Midterm Examination

A  operas

B  concertos

C  sonatas

D  suites

A  foot stomps and hand claps

B  balanced and symmetrical phrases

C  melodies in minor keys

D  choral singers

A  sonata.

B  conceerto

C  fugue.

D  opera.

A  was expected to embellish the returning melody with ornamental tones.

B  would make a literal repetition of the opening A section after the B section.

C  would insert recitatives between the sections for added variety.

D  would improvise new words for the returning A section.

A  ensemble.

B  aria.

C  stretto.

D  duet.

A  The Duomo, Florence.

B  St. Mark’s, Venice.

C  Notre Dame, Paris.

D  the Vatican, Rome.

A  notes printed in the music that ornament the melody.

B  music created at the same time it is performed.

C  ornamental tones not printed in the music that seventeenth- and eighteenth-century performers were expected to add to the melody.

D  obsolete in contemporary performances.

A  All answers are correct.

B  combined the lung power of a man with the vocal range of a woman.

C  were male singers who had been castrated before puberty.

D  received the highest fees of any musicians.

A  inversion.

B  retrograde.

C  stretto.

D  countersubject.

A  subject.

B  countersubject.

C  episode.

D  answer.

A  trill.

B  blurb.

C  wobble.

D  shake.

A  two

B  three

C  four

D  one

A  figured bass.

B  sequenced bass.

C  basso profundo.

D  counterpoint.

A  piano.

B  accordion.

C  clavichord.

D  harpsichord.

A  a gradual change from soft to loud.

B  the sudden alternation from one dynamic level to another.

C  a gradual change from loud to soft.

D  dynamics that are not written in the music but added by the performer.

A  emotional states or moods of music.

B  the nobility’s manner of deportment.

C  terraced dynamics.

D  the doctrine of universal brotherhood.

A  Germany.

B  Ireland.

C  England.

D  Italy.

A  Arcangelo Corelli.

B  Antonio Vivaldi.

C  Claudio Monteverdi.

D  Johann Sebastian Bach.

A  vocal soloists.

B  acting, scenery, or costumes.

C  choral part.

D  orchestral accompaniment.

A  suites

B  operas

C  sonatas

D  concertos

A  melodies in minor keys

B  foot stomps and hand claps

C  balanced and symmetrical phrases

D  choral singers

A  national origin.

B  All answers are correct.

C  tempo.

D  meter.

A  fugue.

B  sonata.

C  concerto.

D  opera.

A  organist

B  violinist

C  cellist

D  composer

A  Florence.

B  Venice.

C  Cremona.

D  Rome.

A  bass woodwind instrument similar to the bassoon.

B  keyboard instrument suitable for playing basso continuo parts.

C  electronic instrument whose tone is generated by oscillators.

D  plucked string instrument capable of producing chords as well as a bass line.

A  piece for several solo voices set to a short poem, usually about love.

B  polyphonic choral composition made up of five sections.

C  dancelike song for several solo voices.

D  polyphonic choral work set to a sacred Latin text.

A  used secular tunes, noisy instruments, and theatrical singing.

B  was tiresomely monophonic.

C  was based on Gregorian chant.

D  All answers are correct.

A  piece for several solo voices set to a short poem, usually about love.

B  polyphonic choral work set to a sacred Latin text other than the ordinary of the mass.

C  polyphonic choral composition made up of five sections.

D  dancelike song for several solo voices.

A  heterophonic.

B  polyphonic.

C  monophonic.

D  homophonic.

A  early thirteenth century.

B  late fourteenth century.

C  late twelfth century.

D  early fourteenth century.

A  the new art of baroque painters.

B  paintings from the new world.

C  German music of the sixteenth century.

D  Italian and French music of the fourteenth century.

A  Rome.

B  London.

C  Reims.

D  Paris.

A  The humanists were captivated by the pagan cultures of ancient Greece and Rome.

B  The humanists focused on human life and its accomplishments.

C  The humanists were basically atheistic in their beliefs.

D  The Madonna was treated as a beautiful young woman.

A  dance.

B  stringed instrument.

