Midterm Examination

A  suites

B  operas

C  sonatas

D  concertos

A  melodies in minor keys

B  choral singers

C  balanced and symmetrical phrases

D  foot stomps and hand claps

A  fugue.

B  opera.

C  sonata.

D  conceerto

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 improvise new words for the returning A section.

D  would insert recitatives between the sections for added variety.

A  stretto.

B  aria.

C  duet.

D  ensemble.

A  St. Mark’s, Venice.

B  The Duomo, Florence.

C  Notre Dame, Paris.

D  the Vatican, Rome.

A  obsolete in contemporary performances.

B  notes printed in the music that ornament the melody.

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

D  music created at the same time it is performed.

A  were male singers who had been castrated before puberty.

B  received the highest fees of any musicians.

C  All answers are correct.

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

A  inversion.

B  countersubject.

C  stretto.

D  retrograde.

A  answer.

B  countersubject.

C  subject.

D  episode.

A  trill.

B  wobble.

C  blurb.

D  shake.

A  four

B  one

C  two

D  three

A  counterpoint.

B  figured bass.

C  sequenced bass.

D  basso profundo.

A  accordion.

B  piano.

C  clavichord.

D  harpsichord.

A  a gradual change from soft to loud.

B  a gradual change from loud to soft.

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

D  the sudden alternation from one dynamic level to another.

A  the doctrine of universal brotherhood.

B  terraced dynamics.

C  emotional states or moods of music.

D  the nobility’s manner of deportment.

A  Germany.

B  Ireland.

C  England.

D  Italy.

A  Antonio Vivaldi.

B  Claudio Monteverdi.

C  Johann Sebastian Bach.

D  Arcangelo Corelli.

A  orchestral accompaniment.

B  vocal soloists.

C  choral part.

D  acting, scenery, or costumes.

A  operas

B  suites

C  concertos

D  sonatas

A  choral singers

B  foot stomps and hand claps

C  melodies in minor keys

D  balanced and symmetrical phrases

A  national origin.

B  All answers are correct.

C  meter.

D  tempo.

A  sonata.

B  fugue.

C  concerto.

D  opera.

A  cellist

B  composer

C  organist

D  violinist

A  Florence.

B  Venice.

C  Rome.

D  Cremona.

A  electronic instrument whose tone is generated by oscillators.

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

C  keyboard instrument suitable for playing basso continuo parts.

D  bass woodwind instrument similar to the bassoon.

A  dancelike song for several solo voices.

B  polyphonic choral composition made up of five sections.

C  polyphonic choral work set to a sacred Latin text.

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

A  was based on Gregorian chant.

B  was tiresomely monophonic.

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

D  All answers are correct.

A  polyphonic choral composition made up of five sections.

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

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

D  dancelike song for several solo voices.

A  polyphonic.

B  homophonic.

C  heterophonic.

D  monophonic.

A  early fourteenth century.

B  early thirteenth century.

C  late twelfth century.

D  late fourteenth century.

A  Italian and French music of the fourteenth century.

B  the new art of baroque painters.

C  paintings from the new world.

D  German music of the sixteenth century.

A  Paris.

B  Reims.

C  London.

D  Rome.

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

B  The Madonna was treated as a beautiful young woman.

C  The humanists were basically atheistic in their beliefs.

D  The humanists focused on human life and its accomplishments.

A  stringed instrument.

B  secular song form.

C  song of worship.

D  dance.

A  during the ninth century.

B  during the twelfth and thirteenth centuries.

C  during the fifteenth century.

D  from 590 to 604.

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

B  All answers are correct.

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

D  abbess of the convent at Rupertsberg.

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

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

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

D  completely different from any other form of scale.

A  published all of the Gregorian chants.

B  All answers are correct.

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

D  composed all of the Gregorian chants.

A  Gregorian chant.

B  contemporary gospel.

C  estampies.

D  Trouvère songs.

A  for the piano.

B  for the organ.

C  vocal.

D  instrumental.

A  wooden instrument with a cup-shaped mouthpiece.

B  silly, humorous dance in duple meter.

C  lively dance in triple meter.

D  stately dance in duple meter similar to the pavane.

A  association with minstrels and jongleurs.

B  use in early Jewish religious ceremonies.

C  sacred quality and background.

D  earlier role in pagan rites.

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

B  a resting place at the end of a phrase.

C  the emotional focal point of a melody.

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

A  staccato.

B  legato.

C  glissando.

D  vibrato.

A  in small steps.

B  in a short, detached manner.

C  at a higher or lower pitch.

D  in a smooth, connected manner.

A  sequence.

B  range.

C  rhythm.

D  cadence.

A  beat

B  clock

C  metronome

D  stopwatch

A  lower

B  louder

C  higher

D  softer

A  upbeat.

B  downbeat.

C  intro.

D  head.

A  organ

B  accordion

C  piano

D  harpsichord

A  reed.

B  crook.

C  mute.

D  tailpiece.

A  leaning on a musical note.

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

C  the degree of loudness or softness in music.

D  the quality that distinguishes musical sounds.

A  clarinet.

B  piccolo flute.

C  English horn.

D  oboe.

A  use a wooden reed.

B  are made of wood.

C  have wooden key mechanisms.

D  were originally made of wood.

A  the number of reeds an instrument uses.

B  part of an instrument’s total range.

C  playing two or more notes at the same time.

D  the instrument manufacturer’s brand name.

A  diminuendo.

B  fortissimo.

C  decrescendo.

D  crescendo.

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

B  the quality that distinguishes musical sounds.

C  the degree of loudness and softness.

D  an exemplary performance.

A  hardly any notated music has survived from these cultures.

B  it was too primitive to interest later generations.

C  it is too difficult to be played today.

D  there probably was almost none.

A  A A B.

B  A B A.

C  All answers are correct.

D  A B C.

A  form.

B  repetition.

C  contrast.

D  cadence.

A  variation.

B  form.

C  ternary.

D  repetition.

A  an independence from major or minor scales.

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

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

D  the central tone of a musical composition.

A  1760

B  220

C  440

D  660

A  modulation.

B  scale.

C  chromaticism.

D  key.

A  an interval.

B  timbre.

C  dynamic accent.

D  duration.

A  dyad.

B  triad.

C  dissonance.

D  consonance.

A  dissonance.

B  chord.

C  consonance.

D  progression.

A  pattern of accents used in music.

B  combination of three or more tones sounded at once.

C  series of individual tones heard one after another.

D  resting point at the end of a phrase.

A  melody.

B  harmony.

C  tempo.

D  meter.

A  the emotional focal point of a melody.

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

C  a part of a melody.

D  a resting place at the end of a phrase.