A.   the emotional focal point of a melody.

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

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

D.   a part of a melody.

A.   tempo.

B.   harmony.

C.   meter.

D.   melody.

A.   resting point at the end of a phrase.

B.   pattern of accents used in music.

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

D.   series of individual tones heard one after another.

A.   chord.

B.   dissonance.

C.   progression.

D.   consonance.

A.   dyad.

B.   dissonance.

C.   consonance.

D.   triad.

A.   duration.

B.   dynamic accent.

C.   timbre.

D.   an interval.

A.   key.

B.   scale.

C.   chromaticism.

D.   modulation.

A.   440

B.   220

C.   660

D.   1760

A.   an independence from major or minor scales.

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

C.   the central tone of a musical composition.

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

A.   form.

B.   ternary.

C.   repetition.

D.   variation.

A.   contrast.

B.   repetition.

C.   form.

D.   cadence.

A.   A B C.

B.   A B A.

C.   All answers are correct.

D.   A A B.

A.   there probably was almost none.

B.   it is too difficult to be played today.

C.   it was too primitive to interest later generations.

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

A.   an exemplary performance.

B.   the quality that distinguishes musical sounds.

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

D.   the degree of loudness and softness.

A.   fortissimo.

B.   diminuendo.

C.   decrescendo.

D.   crescendo.

A.   the number of reeds an instrument uses.

B.   the instrument manufacturer's brand name.

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

D.   part of an instrument's total range.

A.   are made of wood.

B.   use a wooden reed.

C.   were originally made of wood.

D.   have wooden key mechanisms.

A.   English horn.

B.   piccolo flute.

C.   clarinet.

D.   oboe.

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

B.   leaning on a musical note.

C.   the quality that distinguishes musical sounds.

D.   the degree of loudness or softness in music.

A.   reed.

B.   crook.

C.   mute.

D.   tailpiece.

A.   accordion

B.   harpsichord

C.   organ

D.   piano

A.   downbeat.

B.   upbeat.

C.   head.

D.   intro.

A.   louder

B.   softer

C.   lower

D.   higher

A.   beat

B.   metronome

C.   clock

D.   stopwatch

A.   sequence.

B.   rhythm.

C.   range.

D.   cadence.

A.   in a smooth, connected manner.

B.   in a short, detached manner.

C.   in small steps.

D.   at a higher or lower pitch.

A.   legato.

B.   staccato.

C.   glissando.

D.   vibrato.

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

B.   the emotional focal point of a melody.

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

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

A.   association with minstrels and jongleurs.

B.   earlier role in pagan rites.

C.   sacred quality and background.

D.   use in early Jewish religious ceremonies.

A.   lively dance in triple meter.

B.   silly, humorous dance in duple meter.

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

D.   wooden instrument with a cup-shaped mouthpiece.

A.   instrumental.

B.   vocal.

C.   for the piano.

D.   for the organ.

A.   estampies.

B.   Trouvère songs.

C.   Gregorian chant.

D.   contemporary gospel.

A.   All answers are correct.

B.   published all of the Gregorian chants.

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

D.   composed all of the Gregorian chants.

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

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

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

D.   completely different from any other form of scale.

A.   abbess of the convent at Rupertsberg.

B.   All answers are correct.

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

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

A.   during the twelfth and thirteenth centuries.

B.   during the fifteenth century.

C.   from 590 to 604.

D.   during the ninth century.

A.   secular song form.

B.   stringed instrument.

C.   dance.

D.   song of worship.

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

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

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

D.   The humanists were basically atheistic in their beliefs.

A.   Reims.

B.   Paris.

C.   London.

D.   Rome.

A.   German music of the sixteenth century.

B.   paintings from the new world.

C.   Italian and French music of the fourteenth century.

D.   the new art of baroque painters.

A.   late twelfth century.

B.   early thirteenth century.

C.   late fourteenth century.

D.   early fourteenth century.

A.   monophonic.

B.   homophonic.

C.   heterophonic.

D.   polyphonic.

A.   dancelike song for several solo voices.

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.   polyphonic choral composition made up of five sections.

A.   was based on Gregorian chant.

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

C.   All answers are correct.

D.   was tiresomely monophonic.

A.   dancelike song for several solo voices.

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

C.   polyphonic choral composition made up of five sections.

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.   Cremona.

B.   Venice.

C.   Rome.

D.   Florence.

A.   composer

B.   violinist

C.   organist

D.   cellist

A.   concerto.

B.   fugue.

C.   sonata.

D.   opera.

A.   meter.

B.   All answers are correct.

C.   tempo.

D.   national origin.

A.   melodies in minor keys

B.   choral singers

C.   foot stomps and hand claps

D.   balanced and symmetrical phrases

A.   concertos

B.   suites

C.   operas

D.   sonatas

A.   acting, scenery, or costumes.

B.   choral part.

C.   vocal soloists.

D.   orchestral accompaniment.

A.   Arcangelo Corelli.

B.   Claudio Monteverdi.

C.   Antonio Vivaldi.

D.   Johann Sebastian Bach.

A.   Ireland.

B.   England.

C.   Italy.

D.   Germany.

A.   the nobility's manner of deportment.

B.   terraced dynamics.

C.   emotional states or moods of music.

D.   the doctrine of universal brotherhood.

A.   a gradual change from soft to loud.

B.   a gradual change from loud to soft.

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

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

A.   piano.

B.   accordion.

C.   clavichord.

D.   harpsichord.

A.   figured bass.

B.   sequenced bass.

C.   counterpoint.

D.   basso profundo.

A.   one

B.   three

C.   four

D.   two

A.   blurb.

B.   shake.

C.   trill.

D.   wobble.

A.   countersubject.

B.   episode.

C.   answer.

D.   subject.

A.   stretto.

B.   inversion.

C.   retrograde.

D.   countersubject.

A.   received the highest fees of any musicians.

B.   All answers are correct.

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

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

A.   obsolete in contemporary performances.

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

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

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

A.   St. Mark's, Venice.

B.   the Vatican, Rome.

C.   Notre Dame, Paris.

D.   The Duomo, Florence.

A.   duet.

B.   stretto.

C.   aria.

D.   ensemble.

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

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

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

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

A.   conceerto

B.   opera.

C.   fugue.

D.   sonata.

A.   balanced and symmetrical phrases

B.   melodies in minor keys

C.   foot stomps and hand claps

D.   choral singers

A.   suites

B.   concertos

C.   sonatas

D.   operas