Midterm Examination

A  suites

B  sonatas

C  concertos

D  operas

A  choral singers

B  foot stomps and hand claps

C  melodies in minor keys

D  balanced and symmetrical phrases

A  sonata.

B  opera.

C  conceerto

D  fugue.

A  would insert recitatives between the sections for added variety.

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

C  would improvise new words for the returning A section.

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

A  duet.

B  aria.

C  stretto.

D  ensemble.

A  the Vatican, Rome.

B  Notre Dame, Paris.

C  The Duomo, Florence.

D  St. Mark’s, Venice.

A  music created at the same time it is performed.

B  notes printed in the music that ornament the melody.

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  All answers are correct.

B  received the highest fees of any musicians.

C  were male singers who had been castrated before puberty.

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

A  countersubject.

B  retrograde.

C  inversion.

D  stretto.

A  subject.

B  countersubject.

C  answer.

D  episode.

A  shake.

B  trill.

C  blurb.

D  wobble.

A  four

B  one

C  two

D  three

A  basso profundo.

B  counterpoint.

C  sequenced bass.

D  figured bass.

A  piano.

B  accordion.

C  harpsichord.

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  the nobility’s manner of deportment.

B  emotional states or moods of music.

C  the doctrine of universal brotherhood.

D  terraced dynamics.

A  Ireland.

B  Italy.

C  England.

D  Germany.

A  Claudio Monteverdi.

B  Antonio Vivaldi.

C  Arcangelo Corelli.

D  Johann Sebastian Bach.

A  vocal soloists.

B  choral part.

C  orchestral accompaniment.

D  acting, scenery, or costumes.

A  suites

B  operas

C  sonatas

D  concertos

A  melodies in minor keys

B  foot stomps and hand claps

C  choral singers

D  balanced and symmetrical phrases

A  meter.

B  tempo.

C  All answers are correct.

D  national origin.

A  opera.

B  concerto.

C  sonata.

D  fugue.

A  cellist

B  violinist

C  organist

D  composer

A  Florence.

B  Cremona.

C  Venice.

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  electronic instrument whose tone is generated by oscillators.

D  bass woodwind instrument similar to the bassoon.

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

B  polyphonic choral work set to a sacred Latin text.

C  polyphonic choral composition made up of five sections.

D  dancelike song for several solo voices.

A  was based on Gregorian chant.

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

C  was tiresomely monophonic.

D  All answers are correct.

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

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  dancelike song for several solo voices.

A  homophonic.

B  monophonic.

C  heterophonic.

D  polyphonic.

A  late twelfth century.

B  late fourteenth century.

C  early fourteenth century.

D  early thirteenth century.

A  the new art of baroque painters.

B  paintings from the new world.

C  Italian and French music of the fourteenth century.

D  German music of the sixteenth century.

A  London.

B  Paris.

C  Reims.

D  Rome.

A  The Madonna was treated as a beautiful young woman.

B  The humanists were basically atheistic in their beliefs.

C  The humanists focused on human life and its accomplishments.

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

A  stringed instrument.

B  dance.

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

B  All answers are correct.

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

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 five different tones.

C  different from the major and minor scales in that they consist of only six 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  reorganized the Catholic church liturgy during his reign from 590 to 604.

D  published all of the Gregorian chants.

A  contemporary gospel.

B  Trouvère songs.

C  estampies.

D  Gregorian chant.

A  for the organ.

B  instrumental.

C  vocal.

D  for the piano.

A  lively dance in triple meter.

B  stately dance in duple meter similar to the pavane.

C  wooden instrument with a cup-shaped mouthpiece.

D  silly, humorous dance in duple meter.

A  earlier role in pagan rites.

B  sacred quality and background.

C  use in early Jewish religious ceremonies.

D  association with minstrels and jongleurs.

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

A  glissando.

B  legato.

C  vibrato.

D  staccato.

A  in small steps.

B  in a smooth, connected manner.

C  at a higher or lower pitch.

D  in a short, detached manner.

A  range.

B  cadence.

C  sequence.

D  rhythm.

A  clock

B  stopwatch

C  beat

D  metronome

A  softer

B  louder

C  higher

D  lower

A  intro.

B  downbeat.

C  upbeat.

D  head.

A  organ

B  piano

C  accordion

D  harpsichord

A  reed.

B  tailpiece.

C  crook.

D  mute.

A  leaning on a musical note.

B  the quality that distinguishes musical sounds.

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

D  the degree of loudness or softness in music.

A  English horn.

B  clarinet.

C  oboe.

D  piccolo flute.

A  have wooden key mechanisms.

B  use a wooden reed.

C  were originally made of wood.

D  are made of wood.

A  part of an instrument’s total range.

B  playing two or more notes at the same time.

C  the number of reeds an instrument uses.

D  the instrument manufacturer’s brand name.

A  decrescendo.

B  crescendo.

C  fortissimo.

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  hardly any notated music has survived from these cultures.

B  there probably was almost none.

C  it is too difficult to be played today.

D  it was too primitive to interest later generations.

A  A B A.

B  A A B.

C  A B C.

D  All answers are correct.

A  contrast.

B  form.

C  repetition.

D  cadence.

A  repetition.

B  form.

C  ternary.

D  variation.

A  the central tone of a musical composition.

B  an independence from major or minor scales.

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

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

A  440

B  660

C  220

D  1760

A  modulation.

B  chromaticism.

C  key.

D  scale.

A  dynamic accent.

B  an interval.

C  timbre.

D  duration.

A  dissonance.

B  consonance.

C  triad.

D  dyad.

A  progression.

B  consonance.

C  chord.

D  dissonance.

A  resting point at the end of a phrase.

B  pattern of accents used in music.

C  combination of three or more tones sounded at once.

D  series of individual tones heard one after another.

A  melody.

B  harmony.

C  tempo.

D  meter.

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

B  a part of a melody.

C  the emotional focal point of a melody.

D  a resting place at the end of a phrase.