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The Gnossiennes are a collection of musical compositions exclusively for orchestra, written by Erik Satie.
Answer: False
Explanation: The Gnossiennes are primarily known as solo piano compositions by Erik Satie, not orchestral works.
The musical characteristic of 'free time' in the Gnossiennes means the pieces are composed without any specific tempo markings.
Answer: False
Explanation: The term 'free time' in the Gnossiennes refers to the absence of traditional time signatures and bar divisions, allowing for rhythmic flexibility, but does not imply the absence of tempo markings.
The second Gnossienne is marked with the tempo indication 'Lent' (Slow).
Answer: False
Explanation: The second Gnossienne is marked 'avec étonnement' (with astonishment), not 'Lent' (Slow), which is the marking for the first and third.
Gnossienne No. 5 is considered uncharacteristic because it includes traditional time signatures and bar divisions.
Answer: True
Explanation: Gnossienne No. 5 is considered uncharacteristic among the early Gnossiennes because it uniquely utilizes traditional time signatures and bar divisions, unlike the 'free time' notation of the others.
The second Gnossienne is marked 'avec étonnement', which translates to 'with slowness'.
Answer: False
Explanation: 'Avec étonnement' translates to 'with astonishment,' not 'with slowness.' 'Lent' is the marking for 'Slow'.
The Gnossiennes are often considered dances, a classification Satie explicitly confirmed for all of them.
Answer: False
Explanation: While often considered dances, similar to 'Sarabandes' and 'Gymnopédies,' it is not confirmed that Satie explicitly classified all Gnossiennes as dances.
The Gnossiennes are characterized by complex polyrhythms and traditional harmonic progressions.
Answer: False
Explanation: The Gnossiennes are characterized by experimental harmonic structures and a lack of traditional metric organization (polyrhythms are not a defining feature), rather than traditional harmonic progressions.
The tempo marking 'Modéré' for Gnossienne No. 5 suggests a very fast pace.
Answer: False
Explanation: 'Modéré' is a French musical term that translates to 'Moderate' in English, indicating a tempo that is neither too fast nor too slow.
The Gnossiennes are considered Satie's most conventional compositions in terms of structure and harmony.
Answer: False
Explanation: The Gnossiennes are characterized by their highly experimental approach to structure and harmony, setting them apart from conventional musical forms of the late 19th century.
What is a primary characteristic of the Gnossiennes' musical notation, particularly in the first three pieces?
Answer: Absence of time signatures and bar divisions, known as free time.
Explanation: The first three Gnossiennes are notable for their lack of time signatures and bar divisions, a compositional technique referred to as 'free time,' contributing to their unconventional structure.
Which tempo marking is associated with the second Gnossienne?
Answer: Avec étonnement (With astonishment)
Explanation: The second Gnossienne is marked with the tempo/mood indication 'Avec étonnement,' which translates to 'With astonishment'.
How does Gnossienne No. 5 differ significantly from the other early Gnossiennes?
Answer: It uniquely uses time signatures and bar divisions.
Explanation: Gnossienne No. 5 is uncharacteristic of the early Gnossiennes as it employs traditional time signatures and bar divisions, whereas the others are composed in 'free time'.
How are the Gnossiennes often musically categorized, despite uncertainty about Satie's own classification?
Answer: Dances
Explanation: The Gnossiennes are frequently categorized as dances, similar to Satie's 'Sarabandes' and 'Gymnopédies,' although Satie's explicit classification for all of them remains uncertain.
What does the phrase 'avec étonnement' suggest about the intended performance of the second Gnossienne?
Answer: A mood of surprise or wonder.
Explanation: The phrase 'avec étonnement' translates to 'with astonishment,' suggesting an intended mood or expressive quality beyond mere tempo.
The Gnossiennes' experimental approach to rhythm and chordal structure set them apart from:
Answer: Conventional musical forms of the late 19th century.
Explanation: The Gnossiennes' experimental approach to rhythm and chordal structure distinguished them significantly from the conventional musical forms prevalent in the late 19th century.
What is the meaning of the French tempo marking 'Modéré' used in Gnossienne No. 5?
