chamber music.
C. is written for two violins, viola, and cello.
The string quartet is the most important form in classical chamber music. It is written for two
violins, a viola, and a cello and usually consists of four movements.
Bloom's: Remember
5-35
89. The classical string quartet is a musical composition for

A. violin, viola, cello, and bass.
B. two violins, viola, and cello.
C. violin, guitar, viola, and cello.
The instrumentation for a string quartet is: two violins, viola, and cello. This provides the
most flexibility and range for musical ideas.
Bloom's: Remember

A. Classical chamber music does not need a conductor.
B. The piano trio is a musical composition for three pianos.
C. Chamber music is subtle and intimate, intended to please the performer as much as the
listener.
D. String quartet is the most important form of chamber music.
The piano trio is a chamber piece written for violin, cello, and piano.
Bloom's: Understand
91. The usual order of movements in a classical string quartet is

A. fast, slow, minuet or scherzo, fast.
B. fast, slow, fast, slow.
C. slow, fast, slow, fast.
D. fast, rondo, fast.
A string quartet is similar to a symphony in the way its four movements unfold: (1) fast, (2)
slow, (3) minuet or scherzo, (4) fast.
Bloom's: Remember
5-36
92. The piano trio is a musical composition for

A. three pianos.
B. violin, piano, and continuo.
C. violin, cello, and piano.
D. piano and two violins.
The piano trio was written for violin, cello, and piano.
Bloom's: Remember
93. Haydn was fortunate in having a long and fruitful, as well as financially stable,
relationship with the noble Hungarian family of
A. Esterházy.
B. Stefanházy.
C. Liszt.
D. Kadar.
For almost thirty years, Haydn composed most of his music for performance in the palaces of
the Esterházys, the family who employed him.
Bloom's: Remember
94. Which of the following was not one of Haydn's duties while in the service of the
Esterházys?
A. Composing all the music requested by his patron
B. Conducting the orchestra
C. Coaching the singers for operatic performances
D. Writing a cantata each week for Sunday services.
Although Haydn's duties for the Esterházys included composing all the music requested by
his patron, conducting the orchestra, coaching singers, and overseeing the instruments and the
music library, it did not include writing cantatas for church services every Sunday.
Bloom's: Remember
5-37
95. Haydn's contract of employment shows that he was considered

A. a skilled servant.
B. a freelance musician.
C. a visiting guest composer.
D. an equal by his employer.
Although greatly respected and admired, Haydn was still subservient to his employers; he was
a highly-skilled servant.
Bloom's: Remember
96. Although Haydn spent most of his time in Hungary, he often traveled to ________, where
his music was performed often and greatly admired.
A. Paris
B. Venice
C. Florence
D. London
Haydn traveled frequently to London, which welcomed him with open arms. His works were
performed often there and he became a celebrity there.
Bloom's: Remember
Learning Objective: Summarize the musical works of Franz Joseph Haydn
97. Haydn's two popular oratorios are entitled The Seasons and
A. The Creation.
B. The Magic Flute.
C. Judas Maccabaeus.
D. Elijah.
In his late sixties, Haydn composed two oratorios, The Creation (1798) and The Seasons
(1801). They were so popular that choruses and orchestras were formed for the sole purpose
of performing them.
Bloom's: Remember
5-38
98. Haydn was a prolific composer, as demonstrated in part by his 68 string quartets and 104
A. operas.
B. serenades.
C. songs.
D. symphonies.
Haydn, a master of the symphony, wrote 104 of them.
Bloom's: Remember
99. Which of the following is not a characteristic of Haydn's music?

