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

B.   a part of a melody.

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

D.   the emotional focal point of a melody.

A.   tempo.

B.   melody.

C.   meter.

D.   harmony.

A.   resting point at the end of a phrase.

B.   series of individual tones heard one after another.

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

D.   pattern of accents used in music.

A.   dissonance.

B.   progression.

C.   chord.

D.   consonance.

A.   dyad.

B.   dissonance.

C.   consonance.

D.   triad.

A.   an interval.

B.   timbre.

C.   duration.

D.   dynamic accent.

A.   chromaticism.

B.   modulation.

C.   scale.

D.   key.

A.   440

B.   220

C.   1760

D.   660

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

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.   an independence from major or minor scales.

A.   ternary.

B.   repetition.

C.   variation.

D.   form.

A.   form.

B.   contrast.

C.   cadence.

D.   repetition.

A.   A B A.

B.   A B C.

C.   All answers are correct.

D.   A A B.

A.   there probably was almost none.

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

C.   it is too difficult to be played today.

D.   it was too primitive to interest later generations.

A.   an exemplary performance.

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

C.   the degree of loudness and softness.

D.   the quality that distinguishes musical sounds.

A.   diminuendo.

B.   crescendo.

C.   fortissimo.

D.   decrescendo.

A.   part of an instrument's total range.

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

C.   the number of reeds an instrument uses.

D.   the instrument manufacturer's brand name.

A.   are made of wood.

B.   have wooden key mechanisms.

C.   use a wooden reed.

D.   were originally made of wood.

A.   oboe.

B.   English horn.

C.   piccolo flute.

D.   clarinet.

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.   mute.

B.   reed.

C.   crook.

D.   tailpiece.

A.   harpsichord

B.   organ

C.   accordion

D.   piano

A.   downbeat.

B.   intro.

C.   upbeat.

D.   head.

A.   softer

B.   louder

C.   lower

D.   higher

A.   beat

B.   metronome

C.   clock

D.   stopwatch

A.   cadence.

B.   rhythm.

C.   sequence.

D.   range.

A.   in a short, detached manner.

B.   in a smooth, connected manner.

C.   in small steps.

D.   at a higher or lower pitch.

A.   vibrato.

B.   glissando.

C.   staccato.

D.   legato.

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

B.   the emotional focal point of a melody.

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

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

A.   sacred quality and background.

B.   association with minstrels and jongleurs.

C.   use in early Jewish religious ceremonies.

D.   earlier role in pagan rites.

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.   for the organ.

B.   for the piano.

C.   vocal.

D.   instrumental.

A.   estampies.

B.   Gregorian chant.

C.   contemporary gospel.

D.   Trouvère songs.

A.   composed all of the Gregorian chants.

B.   published all of the Gregorian chants.

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

D.   All answers are correct.

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

B.   completely different from any other form of scale.

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

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

A.   abbess of the convent at Rupertsberg.

B.   All answers are correct.

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

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

A.   from 590 to 604.

B.   during the twelfth and thirteenth centuries.

C.   during the fifteenth century.

D.   during the ninth century.

A.   secular song form.

B.   song of worship.

C.   dance.

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 Madonna was treated as a beautiful young woman.

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

A.   Reims.

B.   Rome.

C.   London.

D.   Paris.

A.   paintings from the new world.

B.   Italian and French music of the fourteenth century.

C.   German music of the sixteenth century.

D.   the new art of baroque painters.

A.   late twelfth century.

B.   late fourteenth century.

C.   early thirteenth century.

D.   early fourteenth century.

A.   heterophonic.

B.   polyphonic.

C.   homophonic.

D.   monophonic.

A.   polyphonic choral composition made up of five sections.

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

C.   dancelike song for several solo voices.

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

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

B.   was tiresomely monophonic.

C.   was based on Gregorian chant.

D.   All answers are correct.

A.   dancelike song for several solo voices.

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

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

D.   polyphonic choral composition made up of five sections.

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

B.   keyboard instrument suitable for playing basso continuo parts.

C.   bass woodwind instrument similar to the bassoon.

D.   electronic instrument whose tone is generated by oscillators.

A.   Florence.

B.   Cremona.

C.   Rome.

D.   Venice.

A.   cellist

B.   composer

C.   violinist

D.   organist

A.   sonata.

B.   opera.

C.   fugue.

D.   concerto.

A.   national origin.

B.   tempo.

C.   All answers are correct.

D.   meter.

A.   foot stomps and hand claps

B.   melodies in minor keys

C.   balanced and symmetrical phrases

D.   choral singers

A.   sonatas

B.   suites

C.   operas

D.   concertos

A.   choral part.

B.   vocal soloists.

C.   acting, scenery, or costumes.

D.   orchestral accompaniment.

A.   Antonio Vivaldi.

B.   Claudio Monteverdi.

C.   Johann Sebastian Bach.

D.   Arcangelo Corelli.

A.   Germany.

B.   Italy.

C.   England.

D.   Ireland.

A.   terraced dynamics.

B.   the doctrine of universal brotherhood.

C.   emotional states or moods of music.

D.   the nobility's manner of deportment.

A.   a gradual change from loud to soft.

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

C.   a gradual change from soft to loud.

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

A.   accordion.

B.   piano.

C.   clavichord.

D.   harpsichord.

A.   sequenced bass.

B.   counterpoint.

C.   basso profundo.

D.   figured bass.

A.   one

B.   two

C.   four

D.   three

A.   shake.

B.   wobble.

C.   blurb.

D.   trill.

A.   answer.

B.   episode.

C.   countersubject.

D.   subject.

A.   countersubject.

B.   stretto.

C.   inversion.

D.   retrograde.

A.   received the highest fees of any musicians.

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

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

D.   All answers are correct.

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

B.   obsolete in contemporary performances.

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.   The Duomo, Florence.

B.   St. Mark's, Venice.

C.   Notre Dame, Paris.

D.   the Vatican, Rome.

A.   ensemble.

B.   stretto.

C.   aria.

D.   duet.

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

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

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

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.   balanced and symmetrical phrases

D.   foot stomps and hand claps

A.   concertos

B.   suites

C.   operas

D.   sonatas