A) an increased interest in realism
B) an increased interest in the supernatural
C) an increased interest in ancient Greek myths
D) a return to religious themes
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A) first; lyrical trio
B) third; parody of dance music
C) second; funeral march.
D) second; parody of dance music
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A) symphonic poem; symphony in four movements
B) opera; song cycle with orchestra
C) concert overture; symphonic poem
D) symphonic poem; symphony in five movements
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A) sopranos.
B) mature, virtuous women.
C) male impersonators.
D) acrobats.
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A) Sweden; Norway
B) Norway; Denmark
C) Finland; Norway
D) Norway; Finland
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A) rebellion against the traditional rules of harmony and form of European Romantic composers
B) following in the path of German Romantic composers in terms of harmony and form
C) following in the path of Italian Romantic composers in terms of opera but not orchestral music
D) following in the path of Wagner in terms of chromaticism, but also following French composers of grand opera
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A) a hymnlike theme.
B) an idée fixe for Juliet.
C) the soaring Love theme.
D) the agitated Vendetta theme.
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A) new text is written to old music.
B) they are performed unaccompanied.
C) they are interspersed with choral ensembles.
D) they are the musical heart of the drama.
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A) the clarinets evoke a dance band.
B) the oboes play a folk melody.
C) the flutes play two new phrases.
D) the violins erupt in a passionate outburst.
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A) the timpani.
B) a "sighing" motive in the French horn.
C) the Hymn theme in the English horn.
D) the harp.
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A) Renaissance
B) Baroque
C) Classical
D) modern
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A) in sonata form.
B) a dance scene.
C) a funeral march.
D) in a major mode.
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A) Johannes Brahms
B) Pyotr Ilyich Tchaikovsky
C) Gustav Mahler
D) Ludwig van Beethoven
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