Experience Music 4Th Edition Charlton Test Bank Full Chapter PDF

Experience Music 4th Edition Charlton
Test Bank
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Part 06 - Music of the Romantic Era (Chapters 16 to 25)
Part 06
Music of the Romantic Era (Chapters 16 to 25)
True / False Questions
1. Romantic artists basically continued to present the Enlightenment view of the world in their
work.
FALSE
Learning Objective: Examine developments and trends in romantic music

Learning Objective: Recall historical and cultural characteristics of the romantic era
Topic: romantic music
2. France, Germany, and Italy were not consolidated into countries with elected parliaments
during the late 1800s.
TRUE
3. During the romantic period, artists, including musicians, created works that were overtly
nationalistic.
TRUE
Learning Objective: Define nationalism in 19th-century music

Learning Objective: Recall historical and cultural characteristics of the early twentieth century
Topic: nationalism
6-1
Copyright © 2016 McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of
McGraw-Hill Education.
4. Romantic composers and artists shunned the occult in their works, believing that to
represent the supernatural in art was to invite it into their lives.
FALSE

5. The romantic period was the first to witness the phenomenon of the superstar, the virtuoso
performer, on the public concert stage.
TRUE

Topic: musical techniques
Topic: performers
6. The virtuoso violinist who rose to superstar status, in part by cultivating the rumor that he
had sold his soul to the devil in exchange for phenomenal technical abilities, was Franz
Schubert.
FALSE

Topic: Franz Schubert
Topic: performers
7. During the 1800s, middle-class households frequently hosted catered musical evenings
known as salons.
TRUE

Topic: chamber music
6-2
8. A good composer must be able to play every instrument for which he or she writes music.
FALSE
Topic: instrument families
Topic: performers
Topic: style
9. All art songs use long, narrative poems that alternate between narrative and dialogue.
FALSE
Learning Objective: Describe the forms of the art song

Learning Objective: Describe the functions of the art song
Topic: art song
Topic: form
10. The greatest lieder composer was Franz Schubert.

TRUE

Learning Objective: Understand characteristics of music in works by Schubert
Topic: art song
11. Franz Schubert was a member of the growing upper middle class.
FALSE
6-3
12. Franz Schubert was a very prolific composer.

TRUE

13. In spite of his poverty, Schubert received a fairly good education because he was able to
obtain a place in the choir of the Imperial Court Chapel.
TRUE
14. Schubert was a lawyer before he became a musician.

FALSE
15. Schubert found great success as a composer for the theater.

FALSE
6-4
16. Clara Wieck was being groomed as a virtuoso performer when Robert Schumann met her.
TRUE
Topic: Clara Schumann
Topic: Robert Schumann
Topic: performers
17. Robert Schumann was a schoolteacher before he became a full-time composer.

FALSE
18. Robert Schumann had a long, successful career as a concert pianist.

FALSE
Topic: performers
Topic: piano music
19. Franz Schubert started a music journal called Neue Zeitschrift für Musik.
FALSE

20. Clara Wieck's father tried to stop her marriage to Robert Schumann.
TRUE
6-5
21. Clara Schumann's concert career continued even after she married Robert Schumann.
TRUE

Topic: performers
Multiple Choice Questions
22. Which of these subjects was NOT popular with romantic artists?
A. The exotic
B. The supernatural
C. Reason and logic
D. Nature

23. The violinist who was so virtuosic that it was said he had sold his soul to the devil was
A. Robert Schumann.
B. Franz Schubert.
C. Niccolò Paganini.
D. George Sand.

Topic: performers
Topic: string instruments
6-6
24. A musical setting of a poem for solo voice and piano is a(n)
A. art song.
B. etude.
C. sonata.
D. aria.

Topic: art song
Topic: keyboard instruments
Topic: style
Topic: voices
25. A narrative poem set to music is a(n)

A. lied.
B. aria.
C. ballad.
D. sonata.

Topic: art song
Topic: style
Topic: voices
26. An art songs that utilizes the same melody for every verse of a poem is
A. in aria form.
B. in strophic form.
C. through composed.
D. in modified strophic form.

Topic: art song
Topic: form
6-7
27. A formal structure of many art songs that uses the same melody for some verses of poetry
while setting other verses to new melodies is called
A. strophic form.
B. through-composed form.
C. da capo form.
D. modified strophic form.

Topic: art song
Topic: form
Topic: style
28. A German art song is called a(n)

A. operetta.
B. aria.
C. lied.
D. ballad.

Topic: style
29. "Erlkönig" was composed by

A. Robert Schumann.
B. Franz Schubert.
C. Clara Schumann.
D. Aurore Dudevant.
Topic: art song
6-8
30. The poet of "Erlkönig" was

A. Goethe.
B. George Sand.
C. Daniel Stern.
D. Robert Schumann.

Topic: art song
31. "Erlkönig" is a(n)

A. strophic art song.
B. modified-strophic art song.
C. aria.
D. through-composed art song.
Learning Objective: Describe new approaches to tone color, chords, harmony, tonality, rhythm, and melody
Topic: art song
Topic: form
32. A series of art songs meant to be performed as a unit is called a(n)

A. operetta.
B. ballad.
C. song cycle.
D. opera.

Topic: art song
Topic: form
Topic: song cycle
6-9
33. The song cycle Dichterliebe was written by

A. Clara Schumann.
B. Robert Schumann.
C. Franz Schubert.
D. Niccolò Paganini.

Topic: art song
Topic: song cycle
34. "Im Wunderschönen Monat Mai" is

A. a song from Dichterliebe.
B. a ballad by Franz Schubert.
C. an opera by Robert Schumann.
D. a song by Clara Schumann.

Topic: art song
Topic: song cycle
35. "Im Wunderschönen Monat Mai" is

A. through composed.
B. in modified strophic form.
C. in strophic form.
D. a da capo aria.

Topic: art song
Topic: form
Topic: song cycle
6-10
36. "Liebst du um Schönheit" is

A. a song from Dichterliebe.
B. a ballad by Franz Schubert.
C. an opera by Robert Schumann.
D. a song by Clara Schumann.

Topic: art song
37. The composer _____ attempted suicide.

