In what ways are serial works and music of chance completely opposites? Hypothesize about possible commonalities.

What will be an ideal response?


Serial music and chance are compositional and philosophical opposites. Serialism demands that the composer completely manipulate every detail of a performance, dictating each aspect of tonal and rhythmic nuance. Chance, on the other hand, demands spontaneity in performance, preferring that significant aspects of the performance happen "by chance." With chance, no two performances are alike. Oddly, the two techniques may be difficult to distinguish to the untrained ear. Both tend to have dissonant passages, lack singable melodies, and have no easily detectable formal structure. (Although serialism is highly structured, the structure is not easily heard.) For these reasons, both serialism and chance have lacked popularity with the general public. Interestingly, the composers in both "camps" have not been concerned with the lack of audience appeal.

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There are right and wrong responses to works of art

a. True b. False

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There are many additional questions that an informed and perceptive reviewer can ask of the experience of

attending a production. Which choice below represents one of these additional questions listed in The Essential Theatre?

a. Should others see the play? Why? b. Did the playwright deserve to have the investment in this production of the play? c. Did the actors remain true to the intent of the playwright? d. Did the director remain true to the intent of the playwright?

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Felix Mendelssohn was perhaps the most cosmopolitan composer, and he

a. traveled to every continent known to man. b. spoke fluent English, French, and Italian as well as his native German. c. gave concerts tours all over America with his sister Fanny. d. didn't even have to leave Germany.

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One of the most important things that Felix Mendelssohn did was

a. translate the entire "Messiah" into Greek. b. devise new musical forms for his piano works. c. lead a hugely successful performance of J.S. Bach's Saint Matthew Passion, which had been forgotten. d. all of the above.

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