A.   the emotional focal point of a melody.

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

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

D.   a part of a melody.

A.   tempo.

B.   melody.

C.   harmony.

D.   meter.

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.   chord.

B.   consonance.

C.   dissonance.

D.   progression.

A.   dyad.

B.   consonance.

C.   triad.

D.   dissonance.

A.   dynamic accent.

B.   an interval.

C.   timbre.

D.   duration.

A.   chromaticism.

B.   modulation.

C.   key.

D.   scale.

A.   660

B.   440

C.   220

D.   1760

A.   the central tone of a musical composition.

B.   an independence from major or minor scales.

C.   a shift from one key to another within the same 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.   repetition.

C.   form.

D.   variation.

A.   cadence.

B.   contrast.

C.   repetition.

D.   form.

A.   A A B.

B.   A B A.

C.   A B C.

D.   All answers are correct.

A.   it was too primitive to interest later generations.

B.   it is too difficult to be played today.

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

D.   there probably was almost none.

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.   diminuendo.

B.   decrescendo.

C.   fortissimo.

D.   crescendo.

A.   part of an instrument's total range.

B.   the number of reeds an instrument uses.

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

D.   the instrument manufacturer's brand name.

A.   are made of wood.

B.   use a wooden reed.

C.   have wooden key mechanisms.

D.   were originally made of wood.

A.   clarinet.

B.   piccolo flute.

C.   English horn.

D.   oboe.

A.   the quality that distinguishes musical sounds.

B.   leaning on a musical note.

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

D.   the degree of loudness or softness in music.

A.   mute.

B.   crook.

C.   tailpiece.

D.   reed.

A.   piano

B.   accordion

C.   organ

D.   harpsichord

A.   intro.

B.   downbeat.

C.   upbeat.

D.   head.

A.   louder

B.   lower

C.   softer

D.   higher

A.   beat

B.   stopwatch

C.   clock

D.   metronome

A.   range.

B.   sequence.

C.   cadence.

D.   rhythm.

A.   in a smooth, connected manner.

B.   in a short, detached manner.

C.   at a higher or lower pitch.

D.   in small steps.

A.   legato.

B.   staccato.

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 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.   earlier role in pagan rites.

B.   sacred quality and background.

C.   use in early Jewish religious ceremonies.

D.   association with minstrels and jongleurs.

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

B.   wooden instrument with a cup-shaped mouthpiece.

C.   silly, humorous dance in duple meter.

D.   lively dance in triple meter.

A.   vocal.

B.   instrumental.

C.   for the organ.

D.   for the piano.

A.   estampies.

B.   Trouvère songs.

C.   Gregorian chant.

D.   contemporary gospel.

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

B.   All answers are correct.

C.   composed all of the Gregorian chants.

D.   published all of the Gregorian chants.

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.   completely different from any other form of scale.

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

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

B.   abbess of the convent at Rupertsberg.

C.   All answers are correct.

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

A.   during the fifteenth century.

B.   from 590 to 604.

C.   during the twelfth and thirteenth centuries.

D.   during the ninth century.

A.   dance.

B.   secular song form.

C.   stringed instrument.

D.   song of worship.

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.   Reims.

B.   Paris.

C.   Rome.

D.   London.

A.   Italian and French music of the fourteenth century.

B.   paintings from the new world.

C.   the new art of baroque painters.

D.   German music of the sixteenth century.

A.   early fourteenth century.

B.   late fourteenth century.

C.   early thirteenth century.

D.   late twelfth century.

A.   monophonic.

B.   heterophonic.

C.   homophonic.

D.   polyphonic.

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

B.   polyphonic choral composition made up of five sections.

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

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.   polyphonic choral work set to a sacred Latin text.

C.   dancelike song for several solo voices.

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

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

B.   bass woodwind instrument similar to the bassoon.

C.   electronic instrument whose tone is generated by oscillators.

D.   keyboard instrument suitable for playing basso continuo parts.

A.   Cremona.

B.   Venice.

C.   Rome.

D.   Florence.

A.   cellist

B.   composer

C.   organist

D.   violinist

A.   concerto.

B.   sonata.

C.   fugue.

D.   opera.

A.   tempo.

B.   meter.

C.   national origin.

D.   All answers are correct.

A.   melodies in minor keys

B.   choral singers

C.   balanced and symmetrical phrases

D.   foot stomps and hand claps

A.   concertos

B.   sonatas

C.   suites

D.   operas

A.   acting, scenery, or costumes.

B.   choral part.

C.   orchestral accompaniment.

D.   vocal soloists.

A.   Johann Sebastian Bach.

B.   Arcangelo Corelli.

C.   Antonio Vivaldi.

D.   Claudio Monteverdi.

A.   England.

B.   Ireland.

C.   Germany.

D.   Italy.

A.   the nobility's manner of deportment.

B.   terraced dynamics.

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

D.   a gradual change from loud to soft.

A.   clavichord.

B.   harpsichord.

C.   accordion.

D.   piano.

A.   sequenced bass.

B.   counterpoint.

C.   figured bass.

D.   basso profundo.

A.   one

B.   four

C.   three

D.   two

A.   trill.

B.   blurb.

C.   wobble.

D.   shake.

A.   subject.

B.   countersubject.

C.   episode.

D.   answer.

A.   retrograde.

B.   countersubject.

C.   stretto.

D.   inversion.

A.   All answers are correct.

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

C.   received the highest fees of any musicians.

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

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

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

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

D.   obsolete in contemporary performances.

A.   St. Mark's, Venice.

B.   Notre Dame, Paris.

C.   The Duomo, Florence.

D.   the Vatican, Rome.

A.   stretto.

B.   ensemble.

C.   aria.

D.   duet.

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

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

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

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

A.   fugue.

B.   opera.

C.   sonata.

D.   conceerto

A.   foot stomps and hand claps

B.   balanced and symmetrical phrases

C.   melodies in minor keys

D.   choral singers

A.   sonatas

B.   concertos

C.   suites

D.   operas