A History of Western Music 9th Edition by J. Peter
Burkholder - Test Bank Chapter (1- 39)
,Content
CHAPTER 1: Music in Antiquity
CHAPTER 2: The Christian Church in the First Millenium
CHAPTER 3: Roman Liturgy and Chant
CHAPTER 4: Song and Dance Music to 1300
CHAPTER 5: Polyphony Through the Thirteenth Century
CHAPTER 6: New Developments in the Fourteenth Century
CHAPTER 7: Music and the Renaissance
CHAPTER 8: England and Burgundy in the Fifteenth Century
CHAPTER 9: Franco-Flemish Composers, 1450–1520
CHAPTER 10: Sacred Music in the Era of the Reformation
CHAPTER 11: Madrigal and Secular Song in the Sixteenth Century
CHAPTER 12: The Rise of Instrumental Music
CHAPTER 13: New Styles in the Seventeenth Century
CHAPTER 14: The Invention of Opera
CHAPTER 15: Music for Chamber and Church in the Early Seventeenth
Century
CHAPTER 16: France, England, Spain, and the New World in the
Seventeenth Century
CHAPTER 17: Italy and Germany in the Late Seventeenth Century
CHAPTER 18: The Early Eighteenth Century in Italy and France
CHAPTER 19: German Composers of the Late Baroque
CHAPTER 20: Musical Taste and Style in the Enlightenment
CHAPTER 21: Opera and Vocal Music in the Early Classic Period
CHAPTER 22: Instrumental Music: Sonata, Symphony, and Concerto
,CHAPTER 23: Classic Music in the Late Eighteenth Century
CHAPTER 24: Revolution and Change
CHAPTER 25: The Romantic Generation: Song and Piano Music
CHAPTER 26: Romanticism in Classic Forms: Orchestral, Chamber, and
Choral Music
CHAPTER 27: Romantic Opera and Musical Theater to Midcentury
CHAPTER 28: Opera and Musical Theater in the Later Nineteenth Century
CHAPTER 29: Late Romanticism in Germany and Austria
CHAPTER 30: Diverging Traditions in the Later Nineteenth Century
CHAPTER 31: The Early Twentieth Century: Vernacular Music
CHAPTER 32: The Early Twentieth Century: The Classical Tradition
CHAPTER 33: Radical Modernists
CHAPTER 34: Between the World Wars: Jazz and Popular Music
CHAPTER 35: Between the World Wars: The Classical Tradition
CHAPTER 36: Postwar Crosscurrents
CHAPTER 37: Postwar Heirs to the Classical Tradition
CHAPTER 38: The Late Twentieth Century
CHAPTER 39: The Twenty-First Century
, CHAPTER 1: Music in Antiquity
MULTIPLE CHOICE
1. The earliest surviving musical instruments were made from
a. bone d. stone
b. clay e. wood
c. metal
ANS: A DIF: Easy REF: 5 TOP: The Earliest Music MSC: Factual
2. All of the following types of evidence about musical culture from ancient civilizations survive
today except
a. musical instruments d. visual images of music-making
b. notated music e. writings about music
c. recorded sound
ANS: C DIF: Easy REF: 5 TOP: Music in Antiquity
MSC: Factual
3. Historians mark the end of the prehistoric era at the time when people
a. created the first cave paintings d. learned how to carve stone
b. invented printing e. learned how to work with metal
c. invented writing
ANS: C DIF: Easy REF: 5 TOP: The Earliest Music
MSC: Factual
4. The origins of Western music can be traced to civilizations from
a. Arabia d. Greece and Turkey
b. China and India e. Iraq and Syria
c. Egypt and Israel
ANS: E DIF: Medium REF: 6 TOP: Music in Ancient Mesopotamia|
Other Civilizations MSC: Conceptual
5. Why, throughout history, do scholars know more about the music-making activities of elite
members of any given society than of others in that society?