A. The music is robust and direct, radiating a healthy optimism.
B. The minuets often romp and stomp rather than bow and curtsy.
C. It is mostly static, showing few changes in texture and orchestration.
D. Many works have a folk flavor, due to the use of actual peasant tunes and original
melodies in folklike style.
Haydn's music, like his personality, is robust and direct; it radiates a healthy optimism. Much
of it has a folk flavor (due to his use of actual folk melodies) and has great contrasts in
texture, dynamics, and orchestration.
Bloom's: Understand
100. Along with his symphonies, Haydn's ___________ are considered his most important
works.
A. operas
B. string quartets
C. baryton trios
D. serenades
Haydn's sixty-eight string quartets are among the most important of his vast output. He was a
pioneer of the form (some scholars believe that Haydn actually invented it).
Bloom's: Remember
5-39
101. Mozart was born in

A. Salzburg, Austria.
B. Eisenach, Germany.
C. Bonn, Germany.
D. Rohrau, Austria.
Wolfgang Amadeus Mozart (1756-1791), was born in Salzburg, Austria.
Bloom's: Remember
Learning Objective: Recall the biography of Wolfgang Amadeus Mozart
102. By the age of six, Mozart could

A. play the harpsichord and violin.
B. improvise fugues and write minuets.
C. read music perfectly at sight.
A child prodigy, by the time Mozart was six, he could play the harpsichord and violin,
improvise fugues, write minuets, and read music perfectly at first sight.
Bloom's: Remember

A. Mozart wrote masterpieces in all the musical forms of his time.
B. Between the ages of six and fifteen, Mozart was continually on tour in England and
Europe.
C. In his later years, Mozart was financially well off, widely acclaimed, and sought after by
an adoring public.
D. Mozart's trips to Italy enabled him to study and master the current operatic style.
As celebrated as Mozart was in his early life, his later years were a struggle and he died
heavily in debt at only thirty-six.
Bloom's: Remember
5-40
104. Between the ages of six and fifteen, Mozart

A. received an excellent formal education in Salzburg.
B. went to Vienna to study with Haydn.
C. was continually on tour in England and Europe.
D. played in the archbishop's orchestra in Salzburg.
As a child prodigy, Mozart was warmly welcomed all around Europe. Between the ages of six
and fifteen he was continually on tour. He played for Empress Maria Theresa in Vienna,
Louis XV at Versailles, George III in London, and innumerable aristocrats along the way. On
his trips to Italy he was able to master the current operatic style, which he later put to superb
use.
Bloom's: Remember
105. Mozart tried to find fame and fortune by moving to _________, at the age of twenty-
five.
A. Vienna
B. Salzburg
C. London
D. Paris
When he was twenty-five, Mozart left provincial Salzburg and traveled to Vienna, intending
to achieve success as a freelance musician.
Bloom's: Remember
5-41
106. Mozart composed his Requiem

A. for his own funeral.
B. as an exercise for his composition teacher.
C. on commission from a stranger.
D. to help his pupil Süssmayr.
While working on his opera, Die Zauberflöte (The Magic Flute), Mozart was visited by a
stranger who carried an anonymous letter commissioning a requiem, a mass for the dead.
Bloom's: Remember
Learning Objective: Summarize the musical works of Wolfgang Amadeus Mozart
107. Mozart's Requiem was

A. composed by a nobleman using Mozart's name.
B. a high point in his career.
C. an early work.
D. finished by one of his pupils.
Mozart died before finishing his Requiem. Afterwards, it was completed by his friend and
pupil Franz Süssmayer.
Bloom's: Remember
108. Which of the following is not one of Mozart's three masterpieces of Italian opera?
A. Cos" fan tutte
B. The Marriage of Figaro
C. Orfeo
D. Don Giovanni
All of the above were Mozart operas, except for Orfeo, which was written by Claudio
Monteverdi.
Bloom's: Remember
5-42
109. Why did Mozart's music fall out of favor with Vienna audiences towards the end of this
life?
A. The Viennese thought that it was too complicated and contained too many dissonances.
B. The nobility prohibited performances of his music because of his politics.
C. Many people thought that his music was old-fashioned.
D. The Viennese were very musically intelligent and thought Mozart's music was not well
crafted.
Mozart wrote music that was very complex and, as a result, many average listeners found it
hard to follow and too demanding. They also thought that he used too many dissonances,
giving his music a dark quality.
Bloom's: Understand
110. Don Giovanni, in Mozart's opera of that name, is

A. a despotic Italian nobleman.
B. the legendary Spanish lover.
C. Sir John Falstaff.
D. the servant to Leporello.
Don Giovanni is based on the tales of Don Juan, the legendary Spanish lover.
Bloom's: Remember
111. Mozart's Symphony No. 40