C  secular song form.

D  song of worship.

A  during the fifteenth century.

B  during the ninth century.

C  from 590 to 604.

D  during the twelfth and thirteenth centuries.

A  All answers are correct.

B  the first woman composer to leave a large number of works that have survived.

C  a visionary and mystic active in religious and diplomatic affairs.

D  abbess of the convent at Rupertsberg.

A  completely different from any other form of scale.

B  like the major and minor scales in that they consist of seven different tones.

C  different from the major and minor scales in that they consist of only five different tones.

D  different from the major and minor scales in that they consist of only six different tones.

A  All answers are correct.

B  published all of the Gregorian chants.

C  composed all of the Gregorian chants.

D  reorganized the Catholic church liturgy during his reign from 590 to 604.

A  estampies.

B  Gregorian chant.

C  contemporary gospel.

D  Trouvère songs.

A  for the piano.

B  for the organ.

C  vocal.

D  instrumental.

A  lively dance in triple meter.

B  silly, humorous dance in duple meter.

C  stately dance in duple meter similar to the pavane.

D  wooden instrument with a cup-shaped mouthpiece.

A  sacred quality and background.

B  earlier role in pagan rites.

C  use in early Jewish religious ceremonies.

D  association with minstrels and jongleurs.

A  a resting place at the end of a phrase.

B  the emotional focal point of a melody.

C  a melody that serves as the starting point for a more extended piece of music.

D  the repetition of a melodic pattern at a higher or lower pitch.

A  legato.

B  staccato.

C  glissando.

D  vibrato.

A  in small steps.

B  at a higher or lower pitch.

C  in a smooth, connected manner.

D  in a short, detached manner.

A  cadence.

B  range.

C  rhythm.

D  sequence.

A  metronome

B  stopwatch

C  beat

D  clock

A  softer

B  lower

C  higher

D  louder

A  intro.

B  upbeat.

C  head.

D  downbeat.

A  harpsichord

B  accordion

C  piano

D  organ

A  reed.

B  mute.

C  crook.

D  tailpiece.

A  the relative highness or lowness that we hear in a sound.

B  the quality that distinguishes musical sounds.

C  leaning on a musical note.

D  the degree of loudness or softness in music.

A  clarinet.

B  oboe.

C  piccolo flute.

D  English horn.

A  have wooden key mechanisms.

B  are made of wood.

C  were originally made of wood.

D  use a wooden reed.

A  the number of reeds an instrument uses.

B  playing two or more notes at the same time.

C  part of an instrument’s total range.

D  the instrument manufacturer’s brand name.

A  fortissimo.

B  crescendo.

C  diminuendo.

D  decrescendo.

A  the quality that distinguishes musical sounds.

B  the relative highness or lowness we hear in a sound.

C  the degree of loudness and softness.

D  an exemplary performance.

A  it is too difficult to be played today.

B  hardly any notated music has survived from these cultures.

C  it was too primitive to interest later generations.

D  there probably was almost none.

A  A B C.

B  A B A.

C  All answers are correct.

D  A A B.

A  contrast.

B  repetition.

C  form.

D  cadence.

A  form.

B  variation.

C  repetition.

D  ternary.

A  the sharp or flat signs immediately following the clef sign at the beginning of the staff of a musical composition.

B  a shift from one key to another within the same composition.

C  the central tone of a musical composition.

D  an independence from major or minor scales.

A  220

B  1760

C  660

D  440

A  modulation.

B  key.

C  chromaticism.

D  scale.

A  an interval.

B  timbre.

C  duration.

D  dynamic accent.

A  dissonance.

B  dyad.

C  triad.

D  consonance.

A  chord.

B  progression.

C  consonance.

D  dissonance.

A  pattern of accents used in music.

B  resting point at the end of a phrase.

C  combination of three or more tones sounded at once.

D  series of individual tones heard one after another.

A  tempo.

B  harmony.

C  melody.

D  meter.

A  the repetition of a melodic pattern at a higher or lower pitch.

B  the emotional focal point of a melody.

C  a resting place at the end of a phrase.

D  a part of a melody.