Test Bank for The Enjoyment of Music, Twelfth Shorter Edition, Kristine Forney, Andrew Dell’Antonio, Joseph Machlis,

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Part 1. The Materials of Music
Prelude 1: Listening to Music Today
1. Melody: Musical Line
2. Rhythm and Meter: Musical Time
3. Harmony: Musical Depth
4. The Organization of Musical Sounds
5. Musical Texture
6. Musical Form
7. Musical Expression: Tempo and Dynamics
8. Music and Words
9. Voices and Instrument Families
10. Western Musical Instruments
11. Musical Ensembles
12. Style and Function of Music in Society

Part 2. The Middle Ages and Renaissance
Prelude 2: Music as Commodity and Social Activity
13. Voice and Worship: Tradition and Individuality in Medieval Chant
14. Layering Lines: Early Polyphony of the Notre Dame
15. Symbols and Puzzles: Machaut and the Medieval Mind
16. Singing in Friendship: The Renaissance Madrigal
17. Remember Me: Personalizing the Motet in the Renaissance
18. Glory Be: Music for the Renaissance Mass
19. Instrumental Movements: Medieval and Renaissance Dance Music

Part 3. The Baroque Era
Prelude 3: Music as Exploration and Drama
20. Voicing the Virgin: Cozzolani and Italian Baroque Sacred Music
21. Performing Grief: Purcell and Early Opera
22. Musical Sermons: Bach and the Lutheran Cantata
23. Textures of Worship: Handel and the English Oratorio
24. Independent Study: Billings and the Early North American Sacred Tradition
25. Grace and Grandeur: The Baroque Dance Suite
26. Sounding Spring: Vivaldi and the Baroque Concerto
27. Process as Meaning: Bach and the Fugue

Part 4. Eighteenth-Century Classicism
Prelude 4: Music as Order and Logic
28. Musical Conversations: Haydn and Classical Chamber Music
29. The Ultimate Instrument: Haydn and the Symphony
30. Expanding the Conversation: Mozart, Chamber Music, and Larger Forms
31. Conversation with a Leader: The Classical Concerto
32. Personalizing the Conversation: Beethoven and the Classical Sonata
33. Disrupting the Conversation: Beethoven and the Symphony in Transition
34. Making It Real: Mozart and Classical Opera
35. Mourning a Hero: Mozart and the Requiem

Part 5. The Nineteenth Century
Prelude 5: Music as Passion and Individualism
36. Musical Reading: Schubert, Schumann, and the Early Romantic Lied
37. Marketing Music: Foster and Early “Popular” Song
38. Dancing at the Keyboard: Chopin and Romantic Piano Music
39. Musical Diaries: Hensel and Programmatic Piano Music
40. Piano Triumphant: Gottschalk and Romantic Virtuosity
41. Personal Soundtracks: Berlioz and the “Program Symphony”
42. Sounding a Nation: Grieg and Orchestral Nationalism
43. Absolutely Classic: Brahms and the Nineteenth-Century Symphony
44. Multimedia Hits: Verdi and Italian Romantic Opera
45. Total Art: Wagner and German Romantic Opera
46. Poetry in Motion: Tchaikovsky and the Ballet
47. Exotic Allure: Puccini and the Italian Verismo Tradition
48. Accepting Death: Fauré and the Requiem
49. Mythical Impressions: Program Music at the End of the Nineteenth Century
50. Jubilees and Jubilation: The African American Spiritual Tradition
51. A Good Beat: American Vernacular Music at the Close of an Era

Part 6. Twentieth-Century Modernism
Prelude 6: Making Music Modern
52. Anything Goes: Schoenberg and Musical Expressionism
53. Calculated Shock: Stravinsky and Modernist Multimedia
54. Still Sacred: Boulanger and Religious Music in the Twentieth Century
55. War Is Hell: Berg and Expressionist Opera
56. American Intersections: Jazz and Blues Traditions
57. Modern America: Still and Musical Modernism in the United States
58. Folk Opera? Gershwin and Jazz as “Art”
59. Sounds American: Ives, Copland, and Musical Nationalism in the United States
60. Also American: Revueltas and Mexican Musical Modernism
61. Classic Rethinking: Bartók and the “Neo-Classical” Turn

Part 7. Postmodernism: The Twentieth Century and Beyond
Prelude 7: Music and The Postmodern Turn
62. New Sound Palettes: Mid-Twentieth Century American Experimentalists
63. Staged Sentiment: American Musical Theater
64. Less is More: Reich and Minimalist Music
65. Returning with Interest: Dylan, Corigliano, and Postmodern Reworkings
66. Neo-Romantic Evocations: Higdon and Program Music into the Twenty-First Century
67. Underscoring Meaning: Williams, Dun, and Music for Film
68. Icons in Sound: Tavener and Postmodern Orthodoxy
69. Reality Shows: Adams and Contemporary Opera