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

This set of Lesson Plans consists of approximately 110 pages of tests, essay questions, lessons, and other teaching materials.

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

This set of Lesson Plans consists of approximately 110 pages of tests, essay questions, lessons, and other teaching materials.
Buy the Silence; Lectures and Writings Lesson Plans
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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. Who wrote "Psychology--never again"?
(a) Gero von Wilpert.
(b) Wolfram von Eschenbach.
(c) Franz Kafka.
(d) Christa Wolf.

2. Yun Kiang met a man who acted like what animal?
(a) A bird.
(b) A rabbit.
(c) A dog.
(d) A cat.

3. In what year was "Composition: To Describe the Process of Composition Used in 'Music for Piano" first published?
(a) 1939.
(b) 1946.
(c) 1961.
(d) 1957.

4. "Music of Changes" was originally written for what instrument?
(a) Piano.
(b) Flute.
(c) Violin.
(d) Bass.

5. Cage recalls going to the Bolshoi Ballet with whom?
(a) M. C. Richards.
(b) Arnold Schoenberg.
(c) Erik Satie.
(d) David Tudor.

Short Answer Questions

1. What group asked Cage whether the American avant-garde followed the same direction as the European one?

2. According to Cage, who had probably never given Erik Satie a thought?

3. When was "The Future of Music: Credo" first presented?

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

5. In what month were all three parts of "Composition as Process" given?

Short Essay Questions

1. Why did Cage allow his creations to be called "experimental" after once resisting the title?

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

3. Why does Cage say that compositions indeterminate with respect to their performance are by definition experimental?

4. How does Cage describe the way Christian Wolff wrote music?

5. What does Cage comment on in the article "Forerunners of Modern Music"?

6. What does Cage say about Erik Satie's relevance?

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

8. Why does Cage format "Erik Satie" in a way where he and Satie never hear what the other is saying?

9. In the book's Foreword, how does Cage describe the way the writings and lectures in his book are written and presented?

10. How does Cage describe the creation of "Music for Piano"?

(see the answer keys)

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