History of Music Test Questions

Three, multiple-choice questions (in each sub-question of the five alternative answers, select two to five correct answers, and fill in the serial number of the correct answer in

The stem of the question in parentheses, multiple choice, less choice, wrong choice are not scored. (2 points for each sub-question, ***10 points)

21. The following belong to the four famous dancers ( B C D E ).

A.Tan Xinpei B.Mei Lanfang

C.Shang Xiaoyun D.Cheng Yanqiu

E.Xun Huisheng

22.The Han folk songs and dances of the Ming and Qing dynasties include (B D ).

A.Nangma B.Yangge

C.Mukam D.Flower Drums

E.Errenjuan

23.The most important music genres in the Baroque period include (A B C D) and many others.

A. Sonata B. Concerto

C. Fugue D. Suite

E. Prelude to a Chant

24. In the history of Western music is known as the three "B" (B C E).

A.Bartok B.Bach

C.Beethoven D.Bernstein

E.Brahms

25.The following belongs to the Czech national school of music ( B D ).

A.Scriabin B.Smetana

C.Sibelius D.Dvorak

E.Kodály

Four, connecting questions (1 point for each line, ***15 points)

26. Connect the corresponding characters with their works:

Liu Tianhua on "Bright Line"

Hua Yanguen on "The Moon Reflecting in the Two Fountains

Lai Kam Fai on "Poor Chou-heung"

Zhao Yuan Ren on "Teach Me How Not to Think of Him"

Zhang Han Fai on "On the Songhua River"

27. Connect the corresponding authors with their works:

Jikang with "On the Theory of Sound and Music Without Mourning"

Yananan Zhian with "Theory of Singing"

Shen Kuo with "Talks of Dreaming and Stream Brush"

Wang Zhuo Lian Biji Manzhi

Gongsun Nizi Lian Leji

28. Linking the corresponding works and their genres:

Messiah Lian Oratorio

The Lady of the Camellias Lian Opera

The Nutcracker Lian Ballet

My Country Lian Symphonic Poetry

Songs Without Words Lian Piano Pieces

V. Short Answer Questions (5 points per question, ***20 points)

29. In what ways is Liu Tianhua's contribution to the erhu reflected?

Liu Tianhua chose the erhu as a breakthrough in the reform of Chinese music, drew on techniques such as the violin's large-range trembling bow and Western instrumental compositional techniques, integrated the pipa's theory of finger pressing, the guqin's overtones, and other techniques, and established and utilized the multi-grip performance method. All of these, so that the erhu from the music to the performance of the added artistic expression of profundity, so that this ancient and unappreciated folk instruments into modern professional solo instrument, become the protagonist and representative of Chinese folk music, and thus Liu Tianhua is regarded as a modern school of erhu performance founders.

Liu Tianhua composed ten erhu songs: "Sickness", "Moonlit Night", "Acura of Bitterness", "Lamentation", "Birdsong on the Empty Mountain", "Idle Habitat", "A Good Night", "Bright Walk", "Exercise on a Single String", and "Candle Shadow Shaking Red".

30. What are the main contributions of Xiao Youmei in music education?

In the twentieth century, Xiao Youmei was one of the most contributors to music education in China.

Before the May Fourth Movement, traditional Chinese music education was limited to the self-indulgent music of the literati, such as playing the guqin, which they used only as a means of cultivating their bodies. The performance activities were performed by the "playboys" at the bottom of the social ladder, and the Peking Opera "ticketholders" were a later phenomenon. These activities were not the same thing as "national music education". In 1901, Xiao Youmei went to Japan to study, studying piano and voice at the Tokyo Music School and education at the Imperial University, and in 1913 he went to Germany to study at the Leipzig Conservatory of Music and the University of Leipzig, where he obtained a doctorate degree and returned to China in 1920. He taught and led the Music and Physical Education Department of the Beijing Women's Higher Normal School, the Peking University Music Mission, and the Music Department of the Beijing Art Specialized School. With the support of Cai Yuanpei, the National Conservatory of Music was founded in Shanghai in 1927, which was the first professional conservatory in China, laying the foundation for music education and the training of professional musical talents.

Xiao Youmei also devoted himself to writing music textbooks: "Organ Textbook" in 1924, "Piano Textbook" in 1925, "Violin Textbook" in 1927, and so on. "He also wrote academic treatises such as "A Comparative Study of Chinese and Western Music", "An Introduction to Ancient and Modern Chinese and Western Music", and "An Overview of Chinese Music Throughout the Ages". He has also composed works such as "New Nishang Yuyi Dance" and "Mourning Quotes".

31. What are the creative ideas of the "Powerful Group"?

The "Powerful Group" was a social and cultural force that emerged in the 1860s in the midst of the upsurge of social movements in Russia. It consisted of five composers: Militia Alekseevich Balakirev, Cesar Gueye, Modest Petrovich Mussorgsky, Alexander Porfiryovich Borodin, Nikolai Andreyevich Rimsky-Korsakov. The "Powerful Group" was not a group of musicians united in friendship, but a fighting collective of progressive young artists of the time with a common ideology.