A. Niccolò Paganini
B. Franz Schubert
C. Clara Schumann
D. Robert Schumann
38. Clara Schumann was best known as a

A. performer.
B. composer.
C. dancer.
D. publicist.
Topic: performers
Topic: piano music
6-11
39. The composer _____ became the principal teacher of the piano division of the Hoch
Conservatory of Music.
A. Robert Schumann
B. Clara Schumann
C. Franz Schubert
D. Daniel Stern
Topic: performers
Topic: piano music
Matching Questions
40. Match each term with its definition.
1. Modified strophic
form Each verse of a poem is set to exactly the same music. 2
Some verses of a poem are set to the same music, with
2. Strophic form others being set to different music. 1
3. Through
composed Each verse of a poem is set to different music. 3

Topic: art song
Topic: form
Topic: style
41. Upright pianos were developed solely for music in bars and brothels.
FALSE

Topic: piano music
6-12
42. Music publication declined during the romantic period because fewer people could afford
professionally printed musical scores.
FALSE

43. The demand for music teachers increased during the romantic period as more people
began learning to play the piano.
TRUE

Topic: piano music
44. Franz Liszt played from memory, something that was fairly new at the time.
TRUE

Topic: Franz Liszt
Topic: performers
Topic: piano music
Topic: style
45. Franz Liszt usually performed in small, intimate salons.

FALSE

Topic: Franz Liszt
Topic: performers
Topic: piano music
6-13
46. Liszt and Chopin lived in Paris at the same time.

TRUE
Topic: Frédéric Chopin
Topic: Franz Liszt
Topic: performers
Topic: piano music
47. Liszt required very little technical ability from performers of his works.
FALSE

Learning Objective: Know key features and structures of piano music
Topic: Franz Liszt
Topic: performers
Topic: piano music
48. Chopin's mistress was a novelist who went by the pen name of George Sand.
TRUE
49. Liszt wrote only for the piano.

FALSE
Topic: Franz Liszt
Topic: performers
Topic: piano music
6-14
50. The symphonic poem and the tone poem are the same thing.
TRUE

Topic: form
Topic: symphony
51. Chopin composed in all the popular instrumental genres of the romantic period.
FALSE

Learning Objective: Understand characteristics of music in works by Chopin
Topic: piano music
Topic: style
52. Chopin was a brilliant composer, but he would not play his works for other people.
FALSE
Topic: performers
Topic: piano music
53. Chopin's polonaises and mazurkas are based on Polish dance rhythms.
TRUE

Topic: piano music
Topic: rhythm
6-15
54. Robert Schumann composed in nearly every piano genre.

TRUE

Topic: piano music
Topic: style
55. Character pieces are so called because they always portray the characters of the
composer's close friends.
FALSE

Topic: form
Topic: style
56. During her lifetime, Clara Schumann was primarily known as a performer.
TRUE
Topic: performers
Topic: piano music
57. Thanks to early technology, we can listen to many recorded performances by Liszt and
Chopin.
FALSE
Topic: Franz Liszt
Topic: performers
Topic: piano music
6-16
58. The piano did not have eighty-eight keys until the 1800s.
TRUE

59. Which of the following technical advances for the piano did NOT happen during the
1800s?
A. The number of keys reached eighty-eight.
B. Felt hammers replaced leather ones.
C. Piano builders invented a model with the strings parallel to the floor.
D. The cast-iron frame was developed.

Topic: piano music
60. Two of the prominent composers for piano during the romantic period were
A. Mozart and Beethoven.
B. Verdi and Wagner.
C. Bach and Haydn.
D. Liszt and Chopin.

Topic: Franz Liszt
Topic: performers
Topic: piano music
6-17
61. The composer who is said to have turned the piano sideways to show his hands was
A. Frédéric Chopin.
B. Franz Liszt.
C. George Sand.
D. Robert Schumann.
Topic: Franz Liszt
Topic: performers
Topic: piano music
Topic: style
62. Chopin usually performed in

A. intimate salon settings.
B. large concert halls.
C. opera houses.
D. churches.

Topic: performers
Topic: piano music
63. Franz Liszt was

A. German.
B. French.
C. Hungarian.
D. Polish.
Topic: Franz Liszt
Topic: performers
6-18
64. Frédéric Chopin was

A. German.
B. Italian.
C. Hungarian.
D. Polish.
Topic: performers
Topic: piano music
65. Liszt worked in all of the following capacities EXCEPT as a

A. composer.
B. pianist.
C. singer.
D. conductor.
Topic: Franz Liszt
Topic: performers
Topic: piano music
Topic: voices
66. In which of the following genres did Liszt compose?

A. Masses
B.
Symphonic (tone) poem
C. Piano music
D. All of the above

Topic: Franz Liszt
Topic: mass
Topic: piano music
Topic: style
Topic: symphony
6-19
67. Which new genre did Liszt develop?

A. Character piece
B. Art song
C. Song cycle
D. Symphonic poem
Topic: Franz Liszt
Topic: form
Topic: style
Topic: symphony
68. In which of the following genres did Chopin compose?

A. Opera
B. Symphony
C. Piano music
D. All of the above

Topic: performers
Topic: piano music
Topic: style
6-20
69. Chopin expressed Polish nationalism in his music primarily through his
A. polonaises and mazurkas.
B. concertos and symphonies.
C. études and nocturnes.
D. art songs and sonatas.

Topic: nationalism
Topic: piano music
Topic: rhythm
Topic: style
70. Which of the following is NOT a genre for piano?

A. Nocturne
B. Tone poem
C. Polonaise
D. Mazurka
Topic: orchestra
Topic: piano music
Topic: style
Topic: symphony
6-21
71. Which of the following composers was extremely important to the development of
romantic piano music?
A. Frédéric Chopin
B. Franz Liszt
C. Robert Schumann
D. All of the above

Topic: Franz Liszt
Topic: piano music
72. A(n) ______ is a romantic composition for piano that portrays a single mood, emotion, or
idea.
A. character piece
B. étude
C. mazurka
D. polonaise

Topic: style
73. In which of the following genres did Robert Schumann compose?

