| 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 |