Navigation » List of Schools » California State University, Northridge » Music » Music 105 – Understanding Music » Spring 2022 » Final Examination
Below are the questions for the exam with the choices of answers:
Question #1
A atonality.
B polytonality.
C a tone cluster.
D ostinato.
Question #2
A William C. Handy.
B Bessie Smith.
C King Oliver.
D Louis Armstrong.
Question #3
A brass section.
B director.
C clarinet section.
D rhythm section.
Question #4
A jazz.
B call and response.
C polyphonic texture.
D calling the beat.
Question #5
A the development of musical materials through random methods.
B the use of twelve-tone techniques to organize the dimensions of music.
C rapidly changing dynamics and textures.
D a steady pulse, clear tonality, and insistent repetition of short melodic patterns.
Question #6
A minimalism.
B serialism.
C chance music.
D Klangfarbenmelodie.
Question #7
A Paris, France.
B Anatevka, Russia.
C Charleston, South Carolina.
D New York, New York.
Question #8
A concert pianist.
B impresario.
C singer.
D conductor.
Question #9
A polonaise
B concert overture
C nocturne
D program symphony
Question #10
A pure
B concert
C symphonic
D absolute
Question #11
A vocal music that tells a story.
B All answers are correct.
C music that depicts aspects of nature.
D instrumental music associated with a story, poem, idea, or scene.
Question #12
A Budapest
B Paris
C Rome
D Weimar
Question #13
A a polonaise.
B ein lied.
C a nocturne.
D an etude.
Question #14
A have a limited variety of moods.
B have literary programs or titles.
C are for a wide range of media.
D are exquisite miniatures.
Question #15
A polkas.
B mazurkas.
C folk songs.
D waltzes.
Question #16
A was widely acknowledged as a composer in his lifetime.
B was very self-critical, which accounts for his meager output.
C was the first great master of the romantic art song.
D produced his greatest works after the age of forty.
Question #17
A lied
B ballade
C chanson
D durchkomponiert
Question #18
A solo voice and piano.
B multiple voices.
C All answers are correct.
D solo voice and orchestra.
Question #19
A were not admitted.
B could only study musical composition, since performance was considered undignified.
C were at first accepted only as students of performance, but by the late 1800s could study musical composition.
D were admitted only as vocalists.
Question #20
A formation of many orchestras and opera groups.
B development of regular subscription concerts.
C piano becoming a fixture in every middle-class home.
D All answers are correct.
Question #21
A Hector Berlioz.
B Frédéric Chopin.
C Franz Liszt.
D Franz Schubert.
Question #22
A Ludwig van Beethoven.
B Johann Sebastian Bach.
C Joseph Haydn.
D Wolfgang Amadeus Mozart.
Question #23
A his family lineage.
B the Renaissance.
C the colonisation of Africa.
D nineteenth-century society and culture.
Question #24
A leitmotif.
B speech-song.
C lied.
D unending melody.
Question #25
A Richard Wagner
B Arrigo Boito.
C Hans von Bülow.
D King Ludwig of Bavaria.
Question #26
A built an opera house according to his specifications.
B conducted the famous premiere of his opera, Rienzi.
C was unable to get an opera performed and was reduced to musical hackwork.
D finished his masterpiece, Der Ring des Nibelungen (The Ring of the Nibelung).
Question #27
A ritardando.
B fermata.
C accelerando.
D rubato.
Question #28
A Johann Sebastian Bach.
B Johannes Brahms.
C Hector Berlioz.
D Ludwig van Beethoven.
Question #29
A Tosca and Turandot.
B Madame Butterfly and Turandot.
C Turandot and Manon Lescaut.
D La Bohème and Madame Butterfly.
Question #30
A Wolfgang Amadeus Mozart.
B Joseph Haydn.
C Ludwig van Beethoven.
D All answers are correct.
Question #31
A operas.
B chamber music.
C choral works.
D art songs.
Question #32
A a medley of popular melodies taken from his opera of that name.
B a concert overture consisting of a slow introduction and a fast movement in sonata form.
C a ballet based on Shakespeare’s play Romeo and Juliet.
D an early programmatic symphony inspired by the characters in Shakespeare’s play.
Question #33
A Modest Mussorgsky
B Nikolai Rimsky-Korsakov
C César Cu
D Peter Ilyich Tchaikovsky
Question #34
A has five movements.
B was left unfinished by the composer.
C ends with a slow, despairing finale.
D is in the usual four-movement form.
Question #35
A was a child prodigy, learning music at an early age.
B preferred his government position to music.
C studied music theory and violin as a teenager.
D began to study music theory at the age of twenty-one.