A. Character piece
B. Sonata
C. Concerto
D. All of the above
Topic: concerto
Topic: form
Topic: sonata
Topic: style
6-22
74. Which of the following composers was NOT also known as a virtuosic performer?
A. Frédéric Chopin
B. Robert Schumann
C. Clara Schumann
D. Franz Liszt
Topic: performers
Topic: piano music
75. During her lifetime, Clara Schumann was known primarily as a

A. performer.
B. composer.
C. wife and mother.
D. teacher.

Topic: performers
Topic: piano music
Topic: style
Matching Questions
6-23
76. Match each genre with its definition.
A single-movement work for orchestra that tells a story or

conveys a series of moods.
1. Étude 3
A fairly short piano piece portraying a single mood,

emotion, or idea.
2. Character piece 2
A study piece for piano.

3. Symphonic
poem 1
A piano piece based on a Polish dance.
4. Mazurka 4
Topic: form
Topic: rhythm
Topic: style
6-24
77. Match each composer with his or her description.
This composer used Polish dance rhythms to express

nationalism in music.
1. Frédéric
Chopin 1
This composer increased the difficulty level of piano music and

turned the piano so the audience could see his/her hands.
2. Clara
Schumann 4
This composer wrote in virtually all piano genres and

considered Fantasiestücke to among be his/her best works for
piano.
3. Robert
Schumann 3
Though an active composer, this artist was primarily know as a

performer.
4. Franz Liszt 2
Topic: Franz Liszt
Topic: performers
Topic: piano music
Topic: style
6-25
78. Program music is instrumental music with no direct link to anything extramusical.
FALSE
Learning Objective: Define program music, and know its key features and structure
Topic: program music
79. Program music was invented during the romantic period.

FALSE
80. Before turning to music, Hector Berlioz studied to be a doctor.

TRUE
Topic: Hector Berlioz
81. Berlioz's father was very supportive of his decision to become a composer.
FALSE
6-26
82. Symphonie fantastique is a piece of program music that describes Berlioz's passion for the
Shakespearean actress Harriet Smithson.
TRUE
Learning Objective: Recognize examples of program music
Learning Objective: Understand characteristics of music in works by Berlioz
83. On hearing Symphonie fantastique, Harriet Smithson had Berlioz committed to an

asylum.
FALSE
84. Berlioz's music was always highly popular with French audiences.
FALSE

Topic: style
85. Berlioz was also an author.

TRUE
6-27
86. Symphonie fantastique is a symphonic poem.

FALSE
Topic: symphony
87. Berlioz portrays an opium dream in Symphonie fantastique.

TRUE
88. Hector Berlioz invented the symphonic poem.

FALSE

Topic: Franz Liszt
Topic: symphony
89. Richard Strauss and Franz Liszt were also important composers of program music.
TRUE
Topic: Franz Liszt
6-28
90. Program music is always governed by the sonata form.

FALSE
Topic: form
Topic: sonata form
91. Franz Liszt composed both symphonic poems and program symphonies.
TRUE

Topic: Franz Liszt
Topic: symphony
92. A theme from Richard Strauss's symphonic poem Also sprach Zarathustra was used as
the theme for the film 2001: A Space Odyssey.
TRUE
Topic: symphony
6-29
93. Music that "is composed for the appreciation of musical sound" and does not tell a story is
called
A. program music.
B. absolute music.
C. opera.
D. art song.

Topic: absolute music
94.
Romantic program music was structured around all of the following EXCEPT:
A. dramatic incidents.
B. poetic images.
C. purely musical elements.
D. elements in nature.

Topic: absolute music
Topic: nationalism
Topic: nature
6-30
95. _____ was one of the greatest composers of romantic program music.
A. Ludwig van Beethoven
B. Clara Schumann
C. Franz Schubert
D. Hector Berlioz
Topic: Ludwig van Beethoven
Topic: style
96. Which literary figure had a profound impact on Berlioz?

A. Marlowe
B. Shakespeare
C. Milton
D. Cervantes

97. Two composers who were also authors were

A. Hector Berlioz and Robert Schumann.
B. Hector Berlioz and Franz Schubert.
C. Robert and Clara Schumann.
D. Robert Schumann and Franz Schubert.
6-31
98. In addition to being a composer and author, Berlioz was also known as a great
A. actor.
B. singer.
C. orchestrator.
D. chef.
Topic: orchestra
99. _____ wrote the book Treatise on Instrumentation and Orchestration.

A. Berlioz
B. Strauss
C. Schumann
D. Liszt

Topic: orchestra
100. Symphonie fantastique is a(n)

A. opera.
B. song cycle.
C. concerto.
D. program symphony.
Topic: symphony
6-32
101. In Symphonie fantastique, Berlioz uses a device called the idée fixe, which is
A. a musical theme that appears in all five movements.
B. a musical theme borrowed from an opera based on Hamlet.
C. a musical idea he composed as a teenager and fixated on for years.
D. a theme from Gregorian chant.
Topic: form
Topic: melody
Topic: symphony
102. The melody Berlioz inserts into the fifth movement of Symphonie fantastique to
represent judgment day is from
A. Schumann's opera Hamlet.
B. Mozart's Requiem Mass.
C. the "Dies irae."
D. an early composition of his, based on the death of his mother.

Topic: mass
Topic: melody
6-33
103. Berlioz altered the idée fixe in Symphonie fantastique by using a technique known as
A. thematic modulation.
B. thematic variation.
C. thematic alteration.
D. thematic transformation.
Topic: form
Topic: melody
104. Which of the following did NOT compose program music?

A. Franz Schubert
B. Hector Berlioz
C. Franz Liszt
D. Richard Strauss
Topic: Franz Liszt
105. Which composer invented the symphonic poem?

A. Robert Schumann
B. Franz Liszt
C. Hector Berlioz
D. Richard Strauss
Topic: Franz Liszt
Topic: form
Topic: symphony
6-34
106. Which composer wrote the program symphony Faust?

A. Richard Strauss
B. Hector Berlioz
C. Franz Liszt
D. Robert Schumann
Topic: Franz Liszt
Topic: symphony
107. How many movements does a symphonic poem usually have?

A. One
B. Two
C. Three
D. Four
Topic: form
Topic: symphony
108. How many movements does a program symphony usually have?

A. One
B. Two
C. Three
D. As many as needed
Topic: form
Topic: style
Topic: symphony
Matching Questions
6-35
109. Match each composer with the correct composition.
1. Richard Strauss Faust Symphony 2

2. Franz Liszt Symphony fantastique 3
3. Hector Berlioz Also Sprach Zrathustra 1
Topic: Franz Liszt
Topic: symphony
110. J.S. Bach and Mozart were early nationalistic composers.

