A.   a part of a melody.

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

C.   the emotional focal point of a melody.

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

A.   meter.

B.   melody.

C.   harmony.

D.   tempo.

A.   pattern of accents used in music.

B.   series of individual tones heard one after another.

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

D.   resting point at the end of a phrase.

A.   progression.

B.   dissonance.

C.   consonance.

D.   chord.

A.   consonance.

B.   dissonance.

C.   triad.

D.   dyad.

A.   an interval.

B.   dynamic accent.

C.   timbre.

D.   duration.

A.   key.

B.   scale.

C.   chromaticism.

D.   modulation.

A.   660

B.   1760

C.   440

D.   220

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

B.   an independence from major or minor scales.

C.   the central tone of a musical composition.

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

A.   ternary.

B.   variation.

C.   form.

D.   repetition.

A.   cadence.

B.   contrast.

C.   form.

D.   repetition.

A.   A B C.

B.   A A B.

C.   A B A.

D.   All answers are correct.

A.   there probably was almost none.

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

C.   it was too primitive to interest later generations.

D.   it is too difficult to be played today.

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

B.   the degree of loudness and softness.

C.   the quality that distinguishes musical sounds.

D.   an exemplary performance.

A.   diminuendo.

B.   fortissimo.

C.   crescendo.

D.   decrescendo.

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

B.   part of an instrument's total range.

C.   the instrument manufacturer's brand name.

D.   the number of reeds an instrument uses.

A.   use a wooden reed.

B.   have wooden key mechanisms.

C.   are made of wood.

D.   were originally made of wood.

A.   oboe.

B.   clarinet.

C.   piccolo flute.

D.   English horn.

A.   the degree of loudness or softness in music.

B.   the quality that distinguishes musical sounds.

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

D.   leaning on a musical note.

A.   tailpiece.

B.   mute.

C.   crook.

D.   reed.

A.   accordion

B.   piano

C.   organ

D.   harpsichord

A.   downbeat.

B.   upbeat.

C.   head.

D.   intro.

A.   higher

B.   softer

C.   lower

D.   louder

A.   stopwatch

B.   beat

C.   clock

D.   metronome

A.   rhythm.

B.   range.

C.   cadence.

D.   sequence.

A.   in a short, detached manner.

B.   at a higher or lower pitch.

C.   in small steps.

D.   in a smooth, connected manner.

A.   vibrato.

B.   staccato.

C.   legato.

D.   glissando.

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.   sacred quality and background.

C.   earlier role in pagan rites.

D.   use in early Jewish religious ceremonies.

A.   silly, humorous dance in duple meter.

B.   lively dance in triple meter.

C.   wooden instrument with a cup-shaped mouthpiece.

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

A.   instrumental.

B.   for the piano.

C.   for the organ.

D.   vocal.

A.   estampies.

B.   Trouvère songs.

C.   Gregorian chant.

D.   contemporary gospel.

A.   composed all of the Gregorian chants.

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

C.   published all of the Gregorian chants.

D.   All answers are correct.

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

B.   completely different from any other form of scale.

C.   like the major and minor scales in that they consist of seven 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.   All answers are correct.

C.   abbess of the convent at Rupertsberg.

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

A.   during the twelfth and thirteenth centuries.

B.   during the ninth century.

C.   during the fifteenth century.

D.   from 590 to 604.

A.   song of worship.

B.   secular song form.

C.   dance.

D.   stringed instrument.

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

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 humanists were basically atheistic in their beliefs.

A.   Paris.

B.   Reims.

C.   London.

D.   Rome.

A.   the new art of baroque painters.

B.   paintings from the new world.

C.   German music of the sixteenth century.

D.   Italian and French music of the fourteenth century.

A.   late fourteenth century.

B.   late twelfth century.

C.   early fourteenth century.

D.   early thirteenth century.

A.   polyphonic.

B.   monophonic.

C.   homophonic.

D.   heterophonic.

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.   was tiresomely monophonic.

B.   was based on Gregorian chant.

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

D.   All answers are correct.

A.   dancelike song for several solo voices.

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

C.   polyphonic choral composition made up of five sections.

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

A.   bass woodwind instrument similar to the bassoon.

B.   electronic instrument whose tone is generated by oscillators.

C.   keyboard instrument suitable for playing basso continuo parts.

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

A.   Rome.

B.   Florence.

C.   Venice.

D.   Cremona.

A.   composer

B.   violinist

C.   organist

D.   cellist

A.   concerto.

B.   sonata.

C.   fugue.

D.   opera.

A.   meter.

B.   All answers are correct.

C.   national origin.

D.   tempo.

A.   foot stomps and hand claps

B.   melodies in minor keys

C.   balanced and symmetrical phrases

D.   choral singers

A.   concertos

B.   operas

C.   suites

D.   sonatas

A.   choral part.

B.   acting, scenery, or costumes.

C.   vocal soloists.

D.   orchestral accompaniment.

A.   Johann Sebastian Bach.

B.   Arcangelo Corelli.

C.   Antonio Vivaldi.

D.   Claudio Monteverdi.

A.   England.

B.   Ireland.

C.   Italy.

D.   Germany.

A.   terraced dynamics.

B.   the nobility's manner of deportment.

C.   emotional states or moods of music.

D.   the doctrine of universal brotherhood.

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

B.   a gradual change from soft to loud.

C.   a gradual change from loud to soft.

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

A.   harpsichord.

B.   clavichord.

C.   piano.

D.   accordion.

A.   sequenced bass.

B.   basso profundo.

C.   counterpoint.

D.   figured bass.

A.   three

B.   two

C.   one

D.   four

A.   wobble.

B.   trill.

C.   blurb.

D.   shake.

A.   subject.

B.   answer.

C.   episode.

D.   countersubject.

A.   stretto.

B.   countersubject.

C.   retrograde.

D.   inversion.

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

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

C.   obsolete in contemporary performances.

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

A.   St. Mark's, Venice.

B.   The Duomo, Florence.

C.   the Vatican, Rome.

D.   Notre Dame, Paris.

A.   aria.

B.   duet.

C.   stretto.

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

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

A.   sonata.

B.   fugue.

C.   opera.

D.   conceerto

A.   choral singers

B.   melodies in minor keys

C.   balanced and symmetrical phrases

D.   foot stomps and hand claps

A.   suites

B.   operas

C.   sonatas

D.   concertos