Midterm Examination

A  concertos

B  sonatas

C  suites

D  operas

A  foot stomps and hand claps

B  choral singers

C  balanced and symmetrical phrases

D  melodies in minor keys

A  conceerto

B  opera.

C  sonata.

D  fugue.

A  would improvise new words for the returning A section.

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

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

D  would insert recitatives between the sections for added variety.

A  stretto.

B  aria.

C  duet.

D  ensemble.

A  the Vatican, Rome.

B  Notre Dame, Paris.

C  The Duomo, Florence.

D  St. Mark’s, Venice.

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

B  notes printed in the music that ornament the melody.

C  obsolete in contemporary performances.

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  were male singers who had been castrated before puberty.

C  All answers are correct.

D  received the highest fees of any musicians.

A  retrograde.

B  inversion.

C  stretto.

D  countersubject.

A  subject.

B  countersubject.

C  answer.

D  episode.

A  trill.

B  shake.

C  wobble.

D  blurb.

A  three

B  one

C  two

D  four

A  figured bass.

B  basso profundo.

C  counterpoint.

D  sequenced bass.

A  accordion.

B  piano.

C  clavichord.

D  harpsichord.

A  the sudden alternation from one dynamic level to another.

B  a gradual change from soft to loud.

C  a gradual change from loud to soft.

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

A  terraced dynamics.

B  emotional states or moods of music.

C  the doctrine of universal brotherhood.

D  the nobility’s manner of deportment.

A  Germany.

B  Ireland.

C  England.

D  Italy.

A  Arcangelo Corelli.

B  Antonio Vivaldi.

C  Johann Sebastian Bach.

D  Claudio Monteverdi.

A  orchestral accompaniment.

B  vocal soloists.

C  choral part.

D  acting, scenery, or costumes.

A  concertos

B  operas

C  sonatas

D  suites

A  choral singers

B  melodies in minor keys

C  foot stomps and hand claps

D  balanced and symmetrical phrases

A  national origin.

B  tempo.

C  All answers are correct.

D  meter.

A  sonata.

B  fugue.

C  opera.

D  concerto.

A  composer

B  organist

C  violinist

D  cellist

A  Rome.

B  Venice.

C  Cremona.

D  Florence.

A  electronic instrument whose tone is generated by oscillators.

B  keyboard instrument suitable for playing basso continuo parts.

C  bass woodwind instrument similar to the bassoon.

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

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  used secular tunes, noisy instruments, and theatrical singing.

B  was tiresomely monophonic.

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  dancelike song for several solo voices.

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

D  polyphonic choral composition made up of five sections.

A  polyphonic.

B  homophonic.

C  monophonic.

D  heterophonic.

A  early thirteenth century.

B  early fourteenth century.

C  late twelfth century.

D  late fourteenth century.

A  German music of the sixteenth century.

B  Italian and French music of the fourteenth century.

C  paintings from the new world.

D  the new art of baroque painters.

A  Paris.

B  Reims.

C  Rome.

D  London.

A  The humanists focused on human life and its accomplishments.

B  The humanists were basically atheistic in their beliefs.

C  The Madonna was treated as a beautiful young woman.

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

A  stringed instrument.

B  song of worship.

C  dance.

D  secular song form.

A  from 590 to 604.

B  during the fifteenth century.

C  during the ninth century.

D  during the twelfth and thirteenth centuries.

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

B  completely different from any other form of scale.

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

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

A  published all of the Gregorian chants.

B  All answers are correct.

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

D  composed all of the Gregorian chants.

A  contemporary gospel.

B  Trouvère songs.

C  estampies.

D  Gregorian chant.

A  for the piano.

B  vocal.

C  for the organ.

D  instrumental.

A  wooden instrument with a cup-shaped mouthpiece.

B  silly, humorous dance in duple meter.

C  stately dance in duple meter similar to the pavane.

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 resting place at the end of a phrase.

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

C  the emotional focal point of a melody.

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

A  staccato.

B  vibrato.

C  glissando.

D  legato.

A  in a smooth, connected manner.

B  in a short, detached manner.

C  at a higher or lower pitch.

D  in small steps.

A  cadence.

B  rhythm.

C  range.

D  sequence.

A  stopwatch

B  beat

C  clock

D  metronome

A  higher

B  lower

C  softer

D  louder

A  downbeat.

B  head.

C  upbeat.

D  intro.

A  organ

B  piano

C  accordion

D  harpsichord

A  tailpiece.

B  mute.

C  crook.

D  reed.

A  the quality that distinguishes musical sounds.

B  the degree of loudness or softness in music.

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

D  leaning on a musical note.

A  clarinet.

B  English horn.

C  piccolo flute.

D  oboe.

A  use a wooden reed.

B  have wooden key mechanisms.

C  were originally made of wood.

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  crescendo.

D  diminuendo.

A  the quality that distinguishes musical sounds.

B  the degree of loudness and softness.

C  an exemplary performance.

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 B A.

B  A B C.

C  A A B.

D  All answers are correct.

A  cadence.

B  repetition.

C  contrast.

D  form.

A  variation.

B  form.

C  ternary.

D  repetition.

A  an independence from major or minor scales.

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

C  the central tone of a musical composition.

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

A  1760

B  660

C  220

D  440

A  key.

B  scale.

C  chromaticism.

D  modulation.

A  an interval.

B  duration.

C  timbre.

D  dynamic accent.

A  triad.

B  dyad.

C  dissonance.

D  consonance.

A  dissonance.

B  chord.

C  consonance.

D  progression.

A  series of individual tones heard one after another.

B  combination of three or more tones sounded at once.

C  resting point at the end of a phrase.

D  pattern of accents used in music.

A  meter.

B  tempo.

C  harmony.

D  melody.

A  a resting place at the end of a phrase.

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

C  a part of a melody.

D  the emotional focal point of a melody.