Midterm Examination

A  sonatas

B  operas

C  suites

D  concertos

A  balanced and symmetrical phrases

B  choral singers

C  melodies in minor keys

D  foot stomps and hand claps

A  fugue.

B  conceerto

C  sonata.

D  opera.

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

B  would improvise new words for the returning A section.

C  would insert recitatives between the sections for added variety.

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

A  stretto.

B  aria.

C  duet.

D  ensemble.

A  St. Mark’s, Venice.

B  the Vatican, Rome.

C  Notre Dame, Paris.

D  The Duomo, Florence.

A  obsolete in contemporary performances.

B  notes printed in the music that ornament the melody.

C  music created at the same time it is performed.

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  were male singers who had been castrated before puberty.

C  received the highest fees of any musicians.

D  All answers are correct.

A  inversion.

B  countersubject.

C  retrograde.

D  stretto.

A  countersubject.

B  subject.

C  answer.

D  episode.

A  wobble.

B  blurb.

C  trill.

D  shake.

A  three

B  four

C  one

D  two

A  basso profundo.

B  sequenced bass.

C  counterpoint.

D  figured bass.

A  clavichord.

B  piano.

C  accordion.

D  harpsichord.

A  a gradual change from loud to soft.

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

C  the sudden alternation from one dynamic level to another.

D  a gradual change from soft to loud.

A  the nobility’s manner of deportment.

B  the doctrine of universal brotherhood.

C  terraced dynamics.

D  emotional states or moods of music.

A  Ireland.

B  England.

C  Italy.

D  Germany.

A  Antonio Vivaldi.

B  Johann Sebastian Bach.

C  Arcangelo Corelli.

D  Claudio Monteverdi.

A  acting, scenery, or costumes.

B  orchestral accompaniment.

C  choral part.

D  vocal soloists.

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  meter.

B  All answers are correct.

C  tempo.

D  national origin.

A  concerto.

B  fugue.

C  opera.

D  sonata.

A  organist

B  composer

C  violinist

D  cellist

A  Venice.

B  Cremona.

C  Florence.

D  Rome.

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

B  keyboard instrument suitable for playing basso continuo parts.

C  bass woodwind instrument similar to the bassoon.

D  electronic instrument whose tone is generated by oscillators.

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

B  dancelike song for several solo voices.

C  polyphonic choral work set to a sacred Latin text.

D  polyphonic choral composition made up of five sections.

A  All answers are correct.

B  was tiresomely monophonic.

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

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  homophonic.

B  monophonic.

C  polyphonic.

D  heterophonic.

A  early fourteenth century.

B  late twelfth century.

C  early thirteenth century.

D  late fourteenth century.

A  Italian and French music of the fourteenth century.

B  the new art of baroque painters.

C  German music of the sixteenth century.

D  paintings from the new world.

A  London.

B  Reims.

C  Paris.

D  Rome.

A  The humanists focused on human life and its accomplishments.

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 were basically atheistic in their beliefs.

A  dance.

B  stringed instrument.

C  song of worship.

D  secular song form.

A  from 590 to 604.

B  during the ninth century.

C  during the twelfth and thirteenth centuries.

D  during the fifteenth century.

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

B  abbess of the convent at Rupertsberg.

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

D  All answers are correct.

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

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

C  completely different from any other form of scale.

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

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

B  All answers are correct.

C  published all of the Gregorian chants.

D  composed all of the Gregorian chants.

A  contemporary gospel.

B  Trouvère songs.

C  estampies.

D  Gregorian chant.

A  vocal.

B  for the piano.

C  for the organ.

D  instrumental.

A  stately dance in duple meter similar to the pavane.

B  lively dance in triple meter.

C  wooden instrument with a cup-shaped mouthpiece.

D  silly, humorous dance in duple meter.

A  association with minstrels and jongleurs.

B  earlier role in pagan rites.

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

D  a resting place at the end of a phrase.

A  vibrato.

B  staccato.

C  glissando.

D  legato.

A  in small steps.

B  in a short, detached manner.

C  in a smooth, connected manner.

D  at a higher or lower pitch.

A  sequence.

B  rhythm.

C  cadence.

D  range.

A  clock

B  metronome

C  stopwatch

D  beat

A  lower

B  louder

C  higher

D  softer

A  upbeat.

B  head.

C  intro.

D  downbeat.

A  organ

B  accordion

C  piano

D  harpsichord

A  crook.

B  mute.

C  reed.

D  tailpiece.

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

B  the quality that distinguishes musical sounds.

C  the degree of loudness or softness in music.

D  leaning on a musical note.

A  clarinet.

B  English horn.

C  oboe.

D  piccolo flute.

A  are made of wood.

B  have wooden key mechanisms.

C  use a wooden reed.

D  were originally made of wood.

A  the number of reeds an instrument uses.

B  part of an instrument’s total range.

C  the instrument manufacturer’s brand name.

D  playing two or more notes at the same time.

A  fortissimo.

B  crescendo.

C  diminuendo.

D  decrescendo.

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 was too primitive to interest later generations.

B  there probably was almost none.

C  it is too difficult to be played today.

D  hardly any notated music has survived from these cultures.

A  A A B.

B  A B C.

C  All answers are correct.

D  A B A.

A  repetition.

B  contrast.

C  cadence.

D  form.

A  ternary.

B  variation.

C  form.

D  repetition.

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

A  440

B  1760

C  220

D  660

A  chromaticism.

B  scale.

C  modulation.

D  key.

A  dynamic accent.

B  an interval.

C  timbre.

D  duration.

A  triad.

B  consonance.

C  dissonance.

D  dyad.

A  dissonance.

B  progression.

C  chord.

D  consonance.

A  resting point at the end of a phrase.

B  pattern of accents used in music.

C  series of individual tones heard one after another.

D  combination of three or more tones sounded at once.

A  harmony.

B  meter.

C  melody.

D  tempo.

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.