a. Music written after 1600 | ||
b. Music that is seen as long-lasting and valuable | ||
c. Music played by specially-trained performers | ||
d. All of the above |
a. Music is the sounds produced by musical instruments. | ||
b. Music is the sounds that are pleasing, as opposed to noise. | ||
c. Music is the art of organizing sounds in time. | ||
d. Music is a system of symbols which performers learn to read. |
a. Strong beat | ||
b. Weak beat | ||
c. Measure | ||
d. Meter |
a. Timbre | ||
b. Amplitude | ||
c. Duration | ||
d. Frequency |
a. Interval | ||
b. Rhythm | ||
c. Accelerando | ||
d. Beat |
a. Cycles per minute | ||
b. Cycles per second | ||
c. Dynamic levels | ||
d. Italian words |
a. Using vibrato saves wear and tear on the wrist | ||
b. Using vibrato increases the volume dramatically | ||
c. The audience is getting bored | ||
d. Using vibrato makes the tone sound warmer and more expressive |
a. Noise | ||
b. Vibration | ||
c. Dynamic Accent | ||
d. Tone |
a. The major scale | ||
b. A central tone, chord, and scale | ||
c. Any twelve random pitches | ||
d. A symbol placed on the staff |
a. A single melodic line without accompaniment | ||
b. One main melody accompanied by chords | ||
c. Two or more melodies of relatively equal interest performed simultaneously | ||
d. All of the above |
a. How many different layers of sound are heard at the same time | ||
b. What kind of layers of sound are heard (melody or harmony) | ||
c. How layers of sound are related to each other | ||
d. All of the above |
a. Harmony | ||
b. Consonance | ||
c. A chord | ||
d. Dissonance |
a. Dampen the sound | ||
b. Change key | ||
c. Add vibrato | ||
d. Add “wah-wah” effects |
a. A column of air in a metal tube | ||
b. A single reed | ||
c. A double reed | ||
d. The player’s lips |
a. Consonance | ||
b. Progression | ||
c. Dissonance | ||
d. Chord |
a. Sequence | ||
b. Theme | ||
c. Cadence | ||
d. Climax |
a. Key | ||
b. Resolution | ||
c. Scale | ||
d. Modulation |
a. Sequence | ||
b. Motif | ||
c. Melody | ||
d. Climax |
a. Scale | ||
b. Dominant | ||
c. Tonic | ||
d. Modulation |
a. Duration | ||
b. Dynamic accent | ||
c. Timbre | ||
d. An interval |
a. Cadence | ||
b. Rhythm | ||
c. Melody | ||
d. Sequence |
a. Meter | ||
b. Syncopation | ||
c. Tempo | ||
d. Dynamics |
a. Quadruple meter | ||
b. Duple meter | ||
c. Syncopation | ||
d. Triple meter |
a. An error | ||
b. Syncopation | ||
c. Expiation | ||
d. Pizzicato |
a. Tuba | ||
b. Double bass | ||
c. Bassoon | ||
d. Clarinet |
a. Tonality | ||
b. Scale | ||
c. Chromaticism | ||
d. Dominant |
a. Meter | ||
b. Tempo | ||
c. Dynamics | ||
d. Accent |
a. Snare drum | ||
b. Bass drum | ||
c. Timpani | ||
d. Tambourines |
a. A chord progression is three single notes that are played separately first and then together as a chord. | ||
b. A chord progression is a sequence of chords in the same rhythm. | ||
c. A chord progression is a sequence of chords that fit together harmonically. | ||
d. A chord progression is a sequence of chords that change key. |
a. Harmony refers to the way chords are constructed and how they follow each other. | ||
b. Harmony refers to living in peace with other people. | ||
c. Harmony refers to a pattern of beats per measure. | ||
d. Harmony refers to a chord built on the first step of the scale. |
a. Meter | ||
b. Tempo | ||
c. Dynamics | ||
d. Accent |
a. Higher | ||
b. Softer | ||
c. Lower | ||
d. Louder |
a. Subject | ||
b. Voice | ||
c. Fugue | ||
d. Tonic |
a. It has a fast rate of harmonic change. | ||
b. It is based on a bass progression. | ||
c. It is extremely complex in its structure. | ||
d. None of the above |
a. Answer | ||
b. Fugue | ||
c. Scale | ||
d. Countersubject |
a. Stretto | ||
b. Pedal point | ||
c. Aria | ||
d. Countersubject |
a. Ostinato form | ||
b. Theme and variations | ||
c. Sonata-allegro form | ||
d. None of the above |
a. AABB | ||
b. ABCD | ||
c. A1 A2 A2 A4 | ||
d. BBCC |
a. Modulation | ||
b. Emotional intensification | ||
c. Use of counterpoint or contrapuntal treatment of the theme | ||
d. All of the above |
a. Melodic variation | ||
b. Harmonic variation | ||
c. Rhythmic variation | ||
d. All of the above |
a. Theme and variations form | ||
b. A bass progression | ||
c. Fugue | ||
d. None of the above |
a. Retrograde | ||
b. Diminution | ||
c. Augmentation | ||
d. Inversion |
a. A B A | ||
b. A B A’ | ||
c. Statement, contrast, return | ||
d. All of the above |
a. Cadence | ||
b. Ground bass | ||
c. Mute | ||
d. Lever |
a. Form | ||
b. Repetition | ||
c. Ternary | ||
d. Variation |
