Midterm Examination

A  suites

B  sonatas

C  concertos

D  operas

A  melodies in minor keys

B  foot stomps and hand claps

C  choral singers

D  balanced and symmetrical phrases

A  conceerto

B  opera.

C  sonata.

D  fugue.

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

B  would insert recitatives between the sections for added variety.

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.

A  stretto.

B  ensemble.

C  aria.

D  duet.

A  St. Mark’s, Venice.

B  Notre Dame, Paris.

C  The Duomo, Florence.

D  the Vatican, Rome.

A  notes printed in the music that ornament the melody.

B  music created at the same time it is performed.

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  All answers are correct.

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

A  retrograde.

B  inversion.

C  stretto.

D  countersubject.

A  subject.

B  answer.

C  episode.

D  countersubject.

A  blurb.

B  wobble.

C  trill.

D  shake.

A  four

B  three

C  two

D  one

A  basso profundo.

B  counterpoint.

C  figured bass.

D  sequenced bass.

A  accordion.

B  harpsichord.

C  clavichord.

D  piano.

A  the sudden alternation from one dynamic level to another.

B  a gradual change from soft to loud.

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

D  a gradual change from loud to soft.

A  the nobility’s manner of deportment.

B  terraced dynamics.

C  the doctrine of universal brotherhood.

D  emotional states or moods of music.

A  Ireland.

B  England.

C  Italy.

D  Germany.

A  Johann Sebastian Bach.

B  Antonio Vivaldi.

C  Claudio Monteverdi.

D  Arcangelo Corelli.

A  choral part.

B  orchestral accompaniment.

C  acting, scenery, or costumes.

D  vocal soloists.

A  concertos

B  operas

C  sonatas

D  suites

A  balanced and symmetrical phrases

B  melodies in minor keys

C  foot stomps and hand claps

D  choral singers

A  national origin.

B  meter.

C  tempo.

D  All answers are correct.

A  opera.

B  sonata.

C  fugue.

D  concerto.

A  violinist

B  composer

C  cellist

D  organist

A  Venice.

B  Florence.

C  Cremona.

D  Rome.

A  bass woodwind instrument similar to the bassoon.

B  electronic instrument whose tone is generated by oscillators.

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

D  keyboard instrument suitable for playing basso continuo parts.

A  dancelike song for several solo voices.

B  polyphonic choral composition made up of five sections.

C  polyphonic choral work set to a sacred Latin text.

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

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

B  All answers are correct.

C  was tiresomely monophonic.

D  was based on Gregorian chant.

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  heterophonic.

B  homophonic.

C  polyphonic.

D  monophonic.

A  late fourteenth century.

B  late twelfth century.

C  early fourteenth 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 humanists focused on human life and its accomplishments.

B  The Madonna was treated as a beautiful young woman.

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

D  The humanists were basically atheistic in their beliefs.

A  dance.

B  stringed instrument.

C  song of worship.

D  secular song form.

A  during the twelfth and thirteenth centuries.

B  from 590 to 604.

C  during the ninth century.

D  during the fifteenth century.

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

B  All answers are correct.

C  abbess of the convent at Rupertsberg.

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

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  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  published all of the Gregorian chants.

B  composed all of the Gregorian chants.

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

D  All answers are correct.

A  contemporary gospel.

B  Gregorian chant.

C  estampies.

D  Trouvère songs.

A  for the piano.

B  for the organ.

C  vocal.

D  instrumental.

A  silly, humorous dance in duple meter.

B  lively dance in triple meter.

C  stately dance in duple meter similar to the pavane.

D  wooden instrument with a cup-shaped mouthpiece.

A  use in early Jewish religious ceremonies.

B  association with minstrels and jongleurs.

C  sacred quality and background.

D  earlier role in pagan rites.

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  the emotional focal point of a melody.

D  a resting place at the end of a phrase.

A  staccato.

B  legato.

C  vibrato.

D  glissando.

A  at a higher or lower pitch.

B  in small steps.

C  in a short, detached manner.

D  in a smooth, connected manner.

A  sequence.

B  cadence.

C  range.

D  rhythm.

A  metronome

B  stopwatch

C  beat

D  clock

A  higher

B  louder

C  softer

D  lower

A  intro.

B  head.

C  upbeat.

D  downbeat.

A  accordion

B  harpsichord

C  organ

D  piano

A  reed.

B  tailpiece.

C  crook.

D  mute.

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.

A  piccolo flute.

B  oboe.

C  English horn.

D  clarinet.

A  have wooden key mechanisms.

B  were originally made of wood.

C  use a wooden reed.

D  are made of wood.

A  the number of reeds an instrument uses.

B  part of an instrument’s total range.

C  playing two or more notes at the same time.

D  the instrument manufacturer’s brand name.

A  fortissimo.

B  crescendo.

C  decrescendo.

D  diminuendo.

A  the degree of loudness and softness.

B  an exemplary performance.

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

D  the quality that distinguishes musical sounds.

A  hardly any notated music has survived from these cultures.

B  it is too difficult to be played today.

C  there probably was almost none.

D  it was too primitive to interest later generations.

A  A B A.

B  A B C.

C  A A B.

D  All answers are correct.

A  form.

B  contrast.

C  repetition.

D  cadence.

A  repetition.

B  ternary.

C  form.

D  variation.

A  the central tone of a musical composition.

B  an independence from major or minor scales.

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

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

A  660

B  220

C  1760

D  440

A  modulation.

B  chromaticism.

C  scale.

D  key.

A  duration.

B  dynamic accent.

C  an interval.

D  timbre.

A  consonance.

B  dissonance.

C  triad.

D  dyad.

A  chord.

B  dissonance.

C  consonance.

D  progression.

A  series of individual tones heard one after another.

B  combination of three or more tones sounded at once.

C  pattern of accents used in music.

D  resting point at the end of a phrase.

A  meter.

B  tempo.

C  melody.

D  harmony.

A  a part of a melody.

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

C  a resting place at the end of a phrase.

D  the emotional focal point of a melody.