Silence; Lectures and Writings Test | Mid-Book Test - Medium

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This test consists of 5 multiple choice questions, 5 short answer questions, and 10 short essay questions.

Multiple Choice Questions

1. In the "Strategy" section of "Forerunners of Modern Music," what term does Cage say "may be planned or improvised"?
(a) Structure.
(b) Material.
(c) Method.
(d) Form.

2. Who wrote "Quantitaten"?
(a) Karlheinz Stockhausen.
(b) Ottorino Respighi.
(c) Bo Nilsson.
(d) Pierre Boulez.

3. Cage had a method for bringing about unpredictability where he tossed coins how many times?
(a) Two times.
(b) Six times.
(c) Three times.
(d) Four times.

4. What genre of art influenced Cage?
(a) Dada.
(b) Minimalism.
(c) Victorian Revival.
(d) New Realism.

5. In the "Strategy" section of "Forerunners of Modern Music," what term does Cage say "is properly mind-controlled"?
(a) Material.
(b) Structure.
(c) Form.
(d) Method.

Short Answer Questions

1. Who did Yun Kiang meet while rambling to the east?

2. What college was Cage attending when he took a course where he wrote in the manner of Gertrude Stein?

3. "Edgard Varese" was first published in what year?

4. How much time elapsed between the two times Yun Kiang met a man acting like an animal?

5. In what state was "Composition: To Describe the Process of Composition Used in 'Music for Piano'" first printed in English?

Short Essay Questions

1. What happened to Cage when he and Xenia went to New York, expecting to stay with a friend named Max?

2. In "Experimental Music: Doctrine," how does Cage respond when asked what he had to say about rhythm?

3. How did painter Willem de Kooning respond when asked what painters of the past had influenced him?

4. What does Cage believe the future holds for sounds that are heard on a regular basis?

5. Describe the story Cage retells of when his mother asked his father to go to church.

6. Describe the anecdote used at the conclusion of "Composition as Process--2: Indeterminacy" about Dr. Suzuki.

7. What is the purpose of the section in "Composition as Process--III: Communication" where the author answers questions with more questions?

8. How does Cage answer his own question about whether music can be composed without writing it in pencil or ink?

9. How much concern do Cage and his colleagues seem to have about how their work is perceived and received by its hearers?

10. How does Cage go about exploring the work of each composer he mentions in "Composition as Process--2: Indeterminacy"?

(see the answer keys)

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