-
two characteristics of early 1900s classical music
dissonant and complex (UMRG:87,1,1)
-
musical modernism
an early 20th century classical style that abandoned tonality (UMRG:87,1,2)
-
By what definition did musical modernists measure progress?
an ever‐advancing musical language (UMRG:87,1,2)
-
What attitude distinguishes a modernist work from a modern one?
self‐conscious (UMRG:87,1,2)
-
How did the goal of American classical music change in the 1930s?
aimed to create music that sounded American (UMRG:87,1,1)
-
the Armory show
a famous art show that brought modernism to America (UMRG:87,1,3)
-
What artistic style did modernist composers reject?
emotional expressivity (UMRG:87,1,3)
-
artistic autonomy
the idea that each work is a self‐contained entity (UMRG:88,1,1)
-
modernist artistic autonomy
idea that art is a self‐contained entity that does not need a function (UMRG:88,1,1)
-
experimentalist composers
1920s modernist composers who experimented with new ways to create music (UMRG:88,1,1)
-
To what THREE elements did experimentalist turn to create new music?
rhythm, timbre, and mechanical invention (UMRG:88,1,1)
-
Whose approval did modernist composers seek?
discerning specialists (UMRG:88,1,1)
-
main goal of modernist composers
moving the field of music composition forward (UMRG:88,1,1)
-
Ruth Crawford Seeger
a famous modernist composer (UMRG:88,3,1)
-
Aaron Copland
a famous composer who began as a modernist but moved into folk‐based compositions (UMRG:88,2,1)
-
What TWO motivations does Alan Copland give for composing outside the modernist school?
the public was not used to hearing modernist work; the excitement of the avant‐garde (UMRG:88,2,1)
-
To what composing school did Ruth Crawford Seeger’s teachers belong?
modernist (UMRG:88,3,1)
-
In what THREE musical elements does Ruth Crawford Seeger use serial techniques?
pitch, rhythm, and form (UMRG:88,3,1)
-
In what musical activity other than composing did Ruth Crawford Seeger engage?
collecting folk music (UMRG:88,3,1)
-
dissonant counterpoint
a method of structuring pitch without relying on tonal relationships (UMRG:88,3,2)
-
serial composers’ definition of melody
a series of successive pitches perceived by the human ear as a coherent whole (UMRG:88,3,3)
-
For which FOUR instruments did Ruth Crawford Seeger write “String Quartet”?
2 violins, viola, and cello (UMRG:88,3,4)
-
What interval unifies the four melodic ideas in Ruth Crawford Seeger’s “String Quartet”?
major seventh (UMRG:88,3,4)
-
What instruction did Ruth Crawford Seeger put on the front page of the “String Quartet” score?
“The melody line must be heard continuously throughout the music.” (UMRG:88,3,4)
-
interval indicating a cadence in Ruth Crawford Seeger’s “String Quartet”
major seventh (UMRG:88,3,4)
-
What aspect of her compositions did Ruth Crawford Seeger hope listeners would grasp?
the inner logic (UMRG:88,3,2)
-
With what linguistic device does Ruth Crawford Seeger compare repeating a given interval?
rhyme (UMRG:88,3,5)
-
In what TWO unusual ways does Ruth Crawford Seeger present the two melodies of “String Quartet”?
backwards and upside down (UMRG:88,3,5)
-
How does Ruth Crawford Seeger combine the two melodies of “String Quartet”?
the pitches of one with the rhythm of the other (UMRG:88,3,5)
-
harmonic system of Aaron Copland’s “Piano Variations”
atonal (UMRG:89,1,2)
-
“String Quartet, 1931”
a famous modernist piece by Ruth Crawford Seeger (UMRG:88,3,1)
-
“Piano Variations”
a famous modernist piece by Aaron Copland (UMRG:89,1,2)
-
structure of Aaron Copland’s “Piano Variations”
theme and variation (UMRG:891,2)
-
From which part of the piece is the harmony and melody in Aaron Copland’s “Piano Variations” derived?
the first motive (UMRG:89,1,2)
-
cell
a motive that is the basis of the harmony and melody in serial music (UMRG:89,1,2)
-
How many notes does each cell of Aaron Copland’s “Piano Variations” contain?