Question #36
A All answers are correct.
B using their national legends as subject matter.
C using the rhythms of the dances of their homelands.
D basing their music on the folk songs of their country.
Question #37
A cello.
B clarinet.
C harpsichord.
D piano.
Question #38
A any combination of instruments.
B symphonic orchestra.
C an instrumental soloist and orchestra.
D an instrumental soloist.
Question #39
A is always in the tonic key of the symphony.
B All answers are correct.
C is most often in sonata or sonata-rondo form.
D is usually fast, lively, and brilliant, but somewhat lighter in mood than the opening movement.
Question #40
A sonata
B ABA
C minuet
D rondo
Question #41
A has a different meter.
B has a different form.
C moves more quickly.
D All answers are correct.
Question #42
A triple
B quadruple
C common
D duple
Question #43
A second.
B first.
C fourth.
D third.
Question #44
A presents a new melodic idea.
B retains some elements of the theme.
C is usually in a new key.
D is usually in the same key.
Question #45
A a set of variations on a theme.
B another term for the symphony.
C a set of principles that serve to shape and unify contrasts of theme and key.
D a rigid mold into which musical ideas are poured.
Question #46
A melodies.
B codas.
C rides.
D motives.
Question #47
A the conflict of tonalities between the first and second themes.
B the introduction of a new theme in the bridge.
C changing the meter of the second theme.
D retaining the same tonality for both themes.
Question #48
A ridiculed the aristocracy.
B were in Latin.
C All answers are correct.
D were based on the Old Testament.
Question #49
A a freelance musician.
B a visiting guest composer.
C an equal by his employer.
D a skilled servant.
Question #50
A promoted and encouraged by the church.
B an important factor in the rise of the middle class.
C a limited sociological factor.
D ruthlessly stamped out by the aristocracy.
Question #51
A sonata for orchestra.
B work for piano solo.
C work for chorus and orchestra.
D work for solo instrument.
Question #52
A The Magic Flute.
B Don Giovanni.
C Madame Butterfly.
D Fidelio.
Question #53
A Basso continuo
B Fugal counterpoint
C Monophony
D Operatic form
Question #54
A showed his workflow in musical sketchbooks.
B described his struggles in letters to friends.
C told his troubles to his biographer.
D keept a diary.
Question #55
A Sir John Falstaff.
B the servant to Leporello.
C a despotic Italian nobleman.
D the legendary Spanish lover.
Question #56
A Rohrau, Austria.
B Salzburg, Austria.
C Bonn, Germany.
D Eisenach, Germany.
Question #57
A strings with harpsichord continuo.
B woodwinds, trombones, drums, and strings.
C a loose ensemble of available instruments.
D strings, woodwinds, horns, trumpets, and timpani.
Question #58
A 1750-1820.
B 1820-1900.
C 1450-1600.
D 1600-1750.
Question #59
A a single melodic line without accompaniment.
B two or more different versions of the same basic melody performed simultaneously.
C one main melody accompanied by chords.
D two or more melodies of relatively equal interest performed simultaneously.
Question #60
A scale.
B dominant.
C tonic.
D modulation.
Question #61
A resolution.
B dominant chord.
C progression.
D tonic chord.
Question #62
A the emotional focal point of a melody.
B the repetition of a melodic pattern at a higher or lower pitch.
C a part of a melody.
D a resting place at the end of a phrase.
Question #63
A staccato.
B legato.
C vibrato.
D glissando.
Question #64
A in a smooth, connected manner.
B in small steps.
C in a short, detached manner.
D at a higher or lower pitch.
Question #65
A clefs.
B notes.
C rests.
D beams.
Question #66
A allegro
B andante
C adagio
D vivace
Question #67
A A metronome
B A ritardando
C Expiation
D Syncopation
Question #68
A cycles per second.
B noiselike sounds.
C dynamic levels.
D cycles per minute.
Question #69
A veil or muffle the tone by fitting a clamp onto the bridge.
B pluck the string with the finger instead of using the bow.
C draw the bow across two strings at the same time.
D repeat tones by quick up-and-down strokes of the bow.
Question #70
A dynamics.
B octave.
C timbre.
D pitch.
Question #71
A training and physical makeup.
B physical makeup.
C which microphone the singer uses.
D training and musical style.
Question #72
A pianissimo.
B crescendo.
C blooper.
D dynamic accent.
Question #73
A pitch range.
B dynamic accent.
C timbre.
D an octave.
Question #74
A an art based on the organization of sounds in time.
B sounds produced by musical instruments.
C a system of symbols that performers learn to read.
D sounds that are pleasing, as opposed to noise.