a. Verse-chorus | ||
b. Speed of music | ||
c. Specific sound for an instrument or voice | ||
d. Blueprint for a piece of music |
a. Singular form | ||
b. Binary form | ||
c. Ternary form | ||
d. All of the above |
a. In a classic rondo form, the A section is repeated several times while interspersed with other sections (Bs and Cs). | ||
b. In a classic rondo form, composers generally try to achieve some contrast between sections and use different keys. | ||
c. In a classic rondo form, the A section is only played at the beginning and end of a piece. | ||
d. Both A and B |
a. Form | ||
b. Contrast | ||
c. Repetition | ||
d. Variation |
a. Piano, voice, flute, violin, cello, and percussion | ||
b. Piano, voice, harp, accordion, cello, and percussion | ||
c. Harpsichord, hurdy-gurdy, accordion, flute, and percussion | ||
d. Piano, flute, and string quartet |
a. 1450-1600 | ||
b. 1600-1750 | ||
c. 1750-1820 | ||
d. 1820-1900 |
a. Converted to the Protestant faith and adopted the mainstream Protestant style of musical composition | ||
b. Remained Catholic and accommodated their employers by changing their musical styles to suit the different monarchs' vastly different demands | ||
c. Fled to Italy under threat of arrest and trial for heresy | ||
d. None of the above |
a. Supervising and directing the musical performances | ||
b. Composing much of the music required for performances | ||
c. Teaching the young boys in the choir | ||
d. All of the above |
a. A concerto grosso | ||
b. A basso continuo | ||
c. The affections | ||
d. An ostinato |
a. It expressed the order of the universe | ||
b. It expressed an interest in new genres and compositional techniques. | ||
c. It focused on the concept of the composer as an artist, as opposed to a craftsman in the service of God or the nobility, or both. | ||
d. Both A and B |
a. Set a story to music in a symphony | ||
b. Use a tuba in the orchestra | ||
c. Write an opera in French | ||
d. Both A and B |
a. Revival hymns and ragtime | ||
b. Patriotic song and barn dances | ||
c. Village bands and church choirs | ||
d. All of the above |
a. Acting | ||
b. Scenery | ||
c. Choral numbers | ||
d. Acting and scenery |
a. Word painting | ||
b. Completely homophonic texture | ||
c. Instrumental accompaniment | ||
d. Monophonic texture |
a. Expressionistic and melodramatic | ||
b. Devoid of a tonal center | ||
c. Romantic and nostalgic | ||
d. Romantic, nostalgic, and devoid of a tonal center |
a. Folk and popular music from all cultures | ||
b. European art music from the Middle Ages through the nineteenth century | ||
c. The music of Asia and Africa | ||
d. All of the above |
a. Loud noises and bombast in music | ||
b. The overuse of folk idioms in French music | ||
c. Large orchestras | ||
d. A rejection of the laws of composition and a tendency toward musical hedonism among his classmates at the Paris Conservatoire |
a. Sound free and almost improvisational | ||
b. Affirm the key very noticeably | ||
c. Have a strong rhythmic pulse | ||
d. Use the full orchestra for massive effects |
a. A tone poem | ||
b. Concerto grosso | ||
c. Sonata-allegro form | ||
d. A program symphony |
a. Secured an excellent, well-paid position in Salzburg | ||
b. Went to Vienna to study with Haydn and copied his manuscripts | ||
c. Went on tour in England and Europe where he was exposed to Enlightenment ideals | ||
d. Played in the Archbishop’s orchestra in Salzburg |
a. It was home to many noble and aristocratic families with the resources to support music | ||
b. There was a guarantee of a permanent position for talented composers and musicians | ||
c. The audiences were sophisticated in their tastes | ||
d. Vienna was a cultural center | ||
e. Fashion | ||
f. Technique | ||
g. Style | ||
h. Tradition |
a. Alleluia | ||
b. Organum | ||
c. Cantus firmus | ||
d. Kyrie |
a. Baby deer | ||
b. Supernatural creature who is half man, half goat | ||
c. Beautiful young maiden | ||
d. Sensitive musician |
a. Opera chorus | ||
b. Oratorio | ||
c. Catholic mass | ||
d. Concerto grosso |
a. Eighteenth-century music | ||
b. Beethoven’s symphonies | ||
c. Russian folklore | ||
d. All of the above |
a. Advantages of modern technology | ||
b. Performances of the music of J.S. Bach | ||
c. Performances of Asian music | ||
d. All of the above |
a. Printed music | ||
b. Musical instruments | ||
c. Music lessons | ||
d. All of the above |
a. Word painting | ||
b. Completely homophonic texture | ||
c. Instrumental accompaniment | ||
d. Monophonic texture |
a. The Sistine Chapel in Rome | ||
