Midterm Examination

A  operas

B  sonatas

C  suites

D  concertos

A  choral singers

B  melodies in minor keys

C  balanced and symmetrical phrases

D  foot stomps and hand claps

A  conceerto

B  sonata.

C  opera.

D  fugue.

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  ensemble.

B  aria.

C  stretto.

D  duet.

A  the Vatican, Rome.

B  Notre Dame, Paris.

C  St. Mark’s, Venice.

D  The Duomo, Florence.

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  notes printed in the music that ornament the melody.

D  obsolete in contemporary performances.

A  received the highest fees of any musicians.

B  All answers are correct.

C  were male singers who had been castrated before puberty.

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

A  retrograde.

B  stretto.

C  inversion.

D  countersubject.

A  episode.

B  subject.

C  countersubject.

D  answer.

A  trill.

B  shake.

C  blurb.

D  wobble.

A  two

B  three

C  one

D  four

A  basso profundo.

B  sequenced bass.

C  figured bass.

D  counterpoint.

A  accordion.

B  clavichord.

C  harpsichord.

D  piano.

A  a gradual change from soft to loud.

B  a gradual change from loud to soft.

C  the sudden alternation from one dynamic level to another.

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

A  terraced dynamics.

B  the doctrine of universal brotherhood.

C  the nobility’s manner of deportment.

D  emotional states or moods of music.

A  Italy.

B  England.

C  Germany.

D  Ireland.

A  Claudio Monteverdi.

B  Arcangelo Corelli.

C  Antonio Vivaldi.

D  Johann Sebastian Bach.

A  choral part.

B  acting, scenery, or costumes.

C  orchestral accompaniment.

D  vocal soloists.

A  operas

B  suites

C  concertos

D  sonatas

A  foot stomps and hand claps

B  melodies in minor keys

C  balanced and symmetrical phrases

D  choral singers

A  national origin.

B  tempo.

C  All answers are correct.

D  meter.

A  opera.

B  sonata.

C  fugue.

D  concerto.

A  cellist

B  organist

C  violinist

D  composer

A  Florence.

B  Rome.

C  Cremona.

D  Venice.

A  electronic instrument whose tone is generated by oscillators.

B  bass woodwind instrument similar to the bassoon.

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

D  keyboard instrument suitable for playing basso continuo parts.

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

B  polyphonic choral work set to a sacred Latin text.

C  dancelike song for several solo voices.

D  polyphonic choral composition made up of five sections.

A  was based on Gregorian chant.

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

C  was tiresomely monophonic.

D  All answers are correct.

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

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  monophonic.

B  heterophonic.

C  homophonic.

D  polyphonic.

A  early thirteenth century.

B  late twelfth century.

C  early fourteenth century.

D  late 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  Rome.

B  Paris.

C  Reims.

D  London.

A  The humanists focused on human life and its accomplishments.

B  The Madonna was treated as a beautiful young woman.

C  The humanists were basically atheistic in their beliefs.

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

A  stringed instrument.

B  dance.

C  song of worship.

D  secular song form.

A  from 590 to 604.

B  during the twelfth and thirteenth centuries.

C  during the fifteenth century.

D  during the ninth century.

A  All answers are correct.

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

C  abbess of the convent at Rupertsberg.

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  different from the major and minor scales in that they consist of only five 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  Trouvère songs.

C  contemporary gospel.

D  estampies.

A  for the organ.

B  vocal.

C  instrumental.

D  for the piano.

A  lively dance in triple meter.

B  stately dance in duple meter similar to the pavane.

C  wooden instrument with a cup-shaped mouthpiece.

D  silly, humorous dance in duple meter.

A  sacred quality and background.

B  association with minstrels and jongleurs.

C  earlier role in pagan rites.

D  use in early Jewish religious ceremonies.

A  the emotional focal point of a melody.

B  a resting place at the end of a phrase.

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

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

A  glissando.

B  vibrato.

C  legato.

D  staccato.

A  in small steps.

B  in a smooth, connected manner.

C  at a higher or lower pitch.

D  in a short, detached manner.

A  sequence.

B  range.

C  cadence.

D  rhythm.

A  metronome

B  clock

C  stopwatch

D  beat

A  higher

B  lower

C  softer

D  louder

A  upbeat.

B  intro.

C  downbeat.

D  head.

A  organ

B  accordion

C  harpsichord

D  piano

A  mute.

B  reed.

C  crook.

D  tailpiece.

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  clarinet.

B  English horn.

C  piccolo flute.

D  oboe.

A  were originally made of wood.

B  have wooden key mechanisms.

C  use a wooden reed.

D  are 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  decrescendo.

B  fortissimo.

C  diminuendo.

D  crescendo.

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

B  the quality that distinguishes musical sounds.

C  an exemplary performance.

D  the degree of loudness and softness.

A  it is too difficult to be played today.

B  hardly any notated music has survived from these cultures.

C  there probably was almost none.

D  it was too primitive to interest later generations.

A  All answers are correct.

B  A A B.

C  A B C.

D  A B A.

A  cadence.

B  repetition.

C  contrast.

D  form.

A  ternary.

B  form.

C  repetition.

D  variation.

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

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

C  an independence from major or minor scales.

D  the central tone of a musical composition.

A  440

B  1760

C  220

D  660

A  modulation.

B  key.

C  scale.

D  chromaticism.

A  timbre.

B  duration.

C  an interval.

D  dynamic accent.

A  triad.

B  dissonance.

C  dyad.

D  consonance.

A  dissonance.

B  progression.

C  chord.

D  consonance.

A  resting point at the end of a phrase.

B  combination of three or more tones sounded at once.

C  pattern of accents used in music.

D  series of individual tones heard one after another.

A  melody.

B  tempo.

C  harmony.

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.