Midterm Examination

A  operas

B  sonatas

C  concertos

D  suites

A  foot stomps and hand claps

B  choral singers

C  melodies in minor keys

D  balanced and symmetrical phrases

A  sonata.

B  conceerto

C  fugue.

D  opera.

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  would insert recitatives between the sections for added variety.

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

A  ensemble.

B  aria.

C  stretto.

D  duet.

A  St. Mark’s, Venice.

B  the Vatican, Rome.

C  The Duomo, Florence.

D  Notre Dame, Paris.

A  notes printed in the music that ornament the melody.

B  obsolete in contemporary performances.

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

D  music created at the same time it is performed.

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  stretto.

B  retrograde.

C  inversion.

D  countersubject.

A  answer.

B  countersubject.

C  episode.

D  subject.

A  trill.

B  shake.

C  wobble.

D  blurb.

A  two

B  one

C  three

D  four

A  figured bass.

B  sequenced bass.

C  basso profundo.

D  counterpoint.

A  clavichord.

B  harpsichord.

C  accordion.

D  piano.

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

B  a gradual change from soft to loud.

C  the sudden alternation from one dynamic level to another.

D  a gradual change from loud to soft.

A  the nobility’s manner of deportment.

B  emotional states or moods of music.

C  the doctrine of universal brotherhood.

D  terraced dynamics.

A  Germany.

B  England.

C  Italy.

D  Ireland.

A  Claudio Monteverdi.

B  Arcangelo Corelli.

C  Antonio Vivaldi.

D  Johann Sebastian Bach.

A  vocal soloists.

B  choral part.

C  orchestral accompaniment.

D  acting, scenery, or costumes.

A  suites

B  concertos

C  operas

D  sonatas

A  melodies in minor keys

B  balanced and symmetrical phrases

C  choral singers

D  foot stomps and hand claps

A  All answers are correct.

B  national origin.

C  tempo.

D  meter.

A  concerto.

B  fugue.

C  sonata.

D  opera.

A  organist

B  composer

C  violinist

D  cellist

A  Florence.

B  Venice.

C  Rome.

D  Cremona.

A  electronic instrument whose tone is generated by oscillators.

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

C  keyboard instrument suitable for playing basso continuo parts.

D  bass woodwind instrument similar to the bassoon.

A  polyphonic choral work set to a sacred Latin text.

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  All answers are correct.

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

C  was tiresomely monophonic.

D  was based on Gregorian chant.

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

B  polyphonic choral composition made up of five sections.

C  dancelike song for several solo voices.

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

A  homophonic.

B  heterophonic.

C  monophonic.

D  polyphonic.

A  late twelfth century.

B  early fourteenth century.

C  early thirteenth century.

D  late fourteenth century.

A  paintings from the new world.

B  Italian and French music of the fourteenth century.

C  the new art of baroque painters.

D  German music of the sixteenth century.

A  Rome.

B  London.

C  Paris.

D  Reims.

A  The Madonna was treated as a beautiful young woman.

B  The humanists were basically atheistic in their beliefs.

C  The humanists focused on human life and its accomplishments.

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

A  song of worship.

B  dance.

C  secular song form.

D  stringed instrument.

A  during the ninth century.

B  from 590 to 604.

C  during the fifteenth century.

D  during the twelfth and thirteenth centuries.

A  abbess of the convent at Rupertsberg.

B  All answers are correct.

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

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  completely different from any other form of scale.

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

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

A  All answers are correct.

B  published all of the Gregorian chants.

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

D  composed all of the Gregorian chants.

A  Trouvère songs.

B  contemporary gospel.

C  estampies.

D  Gregorian chant.

A  instrumental.

B  for the organ.

C  for the piano.

D  vocal.

A  lively dance in triple meter.

B  silly, humorous dance in duple meter.

C  stately dance in duple meter similar to the pavane.

D  wooden instrument with a cup-shaped mouthpiece.

A  sacred quality and background.

B  earlier role in pagan rites.

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

D  the emotional focal point of a melody.

A  legato.

B  vibrato.

C  glissando.

D  staccato.

A  in small steps.

B  in a short, detached manner.

C  in a smooth, connected manner.

D  at a higher or lower pitch.

A  sequence.

B  cadence.

C  rhythm.

D  range.

A  metronome

B  beat

C  clock

D  stopwatch

A  lower

B  higher

C  softer

D  louder

A  intro.

B  head.

C  upbeat.

D  downbeat.

A  harpsichord

B  piano

C  accordion

D  organ

A  crook.

B  mute.

C  tailpiece.

D  reed.

A  the quality that distinguishes musical sounds.

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

C  the degree of loudness or softness in music.

D  leaning on a musical note.

A  piccolo flute.

B  English horn.

C  clarinet.

D  oboe.

A  have wooden key mechanisms.

B  were originally made of wood.

C  are made of wood.

D  use a wooden reed.

A  playing two or more notes at the same time.

B  the instrument manufacturer’s brand name.

C  the number of reeds an instrument uses.

D  part of an instrument’s total range.

A  fortissimo.

B  diminuendo.

C  crescendo.

D  decrescendo.

A  the degree of loudness and softness.

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

C  the quality that distinguishes musical sounds.

D  an exemplary performance.

A  hardly any notated music has survived from these cultures.

B  there probably was almost none.

C  it is too difficult to be played today.

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  repetition.

B  contrast.

C  cadence.

D  form.

A  repetition.

B  variation.

C  ternary.

D  form.

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  220

B  440

C  660

D  1760

A  modulation.

B  key.

C  scale.

D  chromaticism.

A  an interval.

B  timbre.

C  duration.

D  dynamic accent.

A  triad.

B  dissonance.

C  dyad.

D  consonance.

A  consonance.

B  progression.

C  chord.

D  dissonance.

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  melody.

C  meter.

D  harmony.

A  a part of a melody.

B  a resting place at the end of a phrase.

C  the emotional focal point of a melody.

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