Answer: Moderate tempo
Explanation: 'Modéré' is a French musical term that translates to 'Moderate' in English, indicating a tempo that is neither too fast nor too slow.
The Gnossiennes are often considered dances, similar to which other Satie piano works?
Answer: Sarabandes and Gymnopédies
Explanation: The Gnossiennes are often considered dances, similar in categorization to Satie's 'Sarabandes' and 'Gymnopédies'.
What is the meaning of the French tempo marking 'Lent'?
Answer: Slow
Explanation: The French tempo marking 'Lent' translates directly to 'Slow' in English.
The Gnossiennes are described as having a 'highly experimental approach' primarily in which musical elements?
Answer: Form, rhythm, and chordal structure
Explanation: The Gnossiennes are noted for their highly experimental approach, particularly concerning their unconventional musical form, unique rhythmic qualities, and innovative chordal structures.
Erik Satie created the term 'Gnossienne' entirely on his own, with no prior usage in French literature.
Answer: False
Explanation: The term 'Gnossienne' existed in French literature prior to Satie's musical usage. Satie invented the musical form, but the word itself had prior usage.
One proposed etymology for 'Gnossienne' links it to a ritual labyrinth dance associated with the Greek hero Theseus and the Minotaur.
Answer: True
Explanation: One significant etymological theory connects 'Gnossienne' to the 'gnossienne' dance, a ritual labyrinth dance purportedly created by Theseus after his victory over the Minotaur.
The 'Larousse Dictionary' entry from 1865 defined 'Gnossienne' solely in relation to esoteric knowledge.
Answer: False
Explanation: The 'Larousse Dictionary' entry from 1865 defined 'Gnossienne' in relation to a ritual labyrinth dance, not solely esoteric knowledge.
The etymology connecting 'Gnossienne' to 'gnosis' is supported by Satie's documented interest in ancient Greek philosophy.
Answer: False
Explanation: The etymology connecting 'Gnossienne' to 'gnosis' is supported by Satie's documented interest in Gnosticism and esoteric knowledge, rather than specifically ancient Greek philosophy.
The term 'Gnossienne' is believed by some scholars to derive from the Greek word 'gnosis', meaning 'knowledge'.
Answer: True
Explanation: One prominent theory suggests that the term 'Gnossienne' derives from the Greek word 'gnosis,' meaning 'knowledge,' reflecting Satie's interest in esoteric traditions.
The name 'Gnossienne' is definitively derived from the Greek word 'gnosis'.
Answer: False
Explanation: The origin of the term 'Gnossienne' is debated, with theories linking it to both 'gnosis' (knowledge) and ancient Greek ritual dances, rather than a definitive derivation from 'gnosis' alone.
Which ancient Greek figure is linked to one of the proposed etymologies of 'Gnossienne'?
Answer: Theseus
Explanation: One proposed etymology for 'Gnossienne' links it to the labyrinth dance created by the Greek hero Theseus.
The alternative etymological theory for 'Gnossienne' suggests a derivation from the Greek word 'gnosis', relating to what concept?
Answer: Knowledge
Explanation: An alternative theory posits that 'Gnossienne' derives from the Greek word 'gnosis,' meaning 'knowledge,' particularly esoteric or spiritual knowledge.
What does the source suggest about the origin of the word 'Gnossienne' based on the 1865 'Larousse Dictionary' entry?
Answer: It referred to a ritual labyrinth dance from ancient Greece.
Explanation: The 1865 'Larousse Dictionary' entry defined 'Gnossienne' in relation to a ritual labyrinth dance, suggesting a potential origin for Satie's musical term.
Satie's involvement with Gnosticism provides a potential link for the word 'Gnossienne' to which concept?
Answer: Esoteric knowledge
Explanation: Satie's engagement with Gnosticism offers a potential etymological connection between 'Gnossienne' and 'gnosis,' suggesting a link to esoteric knowledge.
Which of the following statements about the etymology of 'Gnossienne' is supported by the source?
Answer: Its origin is debated, with theories involving Greek myth and Gnosticism.