4 (UMRG:89,1,2)
-
octave displacement
moving notes of a motive into different octaves (UMRG:90,1,3)
-
How does the first variation of Aaron Copland’s “Piano Variations” differ from the motive?
addition of another melody in the bass (UMRG:90,1,2)
-
melodic technique in the second variation of Aaron Copland’s “Piano Variations”
octave displacement (UMRG:90,1,3)
-
harmonic technique used in the third variation of Aaron Copland’s “Piano Variations”
counterpoint (UMRG:90,1,3)
-
rhythmic pattern in the fourth variation of Aaron Copland’s “Piano Variations”
short‐long‐long (UMRG:90,1,4)
-
harmonic element dominating the fifth variation of Aaron Copland’s “Piano Variations”
quick block chords (UMRG:90,1,5)
-
function of the low register of the sixth variation of Aaron Copland’s “Piano Variations”
evoke thunder (UMRG:90,1,6)
-
What part of “Piano Variations” returns in slightly altered form in the sixth variation?
the original motive (UMRG:90,1,6)
-
How does Aaron Copland alter the melody in the seventh variation of “Piano Variations”?
using octave displacement to create an ascending contour (UMRG:90,1,7)
-
chord ending Aaron Copland’s “Piano Variations”
a C major triad (UMRG:90,1,7)
-
Edgard Varese
a famous experimentalist composer (UMRG:90,2,1)
-
Edgard Varese’s country of birth
France (UMRG:90,2,1)
-
To what city did Edgard Varese move in his early twenties?
New York City (UMRG:90,2,1)
-
With what TWO instrumentations did Edgard Varese mainly experiment?
percussion ensembles and electronic sounds (UMRG:90,2,1)
-
pitch continuum
a spectrum of every possible pitch (UMRG:90,2,0)
-
goal of Edgard Varese’s “Hyperprism”
to make the entire pitch continuum available (UMRG:90,2,0)
-
“Ionisation”
Edgard Varese’s first major composition (UMRG:90,2,0)
-
For what instrumentation did Edgard Varese write “Ionisation”?
13 percussionists (UMRG:90,2,0)
-
Where did Edgard Varese premier “Ionisation”?
Carnegie Hall (UMRG:90,1,1)
-
“Ecuatorial”
a famous composition by Edgard Varese (UMRG:91,1,0)
-
What electronic instrument does Edgard Varese’s “Ecuatorial” feature?
ondes martenot (UMRG:91,1,0)
-
Henry Cowell
a famous experimentalist composer (UMRG:91,1,1)
-
What TWO musical devices did Henry Cowell famously use?
“tone clusters” and special effects on the piano (UMRG:91,1,1)
-
What technique does the pianist use in Henry Cowell’s “Aolian Harp”?
strumming inside the piano (UMRG:91,1,1)
-
What THREE techniques does the pianist use in Henry Cowell’s “The Banshee”?
plucking, rubbing, and hitting the string, all while holding the damper pedal (UMRG:91,1,1)
-
To what objects did Paul Rosenfeld compare Aaron Copland’s compositions?
modernist skyscrapers (UMRG:89,1,1)
-
How did Henry Cowell learn music?
self‐taught (UMRG:91,1,2)
-
To what THREE types of music did Henry Cowell listen before discovering classical music?
Chinese opera, Gregorian chant, and Anglo‐Celtic folk tunes (UMRG:91,2,0)
-
Why was Henry Cowell unable to work for most of the 1930s?
incarceration (UMRG:91,2,1)
-
What THREE traits made Henry Cowell welcome in the modernist community?
his talent, dedication, and fresh perspective (UMRG:91,2,1)
-
How did Henry Cowell contribute to modernist music, besides his compositions?
publishing modernist scores (UMRG:91,2,1)
-
From which TWO ethnic traditions did Henry Cowell draw material?
Near East and Far East (UMRG:91,2,1)
-
profession of Henry Cowell’s wife
ethnomusicologist (UMRG:91,2,1)
-
With which TWO teams of folk music collectors did Henry Cowell and his wife collaborate?
the Lomaxes and the Seegers (UMRG:91,2,1)
-
How educated was Henry Cowell?
very little education (UMRG:91,1,2)
-
In which state did Henry Cowell spend his childhood?
