Midterm Examination

A  operas

B  concertos

C  sonatas

D  suites

A  melodies in minor keys

B  choral singers

C  foot stomps and hand claps

D  balanced and symmetrical phrases

A  conceerto

B  opera.

C  fugue.

D  sonata.

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

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

C  would insert recitatives between the sections for added variety.

D  would improvise new words for the returning A section.

A  duet.

B  aria.

C  ensemble.

D  stretto.

A  the Vatican, Rome.

B  St. Mark’s, Venice.

C  The Duomo, Florence.

D  Notre Dame, Paris.

A  music created at the same time it is performed.

B  obsolete in contemporary performances.

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

D  notes printed in the music that ornament the melody.

A  were male singers who had been castrated before puberty.

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

C  received the highest fees of any musicians.

D  All answers are correct.

A  inversion.

B  countersubject.

C  stretto.

D  retrograde.

A  countersubject.

B  answer.

C  subject.

D  episode.

A  wobble.

B  trill.

C  shake.

D  blurb.

A  two

B  four

C  one

D  three

A  counterpoint.

B  basso profundo.

C  figured bass.

D  sequenced bass.

A  accordion.

B  clavichord.

C  piano.

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 doctrine of universal brotherhood.

C  the nobility’s manner of deportment.

D  terraced dynamics.

A  Germany.

B  Ireland.

C  Italy.

D  England.

A  Claudio Monteverdi.

B  Antonio Vivaldi.

C  Johann Sebastian Bach.

D  Arcangelo Corelli.

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  balanced and symmetrical phrases

C  foot stomps and hand claps

D  choral singers

A  tempo.

B  All answers are correct.

C  meter.

D  national origin.

A  concerto.

B  fugue.

C  opera.

D  sonata.

A  organist

B  cellist

C  violinist

D  composer

A  Rome.

B  Venice.

C  Cremona.

D  Florence.

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  polyphonic choral work set to a sacred Latin text.

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

C  dancelike song for several solo voices.

D  polyphonic choral composition made up of five sections.

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  dancelike song for several solo voices.

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

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

A  polyphonic.

B  homophonic.

C  monophonic.

D  heterophonic.

A  early fourteenth century.

B  late twelfth century.

C  early thirteenth 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  Rome.

B  Reims.

C  Paris.

D  London.

A  The humanists focused on human life and its accomplishments.

B  The humanists were basically atheistic in their beliefs.

C  The Madonna was treated as a beautiful young woman.

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

A  stringed instrument.

B  song of worship.

C  secular song form.

D  dance.

A  during the fifteenth century.

B  during the twelfth and thirteenth centuries.

C  from 590 to 604.

D  during the ninth century.

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

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

C  completely different from any other form of scale.

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

A  All answers are correct.

B  published all of the Gregorian chants.

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

D  composed all of the Gregorian chants.

A  Trouvère songs.

B  estampies.

C  contemporary gospel.

D  Gregorian chant.

A  for the piano.

B  for the organ.

C  vocal.

D  instrumental.

A  silly, humorous dance in duple meter.

B  stately dance in duple meter similar to the pavane.

C  wooden instrument with a cup-shaped mouthpiece.

D  lively dance in triple meter.

A  association with minstrels and jongleurs.

B  use in early Jewish religious ceremonies.

C  earlier role in pagan rites.

D  sacred quality and background.

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

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

C  the emotional focal point of a melody.

D  a resting place at the end of a phrase.

A  vibrato.

B  staccato.

C  glissando.

D  legato.

A  in a short, detached manner.

B  at a higher or lower pitch.

C  in a smooth, connected manner.

D  in small steps.

A  range.

B  rhythm.

C  cadence.

D  sequence.

A  metronome

B  clock

C  beat

D  stopwatch

A  higher

B  lower

C  louder

D  softer

A  intro.

B  upbeat.

C  head.

D  downbeat.

A  accordion

B  organ

C  piano

D  harpsichord

A  crook.

B  mute.

C  tailpiece.

D  reed.

A  leaning on a musical note.

B  the degree of loudness or softness in music.

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

D  the quality that distinguishes musical sounds.

A  English horn.

B  piccolo flute.

C  oboe.

D  clarinet.

A  use a wooden reed.

B  are made of wood.

C  have wooden key mechanisms.

D  were originally made of wood.

A  playing two or more notes at the same time.

B  part of an instrument’s total range.

C  the number of reeds an instrument uses.

D  the instrument manufacturer’s brand name.

A  fortissimo.

B  crescendo.

C  decrescendo.

D  diminuendo.

A  the degree of loudness and softness.

B  an exemplary performance.

C  the quality that distinguishes musical sounds.

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

A  it was too primitive to interest later generations.

B  hardly any notated music has survived from these cultures.

C  there probably was almost none.

D  it is too difficult to be played today.

A  All answers are correct.

B  A B A.

C  A B C.

D  A A B.

A  form.

B  contrast.

C  cadence.

D  repetition.

A  repetition.

B  ternary.

C  variation.

D  form.

A  the central tone of a musical composition.

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

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

D  an independence from major or minor scales.

A  660

B  440

C  220

D  1760

A  chromaticism.

B  key.

C  scale.

D  modulation.

A  dynamic accent.

B  duration.

C  timbre.

D  an interval.

A  dyad.

B  triad.

C  dissonance.

D  consonance.

A  consonance.

B  dissonance.

C  progression.

D  chord.

A  pattern of accents used in music.

B  resting point at the end of a phrase.

C  series of individual tones heard one after another.

D  combination of three or more tones sounded at once.

A  melody.

B  meter.

C  harmony.

D  tempo.

A  a resting place at the end of a phrase.

B  a part of a melody.

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

D  the emotional focal point of a melody.