b. The Romanesque churches of France | ||
c. Hildegard von Bingen’s abbey in Germany | ||
d. The Sorbonne in Paris |
a. Orchestral music | ||
b. Piano music | ||
c. Opera | ||
d. Both A and B |
a. Adding a drone pitch | ||
b. Adding block chords | ||
c. Singing the tune as a round | ||
d. All of the above |
a. A general feeling of change within movements | ||
b. Irrationality and excess | ||
c. Emphasis on balance and proportion | ||
d. Both A and C |
a. The development of instrumental music | ||
b. The invention of the piano | ||
c. An abandonment of the ideals of symmetry, proportion, and balance in music | ||
d. A revival of interest in medieval organum |
a. Poetry | ||
b. Painting | ||
c. Advances in technology | ||
d. All of the above |
a. 450-1450 | ||
b. 1450-1600 | ||
c. 1600-1750 | ||
d. 1750-1820 |
a. Berlin | ||
b. Vienna | ||
c. Paris | ||
d. London |
a. Composers should give up polyphonic music and go back to composing chant. | ||
b. Sacred chant should be used as the basis for secular dances. | ||
c. Latin texts should be replaced with the vernacular. | ||
d. Music should be composed in strict time. |
a. Renewed religious fervor | ||
b. The ideals of the Enlightenment | ||
c. A renewed emphasis on pleasure and beauty | ||
d. None of the above |
a. Musicians composed new music to accompany dancing. | ||
b. The French nobles began to sing hunting songs together. | ||
c. Monks in monastery choirs began to add a second melodic line to Gregorian chant. | ||
d. All of the above |
a. Innovative orchestral combinations | ||
b. Dramatic emotional expression | ||
c. Large orchestral forces | ||
d. All of the above |
a. The ability to control dissonance | ||
b. Smooth choral textures | ||
c. The ability to create elegant six-part vocal music | ||
d. All of the above |
a. Berlioz’s Fantastic Symphony | ||
b. A Bach cantata | ||
c. Beethoven’s Eroica symphonie | ||
d. Haydn’s “London” symphonies |
a. The intimate connections between words and music | ||
b. Music’s emotional effects on listeners | ||
c. The need for music to become a more democratic mode of expression | ||
d. Both A and B |
a. Lute | ||
b. Viol | ||
c. Vielle | ||
d. Viriginal |
a. Stimmesprech | ||
b. Sprechstimme | ||
c. Sprechschwimme | ||
d. Spechstame |
a. Courtship between a Greek goddess and a male mortal | ||
b. The sacrifice of a young girl | ||
c. The erotic dreams of a young composer | ||
d. The changing rhythms of farm life in springtime. |
a. Absence of meter | ||
b. Absence of a clear tonality | ||
c. The use of huge orchestras | ||
d. Both A and B |
a. He composed all the chants presently in use. | ||
b. He was credited in medieval legend with having written it down upon hearing a dove singing the melodies into his ear. | ||
c. He had his name put on the first printed edition. | ||
d. He wrote the texts for the chants. |
a. An opium-induced nightmare | ||
b. The bouncing of the artist’s head falling into the basket after he is executed | ||
c. A demonic orgy | ||
d. All of the above |
a. He was imprisoned by one of his employers for not asking permission to leave. | ||
b. He was buried in an unmarked grave. | ||
c. He was mocked for writing fugues with “too many notes.” | ||
d. Both A and B |
a. Romanticism expressed an interest in program music, or music inspired by extramusical sources. | ||
b. Romanticism expressed the concept of the courageous artist battling against Philistine forces. | ||
c. Romanticism borrowed scales from non-Western cultures. | ||
d. Romanticism explored a rediscovery of medieval and Baroque music. |
a. Gregorian chant is monophonic in texture. | ||
b. Gregorian chant is homophonic in texture. | ||
c. Gregorian chant is polyphonic in texture. | ||
d. Gregorian chant has no texture. |
a. Copland built “Appalachian Spring” on a 12-tone scale. | ||
b. Copland built “Appalachian Spring” on a pentatonic scale. | ||
c. Copland built “Appalachian Spring” on the simplest elements of tonal music. | ||
d. Copland built “Appalachian Spring” on elaborate late-Romantic harmonies. |
a. Quicker response when a key is pressed, making it possible to play faster | ||
b. Louder sound | ||
c. Cast iron frames | ||
d. Growing appeal to the middle class to purchase for home use |
a. Wealthy Protestant princes | ||
b. Orphanages | ||
c. Universities | ||
d. Monasteries |
a. He entered a national competition. | ||
b. He was not permitted to perform any cantata more than once. | ||
c. He needed music for the cantata texts which referred to Bible readings for specific Sundays and holidays. | ||
d. All of the above |