Midterm Examination

A  suites

B  operas

C  concertos

D  sonatas

A  melodies in minor keys

B  choral singers

C  foot stomps and hand claps

D  balanced and symmetrical phrases

A  fugue.

B  conceerto

C  sonata.

D  opera.

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

B  would insert recitatives between the sections for added variety.

C  would improvise new words for the returning A section.

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

A  duet.

B  stretto.

C  aria.

D  ensemble.

A  The Duomo, Florence.

B  the Vatican, Rome.

C  St. Mark’s, Venice.

D  Notre Dame, Paris.

A  notes printed in the music that ornament the melody.

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  obsolete in contemporary performances.

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

B  All answers are correct.

C  were male singers who had been castrated before puberty.

D  received the highest fees of any musicians.

A  stretto.

B  inversion.

C  countersubject.

D  retrograde.

A  countersubject.

B  subject.

C  episode.

D  answer.

A  wobble.

B  blurb.

C  trill.

D  shake.

A  three

B  four

C  two

D  one

A  figured bass.

B  sequenced bass.

C  basso profundo.

D  counterpoint.

A  harpsichord.

B  clavichord.

C  accordion.

D  piano.

A  a gradual change from soft to loud.

B  the sudden alternation from one dynamic level to another.

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

D  a gradual change from loud to soft.

A  emotional states or moods of music.

B  terraced dynamics.

C  the nobility’s manner of deportment.

D  the doctrine of universal brotherhood.

A  England.

B  Ireland.

C  Italy.

D  Germany.

A  Johann Sebastian Bach.

B  Claudio Monteverdi.

C  Antonio Vivaldi.

D  Arcangelo Corelli.

A  choral part.

B  vocal soloists.

C  orchestral accompaniment.

D  acting, scenery, or costumes.

A  operas

B  concertos

C  sonatas

D  suites

A  choral singers

B  balanced and symmetrical phrases

C  melodies in minor keys

D  foot stomps and hand claps

A  meter.

B  national origin.

C  tempo.

D  All answers are correct.

A  sonata.

B  fugue.

C  concerto.

D  opera.

A  composer

B  organist

C  cellist

D  violinist

A  Rome.

B  Cremona.

C  Florence.

D  Venice.

A  keyboard instrument suitable for playing basso continuo parts.

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

C  bass woodwind instrument similar to the bassoon.

D  electronic instrument whose tone is generated by oscillators.

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 based on Gregorian chant.

B  All answers are correct.

C  was tiresomely monophonic.

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

A  polyphonic choral composition made up of five sections.

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

C  dancelike song for several solo voices.

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

A  monophonic.

B  homophonic.

C  heterophonic.

D  polyphonic.

A  late twelfth century.

B  early thirteenth century.

C  late fourteenth century.

D  early 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  London.

B  Paris.

C  Reims.

D  Rome.

A  The humanists focused on human life and its accomplishments.

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

C  The humanists were basically atheistic in their beliefs.

D  The Madonna was treated as a beautiful young woman.

A  stringed instrument.

B  song of worship.

C  dance.

D  secular song form.

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

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

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

A  published all of the Gregorian chants.

B  composed all of the Gregorian chants.

C  All answers are correct.

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

A  estampies.

B  Trouvère songs.

C  contemporary gospel.

D  Gregorian chant.

A  instrumental.

B  for the organ.

C  vocal.

D  for the piano.

A  silly, humorous dance in duple meter.

B  wooden instrument with a cup-shaped mouthpiece.

C  stately dance in duple meter similar to the pavane.

D  lively dance in triple meter.

A  association with minstrels and jongleurs.

B  sacred quality and background.

C  earlier role in pagan rites.

D  use in early Jewish religious ceremonies.

A  a resting place at the end of a phrase.

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

C  the emotional focal point of a melody.

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

A  glissando.

B  staccato.

C  legato.

D  vibrato.

A  in small steps.

B  in a smooth, connected manner.

C  in a short, detached manner.

D  at a higher or lower pitch.

A  cadence.

B  range.

C  sequence.

D  rhythm.

A  stopwatch

B  clock

C  beat

D  metronome

A  lower

B  higher

C  louder

D  softer

A  downbeat.

B  intro.

C  head.

D  upbeat.

A  organ

B  piano

C  accordion

D  harpsichord

A  mute.

B  crook.

C  tailpiece.

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  piccolo flute.

B  English horn.

C  oboe.

D  clarinet.

A  use a wooden reed.

B  are made of wood.

C  have wooden key mechanisms.

D  were originally made of wood.

A  playing two or more notes at the same time.

B  the number of reeds an instrument uses.

C  part of an instrument’s total range.

D  the instrument manufacturer’s brand name.

A  decrescendo.

B  crescendo.

C  fortissimo.

D  diminuendo.

A  an exemplary performance.

B  the quality that distinguishes musical sounds.

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

D  the degree of loudness and softness.

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  A B A.

C  A B C.

D  All answers are correct.

A  form.

B  cadence.

C  repetition.

D  contrast.

A  form.

B  ternary.

C  repetition.

D  variation.

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  220

B  660

C  440

D  1760

A  scale.

B  key.

C  chromaticism.

D  modulation.

A  an interval.

B  duration.

C  dynamic accent.

D  timbre.

A  triad.

B  dissonance.

C  dyad.

D  consonance.

A  chord.

B  consonance.

C  dissonance.

D  progression.

A  resting point at the end of a phrase.

B  series of individual tones heard one after another.

C  combination of three or more tones sounded at once.

D  pattern of accents used in music.

A  meter.

B  harmony.

C  melody.

D  tempo.

A  a resting place at the end of a phrase.

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

C  the emotional focal point of a melody.

D  a part of a melody.