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

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

C.   the emotional focal point of a melody.

D.   a part of a melody.

A.   tempo.

B.   melody.

C.   harmony.

D.   meter.

A.   series of individual tones heard one after another.

B.   resting point at the end of a phrase.

C.   pattern of accents used in music.

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

A.   consonance.

B.   chord.

C.   progression.

D.   dissonance.

A.   dyad.

B.   consonance.

C.   triad.

D.   dissonance.

A.   dynamic accent.

B.   timbre.

C.   an interval.

D.   duration.

A.   modulation.

B.   scale.

C.   chromaticism.

D.   key.

A.   220

B.   1760

C.   440

D.   660

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

B.   the central tone of a musical composition.

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

D.   an independence from major or minor scales.

A.   repetition.

B.   ternary.

C.   form.

D.   variation.

A.   cadence.

B.   repetition.

C.   contrast.

D.   form.

A.   A B A.

B.   All answers are correct.

C.   A A B.

D.   A B C.

A.   there probably was almost none.

B.   it was too primitive to interest later generations.

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

D.   it is too difficult to be played today.

A.   the degree of loudness and softness.

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

C.   the quality that distinguishes musical sounds.

D.   an exemplary performance.

A.   crescendo.

B.   diminuendo.

C.   fortissimo.

D.   decrescendo.

A.   the number of reeds an instrument uses.

B.   part of an instrument's total range.

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

D.   the instrument manufacturer's brand name.

A.   have wooden key mechanisms.

B.   were originally made of wood.

C.   use a wooden reed.

D.   are made of wood.

A.   piccolo flute.

B.   oboe.

C.   clarinet.

D.   English horn.

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

B.   leaning on a musical note.

C.   the degree of loudness or softness in music.

D.   the quality that distinguishes musical sounds.

A.   mute.

B.   crook.

C.   tailpiece.

D.   reed.

A.   accordion

B.   harpsichord

C.   organ

D.   piano

A.   head.

B.   intro.

C.   downbeat.

D.   upbeat.

A.   softer

B.   higher

C.   louder

D.   lower

A.   clock

B.   metronome

C.   beat

D.   stopwatch

A.   sequence.

B.   rhythm.

C.   cadence.

D.   range.

A.   at a higher or lower pitch.

B.   in small steps.

C.   in a short, detached manner.

D.   in a smooth, connected manner.

A.   glissando.

B.   vibrato.

C.   legato.

D.   staccato.

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

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

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

D.   the emotional focal point of a melody.

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.   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 organ.

C.   vocal.

D.   for the piano.

A.   Gregorian chant.

B.   Trouvère songs.

C.   contemporary gospel.

D.   estampies.

A.   All answers are correct.

B.   published all of the Gregorian chants.

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

D.   composed all of the Gregorian chants.

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

B.   completely different from any other form of scale.

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.   abbess of the convent at Rupertsberg.

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

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 fifteenth century.

C.   during the ninth century.

D.   from 590 to 604.

A.   dance.

B.   song of worship.

C.   stringed instrument.

D.   secular song form.

A.   The humanists were basically atheistic in their beliefs.

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 Madonna was treated as a beautiful young woman.

A.   Rome.

B.   Reims.

C.   London.

D.   Paris.

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 fourteenth century.

C.   late twelfth century.

D.   early thirteenth century.

A.   polyphonic.

B.   homophonic.

C.   monophonic.

D.   heterophonic.

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

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

C.   dancelike song for several solo voices.

D.   polyphonic choral composition made up of five sections.

A.   was tiresomely monophonic.

B.   All answers are correct.

C.   was based on Gregorian chant.

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

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

B.   dancelike song for several solo voices.

C.   polyphonic choral composition made up of five sections.

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.   electronic instrument whose tone is generated by oscillators.

D.   bass woodwind instrument similar to the bassoon.

A.   Venice.

B.   Florence.

C.   Cremona.

D.   Rome.

A.   organist

B.   cellist

C.   violinist

D.   composer

A.   concerto.

B.   sonata.

C.   fugue.

D.   opera.

A.   meter.

B.   national origin.

C.   All answers are correct.

D.   tempo.

A.   choral singers

B.   foot stomps and hand claps

C.   balanced and symmetrical phrases

D.   melodies in minor keys

A.   suites

B.   concertos

C.   sonatas

D.   operas

A.   vocal soloists.

B.   orchestral accompaniment.

C.   acting, scenery, or costumes.

D.   choral part.

A.   Antonio Vivaldi.

B.   Johann Sebastian Bach.

C.   Arcangelo Corelli.

D.   Claudio Monteverdi.

A.   Italy.

B.   Germany.

C.   Ireland.

D.   England.

A.   emotional states or moods of music.

B.   terraced dynamics.

C.   the doctrine of universal brotherhood.

D.   the nobility's manner of deportment.

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

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

C.   a gradual change from soft to loud.

D.   a gradual change from loud to soft.

A.   piano.

B.   harpsichord.

C.   clavichord.

D.   accordion.

A.   basso profundo.

B.   figured bass.

C.   counterpoint.

D.   sequenced bass.

A.   three

B.   four

C.   one

D.   two

A.   blurb.

B.   shake.

C.   wobble.

D.   trill.

A.   countersubject.

B.   subject.

C.   episode.

D.   answer.

A.   retrograde.

B.   countersubject.

C.   stretto.

D.   inversion.

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

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

C.   All answers are correct.

D.   received the highest fees of any musicians.

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

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

C.   obsolete in contemporary performances.

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

A.   The Duomo, Florence.

B.   Notre Dame, Paris.

C.   St. Mark's, Venice.

D.   the Vatican, Rome.

A.   ensemble.

B.   stretto.

C.   duet.

D.   aria.

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

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

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.   opera.

C.   conceerto

D.   fugue.

A.   balanced and symmetrical phrases

B.   choral singers

C.   foot stomps and hand claps

D.   melodies in minor keys

A.   sonatas

B.   suites

C.   operas

D.   concertos