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

B.   the emotional focal point of a melody.

C.   a part of a melody.

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

A.   harmony.

B.   melody.

C.   meter.

D.   tempo.

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.   consonance.

B.   dissonance.

C.   chord.

D.   progression.

A.   consonance.

B.   dyad.

C.   dissonance.

D.   triad.

A.   timbre.

B.   dynamic accent.

C.   duration.

D.   an interval.

A.   key.

B.   scale.

C.   modulation.

D.   chromaticism.

A.   1760

B.   660

C.   440

D.   220

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

B.   the central tone of a musical composition.

C.   an independence from major or minor scales.

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

A.   variation.

B.   repetition.

C.   form.

D.   ternary.

A.   contrast.

B.   form.

C.   repetition.

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 was too primitive to interest later generations.

C.   it is too difficult to be played today.

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

A.   the degree of loudness and softness.

B.   an exemplary performance.

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

D.   the quality that distinguishes musical sounds.

A.   decrescendo.

B.   diminuendo.

C.   fortissimo.

D.   crescendo.

A.   the instrument manufacturer's brand name.

B.   part of an instrument's total range.

C.   the number of reeds an instrument uses.

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

A.   were originally made of wood.

B.   are made of wood.

C.   have wooden key mechanisms.

D.   use a wooden reed.

A.   piccolo flute.

B.   clarinet.

C.   oboe.

D.   English horn.

A.   the quality that distinguishes musical sounds.

B.   leaning on a musical note.

C.   the degree of loudness or softness in music.

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

A.   tailpiece.

B.   mute.

C.   crook.

D.   reed.

A.   harpsichord

B.   piano

C.   organ

D.   accordion

A.   downbeat.

B.   intro.

C.   head.

D.   upbeat.

A.   softer

B.   higher

C.   louder

D.   lower

A.   clock

B.   metronome

C.   stopwatch

D.   beat

A.   rhythm.

B.   sequence.

C.   cadence.

D.   range.

A.   at a higher or lower pitch.

B.   in a short, detached manner.

C.   in small steps.

D.   in a smooth, connected manner.

A.   staccato.

B.   vibrato.

C.   glissando.

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.   use in early Jewish religious ceremonies.

B.   sacred quality and background.

C.   association with minstrels and jongleurs.

D.   earlier role in pagan rites.

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

B.   silly, humorous dance in duple meter.

C.   wooden instrument with a cup-shaped mouthpiece.

D.   lively dance in triple meter.

A.   instrumental.

B.   for the piano.

C.   vocal.

D.   for the organ.

A.   estampies.

B.   contemporary gospel.

C.   Gregorian chant.

D.   Trouvère songs.

A.   published all of the Gregorian chants.

B.   All answers are correct.

C.   composed all of the Gregorian chants.

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

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

B.   abbess of the convent at Rupertsberg.

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

D.   All answers are correct.

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.   stringed instrument.

C.   secular song form.

D.   dance.

A.   The humanists were basically atheistic in their beliefs.

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

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

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

A.   Rome.

B.   London.

C.   Reims.

D.   Paris.

A.   German music of the sixteenth century.

B.   the new art of baroque painters.

C.   Italian and French music of the fourteenth century.

D.   paintings from the new world.

A.   early thirteenth century.

B.   early fourteenth century.

C.   late twelfth century.

D.   late fourteenth century.

A.   polyphonic.

B.   heterophonic.

C.   monophonic.

D.   homophonic.

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

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

C.   polyphonic choral composition made up of five sections.

D.   dancelike song for several solo voices.

A.   All answers are correct.

B.   was based on Gregorian chant.

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

D.   was tiresomely 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.

A.   keyboard instrument suitable for playing basso continuo parts.

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

C.   bass woodwind instrument similar to the bassoon.

D.   electronic instrument whose tone is generated by oscillators.

A.   Venice.

B.   Rome.

C.   Cremona.

D.   Florence.

A.   composer

B.   cellist

C.   violinist

D.   organist

A.   concerto.

B.   fugue.

C.   sonata.

D.   opera.

A.   national origin.

B.   meter.

C.   tempo.

D.   All answers are correct.

A.   melodies in minor keys

B.   balanced and symmetrical phrases

C.   choral singers

D.   foot stomps and hand claps

A.   operas

B.   suites

C.   sonatas

D.   concertos

A.   vocal soloists.

B.   orchestral accompaniment.

C.   choral part.

D.   acting, scenery, or costumes.

A.   Arcangelo Corelli.

B.   Antonio Vivaldi.

C.   Claudio Monteverdi.

D.   Johann Sebastian Bach.

A.   Germany.

B.   England.

C.   Ireland.

D.   Italy.

A.   terraced dynamics.

B.   the doctrine of universal brotherhood.

C.   the nobility's manner of deportment.

D.   emotional states or moods of music.

A.   a gradual change from soft to loud.

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

C.   a gradual change from loud to soft.

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

A.   clavichord.

B.   accordion.

C.   harpsichord.

D.   piano.

A.   counterpoint.

B.   figured bass.

C.   sequenced bass.

D.   basso profundo.

A.   four

B.   two

C.   one

D.   three

A.   trill.

B.   shake.

C.   blurb.

D.   wobble.

A.   episode.

B.   countersubject.

C.   answer.

D.   subject.

A.   stretto.

B.   retrograde.

C.   countersubject.

D.   inversion.

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

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

C.   All answers are correct.

D.   received the highest fees of any musicians.

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.   The Duomo, Florence.

D.   Notre Dame, Paris.

A.   ensemble.

B.   stretto.

C.   aria.

D.   duet.

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

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

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

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

A.   sonata.

B.   fugue.

C.   conceerto

D.   opera.

A.   choral singers

B.   foot stomps and hand claps

C.   balanced and symmetrical phrases

D.   melodies in minor keys

A.   sonatas

B.   suites

C.   concertos

D.   operas