A. is in G major.
B. has only three movements.
C. featured an emotional intensity uncommon for the time.
Mozart's Symphony No. 40 was in G minor and consisted of four movements, typical of a
classical symphony. Unusual for its time, the work was full of passion and intense emotional
energy, foreshadowing the coming Romantic period.
Bloom's: Understand
5-43
112. The Third Symphony of Beethoven was originally composed to commemorate the deeds
of _________ as the embodiment of heroism and democratic ideals.
A. George Washington
B. Napoleon Bonaparte
C. the Marquis de Lafayette
D. the Duke of Wellington
In 1803 Beethoven composed the gigantic Third Symphony, the Eroica, in honor of
Napoleon. When he learned, however, that Napoleon had proclaimed himself emperor of the
French, Beethoven crossed out the dedication and later wrote on the title page "Heroic
Symphony composed to celebrate the memory of a great man."
Bloom's: Remember
Learning Objective: Summarize the musical works of Ludwig van Beethoven
113. Beethoven
A. was a brilliant pianist.
B. was self-educated and had read widely, but was weak in elementary arithmetic.
C. began to feel the first symptoms of deafness in his twenty-ninth year.
Beethoven was a brilliant and virtuosic pianist, earning him much acclaim. Although self-
educated, he was intellectually curious and read widely (although was poor in mathematics).
Tragically, he began to grow deaf when he was only twenty-nine years old.
Bloom's: Remember
Learning Objective: Recall the biography of Ludwig van Beethoven
5-44

A. The finale of Beethoven's Ninth Symphony is based on Schiller's poem about human
brotherhood, Ode to Joy.
B. Beethoven opened new realms of musical expression that profoundly influenced
composers throughout the nineteenth century.
C. Like Haydn and many other composers of the classical period, Beethoven depended on the
aristocracy for his financial well-being.
D. In the finale of his Ninth Symphony, Beethoven took the unprecedented step of using a
chorus and four solo vocalists.
Beethoven was a pioneer and innovator in music, as well as in business. Unlike many of his
predecessors and even contemporaries, Beethoven made his living independently of
aristocratic support, solely through freelance means.
Bloom's: Remember
115. We have a record of Beethoven's struggle with his musical material because he
A. described his struggles in letters to friends.
B. showed his workflow in musical sketchbooks.
C. told his troubles to his biographer.
D. keept a diary.
Beethoven struggled greatly with his compositions. He carried music sketchbooks

everywhere, jotting down new ideas, revising and refining old ones. The final versions of his
works were often hammered out through great labor.
Bloom's: Remember
5-45
116. Beethoven's late works, composed after he was totally deaf, include
A. Missa solemnis
B. string quartets.
C. the Ninth Symphony.
Despite his deafness, Beethoven had a creative outburst after 1818 that produced some of his
greatest works: the late piano sonatas and string quartets, the Missa solemnis, and the Ninth
Symphony.
Bloom's: Remember
117. What following technique did Beethoven use more extensively in his late works?
A. Fugal counterpoint
B. Monophony
C. Operatic form
D. Basso continuo
During his later works, Beethoven often used the fugue to express new musical concepts.
Bloom's: Remember
118. Beethoven's sixteen __________ are generally considered among the greatest music ever
composed.
A. piano concertos
B. string quartets
C. piano sonatas
D. symphonies
The sixteen string quartets are considered to be among the greatest music composed,
containing an incredible marriage of technique and inspired creativity.
Bloom's: Remember
5-46
119. Beethoven is often credited as being

A. the pioneer of light classical music.
B. the bridge between the classical and romantic periods.
C. the inventor of the symphony.
D. the first musician to incorporate folk tunes into serious compositions.
Beethoven's music, especially his later pieces, combined classical structures and form with the
emotional intensity that would become the hallmark of romantic music. He is therefore often
thought of as the bridge between the two styles.
Bloom's: Remember
120. Beethoven's only opera is entitled

