Navigation » List of Schools » California State University, Northridge » Music » Music 105 – Understanding Music » Spring 2022 » Final Examination
Below are the questions for the exam with the choices of answers:
Question #1
A polytonality.
B atonality.
C ostinato.
D a tone cluster.
Question #2
A Louis Armstrong.
B King Oliver.
C William C. Handy.
D Bessie Smith.
Question #3
A brass section.
B clarinet section.
C director.
D rhythm section.
Question #4
A call and response.
B jazz.
C polyphonic texture.
D calling the beat.
Question #5
A the use of twelve-tone techniques to organize the dimensions of music.
B a steady pulse, clear tonality, and insistent repetition of short melodic patterns.
C rapidly changing dynamics and textures.
D the development of musical materials through random methods.
Question #6
A chance music.
B serialism.
C minimalism.
D Klangfarbenmelodie.
Question #7
A Charleston, South Carolina.
B New York, New York.
C Anatevka, Russia.
D Paris, France.
Question #8
A concert pianist.
B singer.
C conductor.
D impresario.
Question #9
A concert overture
B nocturne
C polonaise
D program symphony
Question #10
A pure
B concert
C absolute
D symphonic
Question #11
A music that depicts aspects of nature.
B vocal music that tells a story.
C instrumental music associated with a story, poem, idea, or scene.
D All answers are correct.
Question #12
A Weimar
B Budapest
C Paris
D Rome
Question #13
A ein lied.
B an etude.
C a polonaise.
D a nocturne.
Question #14
A are for a wide range of media.
B have a limited variety of moods.
C are exquisite miniatures.
D have literary programs or titles.
Question #15
A folk songs.
B waltzes.
C polkas.
D mazurkas.
Question #16
A was widely acknowledged as a composer in his lifetime.
B was the first great master of the romantic art song.
C was very self-critical, which accounts for his meager output.
D produced his greatest works after the age of forty.
Question #17
A lied
B chanson
C durchkomponiert
D ballade
Question #18
A All answers are correct.
B multiple voices.
C solo voice and orchestra.
D solo voice and piano.
Question #19
A could only study musical composition, since performance was considered undignified.
B were not admitted.
C were at first accepted only as students of performance, but by the late 1800s could study musical composition.
D were admitted only as vocalists.
Question #20
A All answers are correct.
B development of regular subscription concerts.
C piano becoming a fixture in every middle-class home.
D formation of many orchestras and opera groups.
Question #21
A Hector Berlioz.
B Franz Liszt.
C Frédéric Chopin.
D Franz Schubert.
Question #22
A Ludwig van Beethoven.
B Johann Sebastian Bach.
C Wolfgang Amadeus Mozart.
D Joseph Haydn.
Question #23
A nineteenth-century society and culture.
B the Renaissance.
C his family lineage.
D the colonisation of Africa.
Question #24
A unending melody.
B lied.
C leitmotif.
D speech-song.
Question #25
A Hans von Bülow.
B Arrigo Boito.
C King Ludwig of Bavaria.
D Richard Wagner
Question #26
A finished his masterpiece, Der Ring des Nibelungen (The Ring of the Nibelung).
B was unable to get an opera performed and was reduced to musical hackwork.
C conducted the famous premiere of his opera, Rienzi.
D built an opera house according to his specifications.
Question #27
A fermata.
B rubato.
C accelerando.
D ritardando.
Question #28
A Ludwig van Beethoven.
B Johann Sebastian Bach.
C Hector Berlioz.
D Johannes Brahms.
Question #29
A Tosca and Turandot.
B Madame Butterfly and Turandot.
C La Bohème and Madame Butterfly.
D Turandot and Manon Lescaut.
Question #30
A All answers are correct.
B Wolfgang Amadeus Mozart.
C Ludwig van Beethoven.
D Joseph Haydn.
Question #31
A choral works.
B art songs.
C chamber music.
D operas.
Question #32
A a medley of popular melodies taken from his opera of that name.
B a ballet based on Shakespeare’s play Romeo and Juliet.
C an early programmatic symphony inspired by the characters in Shakespeare’s play.
D a concert overture consisting of a slow introduction and a fast movement in sonata form.
Question #33
A Peter Ilyich Tchaikovsky
B Nikolai Rimsky-Korsakov
C César Cu
D Modest Mussorgsky
Question #34
A ends with a slow, despairing finale.
B is in the usual four-movement form.
C was left unfinished by the composer.
D has five movements.
Question #35
A studied music theory and violin as a teenager.
B was a child prodigy, learning music at an early age.
C began to study music theory at the age of twenty-one.
D preferred his government position to music.