FALSE

Topic: Johann Sebastian Bach
Topic: Wolfgang Amadeus Mozart
Topic: nationalism
111. The romantic period saw a rise in nationalistic music and art.
TRUE

Topic: nationalism
6-36
112. One way that romantic composers created nationalistic music was to use folk-song
melodies.
TRUE

Topic: melody
Topic: nationalism
Topic: rhythm
113. The Russian ruler who introduced Western customs into Russian culture was Tsar
Nicholas I.
FALSE
Topic: nationalism
114. The only European country that did not have a nationalistic movement in music was
England.
FALSE
Topic: nationalism
115. Edvard Grieg was a nationalistic composer from Norway.

TRUE

Topic: nationalism
6-37
116. Bedřich Smetana was a nationalistic Russian composer.

FALSE

Topic: Bedřich Smetana
Topic: nationalism
117. Smetana attempted to ignore Western musical styles completely in his compositions.
FALSE

Topic: nationalism
118. Austria ruled Bohemia for many years; thus, local musicians knew the music of
composers such as Liszt and Berlioz.
TRUE

Topic: Franz Liszt
Topic: style
119. Smetana composed operas in the Czech language.

TRUE

Learning Objective: Recognize examples of romantic operas
Topic: nationalism
Topic: opera
6-38
120. Smetana shared with Beethoven the affliction of deafness.

TRUE
Topic: Ludwig van Beethoven
121. Smetana is best known for his operas and tone poems.
TRUE

Topic: opera
Topic: symphony
122. The only work of Smetana's that is performed today is Má Vlast.

FALSE
123. "The Moldau" is nationalistic only in its use of folk song.

FALSE

Topic: nationalism
Topic: symphony
6-39
124. Music intended to promote the character and interests of a nation is referred to as
A. programmistic.
B. nationalistic.
C. absolute.
D. Marxist.

Topic: nationalism
125.
When creating nationalistic music, romantic composers based their works on all of the following EXCEPT:
A. historical subjects.
B. exotic subjects from other countries.
C. national or political subjects.
D. folk songs.

Topic: nationalism
126. Western customs were first introduced to Russia in the

A. late 1600s.
B. early 1800s.
C. late 1700s.
D. late 1800s.
Topic: nationalism
Topic: style
6-40
127. One of the first Russian composers to create "Russian" music was
A. Bedřich Smetana.
B. Modest Mussorgsky.
C. Mikhail Glinka.
D. Franz Liszt.

Topic: nationalism
128. The group of Russian composers who emphasized Russian spirit over Western influence
referred to themselves as
A. the "Five."
B. the Russian school.
C. the composers of the tsar's court.
D. the Korsakov brothers.

Topic: Modest Petrovich Mussorgsky
Topic: nationalism
129. Which composer was not part of the Russian Five?

A. Borodin
B. Mussorgsky
C. Smetana
D. Rimsky-Korsakov
Topic: nationalism
6-41
130. Which composer was a Russian nationalist?

A. Nikolai Rimsky-Korsakov
B. Jean Sibelius
C. Ralph Vaughan Williams
D. Manuel de Falla

Topic: nationalism
131. _____ was the composer of Scheherazade.

A. Jean Sibelius
B. Nikolai Rimsky-Korsakov
C. Modest Mussorgsky
D. Ottorino Respighi
Topic: symphony
132. The composer of Pictures at an Exhibition and the opera Boris Godunov was
A. Nikolai Rimsky-Korsakov.
B. Edward Elgar.
C. Edvard Grieg.
D. Modest Mussorgsky.

Topic: Modest Petrovich Mussorgsky
Topic: nationalism
Topic: piano music
6-42
133. Which composer was an English nationalist?

A. Jean Sibelius
B. Edvard Grieg
C. Edward Elgar
D. Ottorino Respighi

Topic: nationalism
134. Which composer was a Finnish nationalist?

A. Edvard Grieg
B. Modest Mussorgsky
C. Jean Sibelius
D. Edward Elgar

Topic: nationalism
135. The composer regarded as the founder of the Czech national school was
A. Modest Mussorgsky.
B. Jean Sibelius.
C. Bedřich Smetana.
D. Edward Elgar.

Topic: nationalism
6-43
136. Which composers influenced Smetana's progressive musical ideas and his spirit of
nationalism?
A. Liszt and Berlioz
B. Mozart and Beethoven
C. Sibelius and Elgar
D. Mussorgsky and Glinka

Topic: Franz Liszt
Topic: nationalism
137. The cycle of symphonic poems composed by Smetana is called

A. The Bartered Bride.
B. Symphonie fantastique.
C. "The Moldau."
D. Má Vlast.

Topic: nationalism
Topic: song cycle
Topic: symphony
138. The symphonic poem that traces the progress of the Moldau River is called
A. Má Vlast.
B. "Vtlava."
C. The Bartered Bride.
D. Sheherazade.
Topic: nationalism
Topic: nature
Topic: symphony
6-44
139. The opera that established Smetana's reputation as a nationalistic composer was
A. Má Vlast.
B. Boris Godunov.
C. The Bartered Bride.
D. A Life for the Tsar.

Topic: nationalism
Topic: opera
140. "The Moldau" is a(n)

A. symphonic poem.
B.
absolute symphony.
C. opera.
D. art song.
Topic: nationalism
Topic: symphony
141. Which of the following is NOT portrayed in "The Moldau"?