Explanation: The source indicates that the origin of the term 'Gnossienne' is debated, with theories connecting it to both ancient Greek myth and the concept of Gnosticism ('gnosis').
The Gnossiennes were composed significantly earlier than Satie's 'Trois Gymnopédies'.
Answer: False
Explanation: The Gnossiennes were composed in the decade following Satie's 'Trois Gymnopédies' (1888), representing a stylistic continuation rather than preceding them.
The first three Gnossiennes were composed around 1890 and published together for the first time in 1913.
Answer: True
Explanation: The first three Gnossiennes were composed around 1890 and first published as a grouped, numbered set in 1913.
Gnossiennes Nos. 4, 5, and 6 were published during Erik Satie's lifetime.
Answer: False
Explanation: Gnossiennes Nos. 4, 5, and 6 were published posthumously in 1968, long after Erik Satie's death.
Satie's 'Sarabandes' and 'Gymnopédies' were composed after the Gnossiennes.
Answer: False
Explanation: Satie's 'Sarabandes' (1887) and 'Gymnopédies' (1888) were composed before the Gnossiennes (circa 1890).
Gnossienne No. 6 was composed around the same time as the first three Gnossiennes.
Answer: False
Explanation: Gnossienne No. 6 was composed in January 1897, significantly later than the first three Gnossiennes composed around 1890.
The sequence of Gnossiennes Nos. 4-6 in the 1968 publication reflects the chronological order of their composition.
Answer: False
Explanation: The sequence of Gnossiennes Nos. 4-6 in the 1968 publication does not correspond to the chronological order of their composition.
The second Gnossienne was published as a facsimile in 'Le Figaro musical' in September 1893.
Answer: False
Explanation: The second Gnossienne was published as a facsimile in 'Le Cœur' in September-October 1893. 'Le Figaro musical' published the third Gnossienne (numbered 'No. 2') in September 1893.
The first Gnossienne was published as a facsimile in 'Le Cœur' in September-October 1893.
Answer: False
Explanation: It was the second Gnossienne that was published as a facsimile in 'Le Cœur' in September-October 1893. The first Gnossienne appeared in 'Le Figaro musical' in September 1893.
In relation to Satie's other piano works, when were the Gnossiennes composed?
Answer: In the decade following the 'Sarabandes' (1887) and 'Gymnopédies' (1888).
Explanation: The Gnossiennes were composed by Satie in the decade following his 'Sarabandes' (1887) and 'Trois Gymnopédies' (1888), representing a stylistic continuation.
The 'Trois Gnossiennes' were first published as a grouped, numbered set in which year?
Answer: 1913
Explanation: The 'Trois Gnossiennes' were first published as a grouped, numbered set in 1913, although they were composed around 1890 and first appeared separately in 1893.
Gnossiennes Nos. 4, 5, and 6 share which publication characteristic?
Answer: They were published posthumously in 1968.
Explanation: Gnossiennes Nos. 4, 5, and 6 were published posthumously in 1968, unlike the first three which were published during Satie's lifetime.
The composition date for Gnossienne No. 4 is given as:
Answer: January 22, 1891
Explanation: The manuscript for Gnossienne No. 4 is dated January 22, 1891.
The composition date of July 8, 1889, for Gnossienne No. 5 suggests it was likely Satie's:
Answer: First composition after the 'Gymnopédies'.
Explanation: Dated July 8, 1889, Gnossienne No. 5 likely represents Satie's first composition following the 'Gymnopédies' of 1888.
Which publication first featured the 'Trois Gnossiennes' in September 1893?
Answer: Le Figaro musical (third piece numbered 'No. 2')
Explanation: The 'Trois Gnossiennes' first appeared in 'Le Figaro musical' No. 24 in September 1893, with the third piece numbered 'No. 2'.
The posthumous publication of Gnossiennes Nos. 4-6 in 1968 is noted for what characteristic regarding their sequence?
Answer: The sequence does not correspond to the chronological order of composition.
Explanation: The 1968 publication of Gnossiennes Nos. 4-6, edited by Robert Caby, does not reflect the chronological order in which Satie composed these pieces.