Question #36
A using the rhythms of the dances of their homelands.
B All answers are correct.
C using their national legends as subject matter.
D basing their music on the folk songs of their country.
Question #37
A clarinet.
B piano.
C cello.
D harpsichord.
Question #38
A an instrumental soloist.
B symphonic orchestra.
C an instrumental soloist and orchestra.
D any combination of instruments.
Question #39
A All answers are correct.
B is most often in sonata or sonata-rondo form.
C is always in the tonic key of the symphony.
D is usually fast, lively, and brilliant, but somewhat lighter in mood than the opening movement.
Question #40
A ABA
B sonata
C rondo
D minuet
Question #41
A All answers are correct.
B has a different meter.
C has a different form.
D moves more quickly.
Question #42
A quadruple
B common
C triple
D duple
Question #43
A second.
B first.
C fourth.
D third.
Question #44
A presents a new melodic idea.
B is usually in the same key.
C is usually in a new key.
D retains some elements of the theme.
Question #45
A another term for the symphony.
B a set of principles that serve to shape and unify contrasts of theme and key.
C a set of variations on a theme.
D a rigid mold into which musical ideas are poured.
Question #46
A melodies.
B rides.
C motives.
D codas.
Question #47
A the introduction of a new theme in the bridge.
B retaining the same tonality for both themes.
C changing the meter of the second theme.
D the conflict of tonalities between the first and second themes.
Question #48
A All answers are correct.
B were based on the Old Testament.
C were in Latin.
D ridiculed the aristocracy.
Question #49
A a visiting guest composer.
B a skilled servant.
C an equal by his employer.
D a freelance musician.
Question #50
A a limited sociological factor.
B ruthlessly stamped out by the aristocracy.
C promoted and encouraged by the church.
D an important factor in the rise of the middle class.
Question #51
A work for piano solo.
B work for solo instrument.
C work for chorus and orchestra.
D sonata for orchestra.
Question #52
A Fidelio.
B The Magic Flute.
C Madame Butterfly.
D Don Giovanni.
Question #53
A Basso continuo
B Fugal counterpoint
C Monophony
D Operatic form
Question #54
A told his troubles to his biographer.
B keept a diary.
C described his struggles in letters to friends.
D showed his workflow in musical sketchbooks.
Question #55
A Sir John Falstaff.
B the servant to Leporello.
C a despotic Italian nobleman.
D the legendary Spanish lover.
Question #56
A Rohrau, Austria.
B Salzburg, Austria.
C Bonn, Germany.
D Eisenach, Germany.
Question #57
A a loose ensemble of available instruments.
B strings with harpsichord continuo.
C strings, woodwinds, horns, trumpets, and timpani.
D woodwinds, trombones, drums, and strings.
Question #58
A 1450-1600.
B 1820-1900.
C 1750-1820.
D 1600-1750.
Question #59
A one main melody accompanied by chords.
B two or more different versions of the same basic melody performed simultaneously.
C two or more melodies of relatively equal interest performed simultaneously.
D a single melodic line without accompaniment.
Question #60
A dominant.
B modulation.
C tonic.
D scale.
Question #61
A resolution.
B progression.
C dominant chord.
D tonic chord.
Question #62
A the repetition of a melodic pattern at a higher or lower pitch.
B the emotional focal point of a melody.
C a resting place at the end of a phrase.
D a part of a melody.
Question #63
A legato.
B vibrato.
C staccato.
D glissando.
Question #64
A in small steps.
B at a higher or lower pitch.
C in a smooth, connected manner.
D in a short, detached manner.
Question #65
A rests.
B clefs.
C notes.
D beams.
Question #66
A vivace
B allegro
C adagio
D andante
Question #67
A A metronome
B A ritardando
C Syncopation
D Expiation
Question #68
A dynamic levels.
B noiselike sounds.
C cycles per minute.
D cycles per second.
Question #69
A repeat tones by quick up-and-down strokes of the bow.
B pluck the string with the finger instead of using the bow.
C draw the bow across two strings at the same time.
D veil or muffle the tone by fitting a clamp onto the bridge.
Question #70
A timbre.
B pitch.
C octave.
D dynamics.
Question #71
A training and musical style.
B which microphone the singer uses.
C physical makeup.
D training and physical makeup.
Question #72
A blooper.
B pianissimo.
C dynamic accent.
D crescendo.
Question #73
A dynamic accent.
B pitch range.
C timbre.
D an octave.
Question #74
A a system of symbols that performers learn to read.
B sounds that are pleasing, as opposed to noise.
C an art based on the organization of sounds in time.
D sounds produced by musical instruments.