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 ![]() |
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. ![]() |
a. Strong beat ![]() |
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b. Weak beat ![]() |
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c. Measure ![]() |
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d. Meter ![]() |
a. Timbre ![]() |
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b. Amplitude ![]() |
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c. Duration ![]() |
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d. Frequency ![]() |
a. Interval ![]() |
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b. Rhythm ![]() |
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c. Accelerando ![]() |
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d. Beat ![]() |
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 ![]() |
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 ![]() |
a. Noise ![]() |
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b. Vibration ![]() |
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c. Dynamic Accent ![]() |
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d. Tone ![]() |
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 ![]() |
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 ![]() |
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 ![]() |
a. Harmony ![]() |
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b. Consonance ![]() |
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c. A chord ![]() |
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d. Dissonance ![]() |
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 ![]() |
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 ![]() |
a. Consonance ![]() |
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b. Progression ![]() |
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c. Dissonance ![]() |
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d. Chord ![]() |
a. Sequence ![]() |
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b. Theme ![]() |
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c. Cadence ![]() |
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d. Climax ![]() |
a. Key ![]() |
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b. Resolution ![]() |
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c. Scale ![]() |
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d. Modulation ![]() |
a. Sequence ![]() |
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b. Motif ![]() |
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c. Melody ![]() |
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d. Climax ![]() |
a. Scale ![]() |
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b. Dominant ![]() |
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c. Tonic ![]() |
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d. Modulation ![]() |
a. Duration ![]() |
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b. Dynamic accent ![]() |
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c. Timbre ![]() |
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d. An interval ![]() |
a. Cadence ![]() |
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b. Rhythm ![]() |
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c. Melody ![]() |
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d. Sequence ![]() |
a. Meter ![]() |
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b. Syncopation ![]() |
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c. Tempo ![]() |
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d. Dynamics ![]() |
a. Quadruple meter ![]() |
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b. Duple meter ![]() |
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c. Syncopation ![]() |
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d. Triple meter ![]() |
a. An error ![]() |
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b. Syncopation ![]() |
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c. Expiation ![]() |
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d. Pizzicato ![]() |
a. Tuba ![]() |
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b. Double bass ![]() |
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c. Bassoon ![]() |
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d. Clarinet ![]() |
a. Tonality ![]() |
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b. Scale ![]() |
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c. Chromaticism ![]() |
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d. Dominant ![]() |
a. Meter ![]() |
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b. Tempo ![]() |
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c. Dynamics ![]() |
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d. Accent ![]() |
a. Snare drum ![]() |
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b. Bass drum ![]() |
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c. Timpani ![]() |
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d. Tambourines ![]() |
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. ![]() |
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. ![]() |
a. Meter ![]() |
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b. Tempo ![]() |
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c. Dynamics ![]() |
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d. Accent ![]() |
a. Higher ![]() |
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b. Softer ![]() |
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c. Lower ![]() |
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d. Louder ![]() |
a. Subject ![]() |
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b. Voice ![]() |
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c. Fugue ![]() |
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d. Tonic ![]() |
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 ![]() |
a. Answer ![]() |
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b. Fugue ![]() |
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c. Scale ![]() |
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d. Countersubject ![]() |
a. Stretto ![]() |
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b. Pedal point ![]() |
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c. Aria ![]() |
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d. Countersubject ![]() |
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 ![]() |
a. AABB ![]() |
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b. ABCD ![]() |
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c. A1 A2 A2 A4 ![]() |
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d. BBCC ![]() |
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 ![]() |
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 ![]() |
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 ![]() |
a. Retrograde ![]() |
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b. Diminution ![]() |
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c. Augmentation ![]() |
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d. Inversion ![]() |
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 ![]() |
a. Cadence ![]() |
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b. Ground bass ![]() |
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c. Mute ![]() |
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d. Lever ![]() |
a. Form ![]() |
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b. Repetition ![]() |
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c. Ternary ![]() |
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d. Variation ![]() |
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 ![]() |
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 ![]() |
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 ![]() |
a. Form ![]() |
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b. Contrast ![]() |
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c. Repetition ![]() |
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d. Variation ![]() |
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 ![]() |
a. 1450-1600 ![]() |
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b. 1600-1750 ![]() |
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c. 1750-1820 ![]() |
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d. 1820-1900 ![]() |
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 ![]() |
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 ![]() |
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 ![]() |
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 ![]() |
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 ![]() |
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 ![]() |
a. Acting ![]() |
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b. Scenery ![]() |
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c. Choral numbers ![]() |
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d. Acting and scenery ![]() |
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 ![]() |
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 ![]() |
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 ![]() |
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 ![]() |
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 ![]() |
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 ![]() |
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 ![]() |
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 ![]() |
a. Alleluia ![]() |
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b. Organum ![]() |
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c. Cantus firmus ![]() |
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d. Kyrie ![]() |
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 ![]() |
a. Opera chorus ![]() |
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b. Oratorio ![]() |
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c. Catholic mass ![]() |
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d. Concerto grosso ![]() |
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 ![]() |
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 ![]() |
a. Printed music ![]() |
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b. Musical instruments ![]() |
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c. Music lessons ![]() |
||
d. All of the above ![]() |
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 ![]() |
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 ![]() |
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 ![]() |
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 ![]() |
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 ![]() |
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 ![]() |
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 ![]() |
a. 450-1450 ![]() |
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b. 1450-1600 ![]() |
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c. 1600-1750 ![]() |
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d. 1750-1820 ![]() |
a. Berlin ![]() |
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b. Vienna ![]() |
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c. Paris ![]() |
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d. London ![]() |
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. ![]() |
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 ![]() |
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 ![]() |
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 ![]() |
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 ![]() |
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 ![]() |
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 ![]() |
a. Lute ![]() |
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b. Viol ![]() |
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c. Vielle ![]() |
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d. Viriginal ![]() |
a. Stimmesprech ![]() |
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b. Sprechstimme ![]() |
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c. Sprechschwimme ![]() |
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d. Spechstame ![]() |
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. ![]() |
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 ![]() |
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. ![]() |
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 ![]() |
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 ![]() |
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. ![]() |
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. ![]() |
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. ![]() |
a. Quicker response when a key is pressed, making it possible to play faster ![]() |
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b. Louder sound ![]() |
||
c. Cast iron frames ![]() |
||
d. Growing appeal to the middle class to purchase for home use ![]() |
a. Wealthy Protestant princes ![]() |
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b. Orphanages ![]() |
||
c. Universities ![]() |
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d. Monasteries ![]() |
a. He entered a national competition. ![]() |
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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. ![]() |
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d. All of the above ![]() |