A. A peasant wedding
B. A swordfight
C. A hunt
D. Nymphs dancing

Topic: nationalism
Topic: symphony
6-45
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and force, 413, 415-417;
contemporaries, table i
Leipzig, battle, issue, 35
Lenbach, Franz von, copyist, 295
Le Nôtre, André, gardening, 240n., 241
Leo III, pope, and iconoclasm, 262
Leochares, contemporary mathematic, 90
Leonardo da Vinci, astronomical theory, 69;
spirituality, 128;
Dutch influence, 236;
and background, 237;
and impressionism, 239, 287;
and sculpture, 244;
colour, 246;
and body, 271;
and portrait, 272;
as dissatisfied thinker, 274;
discovery as basis of art, 277-279;
and circulation of the blood, 278;
and aviation, 279;
Western soul and technical limitation, 279-281;
and dynamics, 414
Lessing, Gotthold E., world-conception, 20;
and cultural contrasts, 128;
and Aristotle’s philanthropy, 351;
and cult and dogma, 411
Lessing, Karl F., colour, 252
Leucippus, atoms, 135, 385, 386
Li, contemporaries, table iii
Licinian Laws, myth, 11
Life, and soul and world, 54;
duration, specific time-value, 108;
duration applied to Culture, 109;
Classical Culture and duration, 132;
and willing, 315.
See also Death
Light and shadow, cultural art attitude, 242n., 283, 325n.
Light theories, electro-magnetic, 156n.;
Newton’s, and Goethe’s theory of colour, 157n., 158n.;
cultural basis, 381;
contradictory, 418
Limit, as a relation, 86
Linden, as symbol, 396
Lingam. See Phallus
Lingayats, sect, 136n.
Ling-yan-si, Saints, 260
Linois, Comte de, and India, 150n.
Lippi, Filippino, Dutch influence, 236
Liszt, Franz, Catholicism, 268n.;
contemporaries, table ii
Literature. See Art; Drama; History; Poetry; writers by name,
especially Dante; Goethe; Ibsen
Livy, on strange gods, 405
Lochner, Stephen, God-feeling, 395
Locke, John, and imperialism, 150;
Loggia dei Lanzi, artistic sentiment, 272
Logarithms, liberation, 88
Logic, organic and inorganic, 3, 117;
of time and space, 7;
and mathematics, convergence, 57, 427;
and morale, 354.
See also Causality
Logicians, contemporaries, table i
Lokoyata, contemporaries, table i
London, culture city, 33
Loredano, doge, portrait, 272
Lorentz, Hendrik A., and Relativity, 419
Lorenzo de’ Medici, and music, 230
Lotze, Rudolf H., ethics, 367
Louis XIV, uncleanliness, 260;
contemporaries, table iii
Louisiana, Napoleon’s project, 150
Loyola, Ignatius, and style of the Church, 148;
architectural parallel, 314;
and Western morale, 348;
God-feeling, 394, 395;
and method, 412
Lucca, and Arabian Culture, 216
Lucian, and Philopatris dialogue, 404n.
Lucullus, L., army, 36
Ludovisi Villa, garden, 240
Lully, Raymond, music, 283
Luther, Martin, and “know”, 123;
and destiny, 141;
as epoch, 149;
and works, 316n.;
and Western morale, 348, 349, 355;
God-feeling, 394, 395;
Luxor, contemporaries, table ii
Lycurgus, myth, 11
Lysander, deification, 405
Lysias, portrait, 270
Lysicrates, Monument of, acanthus motive, 215
Lysippus, contemporary mathematic, 90;
sculpture, 226, 260n.;
period, 284;
canon, 287;
straining, 291;
irreligion, 358;
Lysistratus, and portraiture, 269
Machault, Guillaume de, and counterpoint, 229n.

