Midterm Examination

A  concertos

B  operas

C  suites

D  sonatas

A  foot stomps and hand claps

B  balanced and symmetrical phrases

C  choral singers

D  melodies in minor keys

A  opera.

B  fugue.

C  conceerto

D  sonata.

A  would insert recitatives between the sections for added variety.

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  was expected to embellish the returning melody with ornamental tones.

A  duet.

B  ensemble.

C  aria.

D  stretto.

A  St. Mark’s, Venice.

B  The Duomo, Florence.

C  the Vatican, Rome.

D  Notre Dame, Paris.

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

B  music created at the same time it is performed.

C  obsolete in contemporary performances.

D  notes printed in the music that ornament the melody.

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

B  were male singers who had been castrated before puberty.

C  received the highest fees of any musicians.

D  All answers are correct.

A  countersubject.

B  retrograde.

C  stretto.

D  inversion.

A  answer.

B  episode.

C  countersubject.

D  subject.

A  shake.

B  blurb.

C  trill.

D  wobble.

A  three

B  one

C  four

D  two

A  figured bass.

B  sequenced bass.

C  basso profundo.

D  counterpoint.

A  accordion.

B  harpsichord.

C  piano.

D  clavichord.

A  a gradual change from loud to soft.

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

C  a gradual change from soft to loud.

D  the sudden alternation from one dynamic level to another.

A  the doctrine of universal brotherhood.

B  the nobility’s manner of deportment.

C  emotional states or moods of music.

D  terraced dynamics.

A  England.

B  Germany.

C  Italy.

D  Ireland.

A  Claudio Monteverdi.

B  Antonio Vivaldi.

C  Johann Sebastian Bach.

D  Arcangelo Corelli.

A  orchestral accompaniment.

B  choral part.

C  acting, scenery, or costumes.

D  vocal soloists.

A  suites

B  concertos

C  sonatas

D  operas

A  balanced and symmetrical phrases

B  choral singers

C  melodies in minor keys

D  foot stomps and hand claps

A  national origin.

B  meter.

C  tempo.

D  All answers are correct.

A  concerto.

B  fugue.

C  opera.

D  sonata.

A  organist

B  violinist

C  cellist

D  composer

A  Rome.

B  Cremona.

C  Florence.

D  Venice.

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

B  bass woodwind instrument similar to the bassoon.

C  electronic instrument whose tone is generated by oscillators.

D  keyboard instrument suitable for playing basso continuo parts.

A  polyphonic choral composition made up of five sections.

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

C  dancelike song for several solo voices.

D  polyphonic choral work set to a sacred Latin text.

A  was based on Gregorian chant.

B  All answers are correct.

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

D  was tiresomely monophonic.

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

B  polyphonic choral composition made up of five sections.

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

D  dancelike song for several solo voices.

A  homophonic.

B  heterophonic.

C  monophonic.

D  polyphonic.

A  late twelfth century.

B  late fourteenth century.

C  early fourteenth century.

D  early thirteenth century.

A  the new art of baroque painters.

B  German music of the sixteenth century.

C  Italian and French music of the fourteenth century.

D  paintings from the new world.

A  Paris.

B  London.

C  Rome.

D  Reims.

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

B  The humanists were basically atheistic in their beliefs.

C  The humanists focused on human life and its accomplishments.

D  The Madonna was treated as a beautiful young woman.

A  song of worship.

B  dance.

C  stringed instrument.

D  secular song form.

A  from 590 to 604.

B  during the twelfth and thirteenth centuries.

C  during the ninth century.

D  during the fifteenth century.

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

B  abbess of the convent at Rupertsberg.

C  All answers are correct.

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

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

B  completely different from any other form of scale.

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

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

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

B  published all of the Gregorian chants.

C  composed all of the Gregorian chants.

D  All answers are correct.

A  Trouvère songs.

B  contemporary gospel.

C  estampies.

D  Gregorian chant.

A  vocal.

B  instrumental.

C  for the organ.

D  for the piano.

A  lively dance in triple meter.

B  wooden instrument with a cup-shaped mouthpiece.

C  stately dance in duple meter similar to the pavane.

D  silly, humorous dance in duple meter.

A  sacred quality and background.

B  association with minstrels and jongleurs.

C  use in early Jewish religious ceremonies.

D  earlier role in pagan rites.

A  a resting place at the end of a phrase.

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

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  vibrato.

B  legato.

C  staccato.

D  glissando.

A  in small steps.

B  in a short, detached manner.

C  in a smooth, connected manner.

D  at a higher or lower pitch.

A  range.

B  sequence.

C  rhythm.

D  cadence.

A  clock

B  stopwatch

C  beat

D  metronome

A  louder

B  lower

C  higher

D  softer

A  head.

B  intro.

C  upbeat.

D  downbeat.

A  accordion

B  piano

C  harpsichord

D  organ

A  mute.

B  crook.

C  reed.

D  tailpiece.

A  leaning on a musical note.

B  the degree of loudness or softness in music.

C  the quality that distinguishes musical sounds.

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

A  oboe.

B  piccolo flute.

C  clarinet.

D  English horn.

A  have wooden key mechanisms.

B  were originally made of wood.

C  use a wooden reed.

D  are made of wood.

A  part of an instrument’s total range.

B  playing two or more notes at the same time.

C  the instrument manufacturer’s brand name.

D  the number of reeds an instrument uses.

A  diminuendo.

B  crescendo.

C  fortissimo.

D  decrescendo.

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

B  an exemplary performance.

C  the degree of loudness and softness.

D  the quality that distinguishes musical sounds.

A  it is too difficult to be played today.

B  it was too primitive to interest later generations.

C  there probably was almost none.

D  hardly any notated music has survived from these cultures.

A  A B A.

B  A B C.

C  A A B.

D  All answers are correct.

A  repetition.

B  form.

C  cadence.

D  contrast.

A  ternary.

B  form.

C  variation.

D  repetition.

A  an independence from major or minor scales.

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

C  the central tone of a musical composition.

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

A  660

B  220

C  440

D  1760

A  modulation.

B  scale.

C  chromaticism.

D  key.

A  timbre.

B  duration.

C  an interval.

D  dynamic accent.

A  dyad.

B  consonance.

C  dissonance.

D  triad.

A  consonance.

B  chord.

C  progression.

D  dissonance.

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  meter.

B  harmony.

C  melody.

D  tempo.

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

B  a part of a melody.

C  the emotional focal point of a melody.

D  a resting place at the end of a phrase.