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