Machiavellism, and mimicry, 371
Macpherson, James, autumnal accent, 241
Macrocosm, idea, 163-165;
cultural and intercultural, 165;
expression, 180;
and style-problem, 214-216.
See also History; Morphology; Nature; Symbolism; World-
conceptions
Maderna, Stefano, sculpture, 244;
God-feeling, 395
Madonna, in Western art, 136, 267, 280.
See also Marycult; Motherhood
Madrid, culture city, 32, 109
Madrigals, character, 229
Mæcenas, park, 34
Magdeburg Cathedral, Viking Gothic, 213
Magian soul, explained, 183. See also Arabian Culture
Magnetism, Cabeo’s theory, 414
Magnitude, emancipation of Western mathematic, 74-78;
and relations, 84, 86
Mahavansa, as historical work, 12
Mainz Cathedral, and styles, 205
Makart, Hans, copyist, 295
Malatestas, Hellenic sorriness, 273
Malthus, Thomas R., and Darwinism, 350, 369, 371
Manchester system, and Western Civilization, 151, 371;
and Darwinism, 369
Mandæans, as Arabian, 72;
music, 228;
Manet, Édouard, unpopularity, 35;
and body, 271;
landscapes, 288;
plein-air painting, 288-290;
weak style, 291;
striving, 292;
and Wagner, 292;
irreligion, 358
Mani, and mystic benefits, 344n.;
and Jesus, 347;
Manichæanism, as Arabian, 72;
architectural expression, 209, 211;
music, 228;
dualism, 306;
and home, 335
Mankind, as abstraction, 21, 46
Mantegna, Andrea, technique, 221, 239;
and colour, 242;
and portrait, 271;
and statics, 414
Marble, and later Western sculpture, 232, 276n.;
Greek use, 248n., 253;
Michelangelo’s attitude, 276.
See also Stone
Marcellus II, pope, and Church music, 268n.
Marcion, and Jesus, 347;
Marcus Aurelius, and monotheistic tendency, 407
Marées, Hans, significance of colour, 252;
portraiture, 266, 271, 271n., 309;
and grand style, 289, 290;
striving, 292
Marenzio, Luca, music, 251
Marius, C., and economic motive, 36;
Mars Ultor, temple, ornament, 215
Marseillaise, morale, 355
Marsyas, Myron’s, lack of depth, 226
Marwitz, Friedrich A. L. von der, and Hardenberg, 150n.
Marx, Karl, and practical philosophy, 45;
and earlier and final Socialism, 138;
and superficially incidental, 144;
character of Nihilism, 352, 357;
and Hegelianism, 367;
socio-economic ethics, 372, 373;
Mary-cult, as symbol, 136;
Madonna in Western art, 267, 280
Masaccio, and artistic change, 237, 279, 287
Mashetta, castle, façade, 215
Mask, and Classical drama, 316, 317n., 318, 323
ass, Western functional concept, 415;
effect of quantum theory, 419
Materialism, and Goethe’s living nature, 111n.;
Buddhism as, 356;
in Western ethics, 368;
and Socialism, 370
Mathematics, spatial concept, 6n., 7;
plurality, cultural basis, 15, 59-63, 67, 70, 101, 314;
position, 56;
and extension, 56;
and nature, 57;
wider-culture vision and analogy, 57, 58;
beginning of number-sense, 59;
as art, 61, 62, 70;
vision, 61;
of Classical Culture, positive, measurable numbers, 63-65, 69, 77;
and time and becoming, 64, 125, 126;
symbolism in Classical, 65-67, 70;
religious analogy, 66, 70, 394;
and empirical observation, 67;
character of Arabian, 71-73;
primitive levels, 73;
Western, and infinite functions, 74-76;
Western need of new notation, 76;
as expression of world-fear, 79-81;
and Western meaning of space, 81-84, 88;
and proportion and function, 84;
construction versus function, 85;
virtuosity, 85;
and physiognomic morphology, 85;
Western, and limit as a relation, 86;
Western abstraction, 86, 87;
Western conflict with perception limitations, 87, 170, 171;
culmination of Western, groups, 89, 90, 426;
paradigm of Classical and Western, 90;
and the how, what, and when, 126;
cultural relation to art, 129, 130;
Classical sculpture and Western music as, 284;
impressionism, 286;
vector and Baroque art, 311;
esoteric Western, 328;
and philosophy, 366;
replacement by economics, 367;
theory of aggregates, and logic, 426;
cultural contemporary epochs, table i.
See also Nature; Number; branches by name
Matter. See Body; Natural science
Matthew Passion. See Schütz, Heinrich
Maxwell-Hertz equations, 418
Maya Culture. See Mexican
Mayer, Julius Robert, and theory, 378;
and conservation of energy, 393, 412, 417
Mazarin, Jules, Cardinal, morale, 349
Mazdaism, as Arabian, 209;
architectural expression, 211;
and pneuma, 216;
music, 228;
Mazdak, contemporaries, table i
Meander, motive, 316, 345
Mechanics, and fourth dimension, 124.
See also Motion; Natural science
Mediæval History, as term, 16, 22
Medicis, Hellenic sorriness, 273
Megalopolitanism, and Civilization of a Culture, 32-35, 38;
and systematism, 102.
See also Civilization
Melody, Classical and Western, 227
Memlinc, Hans, in Italy, 236;
and Renaissance, 274
Memory, conception, 103;
as organ of history, 132;
as term, 132
Mencius, practical philosophy, 45
Mendicant Orders, as exception, 348
Menes, contemporaries, table iii
Menzel, Adolf F. E., and body, 271;
impressionism, 286;
and grand style, 290, 291
Merovingian-Carolingian Era, contemporary art epochs, table ii
Mesopotamia, synagogues, 210
Messenians, provided history, 11
Metaphysics, and scientific research, 154;
and symbolism, 163;
Western and pairs of concepts, 311;
basis of Classical, 311;
period in philosophy, 365-367.
See also Ethics; Philosophy.
Mexican (Maya) Culture, and historical scheme, 16, 18;
and time measurement, 134n.;
ornament, 196;
and tutelage, 213
Meyer, Eduard, on Spengler, x;
on Classical Culture and geography, 10n.
Meyerbeer, Giacomo, Rossini on Huguenots, 293
Michelangelo, liberation of architecture, beginning of Baroque, 87,
206, 225n., 313;
materiality, obsession by the architectural, 128;
St. Peter’s, 206, 238;
and passing of sculpture, 223, 244;
anticipations, 263;
and physiognomy of muscles, 264;
nude, and portrait, 272;
sonnets, 273;
as dissatisfied thinker, 274;
unsuccessful quest of the Classical, 275-277, 281;
and marble, 276;
architecture as final expression, 277;
and popularity, 327;
God-feeling, 395;
Michelozzo, Bartolommeo di, and Classical, 415
Michelson, Albert A., experiments, 419
Middle Kingdom, contemporaries, tables i-iii
Milesians, physical theory, 386
Miletus, form-type of Didymæum, 204;
and Egypt, 225
Milinda, King, and Nagasena, 356
Military art, Western, 333n.
Mill, John Stuart, and economic ascendency, 367, 373
Millennianism, as Western phenomenon, 363, 423
Mineralogy, and geology, 96
Minerva Medica, Syrian workmen, 211
Ming-Chu, contemporaries, table iii
Ming-ti, contemporaries, table iii
Minkowski, Hermann, imaginary time, 124n.;
and Relativity, 419
Minnesänger, rules, 193;
imitative music, 229
Mino da Fiesole, and portrait, 272
Minoan art, character, 198;
contemporaries, 241
Minstrels, imitative music, 229
Mirabeau, Comte de, and imperialism, 149;
Miracles, cultural attitude toward, 392, 393
Missionarism, Stoic, 344n.;
and diatribe, 360
Mithraists, and pneuma, 216;
form-language of mithræa, 224;
music, 228;
cult in Rome, 406, 406n.
Mitylene, episode and Classical time-sense, 133n.
Moab, Castle of Mashetta, 215
Modern History, as irrational term, 16-18
Mörike, Eduard, poetry, 289
Mohammed. See Islam
Moissac, church ornamentation, 199
Molière, tragic method, 318
Mommsen, Theodor, on Classical historians, 11;
narrow Classicalism, 28
Monasticism, and Western morale, 316n.;
order-movement, 343;
mendicant orders, 348
Money, Roman conception, 33;
as hall-mark of Civilization, 34-36
Monophysites, Islam as heir, 211;
as alchemistic problem, 383;
Monteverde, Claudio, music, 226, 230, 249, 283
Morale, plurality, cultural basis, no conversions, 315, 345-347;
Western, and activity, 315;
and analysis, 341;
Western moral imperative, 341, 342;
intellectual and unconscious concepts, 341n.;
Western purposeful motion, ethic of deed, 342-344, 347;
Western Christian, 344, 348;
and art, 344;
morphology, 346;
compassion, cultural types of manly virtue, 347-351;
real and presumed, phrases and meanings, 348;
Classical, and happiness, 351;
instinctive and problematic, tragic and plebeian, 354, 355;
end phenomena, cultural basis, 356-359;
Civilization and diatribe, 359, 360;
and diet, 361;
qualities and aim of Socialism, 361-364;
and cultural atomic theories, 386.
See also Ethics; Spirit
Moravians, as exception, 348
Morphology, Spengler and historical, xi;
concept of historical, 5-8, 26, 39;
historical, and symbolism, 46;
historical, ignored, 47;
symmetry, 47;
historical and natural, 48;
historical, Western study of comparative, 50, 159;
comparative, knowledge forms, 60;
of mathematical operations, 85;
systematic and physiognomic, 100, 101, 121;
of world-history explained, 101;
of Cultures, 104;
historical homology, 111, 112;
element of causal and destiny, 121;
of morales, 346;
of history of philosophy, 364-374;
of exact sciences, 425
Mortality. See Death
Mosaic, as cultural expression, 214;
and Arabian gold background, 247;
eyes, 329;
Mosque, architectural characteristics, 200, 210;
Motherhood, cultural attitude, meaning, 136, 137;
and destiny, portraiture, 267
Mo-ti, practical philosophy, 45
Motion, and fourth dimension, 124;
Eleatic difficulty, 305n.;
and natural science, 377, 387-391.
See also Natural science
Motion pictures, and Western character, 322
Mozart, Wolfgang Amadeus, contemporary mathematic, 78, 90;
period, 108, 284;
orchestration, 231;
colour expression, 252n.;
ease, 292;
Mummies, as symbol, 12, 13, 135
Murillo, Bartolomé, period, 283
Murtada, and will, 311
Museums, as historical symbols, 135;
change in meaning of word, 136
Music, thoroughbass and geometry, 61;
mathematical relation, 62, 63;
of Baroque period, 78;
and proportion and function, 84;
bodilessness of Western, development, 97, 177, 230, 231, 283;
history of instruments, 195;
Western church, as architectural ornament, 196, 199;
as art of form, 219, 221n.;
and allegory, 219n.;
as channel for imagination, 220;
Classical, 223, 227, 252n.;
form-ideal of Western, 225;
technical contrast of Classical and Western, 227n.;
word and organism, cultural basis, 227, 228;
Arabian, 228;
Chinese, 228;
imitation and ornament, 228;
ornamental and imitative Western, 229;
secularization, thoroughbass, 230;
of Renaissance, 234;
Flemish influence in Italy, 236;
and horizon in painting, 239;
pastoral, and gardening, 240;
esoteric Western, 243;
as Western prime phenomenon, 244, 281-284;
and Western painting, 250, 251;
instruments and colour expression, 252;
instrumental as historical expression, 255;
and uncleanliness, 260n.;
and portrait, 262, 266;
Catholic, 268n.;
Michelangelo’s tendency, 277;
Western, and Classical free sculpture, 283, 284;
climacteric instruments, 284;
and Rococo architecture, 285;
impressionism, 285, 286;
and later German school of painting, 289;
Wagner and death of Western, 291, 293;
his impressionism, 292;
and Western soul, 305;
and Western concept of God, 312;
and character, 314;
place of organ, 396;
Western contemporary natural science, 417;
contemporary cultural epochs, table ii.
See also Art
Muspilli, and Northern myths, 400, 423
Mutazilites, contemporaries, table i
Mycenæ, funeral customs, 135;
contemporaries, tables, ii, iii
Mycerinus, dynasty, 58n.
Myron, sculpture as planar art, 225, 226, 283;
Discobolus, 263, 264
Mysteries, Classical, 320. See also Religion
Mysticism, art association, 229;
and dualism, 307;
cultural culmination, 365n.;
and concept of force, 391;
Myth, natural science as, 378, 387
Mythology, significance in Classical Culture, 10, 11, 13;
origin, 57.
See also Religion
Nagasena, materialism, 356