California (UMRG:91,1,2)
-
John Cage
the most famous experimentalist composer (UMRG:91,2,2)
-
With which THREE famous composers did John Cage study?
Arnold Schoenberg, Edgard Varese, and Henry Cowell (UMRG:91,2,2)
-
In what area did John Cage develop his own approach to composing?
unconventional instrumentation (UMRG:92,1,0)
-
“First Construction (In Metal)”
a famous John Cage composition (UMRG:92,1,0)
-
“Imaginary Landscape No. 1”
a famous John Cage composition (UMRG:92,1,0)
-
In which TWO pieces did John Cage first use unconventional instrumentation?
“First Construction (In Metal)” and “Imaginary Landscape No. 1” (UMRG:92,1,0)
-
For which instrument type did John Cage write “First Construction (In Metal)”?
percussion (UMRG:92,1,0)
-
For which FIVE instruments did John Cage write “Imaginary Landscape No. 1”?
muted piano, two variable‐speed turntables, cymbal, and frequency recordings (UMRG:92,1,0)
-
What TWO methods did John Cage use to give his music shape?
timbre changes and mathematically derived time limits (UMRG:92,1,0)
-
What instrument did John Cage invent in the early 1940s?
the prepared piano (UMRG:92,1,0)
-
In what TWO ways did modernist composers react to the Great Depression?
continuing to write experimental music or questioning the value of “art for art’s sake” (UMRG:92,1,1)
-
Why did classical composers begin to aim for broader appeal during the Great Depression?
to contribute music that had a clear purpose in American society (UMRG:92,1,2)
-
What societal change inspired Aaron Copland to write more broadly appealing music?
creating a new listening public (UMRG:92,1,2)
-
How did Aaron Copland move away from “absolute” music?
by connecting his compositions with an extra‐musical plot, image, or concept (UMRG:92,1,2)
-
“The Second Hurricane”
a child play‐opera by Aaron Copland (UMRG:92,1,2)
-
“Music for the Radio”
a famous Aaron Copland piece (UMRG:92,1,2)
-
What THREE difficulties did modernist composers face during the Great Depression?
expense of hiring performers, difficulty of selling tickets, and lack of funding (UMRG:92,1,2)
-
What THREE types of folk tunes did Aaron Copland use in his compositions?
cowboy songs, Shaker songs, and Latin American dances (UMRG:92,2,0)
-
What FOUR musical elements did Aaron Copland use to keep his populist compositions interesting?
dissonance, mixed meter, unexpected harmonies, and syncopation (UMRG:92,2,1)
-
populist or American compositions
compositions written to appeal to a broad American audience (UMRG:92,2,1)
-
What THREE musical elements did Aaron Copland use to make his populist compositions appealing?
sing‐able melodies, unambiguous tonic pitches, and harmonies that move predictably (UMRG:92,2,1)
-
What compositions made Aaron Copland wealthy between 1939 and 1949?
commercial film scores (UMRG:92,2,1)
-
Why was socialism and communism particularly attractive during the Great Depression?
its belief that unchecked capitalism had led to the stock market crash (UMRG:92,2,2)
-
Which two groups strongly favored left‐leaning groups during the Great Depression?
artists and intellectuals (UMRG:92,2,3)
-
Which American city had the largest Jewish population during the Great Depression?
New York City (UMRG:92,2,3)
-
To which American city did many Jews come to escape from Hitler?
