A.   a part of a melody.

B.   the emotional focal point of a melody.

C.   the repetition of a melodic pattern at a higher or lower pitch.

D.   a resting place at the end of a phrase.

A.   harmony.

B.   meter.

C.   tempo.

D.   melody.

A.   series of individual tones heard one after another.

B.   resting point at the end of a phrase.

C.   combination of three or more tones sounded at once.

D.   pattern of accents used in music.

A.   chord.

B.   dissonance.

C.   consonance.

D.   progression.

A.   consonance.

B.   dyad.

C.   dissonance.

D.   triad.

A.   timbre.

B.   an interval.

C.   duration.

D.   dynamic accent.

A.   scale.

B.   modulation.

C.   chromaticism.

D.   key.

A.   220

B.   1760

C.   440

D.   660

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

B.   the central tone of a musical composition.

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

D.   an independence from major or minor scales.

A.   variation.

B.   ternary.

C.   form.

D.   repetition.

A.   repetition.

B.   cadence.

C.   form.

D.   contrast.

A.   A B C.

B.   A A B.

C.   A B A.

D.   All answers are correct.

A.   it was too primitive to interest later generations.

B.   it is too difficult to be played today.

C.   there probably was almost none.

D.   hardly any notated music has survived from these cultures.

A.   the degree of loudness and softness.

B.   the quality that distinguishes musical sounds.

C.   an exemplary performance.

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

A.   crescendo.

B.   decrescendo.

C.   fortissimo.

D.   diminuendo.

A.   playing two or more notes at the same time.

B.   the instrument manufacturer's brand name.

C.   part of an instrument's total range.

D.   the number of reeds an instrument uses.

A.   were originally made of wood.

B.   are made of wood.

C.   have wooden key mechanisms.

D.   use a wooden reed.

A.   clarinet.

B.   oboe.

C.   piccolo flute.

D.   English horn.

A.   leaning on a musical note.

B.   the quality that distinguishes musical sounds.

C.   the degree of loudness or softness in music.

D.   the relative highness or lowness that we hear in a sound.

A.   crook.

B.   mute.

C.   tailpiece.

D.   reed.

A.   harpsichord

B.   organ

C.   accordion

D.   piano

A.   downbeat.

B.   intro.

C.   upbeat.

D.   head.

A.   softer

B.   louder

C.   higher

D.   lower

A.   metronome

B.   beat

C.   stopwatch

D.   clock

A.   rhythm.

B.   sequence.

C.   cadence.

D.   range.

A.   in small steps.

B.   in a smooth, connected manner.

C.   in a short, detached manner.

D.   at a higher or lower pitch.

A.   vibrato.

B.   staccato.

C.   glissando.

D.   legato.

A.   a resting place at the end of a phrase.

B.   a melody that serves as the starting point for a more extended piece of music.

C.   the repetition of a melodic pattern at a higher or lower pitch.

D.   the emotional focal point of a melody.

A.   association with minstrels and jongleurs.

B.   use in early Jewish religious ceremonies.

C.   earlier role in pagan rites.

D.   sacred quality and background.

A.   wooden instrument with a cup-shaped mouthpiece.

B.   lively dance in triple meter.

C.   stately dance in duple meter similar to the pavane.

D.   silly, humorous dance in duple meter.

A.   vocal.

B.   instrumental.

C.   for the organ.

D.   for the piano.

A.   Trouvère songs.

B.   Gregorian chant.

C.   estampies.

D.   contemporary gospel.

A.   All answers are correct.

B.   composed all of the Gregorian chants.

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

D.   published all of the Gregorian chants.

A.   completely different from any other form of scale.

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

C.   different from the major and minor scales in that they consist of only five different tones.

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

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

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

C.   All answers are correct.

D.   abbess of the convent at Rupertsberg.

A.   during the fifteenth century.

B.   from 590 to 604.

C.   during the ninth century.

