Midterm Examination

A  concertos

B  sonatas

C  suites

D  operas

A  foot stomps and hand claps

B  melodies in minor keys

C  choral singers

D  balanced and symmetrical phrases

A  sonata.

B  conceerto

C  fugue.

D  opera.

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  ensemble.

B  duet.

C  aria.

D  stretto.

A  Notre Dame, Paris.

B  St. Mark’s, Venice.

C  The Duomo, Florence.

D  the Vatican, Rome.

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  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  received the highest fees of any musicians.

C  were male singers who had been castrated before puberty.

D  All answers are correct.

A  stretto.

B  countersubject.

C  retrograde.

D  inversion.

A  subject.

B  countersubject.

C  answer.

D  episode.

A  trill.

B  shake.

C  blurb.

D  wobble.

A  three

B  two

C  one

D  four

A  counterpoint.

B  sequenced bass.

C  basso profundo.

D  figured bass.

A  accordion.

B  harpsichord.

C  clavichord.

D  piano.

A  a gradual change from soft to loud.

B  a gradual change from loud to soft.

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

D  the sudden alternation from one dynamic level to another.

A  the nobility’s manner of deportment.

B  terraced dynamics.

C  the doctrine of universal brotherhood.

D  emotional states or moods of music.

A  England.

B  Germany.

C  Ireland.

D  Italy.

A  Antonio Vivaldi.

B  Arcangelo Corelli.

C  Johann Sebastian Bach.

D  Claudio Monteverdi.

A  choral part.

B  orchestral accompaniment.

C  vocal soloists.

D  acting, scenery, or costumes.

A  suites

B  operas

C  concertos

D  sonatas

A  foot stomps and hand claps

B  balanced and symmetrical phrases

C  choral singers

D  melodies in minor keys

A  tempo.

B  All answers are correct.

C  national origin.

D  meter.

A  fugue.

B  sonata.

C  opera.

D  concerto.

A  cellist

B  composer

C  violinist

D  organist

A  Rome.

B  Florence.

C  Venice.

D  Cremona.

A  bass woodwind instrument similar to the bassoon.

B  keyboard instrument suitable for playing basso continuo parts.

C  electronic instrument whose tone is generated by oscillators.

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  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  All answers are correct.

B  was tiresomely monophonic.

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

D  was based on Gregorian chant.

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  heterophonic.

B  polyphonic.

C  homophonic.

D  monophonic.

A  late fourteenth century.

B  early fourteenth century.

C  early thirteenth century.

D  late twelfth century.

A  German music of the sixteenth century.

B  the new art of baroque painters.

C  paintings from the new world.

D  Italian and French music of the fourteenth century.

A  Paris.

B  London.

C  Rome.

D  Reims.

A  The humanists were basically atheistic in their beliefs.

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

C  The Madonna was treated as a beautiful young woman.

D  The humanists focused on human life and its accomplishments.

A  song of worship.

B  dance.

C  stringed instrument.

D  secular song form.

A  during the fifteenth century.

B  during the twelfth and thirteenth centuries.

C  from 590 to 604.

D  during the ninth century.

A  All answers are correct.

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

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

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

B  composed all of the Gregorian chants.

C  published all of the Gregorian chants.

D  All answers are correct.

A  Gregorian chant.

B  Trouvère songs.

C  estampies.

D  contemporary gospel.

A  vocal.

B  for the piano.

C  for the organ.

D  instrumental.

A  stately dance in duple meter similar to the pavane.

B  wooden instrument with a cup-shaped mouthpiece.

C  silly, humorous dance in duple meter.

D  lively dance in triple meter.

A  earlier role in pagan rites.

B  association with minstrels and jongleurs.

C  use in early Jewish religious ceremonies.

D  sacred quality and background.

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

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

C  a resting place at the end of a phrase.

D  the emotional focal point of a melody.

A  legato.

B  staccato.

C  vibrato.

D  glissando.

A  in a short, detached manner.

B  at a higher or lower pitch.

C  in a smooth, connected manner.

D  in small steps.

A  rhythm.

B  sequence.

C  cadence.

D  range.

A  metronome

B  clock

C  beat

D  stopwatch

A  louder

B  higher

C  softer

D  lower

A  downbeat.

B  head.

C  upbeat.

D  intro.

A  harpsichord

B  organ

C  piano

D  accordion

A  tailpiece.

B  mute.

C  crook.

D  reed.

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

B  leaning on a musical note.

C  the quality that distinguishes musical sounds.

D  the degree of loudness or softness in music.

A  clarinet.

B  oboe.

C  English horn.

D  piccolo flute.

A  use a wooden reed.

B  have wooden key mechanisms.

C  are made of wood.

D  were originally made of wood.

A  the instrument manufacturer’s brand name.

B  the number of reeds an instrument uses.

C  part of an instrument’s total range.

D  playing two or more notes at the same time.

A  crescendo.

B  fortissimo.

C  diminuendo.

D  decrescendo.

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

B  the quality that distinguishes musical sounds.

C  an exemplary performance.

D  the degree of loudness and softness.

A  it was too primitive to interest later generations.

B  there probably was almost none.

C  hardly any notated music has survived from these cultures.

D  it is too difficult to be played today.

A  A B A.

B  A A B.

C  A B C.

D  All answers are correct.

A  form.

B  repetition.

C  contrast.

D  cadence.

A  form.

B  variation.

C  ternary.

D  repetition.

A  an independence from major or minor scales.

B  the central tone of a musical composition.

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

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

A  660

B  440

C  220

D  1760

A  modulation.

B  key.

C  chromaticism.

D  scale.

A  an interval.

B  duration.

C  timbre.

D  dynamic accent.

A  consonance.

B  dyad.

C  dissonance.

D  triad.

A  chord.

B  dissonance.

C  progression.

D  consonance.

A  pattern of accents used in music.

B  resting point at the end of a phrase.

C  series of individual tones heard one after another.

D  combination of three or more tones sounded at once.

A  tempo.

B  melody.

C  meter.

D  harmony.

A  a part of a melody.

B  the emotional focal point of a melody.

C  a resting place at the end of a phrase.

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