Midterm Examination

A  operas

B  sonatas

C  concertos

D  suites

A  foot stomps and hand claps

B  choral singers

C  balanced and symmetrical phrases

D  melodies in minor keys

A  opera.

B  fugue.

C  conceerto

D  sonata.

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  would improvise new words for the returning A section.

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

A  ensemble.

B  stretto.

C  aria.

D  duet.

A  The Duomo, Florence.

B  Notre Dame, Paris.

C  St. Mark’s, Venice.

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

B  received the highest fees of any musicians.

C  were male singers who had been castrated before puberty.

D  All answers are correct.

A  inversion.

B  stretto.

C  retrograde.

D  countersubject.

A  countersubject.

B  answer.

C  episode.

D  subject.

A  wobble.

B  blurb.

C  shake.

D  trill.

A  one

B  three

C  two

D  four

A  counterpoint.

B  figured bass.

C  basso profundo.

D  sequenced bass.

A  clavichord.

B  accordion.

C  piano.

D  harpsichord.

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

B  a gradual change from soft to loud.

C  the sudden alternation from one dynamic level to another.

D  a gradual change from loud to soft.

A  the doctrine of universal brotherhood.

B  emotional states or moods of music.

C  terraced dynamics.

D  the nobility’s manner of deportment.

A  England.

B  Ireland.

C  Italy.

D  Germany.

A  Johann Sebastian Bach.

B  Arcangelo Corelli.

C  Claudio Monteverdi.

D  Antonio Vivaldi.

A  orchestral accompaniment.

B  choral part.

C  vocal soloists.

D  acting, scenery, or costumes.

A  operas

B  sonatas

C  concertos

D  suites

A  melodies in minor keys

B  balanced and symmetrical phrases

C  choral singers

D  foot stomps and hand claps

A  national origin.

B  meter.

C  All answers are correct.

D  tempo.

A  sonata.

B  fugue.

C  concerto.

D  opera.

A  composer

B  organist

C  cellist

D  violinist

A  Florence.

B  Venice.

C  Rome.

D  Cremona.

A  keyboard instrument suitable for playing basso continuo parts.

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

C  electronic instrument whose tone is generated by oscillators.

D  bass woodwind instrument similar to the bassoon.

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  All answers are correct.

B  was based on Gregorian chant.

C  was tiresomely monophonic.

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

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 other than the ordinary of the mass.

A  monophonic.

B  polyphonic.

C  heterophonic.

D  homophonic.

A  early thirteenth century.

B  late twelfth century.

C  early fourteenth century.

D  late fourteenth century.

A  the new art of baroque painters.

B  Italian and French music of the fourteenth century.

C  paintings from the new world.

D  German music of the sixteenth century.

A  London.

B  Rome.

C  Reims.

D  Paris.

A  The Madonna was treated as a beautiful young woman.

B  The humanists focused on human life and its accomplishments.

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 ninth century.

B  during the fifteenth 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 six 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 five different tones.

A  published all of the Gregorian chants.

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

C  composed all of the Gregorian chants.

D  All answers are correct.

A  Trouvère songs.

B  estampies.

C  contemporary gospel.

D  Gregorian chant.

A  vocal.

B  for the organ.

C  for the piano.

D  instrumental.

A  lively dance in triple meter.

B  wooden instrument with a cup-shaped mouthpiece.

C  silly, humorous dance in duple meter.

D  stately dance in duple meter similar to the pavane.

A  earlier role in pagan rites.

B  association with minstrels and jongleurs.

C  sacred quality and background.

D  use in early Jewish religious ceremonies.

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

B  the emotional focal point 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.

A  vibrato.

B  legato.

C  glissando.

D  staccato.

A  in small steps.

B  in a smooth, connected manner.

C  in a short, detached manner.

D  at a higher or lower pitch.

A  sequence.

B  range.

C  cadence.

D  rhythm.

A  clock

B  metronome

C  beat

D  stopwatch

A  louder

B  lower

C  higher

D  softer

A  intro.

B  upbeat.

C  downbeat.

D  head.

A  harpsichord

B  accordion

C  organ

D  piano

A  mute.

B  reed.

C  crook.

D  tailpiece.

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  clarinet.

D  English horn.

A  were originally made of wood.

B  use a wooden reed.

C  are made of wood.

D  have wooden key mechanisms.

A  the number of reeds an instrument uses.

B  playing two or more notes at the same time.

C  the instrument manufacturer’s brand name.

D  part of an instrument’s total range.

A  diminuendo.

B  fortissimo.

C  crescendo.

D  decrescendo.

A  the quality that distinguishes musical sounds.

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

C  the degree of loudness and softness.

D  an exemplary performance.

A  hardly any notated music has survived from these cultures.

B  it is too difficult to be played today.

C  it was too primitive to interest later generations.

D  there probably was almost none.

A  A B C.

B  All answers are correct.

C  A A B.

D  A B A.

A  contrast.

B  form.

C  cadence.

D  repetition.

A  form.

B  ternary.

C  repetition.

D  variation.

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

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  an independence from major or minor scales.

A  660

B  1760

C  440

D  220

A  chromaticism.

B  modulation.

C  scale.

D  key.

A  dynamic accent.

B  timbre.

C  duration.

D  an interval.

A  consonance.

B  triad.

C  dyad.

D  dissonance.

A  consonance.

B  chord.

C  progression.

D  dissonance.

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  harmony.

B  meter.

C  melody.

D  tempo.

A  the emotional focal point 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  a part of a melody.