Midterm Examination

A  operas

B  concertos

C  sonatas

D  suites

A  balanced and symmetrical phrases

B  choral singers

C  foot stomps and hand claps

D  melodies in minor keys

A  fugue.

B  opera.

C  sonata.

D  conceerto

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

B  would insert recitatives between the sections for added variety.

C  would improvise new words for the returning A section.

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

A  duet.

B  stretto.

C  ensemble.

D  aria.

A  The Duomo, Florence.

B  St. Mark’s, Venice.

C  the Vatican, Rome.

D  Notre Dame, Paris.

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  music created at the same time it is performed.

D  obsolete in contemporary performances.

A  received the highest fees of any musicians.

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

C  All answers are correct.

D  were male singers who had been castrated before puberty.

A  stretto.

B  countersubject.

C  retrograde.

D  inversion.

A  answer.

B  episode.

C  subject.

D  countersubject.

A  trill.

B  shake.

C  wobble.

D  blurb.

A  two

B  three

C  four

D  one

A  basso profundo.

B  figured bass.

C  counterpoint.

D  sequenced bass.

A  harpsichord.

B  clavichord.

C  piano.

D  accordion.

A  a gradual change from loud to soft.

B  the sudden alternation from one dynamic level to another.

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

D  a gradual change from soft to loud.

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  Italy.

C  Germany.

D  Ireland.

A  Antonio Vivaldi.

B  Claudio Monteverdi.

C  Johann Sebastian Bach.

D  Arcangelo Corelli.

A  acting, scenery, or costumes.

B  orchestral accompaniment.

C  choral part.

D  vocal soloists.

A  operas

B  sonatas

C  suites

D  concertos

A  choral singers

B  balanced and symmetrical phrases

C  melodies in minor keys

D  foot stomps and hand claps

A  All answers are correct.

B  tempo.

C  national origin.

D  meter.

A  opera.

B  sonata.

C  fugue.

D  concerto.

A  violinist

B  cellist

C  composer

D  organist

A  Cremona.

B  Florence.

C  Rome.

D  Venice.

A  keyboard instrument suitable for playing basso continuo parts.

B  electronic instrument whose tone is generated by oscillators.

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

D  bass woodwind instrument similar to the bassoon.

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.

A  All answers are correct.

B  was based on Gregorian chant.

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

D  was tiresomely monophonic.

A  polyphonic choral composition made up of five sections.

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

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

D  dancelike song for several solo voices.

A  monophonic.

B  polyphonic.

C  homophonic.

D  heterophonic.

A  early thirteenth century.

B  late fourteenth century.

C  early fourteenth century.

D  late twelfth century.

A  Italian and French music of the fourteenth century.

B  the new art of baroque painters.

C  German music of the sixteenth century.

D  paintings from the new world.

A  Reims.

B  London.

C  Paris.

D  Rome.

A  The Madonna was treated as a beautiful young woman.

B  The humanists focused on human life and its accomplishments.

C  The humanists were basically atheistic in their beliefs.

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

A  song of worship.

B  dance.

C  secular song form.

D  stringed instrument.

A  from 590 to 604.

B  during the ninth century.

C  during the fifteenth century.

D  during the twelfth and thirteenth centuries.

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

B  All answers are correct.

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

D  abbess of the convent at Rupertsberg.

A  like the major and minor scales in that they consist of seven 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  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  All answers are correct.

D  published all of the Gregorian chants.

A  contemporary gospel.

B  Trouvère songs.

C  estampies.

D  Gregorian chant.

A  vocal.

B  for the piano.

C  instrumental.

D  for the organ.

A  stately dance in duple meter similar to the pavane.

B  lively dance in triple meter.

C  silly, humorous dance in duple meter.

D  wooden instrument with a cup-shaped mouthpiece.

A  sacred quality and background.

B  association with minstrels and jongleurs.

C  earlier role in pagan rites.

D  use in early Jewish religious ceremonies.

A  the emotional focal point of a melody.

B  a resting place at the end of a phrase.

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

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

A  vibrato.

B  glissando.

C  staccato.

D  legato.

A  in a short, detached manner.

B  in a smooth, connected manner.

C  in small steps.

D  at a higher or lower pitch.

A  rhythm.

B  range.

C  cadence.

D  sequence.

A  stopwatch

B  clock

C  metronome

D  beat

A  softer

B  higher

C  lower

D  louder

A  head.

B  upbeat.

C  intro.

D  downbeat.

A  accordion

B  piano

C  harpsichord

D  organ

A  tailpiece.

B  crook.

C  mute.

D  reed.

A  leaning on a musical note.

B  the degree of loudness or softness in music.

C  the quality that distinguishes musical sounds.

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

A  English horn.

B  oboe.

C  clarinet.

D  piccolo flute.

A  are made of wood.

B  were originally made of wood.

C  have wooden key mechanisms.

D  use a wooden reed.

A  part of an instrument’s total range.

B  playing two or more notes at the same time.

C  the number of reeds an instrument uses.

D  the instrument manufacturer’s brand name.

A  decrescendo.

B  fortissimo.

C  crescendo.

D  diminuendo.

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  hardly any notated music has survived from these cultures.

B  it was too primitive to interest later generations.

C  it is too difficult to be played today.

D  there probably was almost none.

A  A A B.

B  All answers are correct.

C  A B A.

D  A B C.

A  form.

B  cadence.

C  repetition.

D  contrast.

A  repetition.

B  variation.

C  ternary.

D  form.

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  220

B  440

C  660

D  1760

A  chromaticism.

B  modulation.

C  key.

D  scale.

A  timbre.

B  dynamic accent.

C  duration.

D  an interval.

A  dyad.

B  dissonance.

C  consonance.

D  triad.

A  progression.

B  consonance.

C  dissonance.

D  chord.

A  resting point at the end of a phrase.

B  pattern of accents used in music.

C  series of individual tones heard one after another.

D  combination of three or more tones sounded at once.

A  tempo.

B  meter.

C  harmony.

D  melody.

A  the emotional focal point of a melody.

B  a part 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.