A) concertmaster.
B) continuo player.
C) conductor.
D) moderator.
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A) sculpture
B) theater
C) painting
D) music
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A) They avoided all involvement in political and social revolution, feeling that music transcended politics.
B) They wanted to promote emotional expression without disrupting the established social order.
C) People used their music to promote revolutionary movements, but the composers did not associate themselves with such movements.
D) As rebels against the social order, they associated themselves with revolutionary and libertarian politics.
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A) ritardando.
B) rallentando.
C) rubato.
D) accelerando.
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A) changing key in the middle of a composition
B) changing tone colors frequently in an orchestral composition
C) using irregular phrase lengths
D) using all twelve notes of the scale liberally
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A) conformity to musical forms and genres set up in the Classical era.
B) dislike for the Middle Ages.
C) the integrity of the expression of individual feeling.
D) the ability to cross over into artistic areas other than one's own.
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A) Franz Liszt.
B) Robert Schumann.
C) Richard Wagner.
D) Gustav Mahler.
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A) Baroque
B) Romantic
C) Classical
D) Renaissance
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A) France and Austria.
B) Italy and Spain.
C) Belgium and the Netherlands.
D) England and Germany.
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A) thematic transformation.
B) using the same themes in several symphonies.
C) using the same themes in all the movements of one symphony.
D) using different but vaguely similar themes in one work.
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A) Jean-Jacques Rousseau
B) Ludwig van Beethoven
C) Franz Schubert
D) Victor Hugo
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A) Romantic melodies were longer and less predictable than those in earlier musical periods.
B) In Romantic music, harmony was enjoyed for its own sake and was used for emotional expression.
C) In Romantic music, rhythm was treated more freely than before.
D) Romantic harmonies were clearer and more diatonic, and they established a stronger sense of tonality than in earlier musical periods.
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A) the orchestra.
B) voice and piano, or piano alone.
C) string quartets.
D) small opera companies.
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