They all loved Russian folk music, from which they drew materials and inspiration to make their works full of rich national flavor, artfully expressed the life, thoughts and feelings of the Russian people, emphasized that music should be rich in ideas and feelings, and devoted themselves to the study of folk creation, not only on their creation (subject matter, ideas, content, expression, thematic materials and stylistic features, etc.), but also a direct inspiration. had a direct inspiration, but also had a significant impact on the development of the entire Russian musical culture in the future; in their own instrumental and vocal works, they sought to utilize folk songs and folk musical language, and the melodies they created were permeated with folk qualities. This is an important aspect of the national and folk character of their music; the works of the "Power Group" reflect the feelings, thoughts and expectations of the Russians of the past and of the time, the attitude to life of the Russians, the typical character of the Russians, and in order to reflect this in their works, they have created a range of subjects, genres, expressive features and other aspects of their music, In order to reflect these contents into their works, they have distinctive features in the range of subjects, genres, and characteristics of their musical compositions; they create operas on folk subjects, the history of the motherland, and reality-oriented operas, symphonies with distinctive titles and images, a variety of instrumental pieces, and popular and easy-to-interpret instrumental sketches and vocal compositions. Generally speaking, in their works, they are searching for the combination of ideological content and musical form, the combination of professional artistic expression and musical simplicity, the combination of innovation and creativity, and the combination of the inherent tradition of faithful folk composition.

32. What kind of music is Impressionist music?

Impressionist music emerged at the end of the 19th century as a musical genre influenced by Symbolist literature and Impressionist painting. Impressionist music has a completely abstract and transcendent color, which is the beginning of music into modernism. Its musical form, weave, expressive techniques, basic aesthetic viewpoints, and the artistic purposes and effects it pursues are all very different from those of classical and romanticism. It was first created by French composer C. Debussy.

Six, expository questions (15 points for each sub-question, ***30 points)

33. Try to discuss the artistic achievements of the new opera "The White Haired Girl".

Answer: "The White-haired Girl" is the cornerstone of China's new national opera. It inherited the tradition of folk songs and dances on the basis of mass artistic practice, and also drew on China's classical opera and Western opera, creating a new national form on the basis of rice-planting opera, and opening up a vital path for the creation of new opera.

First of all, in terms of music, it utilizes folk songs, ditties and tunes from local operas, but it is neither an expansion of folk operas nor a traditional plate opera or Gongtong opera. It draws on the Western opera's approach of focusing on the expression of character, using music tunes rich in national flavor to express the character traits of the people in the play.

Secondly, in the performance of the opera, the tradition of combining singing, chanting, and dao bai of classical opera was borrowed. In the relationship between the singing and the speech, the singing is used to recount events, recall history, introduce characters, set the mood, and to reveal the inner world of the characters when the feelings need to break out. As the transitions are more natural, it does not give the impression of a drama with singing. Many of the lyrics are poems, and they are characterized by folk songs.

The opera "The White Haired Maiden" is a collective creation with a wide range of the masses, an exploratory new national opera under the guidance of Mao Zedong's ideology of literature and art that expresses the life of the masses and strives to be popular among the people, and draws on the experience of Western operas under the prerequisite of affirmation of the nationalization of the people and mass, and enhances the musicality under the prerequisite of not weakening the literary and dramatic nature, and seeks a comprehensive form of art under the prerequisite of service for the content. It is a classical Chinese national opera that seeks the unity and completeness of a comprehensive art form under the premise of nationalization and massification.

34. Discuss Wagner's style of opera composition in the context of opera works

Answer: Wagner was a German composer, playwright, conductor and philosopher. In the German music world, since Beethoven, there is not a composer like Wagner has a grandeur and great spirit of reform, he tenaciously formulated and implemented his own goals and plans to reform the opera, advocate musical theater, thus laying a position in the history of music. At the same time, it is almost impossible to find a musician like Wagner in the history of world music, there is an obvious contradiction between the world view, creation.

Major works: the main field of his composition is opera, including the Ring of the Nibelungen (The Gold of the Rhine, The Valkyries, Siegfried, The Twilight of the Gods), Tristan und Isolde, The Wandering Dutchman, Lohengrin, Tannh?user, Leenjeune, The Famous Singer of Nuremberg, Parsifal, and so on, and there is also the the orchestral piece Faust Overture, etc.

Artistic achievements: ① A radical reform of the traditional opera. In the reform, he implemented the "holistic view of art", "endless melody" and "dominant motif" approach, and emphasized the drama first, music second, and insisted that music must be subordinate to the needs of the content of the drama to create the principle of reform. Emphasizing drama first and music second, and insisting that music must be composed in accordance with the needs of the drama, the reformed opera was called Das Musikdrama (The Musical Drama). ② Created epoch-making classic musicals such as The Ring of the Nibelungen and Tristan und Isolde, which brought the development of Romantic opera to its peak. ③ Expanded the size of the orchestra in operas (three or four controls), strengthened the expressive power of the orchestra, and changed the traditional practice of treating the orchestra as a "giant guitar" in operas, leaving it in a state of vocal accompaniment. He seized the expressive characteristics of the orchestra and used the "dominant motif" to elaborate the content of the drama, making the orchestra an effective tool to express the content of the drama. ④ The establishment of chromatic harmony, the dilution of modal tonality, the creation of the "Tristan" chord, an important influence on the concept of music in the 20th century.