Chapter 42. Sounding a Nation: Grieg and Orchestral Nationalism

Censors did not concern themselves with political representation in nineteenth-century operasfalse
Which category of program music best describes Grieg’s Peer Gynt?incidental music
Even though they are both single movement programmatic types of music, the concert overture differs from the symphonic poem in that the symphonic poem has a much freer form.
Which playwright did Grieg collaborate with when writing Peer Gynt?henrick
Edvard Grieg represents the:scan school
When nineteenth-century composers sought to glorify aspects of their homeland, this was considered an act of ________________.nationalism
Edvard Grieg’s Piano Concerto in A minor was admired and performed by which nineteenth-century virtuoso pianist?franz
Nationalistic program music might evoke a landscape.true
Tchaikovsky’s music for Shakespeare’s Romeo and Juliet is a famous example of:program overture
From what traditions were the musicians in the “Mighty Five” seeking to free themselves?French ballet
German symphonic traditions
Italian opera
Which type of program best describes Smetana’s The Moldau?picto
In the twenty-first century, composers do not write nationalistic works.false
_________________ music was an influential predecessor to the development of film soundtracks.incidental
Which of the following were ways that programmatic composers portrayed nationalistic sentiments in nineteenth-century music?celebrating a national hero
basing the work on regional folklore
evoking the country’s landscape
Hector Berlioz invented the symphonic poem.false