Midterm Examination

A  operas

B  sonatas

C  suites

D  concertos

A  choral singers

B  melodies in minor keys

C  balanced and symmetrical phrases

D  foot stomps and hand claps

A  fugue.

B  sonata.

C  opera.

D  conceerto

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

B  would improvise new words for the returning A section.

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

D  would insert recitatives between the sections for added variety.

A  aria.

B  stretto.

C  ensemble.

D  duet.

A  St. Mark’s, Venice.

B  The Duomo, Florence.

C  the Vatican, Rome.

D  Notre Dame, Paris.

A  music created at the same time it is performed.

B  notes printed in the music that ornament the melody.

C  obsolete in contemporary performances.

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

A  were male singers who had been castrated before puberty.

B  received the highest fees of any musicians.

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

D  All answers are correct.

A  retrograde.

B  inversion.

C  countersubject.

D  stretto.

A  answer.

B  countersubject.

C  subject.

D  episode.

A  wobble.

B  trill.

C  shake.

D  blurb.

A  four

B  three

C  two

D  one

A  sequenced bass.

B  figured bass.

C  counterpoint.

D  basso profundo.

A  harpsichord.

B  accordion.

C  clavichord.

D  piano.

A  a gradual change from loud to soft.

B  a gradual change from soft to loud.

C  the sudden alternation from one dynamic level to another.

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

A  the doctrine of universal brotherhood.

B  the nobility’s manner of deportment.

C  emotional states or moods of music.

D  terraced dynamics.

A  England.

B  Ireland.

C  Germany.

D  Italy.

A  Arcangelo Corelli.

B  Johann Sebastian Bach.

C  Claudio Monteverdi.

D  Antonio Vivaldi.

A  vocal soloists.

B  choral part.

C  acting, scenery, or costumes.

D  orchestral accompaniment.

A  suites

B  operas

C  sonatas

D  concertos

A  balanced and symmetrical phrases

B  choral singers

C  foot stomps and hand claps

D  melodies in minor keys

A  meter.

B  All answers are correct.

C  national origin.

D  tempo.

A  concerto.

B  sonata.

C  fugue.

D  opera.

A  organist

B  composer

C  cellist

D  violinist

A  Rome.

B  Florence.

C  Cremona.

D  Venice.

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.

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

B  dancelike song for several solo voices.

C  polyphonic choral work set to a sacred Latin text.

D  polyphonic choral composition made up of five sections.

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

B  was tiresomely monophonic.

C  All answers are correct.

D  was based on Gregorian chant.

A  polyphonic choral composition made up of five sections.

B  dancelike song for several solo voices.

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

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

A  homophonic.

B  heterophonic.

C  monophonic.

D  polyphonic.

A  late fourteenth century.

B  early fourteenth century.

C  late twelfth century.

D  early thirteenth century.

A  the new art of baroque painters.

B  German music of the sixteenth century.

C  Italian and French music of the fourteenth century.

D  paintings from the new world.

A  Rome.

B  London.

C  Paris.

D  Reims.

A  The Madonna was treated as a beautiful young woman.

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

C  The humanists focused on human life and its accomplishments.

D  The humanists were basically atheistic in their beliefs.

A  song of worship.

B  secular song form.

C  stringed instrument.

D  dance.

A  during the ninth century.

B  during the twelfth and thirteenth centuries.

C  from 590 to 604.

D  during the fifteenth century.

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

B  abbess of the convent at Rupertsberg.

C  All answers are correct.

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

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  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  Trouvère songs.

B  Gregorian chant.

C  estampies.

D  contemporary gospel.

A  instrumental.

B  for the organ.

C  vocal.

D  for the piano.

A  stately dance in duple meter similar to the pavane.

B  wooden instrument with a cup-shaped mouthpiece.

C  lively dance in triple meter.

D  silly, humorous dance in duple meter.

A  earlier role in pagan rites.

B  association with minstrels and jongleurs.

C  sacred quality and background.

D  use in early Jewish religious ceremonies.

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

B  a resting place at the end of a phrase.

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

D  the emotional focal point of a melody.

A  vibrato.

B  staccato.

C  glissando.

D  legato.

A  in small steps.

B  in a smooth, connected manner.

C  in a short, detached manner.

D  at a higher or lower pitch.

A  range.

B  sequence.

C  rhythm.

D  cadence.

A  clock

B  stopwatch

C  metronome

D  beat

A  higher

B  lower

C  louder

D  softer

A  upbeat.

B  downbeat.

C  head.

D  intro.

A  piano

B  accordion

C  harpsichord

D  organ

A  crook.

B  reed.

C  tailpiece.

D  mute.

A  leaning on a musical note.

B  the degree of loudness or softness in music.

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

D  the quality that distinguishes musical sounds.

A  English horn.

B  clarinet.

C  piccolo flute.

D  oboe.

A  were originally made of wood.

B  have wooden key mechanisms.

C  are made of wood.

D  use a wooden reed.

A  playing two or more notes at the same time.

B  the instrument manufacturer’s brand name.

C  the number of reeds an instrument uses.

D  part of an instrument’s total range.

A  fortissimo.

B  crescendo.

C  diminuendo.

D  decrescendo.

A  the quality that distinguishes musical sounds.

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

C  an exemplary performance.

D  the degree of loudness and softness.

A  it is too difficult to be played today.

B  hardly any notated music has survived from these cultures.

C  it was too primitive to interest later generations.

D  there probably was almost none.

A  A A B.

B  A B A.

C  All answers are correct.

D  A B C.

A  cadence.

B  form.

C  repetition.

D  contrast.

A  form.

B  ternary.

C  repetition.

D  variation.

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  key.

B  scale.

C  chromaticism.

D  modulation.

A  dynamic accent.

B  an interval.

C  timbre.

D  duration.

A  triad.

B  dyad.

C  consonance.

D  dissonance.

A  consonance.

B  progression.

C  dissonance.

D  chord.

A  pattern of accents used in music.

B  combination of three or more tones sounded at once.

C  series of individual tones heard one after another.

D  resting point at the end of a phrase.

A  tempo.

B  harmony.

C  melody.

D  meter.

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.