What does the source suggest about Satie's view of Gnossiennes Nos. 4-6 as a unified set?
Answer: It is unlikely he viewed these three pieces as a single, unified set.
Explanation: Given that Gnossiennes Nos. 4-6 were published posthumously and lacked Satie's own numbering or titles, it is considered unlikely that he viewed them as a single, unified set during his lifetime.
The first three Gnossiennes were first published separately in which year?
Answer: 1893
Explanation: The first three Gnossiennes were first published separately in 1893, although composed around 1890.
Satie's Gnossiennes were influenced by the popular cabaret music styles of his time.
Answer: False
Explanation: The Gnossiennes are not influenced by cabaret music; they are characteristic of Satie's late 19th-century style, influenced more by esoteric and symbolic movements.
Erik Satie was introduced to the Rosicrucian sect by his friend, the composer Claude Debussy.
Answer: False
Explanation: Erik Satie was introduced to the Rosicrucian sect by Josèphin Péladan, not Claude Debussy.
The Gnossiennes are considered Satie's earliest works, predating his waltzes and cabaret songs.
Answer: False
Explanation: The Gnossiennes are characteristic of Satie's late 19th-century style and were composed after his early waltzes and before many of his cabaret songs.
Satie's involvement with the Rosicrucian sect occurred after he composed the Gnossiennes.
Answer: False
Explanation: Satie's involvement with the Rosicrucian sect occurred around the time he composed the Gnossiennes, influencing the context and potential meanings of these works.
The Gnossiennes represent a departure from Satie's earlier harmonic experimentation.
Answer: False
Explanation: The Gnossiennes represent a continuation and development of Satie's harmonic experimentation, building upon earlier works and leading to further exploration in later compositions.
Count Antoine de La Rochefoucauld was the sole founder of the Rosicrucian sect Satie joined.
Answer: False
Explanation: Count Antoine de La Rochefoucauld was a co-founder, alongside Josèphin Péladan, of the Rosicrucian sect (Ordre de la Rose-Croix Catholique et Esthétique du Temple et du Graal) that Satie joined.
The Gnossiennes are stylistically similar to Satie's later solo piano works like 'Préludes flasques (pour un chien)'.
Answer: False
Explanation: The Gnossiennes represent Satie's late 19th-century style and are stylistically distinct from his later solo piano works such as 'Préludes flasques (pour un chien),' composed in 1912.
Satie's friend, Josèphin Péladan, was also a musician who collaborated with Satie on the Gnossiennes.
Answer: False
Explanation: While Josèphin Péladan was a significant influence, introducing Satie to the Rosicrucian sect, he was not a musical collaborator on the Gnossiennes.
The Gnossiennes are stylistically linked to Satie's 'Ogives' and 'Sarabandes' as part of his late 19th-century development.
Answer: True
Explanation: The Gnossiennes represent a stylistic continuation from Satie's earlier works like 'Ogives' and 'Sarabandes,' fitting within his broader late 19th-century compositional development.
The image accompanying the article is a photograph of Erik Satie taken in 1910.
Answer: False
Explanation: The image accompanying the article is a portrait of Erik Satie painted by Ramon Casas in 1891, not a photograph taken in 1910.
The Gnossiennes are considered Satie's most avant-garde works, pushing boundaries far beyond his contemporaries.
Answer: False
Explanation: While the Gnossiennes exhibit a highly experimental approach, characterizing them as Satie's *most* avant-garde works pushing boundaries *far beyond* his contemporaries may be an overstatement; they are representative of his distinctive late 19th-century style.
Who composed the Gnossiennes?
Answer: Erik Satie
Explanation: The Gnossiennes were composed by the French composer Erik Satie.
Who introduced Erik Satie to the Rosicrucian sect?
Answer: Josèphin Péladan
Explanation: Erik Satie was introduced to the Rosicrucian sect by his associate Josèphin Péladan.
The Gnossiennes are considered representative of which period in Satie's compositional style?
Answer: Late 19th-century style
Explanation: The Gnossiennes are representative of Erik Satie's characteristic style during the late 19th century, bridging his earlier and later experimental periods.
