Midterm Examination

A  sonatas

B  suites

C  concertos

D  operas

A  balanced and symmetrical phrases

B  foot stomps and hand claps

C  choral singers

D  melodies in minor keys

A  fugue.

B  sonata.

C  conceerto

D  opera.

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  ensemble.

B  aria.

C  duet.

D  stretto.

A  the Vatican, Rome.

B  The Duomo, Florence.

C  Notre Dame, Paris.

D  St. Mark’s, Venice.

A  obsolete in contemporary performances.

B  music created at the same time it is performed.

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

D  notes printed in the music that ornament 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  were male singers who had been castrated before puberty.

D  All answers are correct.

A  inversion.

B  stretto.

C  retrograde.

D  countersubject.

A  subject.

B  episode.

C  countersubject.

D  answer.

A  wobble.

B  trill.

C  shake.

D  blurb.

A  three

B  one

C  two

D  four

A  figured bass.

B  basso profundo.

C  counterpoint.

D  sequenced bass.

A  harpsichord.

B  accordion.

C  piano.

D  clavichord.

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

B  a gradual change from loud to soft.

C  a gradual change from soft to loud.

D  the sudden alternation from one dynamic level to another.

A  emotional states or moods of music.

B  the doctrine of universal brotherhood.

C  the nobility’s manner of deportment.

D  terraced dynamics.

A  England.

B  Germany.

C  Ireland.

D  Italy.

A  Arcangelo Corelli.

B  Johann Sebastian Bach.

C  Claudio Monteverdi.

D  Antonio Vivaldi.

A  choral part.

B  orchestral accompaniment.

C  vocal soloists.

D  acting, scenery, or costumes.

A  sonatas

B  operas

C  concertos

D  suites

A  choral singers

B  melodies in minor keys

C  foot stomps and hand claps

D  balanced and symmetrical phrases

A  tempo.

B  national origin.

C  meter.

D  All answers are correct.

A  fugue.

B  sonata.

C  opera.

D  concerto.

A  composer

B  cellist

C  violinist

D  organist

A  Cremona.

B  Florence.

C  Rome.

D  Venice.

A  electronic instrument whose tone is generated by oscillators.

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

C  bass woodwind instrument similar to the bassoon.

D  keyboard instrument suitable for playing basso continuo parts.

A  polyphonic choral work set to a sacred Latin text.

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

C  dancelike song for several solo voices.

D  polyphonic choral composition made up of five sections.

A  was based on Gregorian chant.

B  was tiresomely monophonic.

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

D  All answers are correct.

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

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

C  polyphonic choral composition made up of five sections.

D  dancelike song for several solo voices.

A  monophonic.

B  heterophonic.

C  homophonic.

D  polyphonic.

A  early thirteenth century.

B  late fourteenth century.

C  late twelfth century.

D  early fourteenth century.

A  paintings from the new world.

B  the new art of baroque painters.

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 basically atheistic in their beliefs.

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

C  The Madonna was treated as a beautiful young woman.

D  The humanists focused on human life and its accomplishments.

A  dance.

B  secular song form.

C  stringed instrument.

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  All answers are correct.

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

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

D  abbess of the convent at Rupertsberg.

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

B  completely different from any other form of scale.

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

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

A  All answers are correct.

B  composed all of the Gregorian chants.

C  published all of the Gregorian chants.

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

A  estampies.

B  Trouvère songs.

C  Gregorian chant.

D  contemporary gospel.

A  for the organ.

B  vocal.

C  for the piano.

D  instrumental.

A  lively dance in triple meter.

B  silly, humorous dance in duple meter.

C  stately dance in duple meter similar to the pavane.

D  wooden instrument with a cup-shaped mouthpiece.

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  the emotional focal point of a melody.

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

C  a resting place at the end of a phrase.

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

A  staccato.

B  legato.

C  vibrato.

D  glissando.

A  in small steps.

B  in a short, detached manner.

C  at a higher or lower pitch.

D  in a smooth, connected manner.

A  sequence.

B  rhythm.

C  range.

D  cadence.

A  stopwatch

B  beat

C  clock

D  metronome

A  softer

B  lower

C  louder

D  higher

A  upbeat.

B  intro.

C  head.

D  downbeat.

A  accordion

B  organ

C  harpsichord

D  piano

A  crook.

B  reed.

C  mute.

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  clarinet.

C  oboe.

D  English horn.

A  were originally made of wood.

B  are made of wood.

C  use a wooden reed.

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  fortissimo.

B  decrescendo.

C  crescendo.

D  diminuendo.

A  an exemplary performance.

B  the quality that distinguishes musical sounds.

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

D  the degree of loudness and softness.

A  it is too difficult to be played today.

B  it was too primitive to interest later generations.

C  there probably was almost none.

D  hardly any notated music has survived from these cultures.

A  A B C.

B  A A B.

C  A B A.

D  All answers are correct.

A  contrast.

B  repetition.

C  cadence.

D  form.

A  variation.

B  repetition.

C  form.

D  ternary.

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

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

C  an independence from major or minor scales.

D  the central tone of a musical composition.

A  440

B  1760

C  220

D  660

A  scale.

B  chromaticism.

C  modulation.

D  key.

A  an interval.

B  timbre.

C  duration.

D  dynamic accent.

A  dyad.

B  triad.

C  consonance.

D  dissonance.

A  progression.

B  chord.

C  consonance.

D  dissonance.

A  combination of three or more tones sounded at once.

B  pattern of accents used in music.

C  series of individual tones heard one after another.

D  resting point at the end of a phrase.

A  harmony.

B  meter.

C  melody.

D  tempo.

A  a part of a melody.

B  a resting place at the end of a phrase.

C  the emotional focal point of a melody.

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