Midterm Examination

A  sonatas

B  suites

C  concertos

D  operas

A  choral singers

B  balanced and symmetrical phrases

C  foot stomps and hand claps

D  melodies in minor keys

A  sonata.

B  conceerto

C  fugue.

D  opera.

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

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

C  would improvise new words for the returning A section.

D  would insert recitatives between the sections for added variety.

A  aria.

B  stretto.

C  duet.

D  ensemble.

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  received the highest fees of any musicians.

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

C  All answers are correct.

D  were male singers who had been castrated before puberty.

A  retrograde.

B  countersubject.

C  stretto.

D  inversion.

A  answer.

B  subject.

C  episode.

D  countersubject.

A  shake.

B  trill.

C  wobble.

D  blurb.

A  two

B  one

C  four

D  three

A  sequenced bass.

B  counterpoint.

C  figured bass.

D  basso profundo.

A  clavichord.

B  harpsichord.

C  piano.

D  accordion.

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

B  a gradual change from soft to loud.

C  a gradual change from loud to soft.

D  the sudden alternation from one dynamic level to another.

A  terraced dynamics.

B  the doctrine of universal brotherhood.

C  the nobility’s manner of deportment.

D  emotional states or moods of music.

A  Italy.

B  Germany.

C  Ireland.

D  England.

A  Johann Sebastian Bach.

B  Arcangelo Corelli.

C  Antonio Vivaldi.

D  Claudio Monteverdi.

A  orchestral accompaniment.

B  acting, scenery, or costumes.

C  choral part.

D  vocal soloists.

A  concertos

B  operas

C  sonatas

D  suites

A  melodies in minor keys

B  choral singers

C  balanced and symmetrical phrases

D  foot stomps and hand claps

A  All answers are correct.

B  tempo.

C  meter.

D  national origin.

A  sonata.

B  fugue.

C  concerto.

D  opera.

A  cellist

B  violinist

C  composer

D  organist

A  Venice.

B  Florence.

C  Cremona.

D  Rome.

A  keyboard instrument suitable for playing basso continuo parts.

B  bass woodwind instrument similar to the bassoon.

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

D  electronic instrument whose tone is generated by oscillators.

A  dancelike song for several solo voices.

B  polyphonic choral composition made up of five sections.

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

D  polyphonic choral work set to a sacred Latin text.

A  was based on Gregorian chant.

B  All answers are correct.

C  was tiresomely monophonic.

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

A  polyphonic choral work set to a sacred Latin text other than the ordinary of the mass.

B  polyphonic choral composition made up of five sections.

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

D  dancelike song for several solo voices.

A  monophonic.

B  heterophonic.

C  polyphonic.

D  homophonic.

A  late fourteenth century.

B  early thirteenth century.

C  late twelfth century.

D  early fourteenth century.

A  German music of the sixteenth century.

B  paintings from the new world.

C  Italian and French music of the fourteenth century.

D  the new art of baroque painters.

A  Paris.

B  London.

C  Rome.

D  Reims.

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

B  The Madonna was treated as a beautiful young woman.

C  The humanists focused on human life and its accomplishments.

D  The humanists were basically atheistic in their beliefs.

A  song of worship.

B  dance.

C  stringed instrument.

D  secular song form.

A  during the fifteenth century.

B  during the twelfth and thirteenth centuries.

C  from 590 to 604.

D  during the ninth century.

A  abbess of the convent at Rupertsberg.

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

C  All answers are correct.

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

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

C  All answers are correct.

D  published all of the Gregorian chants.

A  Gregorian chant.

B  Trouvère songs.

C  contemporary gospel.

D  estampies.

A  vocal.

B  for the organ.

C  instrumental.

D  for the piano.

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  association with minstrels and jongleurs.

B  earlier role in pagan rites.

C  use in early Jewish religious ceremonies.

D  sacred quality and background.

A  a resting place at the end of a phrase.

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

C  the emotional focal point of a melody.

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

A  vibrato.

B  staccato.

C  glissando.

D  legato.

A  in a short, detached manner.

B  at a higher or lower pitch.

C  in small steps.

D  in a smooth, connected manner.

A  sequence.

B  rhythm.

C  range.

D  cadence.

A  metronome

B  clock

C  beat

D  stopwatch

A  higher

B  softer

C  louder

D  lower

A  downbeat.

B  intro.

C  head.

D  upbeat.

A  organ

B  harpsichord

C  piano

D  accordion

A  crook.

B  reed.

C  tailpiece.

D  mute.

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  oboe.

B  clarinet.

C  piccolo flute.

D  English horn.

A  are made of wood.

B  use a wooden reed.

C  were originally made of wood.

D  have wooden key mechanisms.

A  the instrument manufacturer’s brand name.

B  the number of reeds an instrument uses.

C  part of an instrument’s total range.

D  playing two or more notes at the same time.

A  decrescendo.

B  fortissimo.

C  crescendo.

D  diminuendo.

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

B  the degree of loudness and softness.

C  the quality that distinguishes musical sounds.

D  an exemplary performance.

A  it was too primitive to interest later generations.

B  hardly any notated music has survived from these cultures.

C  there probably was almost none.

D  it is too difficult to be played today.

A  A B C.

B  A B A.

C  All answers are correct.

D  A A B.

A  cadence.

B  form.

C  repetition.

D  contrast.

A  ternary.

B  repetition.

C  form.

D  variation.

A  an independence from major or minor scales.

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

C  the central tone of a musical composition.

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

A  220

B  440

C  1760

D  660

A  modulation.

B  scale.

C  key.

D  chromaticism.

A  an interval.

B  dynamic accent.

C  timbre.

D  duration.

A  triad.

B  dyad.

C  dissonance.

D  consonance.

A  chord.

B  progression.

C  consonance.

D  dissonance.

A  pattern of accents used in music.

B  series of individual tones heard one after another.

C  resting point at the end of a phrase.

D  combination of three or more tones sounded at once.

A  harmony.

B  tempo.

C  melody.

D  meter.

A  the emotional focal point of a melody.

B  a resting place at the end of a phrase.

C  a part of a melody.

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