Names, as overcoming fear, 123;
concretion of numina, 397
Napoleon I, analogies, 4, 5;
romantic, 38;
imperialism, 42, 149-151;
as destiny and epoch, 142, 144, 149;
egoism, 336;
morale, 349;
and toil for future, 363;
Napoleonic Wars, and cultural rhythm, 110n.
Nardini, Pietro, orchestration, 231
Natural science, mechanics and motion, cultural basis of postulate,
377, 378;
fact and theory, cultural images, 378-380;
Western, and depth-experience, tension, 380, 386, 387;
and religion, cultural basis, 380-382, 391, 411, 412, 416;
scientific period of a Culture, 381;
cultural relativity, 382;
cultural nature ideas and elements, 382-384;
statics, chemistry, dynamics, cultural systems, 384;
cultural atomic theories, 384-387;
thinking-motion problem, system and life, 387-389;
mechanical and organic necessity, 391;
cultural attitude on mechanical necessity, 392-394;
things and relations, 393;
conservation of energy and Western concept of experience, 393;
theory and religion, Western God-feeling, 395;
naming of notions, 397;
and atheism, 409;
Western dogma of undefinable force, provenance, stages, 412-
417;
as to Western statics, 414, 415;
mass concept of Civilization, work-idea, 416, 417;
disintegration of exact, contradictions, 417-420;
physiognomic effect of irreversibility theory, 420-424;
effect of radioactivity, 423;
decay, 424;
morphology, convergence of separate sciences, 425-427;
anthropomorphic return, 427.
See also Nature
Natural selection, and Western ethics, Superman, 371. See also
Darwinism
Naturalism, antiquity, 33, 207, 288;
in art, 192
Nature, contrast of historical morphology, 5, 7, 8;
definite sense, and history, 55, 57, 94-98, 102, 103;
and learning, 56;
mathematics as expression, 57;
as late world-form, 98;
mechanistic world-conception, 99, 100;
systematic morphology, 100;
and causality and destiny, 119, 121, 142;
cultural viewpoints, 131, 263;
timelessness, 142, 158;
historical overlapping, living harmonies, 153, 154, 158;
and intellect, 157;
personal connotations, 169;
soul as counter-world, 301;
and reason, 308.
See also Causality; History; Mathematics; Natural science; Space;
Spirit
Naucratis, and Miletus, 225n.
Naumann, Johann C., architecture, 285
Nazzâm, on body, 248;
Necessity, mechanical and organic, 391
Nemesis, character of Classical, 129, 320. See also Destiny
Neo-Platonists, as Arabian, 72;
and pneuma, 216;
and body, 248;
dualism, 306;
unimposed mystic benefits, 344n.
Neo-Pythagoreans, and body, 248;
and mechanical necessity, 393
Nerva, forum, 198, 215
Nestorianism, and art, 209, 211;
music, 228;
and home, 334;
as alchemistic problem, 383;
Neumann, Karl J., on Roman myths, 11
New York City, and megalopolitanism, 33
Newton, Sir Isaac, and “fluxions”, 15n.;
artist-nature, 61;
mathematic and religion, 70, 396, 412;
mathematical discoveries, 75, 78, 90;
and time and space, 124, 126;
light theory, and Goethe’s theory, 157n., 158n., 422;
dynamic world-picture, 311;
deeds of science, 355;
and motion-problem, 390, 391;
and metaphysics, 366;
and force and mass, 415, 417;
Nibelungenlied, and Homer, 27;
esoteric, 328;
and Western Christianity, 400-402
Nicæa, Council of, and Godhead, 249
Nicephorus Phocas, and Philopatris dialogue, 404n.
Nicholas of Cusa, astronomical theory, 69;
religion and mathematic, 70;
musical association, 236;
Nicholas of Oresme, and beginning of Western mathematic, 73, 74,
279;
art association, 229;
Occamist, 381
Niese, Benedictus, on Roman myths, 11
Nietzsche, Friedrich Wilhelm, influence on Spengler, xiv, 49n.;
provincialism, 24;
Classical ideology, 28, 28n.;
on city life, 30;
unpopularity, 35;
practical philosophy, 45;
and historical unity, 48;
and detachment, 93;
and Wagner, 111, 291, 370;
on history and definition, 158;
on art witnesses, 191;
autumnal accent, 241;
on Greeks and colour, 245;
on “brown” music, 252;
on Greeks and body, 260;
will and reason, 308;
and morale, 315, 342, 346;
and home, 335;
actuality of “Mann”, 347, 350;
and Civilization, 352;
character of Nihilism, 357;
and diet, 361;
nebulous aim, 363, 364;
and mystic philosophy, 365n.;
and mathematics, 366;
ethics and metaphysics, 367;
materialism, 368;
and evolution and Socialism, 370-372;
position in Western ethics, 373, 374;
on pathos of distance, 386;
dynamic atheism, 409;
Niflheim, lack of materiality, 403
Nihilism, and finale of a Culture, 352;
cultural manifestations, 357
Nirvana, ahistoric expression, 11, 133;
and zero, 178;
conception, 347, 357, 361.
See also Buddhism
Nisibis, and Arabian art, 209
Northmen, discoveries, 330
Norwich Cathedral, simplicity, 196
Notre-Dame, Madonna of the St. Anne, 263
Nude, in Classical art, necessity, 130, 260-262, 317;
cultural basis of feeling, 216, 270, 272;
as element of Classical Culture only, 225
Nürnberg, loss of prestige, 33;
church statuary, 103;
church and styles, 205;
as religious, 358
Numa, cult, 185;
Number, chronological and mathematical, 6, 7, 70, 97;
defined, 67;
numbers and mortality, 70;
Arabian indeterminate, 72;
Western Culture and functional, 74, 75, 90;
Western attitude and notation, 76, 332n.;
symbolism, 82, 165;
astronomical, 83, 332n.;
cultural attitudes, 88;
and the become, 95;
and numbering, 125;

