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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 "is properly mind-controlled"?
(a) Form.
(b) Structure.
(c) Method.
(d) Material.

2. When was "The Future of Music: Credo" first printed?
(a) 1958.
(b) 1934.
(c) 1943.
(d) 1953.

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

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

5. What female author did Cage ask Dr. Suzuki about at dinner?
(a) George Eliot.
(b) Charlotte Brontë.
(c) Gertrude Stein.
(d) Louisa May Alcott.

Short Answer Questions

1. In the "Definitions" section of "Forerunners of Modern Music," what term is "the means of controlling the continuity from note to note"?

2. All three parts of "Composition as Process" were given in what country?

3. Cage presented "Lecture on Nothing" at a club on what street?

4. What religion influenced Cage?

5. What is different about the type Cage uses for "Composition as Process--2: Indeterminacy"?

Short Essay Questions

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

2. How has Cage's process of composition evolved?

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

4. Why does the author say he is grateful to Richard K. Winslow?

5. Why is each column in "Composition as Process--1: Changes" interrupted by space without words?

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

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 think most people feel about experimentation?

9. What does Cage say about Varese in relation to the present nature of music?

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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