D.   during the twelfth and thirteenth centuries.

A.   secular song form.

B.   dance.

C.   song of worship.

D.   stringed instrument.

A.   The humanists were basically atheistic in their beliefs.

B.   The humanists were captivated by the pagan cultures of ancient Greece and Rome.

C.   The humanists focused on human life and its accomplishments.

D.   The Madonna was treated as a beautiful young woman.

A.   Rome.

B.   London.

C.   Reims.

D.   Paris.

A.   paintings from the new world.

B.   German music of the sixteenth century.

C.   Italian and French music of the fourteenth century.

D.   the new art of baroque painters.

A.   early fourteenth century.

B.   late fourteenth century.

C.   early thirteenth century.

D.   late twelfth century.

A.   monophonic.

B.   homophonic.

C.   heterophonic.

D.   polyphonic.

A.   polyphonic choral composition made up of five sections.

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

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

D.   dancelike song for several solo voices.

A.   All answers are correct.

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

C.   was based on Gregorian chant.

D.   was tiresomely monophonic.

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

B.   polyphonic choral composition made up of five sections.

C.   dancelike song for several solo voices.

D.   polyphonic choral work set to a sacred Latin text.

A.   electronic instrument whose tone is generated by oscillators.

B.   keyboard instrument suitable for playing basso continuo parts.

C.   plucked string instrument capable of producing chords as well as a bass line.

D.   bass woodwind instrument similar to the bassoon.

A.   Rome.

B.   Venice.

C.   Cremona.

D.   Florence.

A.   composer

B.   violinist

C.   organist

D.   cellist

A.   sonata.

B.   concerto.

C.   opera.

D.   fugue.

A.   All answers are correct.

B.   national origin.

C.   tempo.

D.   meter.

A.   balanced and symmetrical phrases

B.   foot stomps and hand claps

C.   choral singers

D.   melodies in minor keys

A.   sonatas

B.   suites

C.   operas

D.   concertos

A.   orchestral accompaniment.

B.   vocal soloists.

C.   choral part.

D.   acting, scenery, or costumes.

A.   Claudio Monteverdi.

B.   Johann Sebastian Bach.

C.   Antonio Vivaldi.

D.   Arcangelo Corelli.

A.   Ireland.

B.   Italy.

C.   England.

D.   Germany.

A.   the doctrine of universal brotherhood.

B.   terraced dynamics.

C.   emotional states or moods of music.

D.   the nobility's manner of deportment.

A.   the sudden alternation from one dynamic level to another.

B.   a gradual change from loud to soft.

C.   a gradual change from soft to loud.

D.   dynamics that are not written in the music but added by the performer.

A.   accordion.

B.   clavichord.

C.   harpsichord.

D.   piano.

A.   counterpoint.

B.   sequenced bass.

C.   basso profundo.

D.   figured bass.

A.   three

B.   two

C.   one

D.   four

A.   trill.

B.   blurb.

C.   wobble.

D.   shake.

A.   countersubject.

B.   episode.

C.   answer.

D.   subject.

A.   countersubject.

B.   stretto.

C.   inversion.

D.   retrograde.

A.   were male singers who had been castrated before puberty.

B.   received the highest fees of any musicians.

C.   All answers are correct.

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

A.   obsolete in contemporary performances.

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

C.   music created at the same time it is performed.

D.   notes printed in the music that ornament the melody.

A.   the Vatican, Rome.

B.   The Duomo, Florence.

C.   Notre Dame, Paris.

D.   St. Mark's, Venice.

A.   duet.

B.   stretto.

C.   aria.

D.   ensemble.

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

B.   would insert recitatives between the sections for added variety.

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

D.   would improvise new words for the returning A section.

A.   opera.

B.   fugue.

C.   conceerto

D.   sonata.

A.   melodies in minor keys

B.   choral singers

C.   foot stomps and hand claps

D.   balanced and symmetrical phrases

A.   concertos

B.   operas

C.   sonatas

D.   suites