Midterm Examination

A  suites

B  sonatas

C  concertos

D  operas

A  foot stomps and hand claps

B  choral singers

C  melodies in minor keys

D  balanced and symmetrical phrases

A  opera.

B  fugue.

C  conceerto

D  sonata.

A  would insert recitatives between the sections for added variety.

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

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  aria.

B  ensemble.

C  stretto.

D  duet.

A  St. Mark’s, Venice.

B  The Duomo, Florence.

C  Notre Dame, Paris.

D  the Vatican, Rome.

A  obsolete in contemporary performances.

B  notes printed in the music that ornament the melody.

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

D  music created at the same time it is performed.

A  received the highest fees of any musicians.

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

C  were male singers who had been castrated before puberty.

D  All answers are correct.

A  inversion.

B  countersubject.

C  retrograde.

D  stretto.

A  episode.

B  subject.

C  answer.

D  countersubject.

A  trill.

B  blurb.

C  wobble.

D  shake.

A  four

B  one

C  three

D  two

A  counterpoint.

B  figured bass.

C  sequenced bass.

D  basso profundo.

A  clavichord.

B  accordion.

C  piano.

D  harpsichord.

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

B  the sudden alternation from one dynamic level to another.

C  a gradual change from loud to soft.

D  a gradual change from soft to loud.

A  the nobility’s manner of deportment.

B  emotional states or moods of music.

C  the doctrine of universal brotherhood.

D  terraced dynamics.

A  England.

B  Ireland.

C  Germany.

D  Italy.

A  Johann Sebastian Bach.

B  Antonio Vivaldi.

C  Arcangelo Corelli.

D  Claudio Monteverdi.

A  vocal soloists.

B  choral part.

C  orchestral accompaniment.

D  acting, scenery, or costumes.

A  concertos

B  suites

C  sonatas

D  operas

A  melodies in minor keys

B  choral singers

C  balanced and symmetrical phrases

D  foot stomps and hand claps

A  national origin.

B  All answers are correct.

C  meter.

D  tempo.

A  concerto.

B  opera.

C  fugue.

D  sonata.

A  violinist

B  composer

C  organist

D  cellist

A  Florence.

B  Cremona.

C  Venice.

D  Rome.

A  bass woodwind instrument similar to the bassoon.

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

C  keyboard instrument suitable for playing basso continuo parts.

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  polyphonic choral composition made up of five sections.

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

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  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 other than the ordinary of the mass.

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

A  monophonic.

B  polyphonic.

C  homophonic.

D  heterophonic.

A  late twelfth century.

B  late fourteenth 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  London.

B  Rome.

C  Paris.

D  Reims.

A  The humanists were basically atheistic in their beliefs.

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 focused on human life and its accomplishments.

A  stringed instrument.

B  dance.

C  secular song form.

D  song of worship.

A  from 590 to 604.

B  during the fifteenth century.

C  during the twelfth and thirteenth centuries.

D  during the ninth century.

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

B  All answers are correct.

C  abbess of the convent at Rupertsberg.

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

C  like the major and minor scales in that they consist of seven different tones.

D  completely different from any other form of scale.

A  composed all of the Gregorian chants.

B  published 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  vocal.

C  for the piano.

D  for the organ.

A  wooden instrument with a cup-shaped mouthpiece.

B  lively dance in triple meter.

C  silly, humorous dance in duple meter.

D  stately dance in duple meter similar to the pavane.

A  sacred quality and background.

B  earlier role in pagan rites.

C  association with minstrels and jongleurs.

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  legato.

B  staccato.

C  glissando.

D  vibrato.

A  at a higher or lower pitch.

B  in a smooth, connected manner.

C  in a short, detached manner.

D  in small steps.

A  rhythm.

B  sequence.

C  range.

D  cadence.

A  beat

B  clock

C  metronome

D  stopwatch

A  higher

B  softer

C  lower

D  louder

A  head.

B  downbeat.

C  intro.

D  upbeat.

A  accordion

B  piano

C  organ

D  harpsichord

A  tailpiece.

B  crook.

C  mute.

D  reed.

A  leaning on a musical note.

B  the quality that distinguishes musical sounds.

C  the degree of loudness or softness in music.

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

A  clarinet.

B  oboe.

C  English horn.

D  piccolo flute.

A  are made of wood.

B  use a wooden reed.

C  were originally made of wood.

D  have wooden key mechanisms.

A  part of an instrument’s total range.

B  playing two or more notes at the same time.

C  the instrument manufacturer’s brand name.

D  the number of reeds an instrument uses.

A  diminuendo.

B  fortissimo.

C  crescendo.

D  decrescendo.

A  the degree of loudness and softness.

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

C  an exemplary performance.

D  the quality that distinguishes musical sounds.

A  there probably was almost none.

B  it is too difficult to be played today.

C  hardly any notated music has survived from these cultures.

D  it was too primitive to interest later generations.

A  All answers are correct.

B  A B C.

C  A A B.

D  A B A.

A  cadence.

B  contrast.

C  repetition.

D  form.

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  the central tone of a musical composition.

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

A  440

B  220

C  660

D  1760

A  modulation.

B  chromaticism.

C  scale.

D  key.

A  timbre.

B  duration.

C  dynamic accent.

D  an interval.

A  dissonance.

B  consonance.

C  triad.

D  dyad.

A  chord.

B  dissonance.

C  consonance.

D  progression.

A  combination of three or more tones sounded at once.

B  resting point at the end of a phrase.

C  pattern of accents used in music.

D  series of individual tones heard one after another.

A  melody.

B  harmony.

C  tempo.

D  meter.

A  a part of a melody.

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

C  the emotional focal point of a melody.

D  a resting place at the end of a phrase.