Midterm Examination

A  concertos

B  suites

C  operas

D  sonatas

A  foot stomps and hand claps

B  choral singers

C  melodies in minor keys

D  balanced and symmetrical phrases

A  opera.

B  sonata.

C  fugue.

D  conceerto

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

B  would insert recitatives between the sections for added variety.

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

D  would improvise new words for the returning A section.

A  ensemble.

B  stretto.

C  duet.

D  aria.

A  Notre Dame, Paris.

B  St. Mark’s, Venice.

C  The Duomo, Florence.

D  the Vatican, Rome.

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

B  were male singers who had been castrated before puberty.

C  All answers are correct.

D  received the highest fees of any musicians.

A  retrograde.

B  countersubject.

C  inversion.

D  stretto.

A  episode.

B  answer.

C  subject.

D  countersubject.

A  blurb.

B  trill.

C  wobble.

D  shake.

A  four

B  one

C  three

D  two

A  counterpoint.

B  basso profundo.

C  sequenced bass.

D  figured bass.

A  accordion.

B  clavichord.

C  harpsichord.

D  piano.

A  the sudden alternation from one dynamic level to another.

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

C  a gradual change from loud to soft.

D  a gradual change from soft to loud.

A  terraced dynamics.

B  the nobility’s manner of deportment.

C  emotional states or moods of music.

D  the doctrine of universal brotherhood.

A  Italy.

B  England.

C  Germany.

D  Ireland.

A  Arcangelo Corelli.

B  Antonio Vivaldi.

C  Claudio Monteverdi.

D  Johann Sebastian Bach.

A  vocal soloists.

B  choral part.

C  acting, scenery, or costumes.

D  orchestral accompaniment.

A  sonatas

B  operas

C  concertos

D  suites

A  melodies in minor keys

B  choral singers

C  foot stomps and hand claps

D  balanced and symmetrical phrases

A  meter.

B  national origin.

C  tempo.

D  All answers are correct.

A  fugue.

B  sonata.

C  opera.

D  concerto.

A  composer

B  cellist

C  violinist

D  organist

A  Rome.

B  Florence.

C  Venice.

D  Cremona.

A  keyboard instrument suitable for playing basso continuo parts.

B  bass woodwind instrument similar to the bassoon.

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

D  electronic instrument whose tone is generated by oscillators.

A  polyphonic choral work set to a sacred Latin text.

B  dancelike song for several solo voices.

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

D  polyphonic choral composition made up of five sections.

A  was tiresomely monophonic.

B  was based on Gregorian chant.

C  All answers are correct.

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

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

B  polyphonic choral composition made up of five sections.

C  dancelike song for several solo voices.

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

A  heterophonic.

B  homophonic.

C  polyphonic.

D  monophonic.

A  early fourteenth century.

B  early thirteenth century.

C  late fourteenth century.

D  late twelfth century.

A  Italian and French music of the fourteenth century.

B  German music of the sixteenth century.

C  paintings from the new world.

D  the new art of baroque painters.

A  Reims.

B  Paris.

C  Rome.

D  London.

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 humanists focused on human life and its accomplishments.

D  The Madonna was treated as a beautiful young woman.

A  secular song form.

B  dance.

C  stringed instrument.

D  song of worship.

A  during the fifteenth century.

B  during the ninth century.

C  during the twelfth and thirteenth centuries.

D  from 590 to 604.

A  All answers are correct.

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

C  abbess of the convent at Rupertsberg.

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

A  completely different from any other form of scale.

B  different from the major and minor scales in that they consist of only five different tones.

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

B  All answers are correct.

C  composed all of the Gregorian chants.

D  published all of the Gregorian chants.

A  Gregorian chant.

B  estampies.

C  contemporary gospel.

D  Trouvère songs.

A  instrumental.

B  vocal.

C  for the organ.

D  for the piano.

A  wooden instrument with a cup-shaped mouthpiece.

B  silly, humorous dance in duple meter.

C  stately dance in duple meter similar to the pavane.

D  lively dance in triple meter.

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  a resting place at the end of a phrase.

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

C  the emotional focal point of a melody.

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

A  glissando.

B  legato.

C  vibrato.

D  staccato.

A  in small steps.

B  at a higher or lower pitch.

C  in a short, detached manner.

D  in a smooth, connected manner.

A  cadence.

B  range.

C  sequence.

D  rhythm.

A  metronome

B  beat

C  clock

D  stopwatch

A  louder

B  lower

C  higher

D  softer

A  intro.

B  downbeat.

C  head.

D  upbeat.

A  harpsichord

B  organ

C  accordion

D  piano

A  tailpiece.

B  mute.

C  reed.

D  crook.

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

B  the quality that distinguishes musical sounds.

C  leaning on a musical note.

D  the degree of loudness or softness in music.

A  English horn.

B  clarinet.

C  piccolo flute.

D  oboe.

A  are made of wood.

B  use a wooden reed.

C  have wooden key mechanisms.

D  were originally made of wood.

A  part of an instrument’s total range.

B  the instrument manufacturer’s brand name.

C  the number of reeds an instrument uses.

D  playing two or more notes at the same time.

A  fortissimo.

B  decrescendo.

C  diminuendo.

D  crescendo.

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

B  an exemplary performance.

C  the quality that distinguishes musical sounds.

D  the degree of loudness and softness.

A  it is too difficult to be played today.

B  there probably was almost none.

C  it was too primitive to interest later generations.

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  cadence.

B  contrast.

C  form.

D  repetition.

A  repetition.

B  variation.

C  ternary.

D  form.

A  an independence from major or minor scales.

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

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

D  the central tone of a musical composition.

A  220

B  440

C  1760

D  660

A  chromaticism.

B  key.

C  modulation.

D  scale.

A  duration.

B  dynamic accent.

C  an interval.

D  timbre.

A  triad.

B  consonance.

C  dyad.

D  dissonance.

A  chord.

B  progression.

C  consonance.

D  dissonance.

A  resting point at the end of a phrase.

B  combination of three or more tones sounded at once.

C  pattern of accents used in music.

D  series of individual tones heard one after another.

A  tempo.

B  melody.

C  harmony.

D  meter.

A  a resting place at the end of a phrase.

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

C  the emotional focal point of a melody.

D  a part of a melody.