A. The Magic Flute.
B. Madame Butterfly.
C. Don Giovanni.
D. Fidelio.
Beethoven only wrote one opera, Fidelio.
Bloom's: Remember
121. The opening motive of Beethoven's Symphony No. 5 has a ____________ rhythm.
A. short-long-short
B. short-short-short-long
C. long-long-short
D. short-short-long
The Fifth Symphony opens with one of the most famous rhythmic ideas in all music, a short-
short-short-long motive. Beethoven reportedly explained this four-note motive as "fate
knocking at the door."
Bloom's: Understand
5-47
122. Beethoven, in comparison with earlier composers, was far more extensive and explicit in
marking __________ in his scores.
A. dynamics
B. expressive indications
C. tempos
D. all of these
Beethoven was one of the first composers to explicitly mark his intentions in the score.
Tempo, dynamic, and expressive indications are marked far more extensively in his scores
than in those of earlier composers. Directions such as, "Somewhat lively and with deepest
feeling," would never have appeared previously.
Bloom's: Understand
123. Beethoven greatly expanded the _____________ section of the sonata-form movement
and made it more dramatic.
A. introduction
B. exposition
C. development
D. recapitulation
Always the innovator, Beethoven greatly expanded a sonata's development section, making it
even more dramatic. It often contains a powerful crescendo that leads to a climactic return of
the first theme at the start of the recapitulation.
Bloom's: Understand
5-48

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Part V - The Classical Period

Music An Appreciation 11th Edition

Test Bank: https://testbankpack.com/p/test-bank-for-music-an-

Solution Manual: https://testbankpack.com/p/solution-manual-

Multiple Choice Questions

1. Classicism, as a stylistic period in western music, roughly encompassed the years

The Classical period lasted from 1750-1820.

2. The preclassical period roughly encompassed the years

4. Which of the following statements is not true of the classical period?

Philosophers and writers—especially Voltaire (1694-1778) and Denis Diderot (1713-1784)—

7. Which of the following statements is not true?

10. The typical orchestra of the classical period consisted of

A typical orchestra in the classical period might consist of:

Strings: 1st violins, 2nd violins, violas, cellos, double basses

13. Social mobility during the classical period was

15. In the classical period, serious composition was flavored by

18. Which of the following statements is not true?

19. Joseph Haydn was content to spend most of his life

20. Haydn's contract of employment shows that he was considered

21. Vienna, when Haydn, Mozart, and Beethoven were active,

23. In the classical period, comic operas sometimes

24. In Vienna, Haydn and Mozart

26. Which of the following is not part of a sonata form movement?

28. In the exposition of a sonata-form movement

29. In the recapitulation of a sonata-form movement

30. At the end of a classical exposition there usually is a

31. Which of the following statements is not true?

32. A transitional passage that leads to a contrasting section is called a

37. Sonata form should be viewed as

38. Each successive variation in a theme with variations

39. Theme-and-variations form may be schematically outlined as

40. Which of the following statements is not true?

42. The _________ movement of Haydn's Surprise Symphony is in theme-and-variations

The second movement (andante) of Haydn's Symphony No. 94 in G Major (Surprise

45. The minuet first appeared around 1650 as a(n)

46. The character of the minuet is best described as

47. The minuet is in _______ meter.

The minuet is a waltz-type dance, in triple meter.

48. Which of the following is not a characteristic of the minuet?

49. Which of the following statements is not true?

51. The scherzo differs from the minuet in that it

54. When performers encounter the phrase, da capo, they

55. The rondo may be schematically outlined as

56. The main theme in a rondo movement is usually

57. Which of the following is not true about the rondo?

59. The sonata-rondo

60. The main theme of the rondo

61. Because of its character, the rondo most often serves as a

62. The rondo was used

63. Which of the following statements is not true?

64. Symphony may be defined as

A symphony is an extended, ambitious composition typically lasting between 20 and 45

65. The usual order of movements in a classical symphony is

67. Which of the following is not true of the symphony?

A symphony can be thought of as a sonata for orchestra. It is an extended, ambitious

68. The slow movement of a symphony is usually not

69. Which of the following statements is not true?

70. The lyrical slow movement of a symphony is most often the

The slow movement of a symphony is most often the second.

71. The slow movement of a classical symphony

72. The last movement of a classical symphony

74. A concerto is a large-scale work in several movements for

A classical concerto is a three-movement work for an instrumental soloist and orchestra. It