New York City (UMRG:92,2,3)
-
What FIVE music‐related industries had their centers in New York City during the 1930s?
popular song, classical music, theatre, broadcasting, and recording (UMRG:92,2,3)
-
the American Communist Party
a communist political organization that sponsored anti‐fascist cultural groups (UMRG:92,2,4)
-
the Popular Front
American communist attempt to tone down military rhetoric and garner broader support (UMRG:93,1,0)
-
the Composers’ Collective
an organization that encouraged composers to write music compatible with socialist ideology (UMRG:93,1,1)
-
the Daily Worker
a newspaper that held weekly song contests (UMRG:93,1,1)
-
What THREE rewards did winners of the Daily Worker’s song contests receive?
publicity, performances, and sometimes money (UMRG:93,1,1)
-
mass songs
broadly appealing songs that agreed with communist ideology (UMRG:93,1,1)
-
What music industry job disappeared after sound film caught on?
musicians accompanying silent films from the orchestra pit (UMRG:93,2,0)
-
percentage of musicians unemployed between 1929 and 1934
about 70% (UMRG:93,2,0)
-
What government program increased employment opportunities for musicians during the Great Depression?
the New Deal (UMRG:93,2,1)
-
number one employer of musicians during the Great Depression
the Works Progress Administration (UMRG:93,2,1)
-
four arts projects created by the Works Progress Administration
Federal Art Project, Federal Theatre Project, Federal Writers’ Project, and Federal Music Project (UMRG:93,2,1)
-
How many musicians did the Federal Music Project employ?
about 16,000 (UMRG:93,2,2)
-
In which FOUR kinds of ensembles did the Federal Music Project employ musicians?
dance bands, choruses, folk music concerts, and chamber ensembles (UMRG:93,2,2)
-
How many symphony orchestras did the Federal Music Project sponsor?
28 (UMRG:93,2,2)
-
How did the Federal Music Project change towards the end of the 1930s?
began to emphasize education and recreation over performance (UMRG:93,2,2)
-
the Composers’ Forum‐Laboratory
a branch of the Federal Music Project that employed classical and modernist composers (UMRG:94,1,1)
-
What FOUR musicians’ jobs did the Federal Theatre Project offer?
composer, music director, conductor, and pit musician (UMRG:94,1,2)
-
Mark Blitzstein
a composer employed by the Federal Theatre Project (UMRG:94,1,2)
-
How did some government agencies publicize their activities and rationale?
created documentaries (UMRG:94,2,1)
-
Why did government agencies commission soundtracks for their documentaries?
cheaper than getting sound on‐location (UMRG:94,2,1)
-
Virgil Thomson
a famous populist composer of the 1920s and 1930s (UMRG:94,2,2)
-
In what city did Virgil Thomson live for much of the 1920s and 1930s?
Paris (UMRG:94,2,2)
-
What belief about music did Virgil Thomson adopt in Paris?
deliberate simplicity (UMRG:94,2,2)
-
What style of music did Virgil Thomson take credit for creating?
the “Americana” sound (UMRG:94,2,2)
-
What TWO musical styles did Virgil Thomson combine to create his “Americana” sound?
French simplicity and American folksong (UMRG:94,2,2)
-
“The Plow that Broke the Plains”
a famous documentary scored by Virgil Thomson (UMRG:94,3,1)
-
subject matter of “The Plow that Broke the Plains”
the Dust Bowl (UMRG:94,3,1)
-
Which government agency funded “The Plow that Broke the Plains”?
the Resettlement Administration (UMRG:94,3,1)
-
goal of the Resettlement Administration
assisting or relocating victims of the Dust Bowl (UMRG:94,3,1)
-
How does “The Plow that Broke the Plains” begin?
a four‐minute prelude (UMRG:94,3,3)
-
What role does the narrator play during the prelude of “The Plow that Broke the Plains”?
describing the geography and history of the Great Plains (UMRG:94,3,3)
-
What events does the narrator cover after the prelude of “The Plow that Broke the Plains”?
how poor management and bad weather ruined the land and forced farmers west (UMRG:94,3,3)
-
What kind of harmonies did Virgil Thomson use for the score of “The Plow that Broke the Plains”?
clear and diatonic (UMRG:94,3,1)
-
texture of the score of “The Plow that Broke the Plains”
light (UMRG:94,3,1)
-
key of “Pastorale (Grass)” from the score of “The Plow that Broke the Plains”
major (UMRG:94,3,3)
-
What TWO elements create a sense of optimism in “Pastorale (Grass)” from the score of “The Plow that Broke the Plains”?
rising, diatonic motives and robust brass orchestration (UMRG:94,3,3)
-
What TWO elements move “The Plow that Broke the Plains” forward?
the narration and the music (UMRG:95,1,1)
-
What TWO cowboy songs did Virgil Thomson use in the score of “The Plow that Broke the Plains?”
