Midterm Examination

A  suites

B  operas

C  sonatas

D  concertos

A  balanced and symmetrical phrases

B  melodies in minor keys

C  foot stomps and hand claps

D  choral singers

A  conceerto

B  opera.

C  fugue.

D  sonata.

A  would improvise new words for the returning A section.

B  would insert recitatives between the sections for added variety.

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

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

A  ensemble.

B  duet.

C  stretto.

D  aria.

A  The Duomo, Florence.

B  Notre Dame, Paris.

C  St. Mark’s, Venice.

D  the Vatican, Rome.

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

B  obsolete in contemporary performances.

C  notes printed in the music that ornament the melody.

D  music created at the same time it is performed.

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

B  received the highest fees of any musicians.

C  were male singers who had been castrated before puberty.

D  All answers are correct.

A  retrograde.

B  inversion.

C  stretto.

D  countersubject.

A  episode.

B  answer.

C  subject.

D  countersubject.

A  trill.

B  blurb.

C  shake.

D  wobble.

A  two

B  three

C  one

D  four

A  sequenced bass.

B  counterpoint.

C  figured bass.

D  basso profundo.

A  piano.

B  accordion.

C  harpsichord.

D  clavichord.

A  a gradual change from soft to loud.

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

C  a gradual change from loud to soft.

D  the sudden alternation from one dynamic level to another.

A  the nobility’s manner of deportment.

B  emotional states or moods of music.

C  terraced dynamics.

D  the doctrine of universal brotherhood.

A  England.

B  Italy.

C  Ireland.

D  Germany.

A  Antonio Vivaldi.

B  Arcangelo Corelli.

C  Johann Sebastian Bach.

D  Claudio Monteverdi.

A  vocal soloists.

B  orchestral accompaniment.

C  choral part.

D  acting, scenery, or costumes.

A  operas

B  suites

C  sonatas

D  concertos

A  balanced and symmetrical phrases

B  melodies in minor keys

C  choral singers

D  foot stomps and hand claps

A  meter.

B  national origin.

C  tempo.

D  All answers are correct.

A  fugue.

B  sonata.

C  concerto.

D  opera.

A  composer

B  violinist

C  organist

D  cellist

A  Florence.

B  Rome.

C  Venice.

D  Cremona.

A  bass woodwind instrument similar to the bassoon.

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

C  keyboard instrument suitable for playing basso continuo parts.

D  electronic instrument whose tone is generated by oscillators.

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

B  dancelike song for several solo voices.

C  polyphonic choral composition made up of five sections.

D  polyphonic choral work set to a sacred Latin text.

A  was tiresomely monophonic.

B  All answers are correct.

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

D  was based on Gregorian chant.

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  monophonic.

B  polyphonic.

C  homophonic.

D  heterophonic.

A  late twelfth century.

B  early thirteenth century.

C  early fourteenth century.

D  late fourteenth century.

A  German music of the sixteenth century.

B  the new art of baroque painters.

C  Italian and French music of the fourteenth century.

D  paintings from the new world.

A  Paris.

B  Reims.

C  London.

D  Rome.

A  The Madonna was treated as a beautiful young woman.

B  The humanists focused on human life and its accomplishments.

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

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 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 five different tones.

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

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

D  completely different from any other form of scale.

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  Gregorian chant.

B  contemporary gospel.

C  estampies.

D  Trouvère songs.

A  instrumental.

B  for the piano.

C  vocal.

D  for the organ.

A  silly, humorous dance in duple meter.

B  wooden instrument with a cup-shaped mouthpiece.

C  lively dance in triple meter.

D  stately dance in duple meter similar to the pavane.

A  use in early Jewish religious ceremonies.

B  association with minstrels and jongleurs.

C  earlier role in pagan rites.

D  sacred quality and background.

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

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

C  a resting place at the end of a phrase.

D  the emotional focal point of a melody.

A  glissando.

B  legato.

C  vibrato.

D  staccato.

A  at a higher or lower pitch.

B  in a short, detached manner.

C  in a smooth, connected manner.

D  in small steps.

A  range.

B  rhythm.

C  cadence.

D  sequence.

A  stopwatch

B  metronome

C  beat

D  clock

A  softer

B  lower

C  louder

D  higher

A  downbeat.

B  upbeat.

C  head.

D  intro.

A  piano

B  accordion

C  harpsichord

D  organ

A  tailpiece.

B  reed.

C  mute.

D  crook.

A  leaning on a musical note.

B  the quality that distinguishes musical sounds.

C  the degree of loudness or softness in music.

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

A  clarinet.

B  piccolo flute.

C  oboe.

D  English horn.

A  are made of wood.

B  use a wooden reed.

C  were originally made of wood.

D  have wooden key mechanisms.

A  the instrument manufacturer’s brand name.

B  part of an instrument’s total range.

C  playing two or more notes at the same time.

D  the number of reeds an instrument uses.

A  fortissimo.

B  diminuendo.

C  decrescendo.

D  crescendo.

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

B  the degree of loudness and softness.

C  an exemplary performance.

D  the quality that distinguishes musical sounds.

A  it is too difficult to be played today.

B  there probably was almost none.

C  it was too primitive to interest later generations.

D  hardly any notated music has survived from these cultures.

A  A B A.

B  All answers are correct.

C  A B C.

D  A A B.

A  form.

B  contrast.

C  cadence.

D  repetition.

A  repetition.

B  ternary.

C  form.

D  variation.

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  1760

B  220

C  660

D  440

A  modulation.

B  chromaticism.

C  key.

D  scale.

A  timbre.

B  dynamic accent.

C  an interval.

D  duration.

A  triad.

B  consonance.

C  dyad.

D  dissonance.

A  progression.

B  consonance.

C  chord.

D  dissonance.

A  combination of three or more tones sounded at once.

B  resting point at the end of a phrase.

C  series of individual tones heard one after another.

D  pattern of accents used in music.

A  meter.

B  harmony.

C  melody.

D  tempo.

A  a part of a melody.

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

C  a resting place at the end of a phrase.

D  the emotional focal point of a melody.