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True / False Questions

Learning Objective: Examine developments and trends in romantic music

Learning Objective: Define nationalism in 19th-century music

Learning Objective: Examine developments and trends in romantic music

Learning Objective: Examine developments and trends in romantic music

Learning Objective: Examine developments and trends in romantic music

Learning Objective: Examine developments and trends in romantic music

Learning Objective: Describe the forms of the art song

10. The greatest lieder composer was Franz Schubert.

Learning Objective: Describe the forms of the art song

12. Franz Schubert was a very prolific composer.

Learning Objective: Examine developments and trends in romantic music

14. Schubert was a lawyer before he became a musician.

15. Schubert found great success as a composer for the theater.

17. Robert Schumann was a schoolteacher before he became a full-time composer.

18. Robert Schumann had a long, successful career as a concert pianist.

Learning Objective: Examine developments and trends in romantic music

Learning Objective: Examine developments and trends in romantic music

Multiple Choice Questions

Learning Objective: Examine developments and trends in romantic music

Learning Objective: Examine developments and trends in romantic music

Learning Objective: Describe the forms of the art song

25. A narrative poem set to music is a(n)

Learning Objective: Describe the forms of the art song

Learning Objective: Describe the forms of the art song

Learning Objective: Describe the forms of the art song

28. A German art song is called a(n)

Learning Objective: Describe the forms of the art song

29. "Erlkönig" was composed by

30. The poet of "Erlkönig" was

Learning Objective: Describe the forms of the art song

31. "Erlkönig" is a(n)

32. A series of art songs meant to be performed as a unit is called a(n)

Learning Objective: Describe the forms of the art song

33. The song cycle Dichterliebe was written by

Learning Objective: Describe the forms of the art song

34. "Im Wunderschönen Monat Mai" is

Learning Objective: Examine developments and trends in romantic music

35. "Im Wunderschönen Monat Mai" is

Learning Objective: Describe the forms of the art song

36. "Liebst du um Schönheit" is

Topic: Clara Schumann

37. The composer _____ attempted suicide.

38. Clara Schumann was best known as a

40. Match each term with its definition.

Learning Objective: Describe the forms of the art song

True / False Questions

Learning Objective: Examine developments and trends in romantic music

Learning Objective: Examine developments and trends in romantic music

Learning Objective: Examine developments and trends in romantic music

Learning Objective: Examine developments and trends in romantic music

45. Franz Liszt usually performed in small, intimate salons.

Learning Objective: Examine developments and trends in romantic music

46. Liszt and Chopin lived in Paris at the same time.

Learning Objective: Examine developments and trends in romantic music

49. Liszt wrote only for the piano.

Learning Objective: Examine developments and trends in romantic music

Learning Objective: Examine developments and trends in romantic music

Learning Objective: Examine developments and trends in romantic music

54. Robert Schumann composed in nearly every piano genre.

Learning Objective: Examine developments and trends in romantic music

Learning Objective: Examine developments and trends in romantic music