“I Ride an Old Paint” and “Get Along Little Dogies” (UMRG:95,1,0)
-
Which composer used the same cowboy tunes as the score of “The Plow that Broke the Plains” in one of his compositions?
Aaron Copland (UMRG:95,1,0)
-
“I Ride an Old Paint”
a cowboy song borrowed by 1930s populist composers (UMRG:95,1,0)
-
“Get Along Little Dogies”
a cowboy song borrowed by 1930s populist composers (UMRG:95,1,0)
-
structure of the documentary “The Plow that Broke the Plains”
a series of tableaus (UMRG:95,1,1)
-
five recurring images in “The Plow that Broke the Plains”
horse‐drawn wagons, desolate buildings, broken fences, winds across sand dunes, and blades of grass struggling to survive (UMRG:95,1,1)
-
In what kind of key does the section “Drought” begin in the score of “The Plow that Broke the Plains”?
minor (UMRG:95,1,2)
-
What TWO instrument families are used in the section “Drought” in the score of “The Plow that Broke the Plains”?
stringed and woodwind instruments (UMRG:95,1,2)
-
What TWO musical elements add a jazz tinge to the section “Drought” in the score of “The Plow that Broke the Plains”?
syncopation and a muted trumpet near its end (UMRG:95,1,2)
-
George Stoney
a government employee who analyzed the effect of “The Plow that Broke the Plains” (UMRG:96,1,1)
-
For which government department did George Stoney work?
the Farm Security Administration (UMRG:96,1,1)
-
To what other kind of rhetoric did George Stoney compare the effect of “The Plow that Broke the Plains”?
an evangelical sermon (UMRG:96,1,1)
-
What TWO elements did “The Plow that Broke the Plains” use to elicit an emotional response?
powerful images and music (UMRG:96,1,1)
-
What message did audiences draw from “The Plow that Broke the Plains”?
that the struggles of rural Americans were respected and understood (UMRG:96,1,1)
-
What popular tune is used in the section “Wind and Dust” in the score of “The Plow that Broke the Plains”?
the Doxology or “Ole Hundredth,” a well‐known hymn (UMRG:96,1,0)
-
How is the tune of the Doxology altered in the section “Wind and Dust” in the score of “The Plow that Broke the Plains”?
changed to a minor mode (UMRG:96,1,0)
-
With what other communist group was the Composers’ Collective affiliated?
the Workers’ Music League (UMRG:96,2,2)
-
Which TWO German composers most influenced the Composers’ Collective?
Kurt Weill and Hanns Eisler (UMRG:96,2,2)
-
What documentary did Virgil Thomson score following “The Plow that Broke the Plains”?
“The River” (UMRG:96,1,3)
-
Why did Kurt Weill and Hanns Eisler reject modernism?
felt that it was elitist and bourgeois (UMRG:96,3,0)
-
two main characteristics of the first efforts of the Composers’ Collective
vigorous rhythms and unapologetic dissonances (UMRG:96,3,0)
-
What effect did the Composers’ Collective wish to convey with strong rhythms and dissonances?
a militant rejection of the bourgeois (UMRG:96,3,0)
-
Why did the Composers’ Collective abandon its early efforts?
realized it lacked broad appeal (UMRG:96,3,0)
-
What harmonic system did the Composers’ Collective use to achieve a broad appeal?
common practice tonality (UMRG:96,3,1)
-
“The Cradle Will Rock”
a famous music‐theater by Mark Blitzstein (UMRG:97,1,1)
-
What dilemma did Mark Blitzstein address in “The Cradle Will Rock”?
the role musicians could or should play in improving the economic situation (UMRG:97,1,1)
-
In what fictional town is “The Cradle Will Rock” set?
Steeltown, U.S.A. (UMRG:97,1,2)
-
Mr. Mister
the wealthy magnate in “The Cradle Will Rock” (UMRG:97,1,2)
-
Mike Foreman
the union leader in “the Cradle Will Rock” (UMRG:97,1,2)
-
In what city did Mark Blitzstein begin his career?