By the time the first set of three Gnossiennes was re-published in 1913, Satie's relationship with the Rosicrucian movement was:
Answer: He had distanced himself from the movement for some time.
Explanation: By 1913, when the first three Gnossiennes were re-published, Satie had distanced himself from the Rosicrucian movement for a considerable period.
The Gnossiennes represent a stylistic continuation from which earlier Satie works?
Answer: 'Ogives', 'Sarabandes', and 'Gymnopédies'
Explanation: The Gnossiennes represent a stylistic continuation from Satie's earlier works such as 'Ogives' (1886), 'Sarabandes' (1887), and 'Gymnopédies' (1888).
The portrait of Erik Satie shown with the article was painted by whom?
Answer: Ramon Casas
Explanation: The portrait of Erik Satie featured with the article was painted by the artist Ramon Casas in 1891.
How did the Gnossiennes differ from Satie's early waltzes from 1885?
Answer: They were part of his later, more experimental period.
Explanation: The Gnossiennes represent a more experimental phase in Satie's compositional development compared to his earlier, lighter salon waltzes.
Count Antoine de La Rochefoucauld's significance is tied to his role in founding what organization with Josèphin Péladan?
Answer: The Rosicrucian sect (Ordre de la Rose-Croix Catholique et Esthétique du Temple et du Graal)
Explanation: Count Antoine de La Rochefoucauld co-founded the Rosicrucian sect (Ordre de la Rose-Croix Catholique et Esthétique du Temple et du Graal) with Josèphin Péladan in 1891.
The compositional development shown in the Gnossiennes eventually led to further harmonic experimentation in which later work?
Answer: 'Danses gothiques'
Explanation: The harmonic experimentation evident in the Gnossiennes contributed to further developments seen in Satie's later work, such as the 'Danses gothiques' (1893).
The Gnossienne from 'Le Fils des étoiles' was later incorporated into Satie's suite 'Trois morceaux en forme de poire'.
Answer: True
Explanation: Satie reused the Gnossienne from his incidental music for 'Le Fils des étoiles' as 'Manière de commencement,' which became the first movement of his suite 'Trois morceaux en forme de poire'.
The first Gnossienne is dedicated to Count Antoine de La Rochefoucauld.
Answer: False
Explanation: The first Gnossienne was dedicated to Alexis Roland-Manuel in the 1913 publication. The dedication to Count Antoine de La Rochefoucauld appeared in an 1893 facsimile of the second Gnossienne.
The first and third Gnossiennes share similar chordal structures and thematic material.
Answer: True
Explanation: The first and third Gnossiennes exhibit similarities in their chordal structures, rhythmic patterns, and thematic material, suggesting a close compositional relationship.
Gnossienne No. 4 is primarily composed in D major, with sections in C minor.
Answer: False
Explanation: Gnossienne No. 4 is primarily composed in D minor, featuring a transposed C minor ostinato, not in D major.
The first Gnossienne is dedicated to Alexis Roland-Manuel in the 1893 publication.
Answer: False
Explanation: The first Gnossienne was dedicated to Alexis Roland-Manuel in the 1913 publication. The dedication to Count Antoine de La Rochefoucauld appeared in an 1893 facsimile of the second Gnossienne.
The incidental music for 'Le Fils des étoiles' contains a piece Satie referred to as a 'Gnossienne', sometimes called the 6th Gnossienne.
Answer: False
Explanation: The Gnossienne within 'Le Fils des étoiles' is sometimes referred to as the 7th Gnossienne, not the 6th, due to Satie's own confirmation of its designation.
Gnossienne No. 5 is technically easier for pianists than the Gymnopédies due to its simpler left-hand part.
Answer: False
Explanation: Gnossienne No. 5 is considered technically more demanding for pianists than the Gymnopédies, primarily due to its continuous eighth-note movement in the left hand.
The orchestration sketch for the third Gnossienne was realized by Erik Satie himself.
Answer: False
Explanation: While Satie began an orchestration sketch for the third Gnossienne, the completed orchestration was realized by Francis Poulenc, not by Satie himself.
