|Name: _________________________||Period: ___________________|
This test consists of 5 multiple choice questions, 5 short answer questions, and 10 short essay questions.
Multiple Choice Questions
1. Who translated "Composition: To Describe the Process of Composition Used in 'Music for Piano" into another language?
(a) Christian Wolff.
(b) David Tudor.
(c) Morton Feldman.
(d) Earle Brown.
2. What composer wrote "The Art of the Fugue"?
(a) Karlheinz Stockhausen.
(b) Johann Sebastian Bach.
(c) Nikolai Medtner.
(d) Ottorino Respighi.
3. Who is the author of "Essay on Rime"?
(a) Andrea Del Gato.
(b) Jesse Simpson.
(c) Samuel Gallina.
(d) Karl Shapiro.
4. The essay "Composition: To Describe the Process of Composition Used in 'Music of Changes' and 'Imaginary Landscape No. 4'" was originally published in what year?
5. In what publication did Cage's essay on Erik Satie first appear?
(a) Art News Annual.
(b) Art News Yearly.
(c) Art Report Yearly.
(d) Art Report Annual.
Short Answer Questions
1. According to Cage's essay, Erik Satie said he was tired of dying of what?
2. Who asked Cage to discuss his "Music of Changes"?
3. In the "Strategy" section of "Forerunners of Modern Music," what term does Cage say "may be planned or improvised"?
4. Who wrote "Quantitaten"?
5. In the "Definitions" section of "Forerunners of Modern Music," what term is "sound and silence"?
Short Essay Questions
1. How does Cage describe the creation of "Music for Piano"?
2. In "Experimental Music: Doctrine," how does Cage respond when asked what he had to say about rhythm?
3. How does Cage answer his own question about whether music can be composed without writing it in pencil or ink?
4. What is the purpose of the section in "Composition as Process--III: Communication" where the author answers questions with more questions?
5. What advancements in music does Cage attribute to Henry Cowell?
6. How does Cage describe the way Christian Wolff wrote music?
7. What happened to Cage when he and Xenia went to New York, expecting to stay with a friend named Max?
8. Why does Cage say that compositions indeterminate with respect to their performance are by definition experimental?
9. How much concern do Cage and his colleagues seem to have about how their work is perceived and received by its hearers?
10. What does Cage say about Erik Satie's relevance?
This section contains 718 words
(approx. 3 pages at 300 words per page)