Midterm Examination

A  concertos

B  sonatas

C  suites

D  operas

A  foot stomps and hand claps

B  melodies in minor keys

C  balanced and symmetrical phrases

D  choral singers

A  conceerto

B  opera.

C  fugue.

D  sonata.

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

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

C  would improvise new words for the returning A section.

D  would insert recitatives between the sections for added variety.

A  aria.

B  ensemble.

C  stretto.

D  duet.

A  Notre Dame, Paris.

B  St. Mark’s, Venice.

C  The Duomo, Florence.

D  the Vatican, Rome.

A  obsolete in contemporary performances.

B  notes printed in the music that ornament the melody.

C  music created at the same time it is performed.

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

A  All answers are correct.

B  received the highest fees of any musicians.

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

D  were male singers who had been castrated before puberty.

A  retrograde.

B  countersubject.

C  stretto.

D  inversion.

A  episode.

B  answer.

C  countersubject.

D  subject.

A  blurb.

B  shake.

C  trill.

D  wobble.

A  two

B  four

C  one

D  three

A  figured bass.

B  sequenced bass.

C  basso profundo.

D  counterpoint.

A  accordion.

B  piano.

C  clavichord.

D  harpsichord.

A  a gradual change from soft to loud.

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

C  the sudden alternation from one dynamic level to another.

D  a gradual change from loud to soft.

A  the doctrine of universal brotherhood.

B  the nobility’s manner of deportment.

C  terraced dynamics.

D  emotional states or moods of music.

A  England.

B  Italy.

C  Germany.

D  Ireland.

A  Arcangelo Corelli.

B  Johann Sebastian Bach.

C  Antonio Vivaldi.

D  Claudio Monteverdi.

A  acting, scenery, or costumes.

B  choral part.

C  vocal soloists.

D  orchestral accompaniment.

A  sonatas

B  suites

C  concertos

D  operas

A  balanced and symmetrical phrases

B  foot stomps and hand claps

C  choral singers

D  melodies in minor keys

A  All answers are correct.

B  tempo.

C  meter.

D  national origin.

A  sonata.

B  fugue.

C  concerto.

D  opera.

A  composer

B  violinist

C  organist

D  cellist

A  Venice.

B  Florence.

C  Rome.

D  Cremona.

A  electronic instrument whose tone is generated by oscillators.

B  keyboard instrument suitable for playing basso continuo parts.

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

D  bass woodwind instrument similar to the bassoon.

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 tiresomely monophonic.

B  All answers are correct.

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

D  was based on Gregorian chant.

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  dancelike song for several solo voices.

D  polyphonic choral composition made up of five sections.

A  heterophonic.

B  homophonic.

C  polyphonic.

D  monophonic.

A  early thirteenth century.

B  late fourteenth century.

C  early fourteenth century.

D  late twelfth century.

A  the new art of baroque painters.

B  paintings from the new world.

C  Italian and French music of the fourteenth century.

D  German music of the sixteenth century.

A  London.

B  Paris.

C  Reims.

D  Rome.

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

B  The humanists were basically atheistic in their beliefs.

C  The Madonna was treated as a beautiful young woman.

D  The humanists focused on human life and its accomplishments.

A  dance.

B  stringed instrument.

C  secular song form.

D  song of worship.

A  during the twelfth and thirteenth centuries.

B  during the ninth century.

C  from 590 to 604.

D  during the fifteenth century.

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

B  abbess of the convent at Rupertsberg.

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

D  All answers are correct.

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  like the major and minor scales in that they consist of seven 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  contemporary gospel.

D  estampies.

A  instrumental.

B  for the organ.

C  vocal.

D  for the piano.

A  silly, humorous dance in duple meter.

B  stately dance in duple meter similar to the pavane.

C  lively dance in triple meter.

D  wooden instrument with a cup-shaped mouthpiece.

A  sacred quality and background.

B  earlier role in pagan rites.

C  use in early Jewish religious ceremonies.

D  association with minstrels and jongleurs.

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  glissando.

B  staccato.

C  vibrato.

D  legato.

A  in small steps.

B  in a smooth, connected manner.

C  at a higher or lower pitch.

D  in a short, detached manner.

A  sequence.

B  rhythm.

C  cadence.

D  range.

A  metronome

B  clock

C  stopwatch

D  beat

A  softer

B  louder

C  lower

D  higher

A  head.

B  intro.

C  downbeat.

D  upbeat.

A  piano

B  harpsichord

C  organ

D  accordion

A  mute.

B  tailpiece.

C  crook.

D  reed.

A  the quality that distinguishes musical sounds.

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

C  leaning on a musical note.

D  the degree of loudness or softness in music.

A  piccolo flute.

B  clarinet.

C  English horn.

D  oboe.

A  are made of wood.

B  have wooden key mechanisms.

C  were originally made of wood.

D  use a wooden reed.

A  the number of reeds an instrument uses.

B  the instrument manufacturer’s brand name.

C  part of an instrument’s total range.

D  playing two or more notes at the same time.

A  diminuendo.

B  crescendo.

C  decrescendo.

D  fortissimo.

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

B  the degree of loudness and softness.

C  the quality that distinguishes musical sounds.

D  an exemplary performance.

A  it was too primitive to interest later generations.

B  there probably was almost none.

C  it is too difficult to be played today.

D  hardly any notated music has survived from these cultures.

A  A B C.

B  All answers are correct.

C  A B A.

D  A A B.

A  form.

B  repetition.

C  contrast.

D  cadence.

A  form.

B  variation.

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

D  an independence from major or minor scales.

A  660

B  1760

C  220

D  440

A  scale.

B  key.

C  chromaticism.

D  modulation.

A  an interval.

B  dynamic accent.

C  duration.

D  timbre.

A  dissonance.

B  consonance.

C  triad.

D  dyad.

A  progression.

B  consonance.

C  dissonance.

D  chord.

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.

A  harmony.

B  tempo.

C  meter.

D  melody.

A  a resting place at the end of a phrase.

B  the emotional focal point of a melody.

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

D  a part of a melody.