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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. How much time elapsed between the two times Yun Kiang met a man acting like an animal?
(a) One year.
(b) Four years.
(c) Three years.
(d) Two years.

2. Who wrote "Psychology--never again"?
(a) Christa Wolf.
(b) Wolfram von Eschenbach.
(c) Franz Kafka.
(d) Gero von Wilpert.

3. In the "Definitions" section of "Forerunners of Modern Music," what term is music's "divisibility into successive parts from phrases to long sections"?
(a) Material.
(b) Method.
(c) Structure.
(d) Form.

4. What did Dr. Suzuki eat at dinner while everyone ate curries?
(a) Pork chops.
(b) Raw fruits and vegetables.
(c) Bread pudding.
(d) Rice.

5. What is different about the type Cage uses for "Composition as Process--2: Indeterminacy"?
(a) It is large.
(b) The font changes half way through.
(c) No punctuation is used.
(d) It is small.

Short Answer Questions

1. "The Future of Music: Credo" was first printed to accompany a recording from whom?

2. Who translated "Composition: To Describe the Process of Composition Used in 'Music for Piano" into another language?

3. In what year was "Composition: To Describe the Process of Composition Used in 'Music for Piano" first published?

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

5. Cage says in his foreword that he has been writing articles and giving lectures for over how many years?

Short Essay Questions

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

2. How does Cage feel about poetry, according to what he says in his Foreword?

3. What advancements in music does Cage attribute to Henry Cowell?

4. How does Cage think most people feel about experimentation?

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

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

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

8. What does Cage say about being associated with Dadaism and Zen in his Foreword?

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

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

(see the answer keys)

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