Navigation » List of Schools » California State University, Northridge » Music » Music 105 – Understanding Music » Spring 2022 » Midterm Examination
Below are the questions for the exam with the choices of answers:
Question #1
A sonatas
B suites
C concertos
D operas
Question #2
A balanced and symmetrical phrases
B foot stomps and hand claps
C choral singers
D melodies in minor keys
Question #3
A fugue.
B sonata.
C conceerto
D opera.
Question #4
A would insert recitatives between the sections for added variety.
B was expected to embellish the returning melody with ornamental tones.
C would make a literal repetition of the opening A section after the B section.
D would improvise new words for the returning A section.
Question #5
A ensemble.
B aria.
C duet.
D stretto.
Question #6
A the Vatican, Rome.
B The Duomo, Florence.
C Notre Dame, Paris.
D St. Mark’s, Venice.
Question #7
A obsolete in contemporary performances.
B music created at the same time it is performed.
C ornamental tones not printed in the music that seventeenth- and eighteenth-century performers were expected to add to the melody.
D notes printed in the music that ornament the melody.
Question #8
A received the highest fees of any musicians.
B combined the lung power of a man with the vocal range of a woman.
C were male singers who had been castrated before puberty.
D All answers are correct.
Question #9
A inversion.
B stretto.
C retrograde.
D countersubject.
Question #10
A subject.
B episode.
C countersubject.
D answer.
Question #11
A wobble.
B trill.
C shake.
D blurb.
Question #12
A three
B one
C two
D four
Question #13
A figured bass.
B basso profundo.
C counterpoint.
D sequenced bass.
Question #14
A harpsichord.
B accordion.
C piano.
D clavichord.
Question #15
A dynamics that are not written in the music but added by the performer.
B a gradual change from loud to soft.
C a gradual change from soft to loud.
D the sudden alternation from one dynamic level to another.
Question #16
A emotional states or moods of music.
B the doctrine of universal brotherhood.
C the nobility’s manner of deportment.
D terraced dynamics.
Question #17
A England.
B Germany.
C Ireland.
D Italy.
Question #18
A Arcangelo Corelli.
B Johann Sebastian Bach.
C Claudio Monteverdi.
D Antonio Vivaldi.
Question #19
A choral part.
B orchestral accompaniment.
C vocal soloists.
D acting, scenery, or costumes.
Question #20
A sonatas
B operas
C concertos
D suites
Question #21
A choral singers
B melodies in minor keys
C foot stomps and hand claps
D balanced and symmetrical phrases
Question #22
A tempo.
B national origin.
C meter.
D All answers are correct.
Question #23
A fugue.
B sonata.
C opera.
D concerto.
Question #24
A composer
B cellist
C violinist
D organist
Question #25
A Cremona.
B Florence.
C Rome.
D Venice.
Question #26
A electronic instrument whose tone is generated by oscillators.
B plucked string instrument capable of producing chords as well as a bass line.
C bass woodwind instrument similar to the bassoon.
D keyboard instrument suitable for playing basso continuo parts.
Question #27
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.
Question #28
A was based on Gregorian chant.
B was tiresomely monophonic.
C used secular tunes, noisy instruments, and theatrical singing.
D All answers are correct.
Question #29
A polyphonic choral work set to a sacred Latin text other than the ordinary of the mass.
B piece for several solo voices set to a short poem, usually about love.
C polyphonic choral composition made up of five sections.
D dancelike song for several solo voices.
Question #30
A monophonic.
B heterophonic.
C homophonic.
D polyphonic.
Question #31
A early thirteenth century.
B late fourteenth century.
C late twelfth century.
D early fourteenth century.
Question #32
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.
Question #33
A Rome.
B London.
C Paris.
D Reims.
Question #34
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.
Question #35
A dance.
B secular song form.
C stringed instrument.
D song of worship.
Question #36
A from 590 to 604.
B during the fifteenth century.
C during the twelfth and thirteenth centuries.
D during the ninth century.
Question #37
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.
Question #38
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.
Question #39
A All answers are correct.
B composed all of the Gregorian chants.
C published all of the Gregorian chants.
D reorganized the Catholic church liturgy during his reign from 590 to 604.
Question #40
A estampies.
B Trouvère songs.
C Gregorian chant.
D contemporary gospel.
Question #41
A for the organ.
B vocal.
C for the piano.
D instrumental.
Question #42
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.
Question #43
A association with minstrels and jongleurs.
B earlier role in pagan rites.
C use in early Jewish religious ceremonies.
D sacred quality and background.
Question #44
A the emotional focal point of a melody.
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 repetition of a melodic pattern at a higher or lower pitch.
Question #45
A staccato.
B legato.
C vibrato.
D glissando.
Question #46
A in small steps.
B in a short, detached manner.
C at a higher or lower pitch.
D in a smooth, connected manner.
Question #47
A sequence.
B rhythm.
C range.
D cadence.
Question #48
A stopwatch
B beat
C clock
D metronome
Question #49
A softer
B lower
C louder
D higher
Question #50
A upbeat.
B intro.
C head.
D downbeat.
Question #51
A accordion
B organ
C harpsichord
D piano
Question #52
A crook.
B reed.
C mute.
D tailpiece.
Question #53
A the relative highness or lowness that we hear in a sound.
B the degree of loudness or softness in music.
C the quality that distinguishes musical sounds.
D leaning on a musical note.
Question #54
A piccolo flute.
B clarinet.
C oboe.
D English horn.
Question #55
A were originally made of wood.
B are made of wood.
C use a wooden reed.
D have wooden key mechanisms.
Question #56
A the number of reeds an instrument uses.
B playing two or more notes at the same time.
C the instrument manufacturer’s brand name.
D part of an instrument’s total range.
Question #57
A fortissimo.
B decrescendo.
C crescendo.
D diminuendo.
Question #58
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.
Question #59
A it is too difficult to be played today.
B it was too primitive to interest later generations.
C there probably was almost none.
D hardly any notated music has survived from these cultures.
Question #60
A A B C.
B A A B.
C A B A.
D All answers are correct.
Question #61
A contrast.
B repetition.
C cadence.
D form.
Question #62
A variation.
B repetition.
C form.
D ternary.
Question #63
A the sharp or flat signs immediately following the clef sign at the beginning of the staff of a musical composition.
B a shift from one key to another within the same composition.
C an independence from major or minor scales.
D the central tone of a musical composition.
Question #64
A 440
B 1760
C 220
D 660
Question #65
A scale.
B chromaticism.
C modulation.
D key.
Question #66
A an interval.
B timbre.
C duration.
D dynamic accent.
Question #67
A dyad.
B triad.
C consonance.
D dissonance.
Question #68
A progression.
B chord.
C consonance.
D dissonance.
Question #69
A combination of three or more tones sounded at once.
B pattern of accents used in music.
C series of individual tones heard one after another.
D resting point at the end of a phrase.
Question #70
A harmony.
B meter.
C melody.
D tempo.
Question #71
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.