Navigation » List of Schools » California State University, Northridge » Music » Music 105 – Understanding Music » Spring 2022 » Final Examination
Below are the questions for the exam with the choices of answers:
Question #1
A atonality.
B polytonality.
C ostinato.
D a tone cluster.
Question #2
A King Oliver.
B Bessie Smith.
C William C. Handy.
D Louis Armstrong.
Question #3
A rhythm section.
B clarinet section.
C brass section.
D director.
Question #4
A calling the beat.
B polyphonic texture.
C jazz.
D call and response.
Question #5
A a steady pulse, clear tonality, and insistent repetition of short melodic patterns.
B rapidly changing dynamics and textures.
C the use of twelve-tone techniques to organize the dimensions of music.
D the development of musical materials through random methods.
Question #6
A serialism.
B chance music.
C minimalism.
D Klangfarbenmelodie.
Question #7
A Paris, France.
B Charleston, South Carolina.
C Anatevka, Russia.
D New York, New York.
Question #8
A impresario.
B singer.
C concert pianist.
D conductor.
Question #9
A polonaise
B concert overture
C program symphony
D nocturne
Question #10
A concert
B symphonic
C pure
D absolute
Question #11
A instrumental music associated with a story, poem, idea, or scene.
B All answers are correct.
C music that depicts aspects of nature.
D vocal music that tells a story.
Question #12
A Rome
B Weimar
C Budapest
D Paris
Question #13
A ein lied.
B a nocturne.
C an etude.
D a polonaise.
Question #14
A have a limited variety of moods.
B are exquisite miniatures.
C have literary programs or titles.
D are for a wide range of media.
Question #15
A folk songs.
B mazurkas.
C polkas.
D waltzes.
Question #16
A was widely acknowledged as a composer in his lifetime.
B was very self-critical, which accounts for his meager output.
C was the first great master of the romantic art song.
D produced his greatest works after the age of forty.
Question #17
A durchkomponiert
B ballade
C chanson
D lied
Question #18
A solo voice and orchestra.
B multiple voices.
C All answers are correct.
D solo voice and piano.
Question #19
A were at first accepted only as students of performance, but by the late 1800s could study musical composition.
B could only study musical composition, since performance was considered undignified.
C were admitted only as vocalists.
D were not admitted.
Question #20
A formation of many orchestras and opera groups.
B piano becoming a fixture in every middle-class home.
C All answers are correct.
D development of regular subscription concerts.
Question #21
A Hector Berlioz.
B Frédéric Chopin.
C Franz Schubert.
D Franz Liszt.
Question #22
A Johann Sebastian Bach.
B Joseph Haydn.
C Ludwig van Beethoven.
D Wolfgang Amadeus Mozart.
Question #23
A nineteenth-century society and culture.
B the colonisation of Africa.
C the Renaissance.
D his family lineage.
Question #24
A speech-song.
B leitmotif.
C lied.
D unending melody.
Question #25
A Hans von Bülow.
B Arrigo Boito.
C King Ludwig of Bavaria.
D Richard Wagner
Question #26
A conducted the famous premiere of his opera, Rienzi.
B built an opera house according to his specifications.
C finished his masterpiece, Der Ring des Nibelungen (The Ring of the Nibelung).
D was unable to get an opera performed and was reduced to musical hackwork.
Question #27
A ritardando.
B accelerando.
C rubato.
D fermata.
Question #28
A Hector Berlioz.
B Johannes Brahms.
C Johann Sebastian Bach.
D Ludwig van Beethoven.
Question #29
A Madame Butterfly and Turandot.
B Turandot and Manon Lescaut.
C La Bohème and Madame Butterfly.
D Tosca and Turandot.
Question #30
A Ludwig van Beethoven.
B Joseph Haydn.
C Wolfgang Amadeus Mozart.
D All answers are correct.
Question #31
A chamber music.
B operas.
C choral works.
D art songs.
Question #32
A an early programmatic symphony inspired by the characters in Shakespeare’s play.
B a medley of popular melodies taken from his opera of that name.
C a concert overture consisting of a slow introduction and a fast movement in sonata form.
D a ballet based on Shakespeare’s play Romeo and Juliet.
Question #33
A César Cu
B Peter Ilyich Tchaikovsky
C Modest Mussorgsky
D Nikolai Rimsky-Korsakov
Question #34
A ends with a slow, despairing finale.
B is in the usual four-movement form.
C has five movements.
D was left unfinished by the composer.
Question #35
A began to study music theory at the age of twenty-one.
B was a child prodigy, learning music at an early age.
C preferred his government position to music.
D studied music theory and violin as a teenager.
