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.   tempo.

B.   meter.

C.   melody.

D.   harmony.

A.   series of individual tones heard one after another.

B.   pattern of accents used in music.

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

D.   resting point at the end of a phrase.

A.   consonance.

B.   progression.

C.   chord.

D.   dissonance.

A.   dyad.

B.   consonance.

C.   triad.

D.   dissonance.

A.   an interval.

B.   dynamic accent.

C.   timbre.

D.   duration.

A.   key.

B.   chromaticism.

C.   modulation.

D.   scale.

A.   1760

B.   220

C.   660

D.   440

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.   cadence.

B.   contrast.

C.   form.

D.   repetition.

A.   A B A.

B.   A A B.

C.   All answers are correct.

D.   A B C.

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.   crescendo.

B.   decrescendo.

C.   fortissimo.

D.   diminuendo.

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

B.   part of an instrument's total range.

C.   the number of reeds an instrument uses.

D.   the instrument manufacturer's brand name.

A.   were originally made of wood.

B.   have wooden key mechanisms.

C.   are made of wood.

D.   use a wooden reed.

A.   English horn.

B.   oboe.

C.   piccolo flute.

D.   clarinet.

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

B.   the degree of loudness or softness in music.

C.   the quality that distinguishes musical sounds.

D.   leaning on a musical note.

A.   crook.

B.   tailpiece.

C.   mute.

D.   reed.

A.   piano

B.   harpsichord

C.   accordion

D.   organ

A.   downbeat.

B.   upbeat.

C.   head.

D.   intro.

A.   louder

B.   softer

C.   higher

D.   lower

A.   stopwatch

B.   clock

C.   metronome

D.   beat

A.   rhythm.

B.   range.

C.   sequence.

D.   cadence.

A.   at a higher or lower pitch.

B.   in a smooth, connected manner.

C.   in a short, detached manner.

D.   in small steps.

A.   glissando.

B.   vibrato.

C.   legato.

D.   staccato.

A.   the emotional focal point of a melody.

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

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

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

A.   use in early Jewish religious ceremonies.

B.   association with minstrels and jongleurs.

C.   earlier role in pagan rites.

D.   sacred quality and background.

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

B.   lively dance in triple meter.

C.   silly, humorous dance in duple meter.

D.   wooden instrument with a cup-shaped mouthpiece.

A.   instrumental.

B.   for the piano.

C.   for the organ.

D.   vocal.

A.   contemporary gospel.

B.   Trouvère songs.

C.   estampies.

D.   Gregorian chant.

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

B.   composed all of the Gregorian chants.

C.   published all of the Gregorian chants.

D.   All answers are correct.

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

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

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.   dance.

B.   song of worship.

C.   secular song form.

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 were basically atheistic in their beliefs.

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

A.   Reims.

B.   Paris.

C.   London.

D.   Rome.

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.   late twelfth century.

B.   early fourteenth century.

C.   late fourteenth century.

D.   early thirteenth century.

A.   monophonic.

B.   polyphonic.

C.   heterophonic.

D.   homophonic.

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

B.   All answers are correct.

C.   was based on Gregorian chant.

D.   was tiresomely monophonic.

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.   keyboard instrument suitable for playing basso continuo parts.

B.   bass woodwind instrument similar to the bassoon.

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

D.   electronic instrument whose tone is generated by oscillators.

A.   Venice.

B.   Cremona.

C.   Florence.

D.   Rome.

A.   organist

B.   violinist

C.   cellist

D.   composer

A.   fugue.

B.   sonata.

C.   concerto.

D.   opera.

A.   meter.

B.   All answers are correct.

C.   national origin.

D.   tempo.

A.   melodies in minor keys

B.   balanced and symmetrical phrases

C.   foot stomps and hand claps

D.   choral singers

A.   operas

B.   sonatas

C.   concertos

D.   suites

A.   choral part.

B.   orchestral accompaniment.

C.   acting, scenery, or costumes.

D.   vocal soloists.

A.   Antonio Vivaldi.

B.   Claudio Monteverdi.

C.   Johann Sebastian Bach.

D.   Arcangelo Corelli.

A.   Italy.

B.   Germany.

C.   Ireland.

D.   England.

A.   terraced dynamics.

B.   emotional states or moods of music.

C.   the doctrine of universal brotherhood.

D.   the nobility's manner of deportment.

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.   clavichord.

B.   piano.

C.   accordion.

D.   harpsichord.

A.   basso profundo.

B.   counterpoint.

C.   figured bass.

D.   sequenced bass.

A.   four

B.   two

C.   three

D.   one

A.   shake.

B.   wobble.

C.   blurb.

D.   trill.

A.   episode.

B.   answer.

C.   countersubject.

D.   subject.

A.   inversion.

B.   countersubject.

C.   stretto.

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.   obsolete in contemporary performances.

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.   music created at the same time it is performed.

A.   St. Mark's, Venice.

B.   the Vatican, Rome.

C.   The Duomo, Florence.

D.   Notre Dame, Paris.

A.   aria.

B.   duet.

C.   stretto.

D.   ensemble.

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

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

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

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

A.   conceerto

B.   fugue.

C.   opera.

D.   sonata.

A.   foot stomps and hand claps

B.   choral singers

C.   melodies in minor keys

D.   balanced and symmetrical phrases

A.   sonatas

B.   operas

C.   concertos

D.   suites