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.   meter.

B.   harmony.

C.   tempo.

D.   melody.

A.   pattern of accents used in music.

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

C.   series of individual tones heard one after another.

D.   resting point at the end of a phrase.

A.   dissonance.

B.   progression.

C.   chord.

D.   consonance.

A.   triad.

B.   consonance.

C.   dyad.

D.   dissonance.

A.   duration.

B.   an interval.

C.   timbre.

D.   dynamic accent.

A.   modulation.

B.   key.

C.   chromaticism.

D.   scale.

A.   440

B.   1760

C.   220

D.   660

A.   the central tone of a musical composition.

B.   the sharp or flat signs immediately following the clef sign at the beginning of the staff 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.   repetition.

D.   form.

A.   contrast.

B.   cadence.

C.   repetition.

D.   form.

A.   A A B.

B.   A B C.

C.   All answers are correct.

D.   A B A.

A.   it was too primitive to interest later generations.

B.   there probably was almost none.

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

D.   it is too difficult to be played today.

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

B.   an exemplary performance.

C.   the quality that distinguishes musical sounds.

D.   the degree of loudness and softness.

A.   decrescendo.

B.   crescendo.

C.   diminuendo.

D.   fortissimo.

A.   the instrument manufacturer's brand name.

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

C.   part of an instrument's total range.

D.   the number of reeds an instrument uses.

A.   have wooden key mechanisms.

B.   use a wooden reed.

C.   are made of wood.

D.   were originally made of wood.

A.   oboe.

B.   clarinet.

C.   English horn.

D.   piccolo flute.

A.   the degree of loudness or softness in music.

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

C.   the quality that distinguishes musical sounds.

D.   leaning on a musical note.

A.   mute.

B.   tailpiece.

C.   crook.

D.   reed.

A.   harpsichord

B.   accordion

C.   piano

D.   organ

A.   upbeat.

B.   downbeat.

C.   intro.

D.   head.

A.   higher

B.   lower

C.   softer

D.   louder

A.   beat

B.   stopwatch

C.   clock

D.   metronome

A.   range.

B.   cadence.

C.   rhythm.

D.   sequence.

A.   at a higher or lower pitch.

B.   in small steps.

C.   in a smooth, connected manner.

D.   in a short, detached manner.

A.   staccato.

B.   legato.

C.   vibrato.

D.   glissando.

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

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.   a resting place at the end of a phrase.

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.   silly, humorous dance in duple meter.

B.   wooden instrument with a cup-shaped mouthpiece.

C.   lively dance in triple meter.

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

A.   vocal.

B.   for the piano.

C.   for the organ.

D.   instrumental.

A.   Trouvère songs.

B.   estampies.

C.   Gregorian chant.

D.   contemporary gospel.

A.   composed all of the Gregorian chants.

B.   All answers are correct.

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

D.   published all of the Gregorian chants.

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

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

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

D.   completely different from any other form of scale.

A.   abbess of the convent at Rupertsberg.

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

C.   All answers are correct.

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.   dance.

B.   stringed instrument.

C.   secular song form.

D.   song of worship.

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

B.   The humanists were basically atheistic in their beliefs.

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

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

A.   Reims.

B.   Rome.

C.   Paris.

D.   London.

A.   Italian and French music of the fourteenth century.

B.   German music of the sixteenth century.

C.   paintings from the new world.

D.   the new art of baroque painters.

A.   early fourteenth century.

B.   late twelfth century.

C.   early thirteenth century.

D.   late fourteenth century.

A.   homophonic.

B.   monophonic.

C.   polyphonic.

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.   All answers are correct.

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

C.   was tiresomely monophonic.

D.   was based on Gregorian chant.

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

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

C.   dancelike song for several solo voices.

D.   polyphonic choral composition made up of five sections.

A.   electronic instrument whose tone is generated by oscillators.

B.   bass woodwind instrument similar to the bassoon.

C.   keyboard instrument suitable for playing basso continuo parts.

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

A.   Cremona.

B.   Venice.

C.   Florence.

D.   Rome.

A.   organist

B.   composer

C.   cellist

D.   violinist

A.   fugue.

B.   opera.

C.   sonata.

D.   concerto.

A.   meter.

B.   tempo.

C.   All answers are correct.

D.   national origin.

A.   melodies in minor keys

B.   choral singers

C.   foot stomps and hand claps

D.   balanced and symmetrical phrases

A.   operas

B.   suites

C.   concertos

D.   sonatas

A.   vocal soloists.

B.   acting, scenery, or costumes.

C.   orchestral accompaniment.

D.   choral part.

A.   Claudio Monteverdi.

B.   Johann Sebastian Bach.

C.   Arcangelo Corelli.

D.   Antonio Vivaldi.

A.   Italy.

B.   Ireland.

C.   Germany.

D.   England.

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 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.   accordion.

C.   piano.

D.   clavichord.

A.   figured bass.

B.   basso profundo.

C.   sequenced bass.

D.   counterpoint.

A.   one

B.   three

C.   four

D.   two

A.   shake.

B.   trill.

C.   wobble.

D.   blurb.

A.   countersubject.

B.   subject.

C.   episode.

D.   answer.

A.   inversion.

B.   stretto.

C.   countersubject.

D.   retrograde.

A.   All answers are correct.

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

C.   received the highest fees of any musicians.

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

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

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

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

D.   obsolete in contemporary performances.

A.   the Vatican, Rome.

B.   Notre Dame, Paris.

C.   The Duomo, Florence.

D.   St. Mark's, Venice.

A.   duet.

B.   aria.

C.   ensemble.

D.   stretto.

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

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

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

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

A.   opera.

B.   conceerto

C.   sonata.

D.   fugue.

A.   foot stomps and hand claps

B.   melodies in minor keys

C.   choral singers

D.   balanced and symmetrical phrases

A.   suites

B.   sonatas

C.   operas

D.   concertos