Question #36
A using the rhythms of the dances of their homelands.
B basing their music on the folk songs of their country.
C All answers are correct.
D using their national legends as subject matter.
Question #37
A harpsichord.
B piano.
C cello.
D clarinet.
Question #38
A an instrumental soloist and orchestra.
B symphonic orchestra.
C an instrumental soloist.
D any combination of instruments.
Question #39
A All answers are correct.
B is most often in sonata or sonata-rondo form.
C is always in the tonic key of the symphony.
D is usually fast, lively, and brilliant, but somewhat lighter in mood than the opening movement.
Question #40
A minuet
B rondo
C sonata
D ABA
Question #41
A has a different form.
B has a different meter.
C moves more quickly.
D All answers are correct.
Question #42
A common
B triple
C duple
D quadruple
Question #43
A fourth.
B third.
C second.
D first.
Question #44
A presents a new melodic idea.
B is usually in a new key.
C is usually in the same key.
D retains some elements of the theme.
Question #45
A a set of variations on a theme.
B a set of principles that serve to shape and unify contrasts of theme and key.
C a rigid mold into which musical ideas are poured.
D another term for the symphony.
Question #46
A motives.
B rides.
C codas.
D melodies.
Question #47
A the introduction of a new theme in the bridge.
B retaining the same tonality for both themes.
C changing the meter of the second theme.
D the conflict of tonalities between the first and second themes.
Question #48
A ridiculed the aristocracy.
B were based on the Old Testament.
C were in Latin.
D All answers are correct.
Question #49
A a skilled servant.
B an equal by his employer.
C a visiting guest composer.
D a freelance musician.
Question #50
A ruthlessly stamped out by the aristocracy.
B promoted and encouraged by the church.
C an important factor in the rise of the middle class.
D a limited sociological factor.
Question #51
A work for chorus and orchestra.
B sonata for orchestra.
C work for solo instrument.
D work for piano solo.
Question #52
A Don Giovanni.
B Madame Butterfly.
C The Magic Flute.
D Fidelio.
Question #53
A Monophony
B Fugal counterpoint
C Basso continuo
D Operatic form
Question #54
A keept a diary.
B showed his workflow in musical sketchbooks.
C described his struggles in letters to friends.
D told his troubles to his biographer.
Question #55
A the servant to Leporello.
B a despotic Italian nobleman.
C Sir John Falstaff.
D the legendary Spanish lover.
Question #56
A Salzburg, Austria.
B Eisenach, Germany.
C Rohrau, Austria.
D Bonn, Germany.
Question #57
A woodwinds, trombones, drums, and strings.
B a loose ensemble of available instruments.
C strings with harpsichord continuo.
D strings, woodwinds, horns, trumpets, and timpani.
Question #58
A 1820-1900.
B 1450-1600.
C 1600-1750.
D 1750-1820.
Question #59
A one main melody accompanied by chords.
B two or more melodies of relatively equal interest performed simultaneously.
C two or more different versions of the same basic melody performed simultaneously.
D a single melodic line without accompaniment.
Question #60
A tonic.
B modulation.
C dominant.
D scale.
Question #61
A resolution.
B progression.
C dominant chord.
D tonic chord.
Question #62
A a resting place at the end of a phrase.
B the emotional focal point of a melody.
C a part of a melody.
D the repetition of a melodic pattern at a higher or lower pitch.
Question #63
A staccato.
B vibrato.
C legato.
D glissando.
Question #64
A in a short, detached manner.
B in a smooth, connected manner.
C at a higher or lower pitch.
D in small steps.
Question #65
A rests.
B notes.
C clefs.
D beams.
Question #66
A allegro
B andante
C vivace
D adagio
Question #67
A Syncopation
B A ritardando
C Expiation
D A metronome
Question #68
A cycles per minute.
B dynamic levels.
C noiselike sounds.
D cycles per second.
Question #69
A veil or muffle the tone by fitting a clamp onto the bridge.
B pluck the string with the finger instead of using the bow.
C repeat tones by quick up-and-down strokes of the bow.
D draw the bow across two strings at the same time.
Question #70
A octave.
B dynamics.
C timbre.
D pitch.
Question #71
A which microphone the singer uses.
B training and musical style.
C physical makeup.
D training and physical makeup.
Question #72
A crescendo.
B dynamic accent.
C blooper.
D pianissimo.
Question #73
A dynamic accent.
B timbre.
C pitch range.
D an octave.
Question #74
A an art based on the organization of sounds in time.
B sounds that are pleasing, as opposed to noise.
C sounds produced by musical instruments.
D a system of symbols that performers learn to read.