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. In what state was "Composition: To Describe the Process of Composition Used in 'Music for Piano'" first printed in English?
(a) Ohio.
(b) Maryland.
(c) Pennsylvania.
(d) New York.

2. Where did Cage recall taking eight children to a zoo?
(a) Bear Lake Park.
(b) Bear Mountain Park.
(c) Bear Mountain Lake.
(d) Bear Lake Mountain.

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

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

5. Who did Yun Kiang meet while rambling to the east?
(a) Kuong Chuo.
(b) Hung Mung.
(c) Kwang Tse.
(d) Ming Yao.

Short Answer Questions

1. A portion of "Composition as Process--3: Communication" was published in what publication?

2. What did Cage question about Erik Satie?

3. What did Dr. Suzuki eat at dinner while everyone ate curries?

4. What university published Cage's book of lectures and essays?

5. What male author did Cage ask Dr. Suzuki about at dinner?

Short Essay Questions

1. Describe what Cage said about the French and the Italians in a conversation he recalls having at a Venetian restaurant.

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

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

4. How does Cage describe the process by which he created a piece of music scored for twelve radios?

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

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

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

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

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

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

(see the answer keys)

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