Midterm Examination

A  suites

B  operas

C  sonatas

D  concertos

A  melodies in minor keys

B  foot stomps and hand claps

C  balanced and symmetrical phrases

D  choral singers

A  sonata.

B  conceerto

C  opera.

D  fugue.

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

B  would improvise new words for the returning A section.

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

D  would insert recitatives between the sections for added variety.

A  duet.

B  stretto.

C  ensemble.

D  aria.

A  The Duomo, Florence.

B  St. Mark’s, Venice.

C  Notre Dame, Paris.

D  the Vatican, Rome.

A  obsolete in contemporary performances.

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

C  music created at the same time it is performed.

D  notes printed in the music that ornament the melody.

A  All answers are correct.

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

C  received the highest fees of any musicians.

D  were male singers who had been castrated before puberty.

A  retrograde.

B  countersubject.

C  stretto.

D  inversion.

A  countersubject.

B  answer.

C  episode.

D  subject.

A  shake.

B  blurb.

C  wobble.

D  trill.

A  one

B  two

C  three

D  four

A  counterpoint.

B  figured bass.

C  sequenced bass.

D  basso profundo.

A  accordion.

B  piano.

C  clavichord.

D  harpsichord.

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

B  a gradual change from loud to soft.

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  terraced dynamics.

C  the nobility’s manner of deportment.

D  emotional states or moods of music.

A  England.

B  Ireland.

C  Italy.

D  Germany.

A  Arcangelo Corelli.

B  Johann Sebastian Bach.

C  Claudio Monteverdi.

D  Antonio Vivaldi.

A  orchestral accompaniment.

B  choral part.

C  acting, scenery, or costumes.

D  vocal soloists.

A  suites

B  sonatas

C  operas

D  concertos

A  melodies in minor keys

B  choral singers

C  foot stomps and hand claps

D  balanced and symmetrical phrases

A  meter.

B  All answers are correct.

C  tempo.

D  national origin.

A  fugue.

B  concerto.

C  opera.

D  sonata.

A  violinist

B  cellist

C  organist

D  composer

A  Florence.

B  Cremona.

C  Venice.

D  Rome.

A  electronic instrument whose tone is generated by oscillators.

B  keyboard instrument suitable for playing basso continuo parts.

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

D  bass woodwind instrument similar to the bassoon.

A  dancelike song for several solo voices.

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

C  polyphonic choral work set to a sacred Latin text.

D  polyphonic choral composition made up of five sections.

A  was tiresomely monophonic.

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

C  All answers are correct.

D  was based on Gregorian chant.

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

B  polyphonic choral composition made up of five sections.

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  homophonic.

C  heterophonic.

D  monophonic.

A  early fourteenth century.

B  early thirteenth century.

C  late twelfth century.

D  late fourteenth century.

A  paintings from the new world.

B  the new art of baroque painters.

C  German music of the sixteenth century.

D  Italian and French music of the fourteenth century.

A  Reims.

B  Rome.

C  Paris.

D  London.

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  secular song form.

B  dance.

C  stringed instrument.

D  song of worship.

A  during the twelfth and thirteenth centuries.

B  during the fifteenth century.

C  during the ninth century.

D  from 590 to 604.

A  All answers are correct.

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

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

D  abbess of the convent at Rupertsberg.

A  completely different from any other form of scale.

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

A  composed all of the Gregorian chants.

B  published all of the Gregorian chants.

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

D  All answers are correct.

A  Trouvère songs.

B  estampies.

C  contemporary gospel.

D  Gregorian chant.

A  for the piano.

B  instrumental.

C  for the organ.

D  vocal.

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  earlier role in pagan rites.

B  sacred quality and background.

C  association with minstrels and jongleurs.

D  use in early Jewish religious ceremonies.

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  a resting place at the end of a phrase.

D  the emotional focal point of a melody.

A  staccato.

B  legato.

C  vibrato.

D  glissando.

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  sequence.

C  rhythm.

D  cadence.

A  beat

B  clock

C  stopwatch

D  metronome

A  louder

B  higher

C  lower

D  softer

A  intro.

B  head.

C  downbeat.

D  upbeat.

A  piano

B  harpsichord

C  organ

D  accordion

A  mute.

B  crook.

C  reed.

D  tailpiece.

A  leaning on a musical note.

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

C  the degree of loudness or softness in music.

D  the quality that distinguishes musical sounds.

A  clarinet.

B  English horn.

C  oboe.

D  piccolo flute.

A  use a wooden reed.

B  have wooden key mechanisms.

C  are made of wood.

D  were originally made of wood.

A  the instrument manufacturer’s brand name.

B  playing two or more notes at the same time.

C  part of an instrument’s total range.

D  the number of reeds an instrument uses.

A  diminuendo.

B  crescendo.

C  fortissimo.

D  decrescendo.

A  an exemplary performance.

B  the quality that distinguishes musical sounds.

C  the degree of loudness and softness.

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

A  there probably was almost none.

B  it is too difficult to be played today.

C  it was too primitive to interest later generations.

D  hardly any notated music has survived from these cultures.

A  A A B.

B  All answers are correct.

C  A B A.

D  A B C.

A  contrast.

B  repetition.

C  cadence.

D  form.

A  repetition.

B  form.

C  variation.

D  ternary.

A  the central tone of a musical composition.

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

C  an independence from major or minor scales.

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

A  220

B  440

C  1760

D  660

A  scale.

B  modulation.

C  key.

D  chromaticism.

A  dynamic accent.

B  duration.

C  an interval.

D  timbre.

A  consonance.

B  dyad.

C  dissonance.

D  triad.

A  chord.

B  consonance.

C  dissonance.

D  progression.

A  series of individual tones heard one after another.

B  resting point at the end of a phrase.

C  combination of three or more tones sounded at once.

D  pattern of accents used in music.

A  meter.

B  tempo.

C  harmony.

D  melody.

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.