Midterm Examination

A  sonatas

B  suites

C  concertos

D  operas

A  melodies in minor keys

B  balanced and symmetrical phrases

C  foot stomps and hand claps

D  choral singers

A  opera.

B  sonata.

C  fugue.

D  conceerto

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 improvise new words for the returning A section.

D  would insert recitatives between the sections for added variety.

A  aria.

B  ensemble.

C  duet.

D  stretto.

A  St. Mark’s, Venice.

B  Notre Dame, Paris.

C  the Vatican, Rome.

D  The Duomo, Florence.

A  music created at the same time it is performed.

B  obsolete in contemporary performances.

C  notes printed in the music that ornament the melody.

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

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

B  received the highest fees of any musicians.

C  All answers are correct.

D  were male singers who had been castrated before puberty.

A  inversion.

B  stretto.

C  retrograde.

D  countersubject.

A  subject.

B  answer.

C  episode.

D  countersubject.

A  shake.

B  wobble.

C  trill.

D  blurb.

A  three

B  four

C  two

D  one

A  sequenced bass.

B  figured bass.

C  counterpoint.

D  basso profundo.

A  piano.

B  clavichord.

C  harpsichord.

D  accordion.

A  a gradual change from loud to soft.

B  a gradual change from soft to loud.

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  terraced dynamics.

B  emotional states or moods of music.

C  the doctrine of universal brotherhood.

D  the nobility’s manner of deportment.

A  Ireland.

B  Italy.

C  England.

D  Germany.

A  Arcangelo Corelli.

B  Johann Sebastian Bach.

C  Antonio Vivaldi.

D  Claudio Monteverdi.

A  acting, scenery, or costumes.

B  orchestral accompaniment.

C  choral part.

D  vocal soloists.

A  operas

B  concertos

C  sonatas

D  suites

A  foot stomps and hand claps

B  choral singers

C  balanced and symmetrical phrases

D  melodies in minor keys

A  tempo.

B  national origin.

C  All answers are correct.

D  meter.

A  concerto.

B  sonata.

C  fugue.

D  opera.

A  composer

B  organist

C  cellist

D  violinist

A  Cremona.

B  Florence.

C  Venice.

D  Rome.

A  keyboard instrument suitable for playing basso continuo parts.

B  electronic instrument whose tone is generated by oscillators.

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

D  bass woodwind instrument similar to the bassoon.

A  polyphonic choral work set to a sacred Latin text.

B  dancelike song for several solo voices.

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

D  polyphonic choral composition made up of five sections.

A  was tiresomely monophonic.

B  was based on Gregorian chant.

C  All answers are correct.

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

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 other than the ordinary of the mass.

A  polyphonic.

B  monophonic.

C  heterophonic.

D  homophonic.

A  late fourteenth century.

B  early thirteenth century.

C  late twelfth century.

D  early fourteenth century.

A  the new art of baroque painters.

B  paintings from the new world.

C  Italian and French music of the fourteenth century.

D  German music of the sixteenth century.

A  London.

B  Paris.

C  Reims.

D  Rome.

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 Madonna was treated as a beautiful young woman.

D  The humanists were basically atheistic in their beliefs.

A  song of worship.

B  secular song form.

C  stringed instrument.

D  dance.

A  from 590 to 604.

B  during the fifteenth century.

C  during the twelfth and thirteenth centuries.

D  during the ninth 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  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 five different tones.

C  completely different from any other form of scale.

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

A  All answers are correct.

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

C  composed all of the Gregorian chants.

D  published all of the Gregorian chants.

A  estampies.

B  Trouvère songs.

C  Gregorian chant.

D  contemporary gospel.

A  vocal.

B  for the organ.

C  instrumental.

D  for the piano.

A  stately dance in duple meter similar to the pavane.

B  lively dance in triple meter.

C  wooden instrument with a cup-shaped mouthpiece.

D  silly, humorous dance in duple meter.

A  association with minstrels and jongleurs.

B  earlier role in pagan rites.

C  sacred quality and background.

D  use in early Jewish religious ceremonies.

A  the emotional focal point of a melody.

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

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

D  a resting place at the end of a phrase.

A  vibrato.

B  glissando.

C  staccato.

D  legato.

A  in a smooth, connected manner.

B  at a higher or lower pitch.

C  in small steps.

D  in a short, detached manner.

A  rhythm.

B  range.

C  cadence.

D  sequence.

A  stopwatch

B  metronome

C  beat

D  clock

A  softer

B  lower

C  louder

D  higher

A  head.

B  downbeat.

C  intro.

D  upbeat.

A  piano

B  accordion

C  harpsichord

D  organ

A  mute.

B  reed.

C  crook.

D  tailpiece.

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

B  leaning on a musical note.

C  the degree of loudness or softness in music.

D  the quality that distinguishes musical sounds.

A  oboe.

B  English horn.

C  clarinet.

D  piccolo flute.

A  have wooden key mechanisms.

B  were originally made of wood.

C  are made of wood.

D  use a wooden reed.

A  part of an instrument’s total range.

B  the number of reeds an instrument uses.

C  the instrument manufacturer’s brand name.

D  playing two or more notes at the same time.

A  crescendo.

B  diminuendo.

C  decrescendo.

D  fortissimo.

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 was too primitive to interest later generations.

B  hardly any notated music has survived from these cultures.

C  it is too difficult to be played today.

D  there probably was almost none.

A  A B A.

B  A A B.

C  All answers are correct.

D  A B C.

A  repetition.

B  cadence.

C  form.

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

D  the central tone of a musical composition.

A  220

B  440

C  660

D  1760

A  scale.

B  key.

C  chromaticism.

D  modulation.

A  an interval.

B  duration.

C  dynamic accent.

D  timbre.

A  consonance.

B  triad.

C  dissonance.

D  dyad.

A  chord.

B  dissonance.

C  consonance.

D  progression.

A  series of individual tones heard one after another.

B  pattern of accents used in music.

C  resting point at the end of a phrase.

D  combination of three or more tones sounded at once.

A  melody.

B  meter.

C  harmony.

D  tempo.

A  a part of a melody.

B  a resting place at the end of a phrase.

C  the emotional focal point of a melody.

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