Midterm Examination

A  suites

B  concertos

C  operas

D  sonatas

A  melodies in minor keys

B  choral singers

C  foot stomps and hand claps

D  balanced and symmetrical phrases

A  conceerto

B  fugue.

C  opera.

D  sonata.

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

B  would improvise new words for the returning A section.

C  would insert recitatives between the sections for added variety.

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

A  aria.

B  duet.

C  stretto.

D  ensemble.

A  St. Mark’s, Venice.

B  Notre Dame, Paris.

C  The Duomo, Florence.

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  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  were male singers who had been castrated before puberty.

C  All answers are correct.

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

A  retrograde.

B  stretto.

C  countersubject.

D  inversion.

A  episode.

B  answer.

C  countersubject.

D  subject.

A  blurb.

B  trill.

C  shake.

D  wobble.

A  two

B  four

C  one

D  three

A  figured bass.

B  basso profundo.

C  sequenced bass.

D  counterpoint.

A  clavichord.

B  accordion.

C  piano.

D  harpsichord.

A  a gradual change from loud to soft.

B  a gradual change from soft to loud.

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  the nobility’s manner of deportment.

B  terraced dynamics.

C  the doctrine of universal brotherhood.

D  emotional states or moods of music.

A  Ireland.

B  Italy.

C  England.

D  Germany.

A  Claudio Monteverdi.

B  Antonio Vivaldi.

C  Johann Sebastian Bach.

D  Arcangelo Corelli.

A  acting, scenery, or costumes.

B  vocal soloists.

C  orchestral accompaniment.

D  choral part.

A  suites

B  sonatas

C  concertos

D  operas

A  foot stomps and hand claps

B  balanced and symmetrical phrases

C  choral singers

D  melodies in minor keys

A  All answers are correct.

B  tempo.

C  national origin.

D  meter.

A  sonata.

B  fugue.

C  concerto.

D  opera.

A  composer

B  cellist

C  organist

D  violinist

A  Florence.

B  Rome.

C  Cremona.

D  Venice.

A  bass woodwind instrument similar to the bassoon.

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

C  electronic instrument whose tone is generated by oscillators.

D  keyboard instrument suitable for playing basso continuo parts.

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

B  dancelike song for several solo voices.

C  polyphonic choral work set to a sacred Latin text.

D  polyphonic choral composition made up of five sections.

A  All answers are correct.

B  was tiresomely monophonic.

C  was based on Gregorian chant.

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

A  dancelike song for several solo voices.

B  polyphonic choral composition made up of five sections.

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

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

A  polyphonic.

B  monophonic.

C  heterophonic.

D  homophonic.

A  late twelfth century.

B  early thirteenth century.

C  early fourteenth century.

D  late fourteenth century.

A  the new art of baroque painters.

B  Italian and French music of the fourteenth century.

C  paintings from the new world.

D  German music of the sixteenth century.

A  Reims.

B  Rome.

C  London.

D  Paris.

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  dance.

B  song of worship.

C  secular song form.

D  stringed instrument.

A  during the twelfth and thirteenth centuries.

B  from 590 to 604.

C  during the fifteenth century.

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  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  contemporary gospel.

B  Trouvère songs.

C  estampies.

D  Gregorian chant.

A  vocal.

B  for the organ.

C  for the piano.

D  instrumental.

A  stately dance in duple meter similar to the pavane.

B  silly, humorous dance in duple meter.

C  lively dance in triple meter.

D  wooden instrument with a cup-shaped mouthpiece.

A  association with minstrels and jongleurs.

B  sacred quality and background.

C  use in early Jewish religious ceremonies.

D  earlier role in pagan rites.

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

B  the emotional focal point of a melody.

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

D  a resting place at the end of a phrase.

A  glissando.

B  vibrato.

C  staccato.

D  legato.

A  at a higher or lower pitch.

B  in a smooth, connected manner.

C  in a short, detached manner.

D  in small steps.

A  cadence.

B  sequence.

C  rhythm.

D  range.

A  stopwatch

B  metronome

C  beat

D  clock

A  higher

B  softer

C  louder

D  lower

A  upbeat.

B  head.

C  downbeat.

D  intro.

A  organ

B  harpsichord

C  piano

D  accordion

A  mute.

B  reed.

C  crook.

D  tailpiece.

A  the degree of loudness or softness in music.

B  the quality that distinguishes musical sounds.

C  leaning on a musical note.

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

A  piccolo flute.

B  clarinet.

C  oboe.

D  English horn.

A  have wooden key mechanisms.

B  use a wooden reed.

C  were originally made of wood.

D  are made of wood.

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  fortissimo.

B  diminuendo.

C  decrescendo.

D  crescendo.

A  an exemplary performance.

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

C  the quality that distinguishes musical sounds.

D  the degree of loudness and softness.

A  it is too difficult to be played today.

B  it was too primitive to interest later generations.

C  hardly any notated music has survived from these cultures.

D  there probably was almost none.

A  All answers are correct.

B  A A B.

C  A B A.

D  A B C.

A  repetition.

B  cadence.

C  form.

D  contrast.

A  variation.

B  ternary.

C  form.

D  repetition.

A  an independence from major or minor scales.

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

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

D  the central tone of a musical composition.

A  660

B  440

C  1760

D  220

A  scale.

B  modulation.

C  key.

D  chromaticism.

A  dynamic accent.

B  duration.

C  timbre.

D  an interval.

A  dyad.

B  triad.

C  consonance.

D  dissonance.

A  consonance.

B  chord.

C  dissonance.

D  progression.

A  combination of three or more tones sounded at once.

B  series of individual tones heard one after another.

C  resting point at the end of a phrase.

D  pattern of accents used in music.

A  tempo.

B  meter.

C  harmony.

D  melody.

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

B  a resting place at the end of a phrase.

C  the emotional focal point of a melody.

D  a part of a melody.