Midterm Examination

A  concertos

B  suites

C  operas

D  sonatas

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 insert recitatives between the sections for added variety.

B  would improvise new words for the returning A section.

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

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

A  aria.

B  duet.

C  stretto.

D  ensemble.

A  The Duomo, Florence.

B  Notre Dame, Paris.

C  the Vatican, Rome.

D  St. Mark’s, Venice.

A  notes printed in the music that ornament the melody.

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

C  music created at the same time it is performed.

D  obsolete in contemporary performances.

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  countersubject.

B  inversion.

C  stretto.

D  retrograde.

A  answer.

B  subject.

C  countersubject.

D  episode.

A  shake.

B  trill.

C  wobble.

D  blurb.

A  one

B  four

C  two

D  three

A  figured bass.

B  basso profundo.

C  counterpoint.

D  sequenced bass.

A  piano.

B  clavichord.

C  accordion.

D  harpsichord.

A  a gradual change from loud to soft.

B  a gradual change from soft to loud.

C  the sudden alternation from one dynamic level to another.

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

A  emotional states or moods of music.

B  terraced dynamics.

C  the doctrine of universal brotherhood.

D  the nobility’s manner of deportment.

A  Ireland.

B  Germany.

C  England.

D  Italy.

A  Johann Sebastian Bach.

B  Arcangelo Corelli.

C  Antonio Vivaldi.

D  Claudio Monteverdi.

A  vocal soloists.

B  orchestral accompaniment.

C  choral part.

D  acting, scenery, or costumes.

A  concertos

B  sonatas

C  operas

D  suites

A  balanced and symmetrical phrases

B  choral singers

C  melodies in minor keys

D  foot stomps and hand claps

A  tempo.

B  All answers are correct.

C  national origin.

D  meter.

A  fugue.

B  opera.

C  sonata.

D  concerto.

A  violinist

B  organist

C  cellist

D  composer

A  Cremona.

B  Rome.

C  Venice.

D  Florence.

A  bass woodwind instrument similar to the bassoon.

B  electronic instrument whose tone is generated by oscillators.

C  keyboard instrument suitable for playing basso continuo parts.

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

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

B  dancelike song for several solo voices.

C  polyphonic choral composition made up of five sections.

D  polyphonic choral work set to a sacred Latin text.

A  was tiresomely monophonic.

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

C  All answers are correct.

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  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  polyphonic.

C  monophonic.

D  homophonic.

A  late fourteenth century.

B  late twelfth century.

C  early fourteenth century.

D  early thirteenth century.

A  the new art of baroque painters.

B  paintings from the new world.

C  German music of the sixteenth century.

D  Italian and French music of the fourteenth century.

A  Rome.

B  London.

C  Paris.

D  Reims.

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  song of worship.

B  dance.

C  secular song form.

D  stringed instrument.

A  during the twelfth and thirteenth centuries.

B  during the ninth century.

C  during the fifteenth century.

D  from 590 to 604.

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

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

C  All answers are correct.

D  abbess of the convent at Rupertsberg.

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  composed all of the Gregorian chants.

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

C  published all of the Gregorian chants.

D  All answers are correct.

A  contemporary gospel.

B  Trouvère songs.

C  estampies.

D  Gregorian chant.

A  for the organ.

B  instrumental.

C  for the piano.

D  vocal.

A  silly, humorous dance in duple meter.

B  stately dance in duple meter similar to the pavane.

C  lively dance in triple meter.

D  wooden instrument with a cup-shaped mouthpiece.

A  association with minstrels and jongleurs.

B  sacred quality and background.

C  earlier role in pagan rites.

D  use in early Jewish religious ceremonies.

A  a resting place at the end of a phrase.

B  the emotional focal point of a melody.

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

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

A  vibrato.

B  legato.

C  staccato.

D  glissando.

A  in small steps.

B  at a higher or lower pitch.

C  in a smooth, connected manner.

D  in a short, detached manner.

A  rhythm.

B  range.

C  sequence.

D  cadence.

A  beat

B  stopwatch

C  clock

D  metronome

A  lower

B  higher

C  louder

D  softer

A  intro.

B  head.

C  downbeat.

D  upbeat.

A  harpsichord

B  piano

C  accordion

D  organ

A  reed.

B  tailpiece.

C  mute.

D  crook.

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

B  leaning on a musical note.

C  the degree of loudness or softness in music.

D  the quality that distinguishes musical sounds.

A  piccolo flute.

B  clarinet.

C  English horn.

D  oboe.

A  have wooden key mechanisms.

B  use a wooden reed.

C  were originally made of wood.

D  are made of wood.

A  playing two or more notes at the same time.

B  part of an instrument’s total range.

C  the instrument manufacturer’s brand name.

D  the number of reeds an instrument uses.

A  fortissimo.

B  decrescendo.

C  diminuendo.

D  crescendo.

A  the degree of loudness and softness.

B  the quality that distinguishes musical sounds.

C  an exemplary performance.

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

A  it was too primitive to interest later generations.

B  it is too difficult to be played today.

C  hardly any notated music has survived from these cultures.

D  there probably was almost none.

A  A B A.

B  A B C.

C  A A B.

D  All answers are correct.

A  form.

B  repetition.

C  cadence.

D  contrast.

A  form.

B  ternary.

C  variation.

D  repetition.

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  an independence from major or minor scales.

D  the central tone of a musical composition.

A  660

B  1760

C  220

D  440

A  chromaticism.

B  scale.

C  modulation.

D  key.

A  dynamic accent.

B  duration.

C  timbre.

D  an interval.

A  consonance.

B  dyad.

C  dissonance.

D  triad.

A  dissonance.

B  consonance.

C  progression.

D  chord.

A  series of individual tones heard one after another.

B  combination of three or more tones sounded at once.

C  resting point at the end of a phrase.

D  pattern of accents used in music.

A  melody.

B  tempo.

C  harmony.

D  meter.

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

B  a resting place at the end of a phrase.

C  a part of a melody.

D  the emotional focal point of a melody.