Philadelphia (UMRG:97,1,3)
-
Which composer converted Mark Blitzstein to writing music for the general public?
Hanns Eisler (UMRG:97,1,3)
-
From where did Mark Blitzstein derive his music?
Broadway and American popular song (UMRG:97,1,3)
-
Which government organization funded “The Cradle Will Rock”?
the Federal Theatre Project (UMRG:97,1,4)
-
Orson Welles
a famous director who worked on “The Cradle Will Rock” (UMRG:97,1,4)
-
John Houseman
the producer of “The Cradle Will Rock” (UMRG:97,1,4)
-
Why did the Federal Theatre Project postpone the premiere of “The Cradle Will Rock”?
current events began to correspond to the plot (UMRG:97,1,4)
-
How did Mark Blitzstein react to the postponement of the premiere of “The Cradle Will Rock”?
finding another theatre in which he could perform it himself (UMRG:98,1,1)
-
Who played the music for the first performance of “The Cradle Will Rock”?
Mark Blitzstein (UMRG:98,1,1)
-
How did the actors in “The Cradle Will Rock” circumvent union rules in its first performance?
speaking their lines from seats in the audience (UMRG:98,1,1)
-
Dauber the Artist
a major character in “The Cradle Will Rock” (UMRG:98,1,2)
-
Yasha the Violinist
a major character in “The Cradle Will Rock” (UMRG:98,1,2)
-
From what piece does Mrs. Mister’s car horn play a motive in “The Cradle Will Rock”?
Beethoven’s Egmont Overture (UMRG:98,1,2)
-
inspiration for Beethoven’s Egmont Overture
a play by Wolfgang von Goethe (UMRG:100,1,2)
-
What moment in Goethe’s play is signaled by the notes sung as “yoo hoo” by Mrs. Mister in “The Cradle Will Rock”?
Count Egmont’s execution (UMRG:100,1,2)
-
rhythm of Dauber and Yasha’s lines in “The Cradle Will Rock”
dotted (UMRG:100,1,2)
-
rhythm used in the Egmont Overture motive played by Mrs. Mister’s car horn in “The Cradle Will Rock”
dotted (UMRG:100,1,2)
-
In which scene does the title song of “The Cradle Will Rock” appear?
scene seven (UMRG:100,1,7)
-
six characters appearing in scene seven of “The Cradle Will Rock”
Mike Forman, Moll the prostitute, and the four members of the Liberty Committee (UMRG:100,1,7)
-
What THREE musical elements of the title song of “The Cradle Will Rock” echo a workers’ chorus?
a march‐like bass line, strong rhythms, and emphatic beat (UMRG:101,1,4)
-
What kind of person usually sings a workers’ chorus?
a worker who has some musical ability and signed up to be part of the chorus (UMRG:101,1,4)
-
Silvestre Revueltas
a famous Mexican composer (UMRG:101,4,1)
-
“Ocho por Radio” or “Eight Musicians Broadcasting”
a famous Silvestre Revueltas piece (UMRG:101,4,2)
-
For what EIGHT instruments was “Ocho por Radio” written?
a trumpet, two violins, a double bass, a cello, a clarinet, a bassoon, and percussion (UMRG:101,4,2)
-
Which famous composer was inspired by “Ocho por Radio”?
Aaron Copland (UMRG:101,4,2)
-
neoclassical
a musical style developed and popularized in the 1920s (UMRG:102,1,1)
-
three characteristics of the neoclassical style
clarity of form, playfulness, and balance (UMRG:102,1,1)
-
Igor Stravinsky
a famous composer who founded the neoclassical style (UMRG:102,1,1)
-
ostinati
short, repeated melodic fragments (UMRG:102,1,1)
-
bitonality
melodies in two different keys occurring simultaneously (UMRG:102,1,1)
-
What structure best describes the form of “Ocho por Radio”?
ABA (UMRG:102,1,2)
-
What TWO stylistic elements do the two A sections of “Ocho por Radio” share?
quick tempo and festive mood (UMRG:102,1,1)
-
How does the B section of “Ocho por Radio” differ stylistically from the A sections?
slower and languid (UMRG:102,1,2)
-
Why is “Ocho por Radio” relatively difficult to follow?
polyrhythms and mixed meters obscure the downbeat (UMRG:102,1,2)
-
Why was Aaron Copland put on the government watch list for communists?
