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  conceerto

B  opera.

C  fugue.

D  sonata.

A  would insert recitatives between the sections for added variety.

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

C  would improvise new words for the returning A section.

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

A  duet.

B  ensemble.

C  aria.

D  stretto.

A  St. Mark’s, Venice.

B  the Vatican, Rome.

C  Notre Dame, Paris.

D  The Duomo, Florence.

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

B  obsolete in contemporary performances.

C  notes printed in the music that ornament the melody.

D  music created at the same time it is performed.

A  All answers are correct.

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

C  received the highest fees of any musicians.

D  were male singers who had been castrated before puberty.

A  countersubject.

B  inversion.

C  stretto.

D  retrograde.

A  subject.

B  countersubject.

C  episode.

D  answer.

A  trill.

B  shake.

C  wobble.

D  blurb.

A  four

B  one

C  two

D  three

A  sequenced bass.

B  figured bass.

C  basso profundo.

D  counterpoint.

A  accordion.

B  piano.

C  harpsichord.

D  clavichord.

A  a gradual change from loud to soft.

B  a gradual change from soft to loud.

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

D  the sudden alternation from one dynamic level to another.

A  the doctrine of universal brotherhood.

B  terraced dynamics.

C  the nobility’s manner of deportment.

D  emotional states or moods of music.

A  England.

B  Italy.

C  Germany.

D  Ireland.

A  Claudio Monteverdi.

B  Johann Sebastian Bach.

C  Arcangelo Corelli.

D  Antonio Vivaldi.

A  choral part.

B  vocal soloists.

C  acting, scenery, or costumes.

D  orchestral accompaniment.

A  concertos

B  operas

C  suites

D  sonatas

A  balanced and symmetrical phrases

B  choral singers

C  foot stomps and hand claps

D  melodies in minor keys

A  All answers are correct.

B  tempo.

C  national origin.

D  meter.

A  opera.

B  concerto.

C  sonata.

D  fugue.

A  cellist

B  organist

C  composer

D  violinist

A  Rome.

B  Florence.

C  Venice.

D  Cremona.

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  polyphonic choral composition made up of five sections.

B  dancelike song for several solo voices.

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  used secular tunes, noisy instruments, and theatrical singing.

D  was tiresomely monophonic.

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

B  polyphonic choral composition made up of five sections.

C  dancelike song for several solo voices.

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

A  monophonic.

B  polyphonic.

C  homophonic.

D  heterophonic.

A  late fourteenth century.

B  early thirteenth century.

C  early fourteenth century.

D  late twelfth 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  Reims.

B  London.

C  Rome.

D  Paris.

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

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

C  All answers are correct.

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

C  completely different from any other form of scale.

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

A  published all of the Gregorian chants.

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

C  composed all of the Gregorian chants.

D  All answers are correct.

A  Gregorian chant.

B  contemporary gospel.

C  estampies.

D  Trouvère songs.

A  for the organ.

B  for the piano.

C  instrumental.

D  vocal.

A  wooden instrument with a cup-shaped mouthpiece.

B  lively dance in triple meter.

C  silly, humorous dance in duple meter.

D  stately dance in duple meter similar to the pavane.

A  sacred quality and background.

B  earlier role in pagan rites.

C  use in early Jewish religious ceremonies.

D  association with minstrels and jongleurs.

A  a resting place at the end of a phrase.

B  the emotional focal point of a melody.

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

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  range.

B  rhythm.

C  sequence.

D  cadence.

A  clock

B  stopwatch

C  beat

D  metronome

A  louder

B  higher

C  softer

D  lower

A  head.

B  downbeat.

C  upbeat.

D  intro.

A  harpsichord

B  piano

C  accordion

D  organ

A  tailpiece.

B  reed.

C  crook.

D  mute.

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

B  the quality that distinguishes musical sounds.

C  leaning on a musical note.

D  the degree of loudness or softness in music.

A  oboe.

B  piccolo flute.

C  clarinet.

D  English horn.

A  were originally made of wood.

B  use a wooden reed.

C  have wooden key mechanisms.

D  are made of wood.

A  playing two or more notes at the same time.

B  the number of reeds an instrument uses.

C  the instrument manufacturer’s brand name.

D  part of an instrument’s total range.

A  crescendo.

B  fortissimo.

C  decrescendo.

D  diminuendo.

A  the quality that distinguishes musical sounds.

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

C  an exemplary performance.

D  the degree of loudness and softness.

A  it is too difficult to be played today.

B  hardly any notated music has survived from these cultures.

C  there probably was almost none.

D  it was too primitive to interest later generations.

A  A A B.

B  A B C.

C  All answers are correct.

D  A B A.

A  form.

B  cadence.

C  contrast.

D  repetition.

A  variation.

B  repetition.

C  form.

D  ternary.

A  an independence from major or minor scales.

B  the central tone of a musical composition.

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  1760

B  440

C  220

D  660

A  chromaticism.

B  scale.

C  key.

D  modulation.

A  an interval.

B  timbre.

C  dynamic accent.

D  duration.

A  dyad.

B  consonance.

C  triad.

D  dissonance.

A  progression.

B  consonance.

C  dissonance.

D  chord.

A  pattern of accents used in music.

B  resting point at the end of a phrase.

C  series of individual tones heard one after another.

D  combination of three or more tones sounded at once.

A  melody.

B  meter.

C  harmony.

D  tempo.

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

B  a part of a melody.

C  a resting place at the end of a phrase.

D  the emotional focal point of a melody.