a. the elite suppressed information about music-making in lower socioeconomic groups
b. music-making activities of the elite are probably representative of the society as a whole
c. only the elite could afford to pay composers to write music and artisans to make instruments
d. people of lower social status did not make music
e. the music of lower socioeconomic groups is not interesting
ANS: C DIF: Medium REF: 7 TOP: Music in Ancient
Mesopotamia MSC: Conceptual
6. All of the following instruments existed in ancient Mesopotamia except
Burkholder - Test Bank Chapter (1- 39)
,Content
CHAPTER 1: Music in Antiquity
CHAPTER 2: The Christian Church in the First Millenium
CHAPTER 3: Roman Liturgy and Chant
CHAPTER 4: Song and Dance Music to 1300
CHAPTER 5: Polyphony Through the Thirteenth Century
CHAPTER 6: New Developments in the Fourteenth Century
CHAPTER 7: Music and the Renaissance
CHAPTER 8: England and Burgundy in the Fifteenth Century
CHAPTER 9: Franco-Flemish Composers, 1450–1520
CHAPTER 10: Sacred Music in the Era of the Reformation
CHAPTER 11: Madrigal and Secular Song in the Sixteenth Century
CHAPTER 12: The Rise of Instrumental Music
CHAPTER 13: New Styles in the Seventeenth Century
CHAPTER 14: The Invention of Opera
CHAPTER 15: Music for Chamber and Church in the Early Seventeenth
Century
CHAPTER 16: France, England, Spain, and the New World in the
Seventeenth Century
CHAPTER 17: Italy and Germany in the Late Seventeenth Century
CHAPTER 18: The Early Eighteenth Century in Italy and France
CHAPTER 19: German Composers of the Late Baroque
CHAPTER 20: Musical Taste and Style in the Enlightenment
CHAPTER 21: Opera and Vocal Music in the Early Classic Period
CHAPTER 22: Instrumental Music: Sonata, Symphony, and Concerto
,CHAPTER 23: Classic Music in the Late Eighteenth Century
CHAPTER 24: Revolution and Change
CHAPTER 25: The Romantic Generation: Song and Piano Music
CHAPTER 26: Romanticism in Classic Forms: Orchestral, Chamber, and
Choral Music
CHAPTER 27: Romantic Opera and Musical Theater to Midcentury
CHAPTER 28: Opera and Musical Theater in the Later Nineteenth Century
CHAPTER 29: Late Romanticism in Germany and Austria
CHAPTER 30: Diverging Traditions in the Later Nineteenth Century
CHAPTER 31: The Early Twentieth Century: Vernacular Music
CHAPTER 32: The Early Twentieth Century: The Classical Tradition
CHAPTER 33: Radical Modernists
CHAPTER 34: Between the World Wars: Jazz and Popular Music
CHAPTER 35: Between the World Wars: The Classical Tradition
CHAPTER 36: Postwar Crosscurrents
CHAPTER 37: Postwar Heirs to the Classical Tradition
CHAPTER 38: The Late Twentieth Century
CHAPTER 39: The Twenty-First Century
, CHAPTER 1: Music in Antiquity
MULTIPLE CHOICE
1. The earliest surviving musical instruments were made from
a. bone d. stone
b. clay e. wood
c. metal
ANS: A DIF: Easy REF: 5 TOP: The Earliest Music MSC: Factual
2. All of the following types of evidence about musical culture from ancient civilizations survive
today except
a. musical instruments d. visual images of music-making
b. notated music e. writings about music
c. recorded sound
ANS: C DIF: Easy REF: 5 TOP: Music in Antiquity
MSC: Factual
3. Historians mark the end of the prehistoric era at the time when people
a. created the first cave paintings d. learned how to carve stone
b. invented printing e. learned how to work with metal
c. invented writing
ANS: C DIF: Easy REF: 5 TOP: The Earliest Music
MSC: Factual
4. The origins of Western music can be traced to civilizations from
a. Arabia d. Greece and Turkey
b. China and India e. Iraq and Syria
c. Egypt and Israel
ANS: E DIF: Medium REF: 6 TOP: Music in Ancient Mesopotamia|
Other Civilizations MSC: Conceptual
5. Why, throughout history, do scholars know more about the music-making activities of elite
members of any given society than of others in that society?
a. the elite suppressed information about music-making in lower socioeconomic groups
b. music-making activities of the elite are probably representative of the society as a whole
c. only the elite could afford to pay composers to write music and artisans to make instruments
d. people of lower social status did not make music
e. the music of lower socioeconomic groups is not interesting
ANS: C DIF: Medium REF: 7 TOP: Music in Ancient
Mesopotamia MSC: Conceptual
6. All of the following instruments existed in ancient Mesopotamia except