The phrase 'with conviction and with a rigorous sadness' describes the mood of Gnossienne No. 5.
Answer: False
Explanation: The phrase 'Avec conviction et avec une tristesse rigoureuse' (with conviction and with a rigorous sadness) describes the mood of Gnossienne No. 6, not Gnossienne No. 5.
The second Gnossienne's dedication to Count Antoine de La Rochefoucauld was retained in the 1913 edition.
Answer: False
Explanation: The dedication to Count Antoine de La Rochefoucauld for the second Gnossienne, present in an 1893 facsimile, was not retained in the 1913 grouped publication.
The Gnossienne from Satie's incidental music for 'Le Fils des étoiles' was later used as the first movement of which suite?
Answer: Trois morceaux en forme de poire
Explanation: The Gnossienne from 'Le Fils des étoiles' was reused by Satie as 'Manière de commencement' and became the first movement of his suite 'Trois morceaux en forme de poire'.
Which piece is mentioned as having a tempo marking of 'Lent' (Slow)?
Answer: Gnossienne No. 1
Explanation: Gnossienne No. 1 is marked with the tempo indication 'Lent,' which translates to 'Slow'.
The second Gnossienne's dedication to Count Antoine de La Rochefoucauld in the 1893 facsimile print was to whom?
Answer: Count Antoine de La Rochefoucauld
Explanation: The dedication in the 1893 facsimile print of the second Gnossienne was to Count Antoine de La Rochefoucauld.
What is the primary reason Gnossienne No. 5 is considered technically demanding for a pianist?
Answer: Continuous eighth-note movement in the left hand.
Explanation: Gnossienne No. 5 presents technical challenges primarily due to the continuous eighth-note movement required in the left hand, contrasting with the right hand's activity.
What is the tonal structure of Gnossienne No. 4, according to the source?
Answer: Composed in D minor, featuring a transposed C minor ostinato.
Explanation: Gnossienne No. 4 is tonally structured in D minor, incorporating a transposed C minor ostinato, and lacks a key signature.
The phrase 'avec conviction et avec une tristesse rigoureuse' is the mood/tempo marking for which Gnossienne?
Answer: Gnossienne No. 6
Explanation: The marking 'Avec conviction et avec une tristesse rigoureuse' (with conviction and with a rigorous sadness) is associated with Gnossienne No. 6.
The first Gnossienne was dedicated to Alexis Roland-Manuel in which publication context?
Answer: The 1913 grouped reprint of the 'Trois Gnossiennes'.
Explanation: The dedication to Alexis Roland-Manuel for the first Gnossienne appeared in the 1913 grouped publication of the 'Trois Gnossiennes'.
The Gnossienne from 'Le Fils des étoiles' is sometimes referred to as the 7th Gnossienne because:
Answer: Satie himself confirmed its naming as a 'Gnossienne' in correspondence.
Explanation: The Gnossienne from 'Le Fils des étoiles' is sometimes called the 7th Gnossienne because Satie himself confirmed its designation as such in correspondence with his publisher.
What is the relationship between Gnossiennes Nos. 1 and 3, according to the source?
Answer: They share similarities in chordal structures and thematic material.
Explanation: Gnossiennes Nos. 1 and 3 share similarities in their chordal structures, rhythmic patterns, and thematic material, indicating a close compositional connection.
The second Gnossienne's dedication to Count Antoine de La Rochefoucauld in 1893 is notable because:
Answer: It was not repeated in the later 1913 publication.
Explanation: The dedication to Count Antoine de La Rochefoucauld for the second Gnossienne, present in an 1893 facsimile, was notably omitted from the 1913 publication.
The Gnossienne from 'Le Fils des étoiles' was reused by Satie under what title?
Answer: 'Manière de commencement'
Explanation: Satie reused the Gnossienne from 'Le Fils des étoiles' under the title 'Manière de commencement'.
Gnossienne No. 5 is described as having a more upbeat style and distinct rhythms compared to:
Answer: The 'Gymnopédies'.
Explanation: Gnossienne No. 5 exhibits a more upbeat style and distinct rhythms, differentiating it from the character of Satie's 'Gymnopédies'.