Midterm Examination

A  sonatas

B  concertos

C  operas

D  suites

A  melodies in minor keys

B  choral singers

C  balanced and symmetrical phrases

D  foot stomps and hand claps

A  conceerto

B  fugue.

C  opera.

D  sonata.

A  would improvise new words for the returning A section.

B  would insert recitatives between the sections for added variety.

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

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

A  stretto.

B  aria.

C  ensemble.

D  duet.

A  the Vatican, Rome.

B  St. Mark’s, Venice.

C  The Duomo, Florence.

D  Notre Dame, Paris.

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

B  music created at the same time it is performed.

C  obsolete in contemporary performances.

D  notes printed in the music that ornament the melody.

A  All answers are correct.

B  received the highest fees of any musicians.

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

D  were male singers who had been castrated before puberty.

A  retrograde.

B  stretto.

C  countersubject.

D  inversion.

A  episode.

B  answer.

C  countersubject.

D  subject.

A  shake.

B  blurb.

C  wobble.

D  trill.

A  one

B  two

C  four

D  three

A  figured bass.

B  counterpoint.

C  sequenced bass.

D  basso profundo.

A  piano.

B  harpsichord.

C  accordion.

D  clavichord.

A  a gradual change from soft to loud.

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 loud to soft.

A  the doctrine of universal brotherhood.

B  terraced dynamics.

C  the nobility’s manner of deportment.

D  emotional states or moods of music.

A  Germany.

B  Italy.

C  Ireland.

D  England.

A  Claudio Monteverdi.

B  Antonio Vivaldi.

C  Arcangelo Corelli.

D  Johann Sebastian Bach.

A  acting, scenery, or costumes.

B  orchestral accompaniment.

C  choral part.

D  vocal soloists.

A  sonatas

B  suites

C  concertos

D  operas

A  balanced and symmetrical phrases

B  melodies in minor keys

C  choral singers

D  foot stomps and hand claps

A  All answers are correct.

B  tempo.

C  meter.

D  national origin.

A  sonata.

B  concerto.

C  fugue.

D  opera.

A  composer

B  organist

C  cellist

D  violinist

A  Cremona.

B  Rome.

C  Venice.

D  Florence.

A  bass woodwind instrument similar to the bassoon.

B  keyboard instrument suitable for playing basso continuo parts.

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  polyphonic choral work set to a sacred Latin text.

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

D  dancelike song for several solo voices.

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

B  was tiresomely monophonic.

C  All answers are correct.

D  was based on Gregorian chant.

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

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

C  polyphonic choral composition made up of five sections.

D  dancelike song for several solo voices.

A  monophonic.

B  polyphonic.

C  heterophonic.

D  homophonic.

A  late fourteenth century.

B  early fourteenth century.

C  late twelfth century.

D  early thirteenth century.

A  Italian and French music of the fourteenth century.

B  the new art of baroque painters.

C  paintings from the new world.

D  German music of the sixteenth century.

A  Paris.

B  Reims.

C  Rome.

D  London.

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  song of worship.

C  dance.

D  secular song form.

A  from 590 to 604.

B  during the twelfth and thirteenth centuries.

C  during the ninth century.

D  during the fifteenth century.

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

B  All answers are correct.

C  abbess of the convent at Rupertsberg.

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

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

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

A  All answers are correct.

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

C  published all of the Gregorian chants.

D  composed all of the Gregorian chants.

A  Trouvère songs.

B  Gregorian chant.

C  estampies.

D  contemporary gospel.

A  for the piano.

B  for the organ.

C  instrumental.

D  vocal.

A  silly, humorous dance in duple meter.

B  wooden instrument with a cup-shaped mouthpiece.

C  lively dance in triple meter.

D  stately dance in duple meter similar to the pavane.

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 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  glissando.

B  staccato.

C  legato.

D  vibrato.

A  in small steps.

B  in a smooth, connected manner.

C  in a short, detached manner.

D  at a higher or lower pitch.

A  rhythm.

B  cadence.

C  range.

D  sequence.

A  clock

B  stopwatch

C  beat

D  metronome

A  softer

B  lower

C  higher

D  louder

A  head.

B  intro.

C  downbeat.

D  upbeat.

A  accordion

B  piano

C  organ

D  harpsichord

A  crook.

B  reed.

C  mute.

D  tailpiece.

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  oboe.

C  piccolo flute.

D  clarinet.

A  were originally made of wood.

B  have wooden key mechanisms.

C  use a wooden reed.

D  are made of wood.

A  playing two or more notes at the same time.

B  the instrument manufacturer’s brand name.

C  the number of reeds an instrument uses.

D  part of an instrument’s total range.

A  decrescendo.

B  crescendo.

C  fortissimo.

D  diminuendo.

A  the degree of loudness and softness.

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

C  an exemplary performance.

D  the quality that distinguishes musical sounds.

A  it was too primitive to interest later generations.

B  hardly any notated music has survived from these cultures.

C  it is too difficult to be played today.

D  there probably was almost none.

A  A B A.

B  A B C.

C  A A B.

D  All answers are correct.

A  form.

B  repetition.

C  cadence.

D  contrast.

A  form.

B  ternary.

C  repetition.

D  variation.

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

B  an independence from major or minor scales.

C  the central tone of a musical composition.

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

A  660

B  220

C  440

D  1760

A  scale.

B  modulation.

C  chromaticism.

D  key.

A  timbre.

B  an interval.

C  dynamic accent.

D  duration.

A  consonance.

B  dissonance.

C  dyad.

D  triad.

A  consonance.

B  progression.

C  dissonance.

D  chord.

A  resting point at the end of a phrase.

B  series of individual tones heard one after another.

C  pattern of accents used in music.

D  combination of three or more tones sounded at once.

A  tempo.

B  meter.

C  melody.

D  harmony.

A  a part 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  the emotional focal point of a melody.