“following the party line” by moving toward folk music (UMRG:104,1,1)
-
What invention made Western art music available to all Americans?
the phonograph (UMRG:103,1,3)
-
What TWO styles of music did over 62% of people prefer on the radio in 1938, according to “Fortune” magazine?
classical or opera (UMRG:103,2,0)
-
How did the Metropolitan Opera stay afloat during the Great Depression?
by taking part in radio broadcasts (UMRG:103,1,4)
-
What type of classical music was usually performed in the United States during the 1930s?
masterpieces from the past (UMRG:103,2,1)
-
What TWO musical styles did Arturo Toscanini prefer?
Classical and Romantic (UMRG:103,2,2)
-
three famous 1930s orchestra conductors
Serge Koussevitzky, Arturo Toscanini, and Leopold Stokowski (UMRG:103,2,2)
-
What TWO musical styles did Serge Koussevitzky prefer?
French and Russian music (UMRG:103,2,2)
-
What kind of compositions did Leopold Stokowsky prefer?
contemporary (UMRG:104,1,0)
-
Which TWO orchestras did Arturo Toscanini conduct in the 1930s?
the New York Philharmonic and the NBC orchestra (UMRG:103,2,2)
-
Which orchestra did Serge Koussevitzky conduct in the 1930s?
the Boston Symphony (UMRG:103,2,2)
-
Which orchestra did Leopold Stokowski conduct in the 1930s?
the Philadelphia Orchestra (UMRG:103,2,2)
-
arguably the most popular modern composer in 1930s United States
Igor Stravinsky (UMRG:104,1,1)
-
William Grant Still
“the Dean of African‐American Composers” (UMRG:104,1,2)
-
“Afro‐American Symphony”
a famous piece by William Grant Still (UMRG:104,1,2)
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Why was “Afro‐American Symphony” groundbreaking?
first symphony by a black composer to be performed by a major orchestra (UMRG:104,1,2)
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With which famous composer did William Grant Still study?
Edgard Varese (UMRG:104,1,2)
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At which TWO colleges did William Grant Still study?
Wilberforce University and Oberlin College (UMRG:104,1,2)
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What FOUR subjects did William Grant Still study in college?
violin, cello, oboe, and composition (UMRG:104,1,2)
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With which blues musician did William Grant Still study?
W. C. Handy (UMRG:104,1,2)
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For what THREE formats did William Grant Still arrange music in the 1920s?
dance bands, radio, and vaudeville (UMRG:104,1,2)
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From which organization did William Grant Still receive an award in 1934?
the Guggenheim Foundation (UMRG:104,1,2)
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What TWO musical elements did William Grant Still combine in movie scoring?
symphonic string sections and jazz orchestra writing (UMRG:104,1,2)
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the Harlem Renaissance
a 1920s and 1930s African‐American arts movement (UMRG:104,2,1)
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three prominent Harlem Renaissance intellectuals
W.E.B. Du Bois, Alain Locke, James Weldon Johnson (UMRG:104,2,1)
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goal of the Harlem Renaissance
show that African Americans were as capable of cultural achievement as other races (UMRG:104,2,1)
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Paul Laurence Dunbar
a famous poet who contributed a verse to “Afro‐American Symphony” (UMRG:104,3,1)
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What instrument dominates the development of “Afro‐American Symphony”?
violin (UMRG:105,1,2)
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two jazz instruments used in William Grant Still’s “Afro‐American Symphony”
banjo and vibraphone (UMRG:105,1,3)
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What form does William Grant Still use for “Afro‐American Symphony”?
12‐bar blues (UMRG:105,1,2)
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beginning section of William Grant Still’s “Afro‐American Symphony”
English horn solo (UMRG:104,1,1)
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What section of the piece does the bass clarinet mimic in William Grant Still’s “Afro‐American Symphony”?
the English horn solo (UMRG:104,1,3)
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Harry Pace
W. C. Handy’s source of business knowledge (UMRG:39,2,1)
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