Midterm Examination

A  concertos

B  suites

C  operas

D  sonatas

A  foot stomps and hand claps

B  melodies in minor keys

C  choral singers

D  balanced and symmetrical phrases

A  conceerto

B  fugue.

C  sonata.

D  opera.

A  would improvise new words for the returning A section.

B  would insert recitatives between the sections for added variety.

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

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

A  aria.

B  stretto.

C  duet.

D  ensemble.

A  Notre Dame, Paris.

B  The Duomo, Florence.

C  the Vatican, Rome.

D  St. Mark’s, Venice.

A  music created at the same time it is performed.

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

C  notes printed in the music that ornament the melody.

D  obsolete in contemporary performances.

A  All answers are correct.

B  were male singers who had been castrated before puberty.

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

D  received the highest fees of any musicians.

A  retrograde.

B  countersubject.

C  inversion.

D  stretto.

A  episode.

B  countersubject.

C  answer.

D  subject.

A  blurb.

B  trill.

C  shake.

D  wobble.

A  two

B  three

C  four

D  one

A  counterpoint.

B  sequenced bass.

C  figured bass.

D  basso profundo.

A  harpsichord.

B  clavichord.

C  accordion.

D  piano.

A  the sudden alternation from one dynamic level to another.

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

C  a gradual change from soft to loud.

D  a gradual change from loud to soft.

A  terraced dynamics.

B  the nobility’s manner of deportment.

C  emotional states or moods of music.

D  the doctrine of universal brotherhood.

A  England.

B  Ireland.

C  Germany.

D  Italy.

A  Antonio Vivaldi.

B  Claudio Monteverdi.

C  Arcangelo Corelli.

D  Johann Sebastian Bach.

A  choral part.

B  vocal soloists.

C  acting, scenery, or costumes.

D  orchestral accompaniment.

A  suites

B  sonatas

C  concertos

D  operas

A  choral singers

B  melodies in minor keys

C  balanced and symmetrical phrases

D  foot stomps and hand claps

A  national origin.

B  tempo.

C  meter.

D  All answers are correct.

A  opera.

B  fugue.

C  concerto.

D  sonata.

A  violinist

B  organist

C  cellist

D  composer

A  Venice.

B  Cremona.

C  Rome.

D  Florence.

A  bass woodwind instrument similar to the bassoon.

B  electronic instrument whose tone is generated by oscillators.

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

D  keyboard instrument suitable for playing basso continuo parts.

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

B  polyphonic choral work set to a sacred Latin text.

C  polyphonic choral composition made up of five sections.

D  dancelike song for several solo voices.

A  was based on Gregorian chant.

B  was tiresomely monophonic.

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

D  All answers are correct.

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

D  dancelike song for several solo voices.

A  homophonic.

B  monophonic.

C  heterophonic.

D  polyphonic.

A  early fourteenth century.

B  late twelfth century.

C  late fourteenth century.

D  early thirteenth century.

A  the new art of baroque painters.

B  paintings from the new world.

C  German music of the sixteenth century.

D  Italian and French music of the fourteenth century.

A  Paris.

B  London.

C  Reims.

D  Rome.

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  dance.

B  song of worship.

C  stringed instrument.

D  secular song form.

A  during the ninth century.

B  during the twelfth and thirteenth centuries.

C  during the fifteenth century.

D  from 590 to 604.

A  All answers are correct.

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

C  abbess of the convent at Rupertsberg.

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

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

A  composed all of the Gregorian chants.

B  published 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  contemporary gospel.

C  Trouvère songs.

D  Gregorian chant.

A  for the organ.

B  vocal.

C  for the piano.

D  instrumental.

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  association with minstrels and jongleurs.

B  use in early Jewish religious ceremonies.

C  earlier role in pagan rites.

D  sacred quality and background.

A  the emotional focal point of a melody.

B  a resting place at the end of a phrase.

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

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

A  vibrato.

B  glissando.

C  staccato.

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  sequence.

B  rhythm.

C  cadence.

D  range.

A  metronome

B  clock

C  beat

D  stopwatch

A  lower

B  softer

C  higher

D  louder

A  intro.

B  downbeat.

C  upbeat.

D  head.

A  piano

B  organ

C  accordion

D  harpsichord

A  tailpiece.

B  reed.

C  crook.

D  mute.

A  the quality that distinguishes musical sounds.

B  leaning on a musical note.

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

D  the degree of loudness or softness in music.

A  piccolo flute.

B  English horn.

C  oboe.

D  clarinet.

A  are made of wood.

B  use a wooden reed.

C  were originally made of wood.

D  have wooden key mechanisms.

A  the number of reeds an instrument uses.

B  the instrument manufacturer’s brand name.

C  playing two or more notes at the same time.

D  part of an instrument’s total range.

A  crescendo.

B  fortissimo.

C  decrescendo.

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  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 B A.

C  A B C.

D  A A B.

A  cadence.

B  contrast.

C  repetition.

D  form.

A  variation.

B  form.

C  ternary.

D  repetition.

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

B  the central tone of a musical composition.

C  an independence from major or minor scales.

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

A  220

B  440

C  1760

D  660

A  scale.

B  key.

C  chromaticism.

D  modulation.

A  timbre.

B  dynamic accent.

C  an interval.

D  duration.

A  dyad.

B  triad.

C  consonance.

D  dissonance.

A  chord.

B  progression.

C  consonance.

D  dissonance.

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  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.