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

B.   a part of a melody.

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

D.   the emotional focal point of a melody.

A.   tempo.

B.   harmony.

C.   meter.

D.   melody.

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

B.   series of individual tones heard one after another.

C.   pattern of accents used in music.

D.   resting point at the end of a phrase.

A.   progression.

B.   dissonance.

C.   chord.

D.   consonance.

A.   dissonance.

B.   consonance.

C.   triad.

D.   dyad.

A.   timbre.

B.   duration.

C.   dynamic accent.

D.   an interval.

A.   key.

B.   scale.

C.   modulation.

D.   chromaticism.

A.   1760

B.   220

C.   660

D.   440

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

B.   an independence from major or minor scales.

C.   the central tone of a musical composition.

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

A.   form.

B.   variation.

C.   repetition.

D.   ternary.

A.   contrast.

B.   cadence.

C.   form.

D.   repetition.

A.   All answers are correct.

B.   A B A.

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.   an exemplary performance.

B.   the degree of loudness and softness.

C.   the quality that distinguishes musical sounds.

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

A.   decrescendo.

B.   crescendo.

C.   diminuendo.

D.   fortissimo.

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A.   were originally made of wood.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.   have wooden key mechanisms.

C.   are made of wood.

D.   use a wooden reed.

A.   piccolo flute.

B.   English horn.

C.   clarinet.

D.   oboe.

A.   the quality that distinguishes musical sounds.

B.   the degree of loudness or softness in music.

C.   leaning on a musical note.

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

A.   crook.

B.   mute.

C.   tailpiece.

D.   reed.

A.   piano

B.   harpsichord

C.   accordion

D.   organ

A.   downbeat.

B.   head.

C.   intro.

D.   upbeat.

A.   softer

B.   louder

C.   lower

D.   higher

A.   clock

B.   beat

C.   metronome

D.   stopwatch

A.   sequence.

B.   rhythm.

C.   cadence.

D.   range.

A.   at a higher or lower pitch.

B.   in a smooth, connected manner.

C.   in a short, detached manner.

D.   in small steps.

A.   staccato.

B.   legato.

C.   vibrato.

D.   glissando.

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

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

C.   the emotional focal point of a melody.

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

A.   sacred quality and background.

B.   use in early Jewish religious ceremonies.

C.   earlier role in pagan rites.

D.   association with minstrels and jongleurs.

A.   wooden instrument with a cup-shaped mouthpiece.

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

C.   silly, humorous dance in duple meter.

D.   lively dance in triple meter.

A.   vocal.

B.   instrumental.

C.   for the piano.

D.   for the organ.

A.   Gregorian chant.

B.   estampies.

C.   contemporary gospel.

D.   Trouvère songs.

A.   All answers are correct.

B.   composed all of the Gregorian chants.

C.   published all of the Gregorian chants.

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

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 six different tones.

C.   completely different from any other form of scale.

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

A.   abbess of the convent at Rupertsberg.

B.   All answers are correct.

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

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

A.   from 590 to 604.

B.   during the ninth century.

C.   during the fifteenth century.

D.   during the twelfth and thirteenth centuries.

A.   secular song form.

B.   song of worship.

C.   stringed instrument.

D.   dance.

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

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

C.   The humanists were basically atheistic in their beliefs.

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

A.   London.

B.   Reims.

C.   Rome.

D.   Paris.

A.   the new art of baroque painters.

B.   Italian and French music of the fourteenth century.

C.   paintings from the new world.

D.   German music of the sixteenth century.

A.   late fourteenth century.

B.   late twelfth century.

C.   early thirteenth century.

D.   early fourteenth century.

A.   monophonic.

B.   homophonic.

C.   polyphonic.

D.   heterophonic.

A.   dancelike song for several solo voices.

B.   polyphonic choral composition made up of five sections.

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

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

A.   was based on Gregorian chant.

B.   was tiresomely monophonic.

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

D.   All answers are correct.

A.   polyphonic choral composition made up of five sections.

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

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

D.   dancelike song for several solo voices.

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

B.   keyboard instrument suitable for playing basso continuo parts.

C.   bass woodwind instrument similar to the bassoon.

D.   electronic instrument whose tone is generated by oscillators.

A.   Cremona.

B.   Rome.

C.   Venice.

D.   Florence.

A.   composer

B.   organist

C.   cellist

D.   violinist

A.   opera.

B.   fugue.

C.   concerto.

D.   sonata.

A.   All answers are correct.

B.   national origin.

C.   tempo.

D.   meter.

A.   balanced and symmetrical phrases

B.   melodies in minor keys

C.   foot stomps and hand claps

D.   choral singers

A.   suites

B.   sonatas

C.   operas

D.   concertos

A.   orchestral accompaniment.

B.   acting, scenery, or costumes.

C.   vocal soloists.

D.   choral part.

A.   Johann Sebastian Bach.

B.   Arcangelo Corelli.

C.   Antonio Vivaldi.

D.   Claudio Monteverdi.

A.   England.

B.   Germany.

C.   Italy.

D.   Ireland.

A.   the doctrine of universal brotherhood.

B.   terraced dynamics.

C.   emotional states or moods of music.

D.   the nobility's manner of deportment.

A.   a gradual change from soft to loud.

B.   a gradual change from loud to soft.

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

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

A.   accordion.

B.   harpsichord.

C.   clavichord.

D.   piano.

A.   sequenced bass.

B.   figured bass.

C.   basso profundo.

D.   counterpoint.

A.   four

B.   three

C.   one

D.   two

A.   blurb.

B.   wobble.

C.   trill.

D.   shake.

A.   subject.

B.   countersubject.

C.   answer.

D.   episode.

A.   inversion.

B.   retrograde.

C.   stretto.

D.   countersubject.

A.   received the highest fees of any musicians.

B.   All answers are correct.

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

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

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 Vatican, Rome.

B.   St. Mark's, Venice.

C.   Notre Dame, Paris.

D.   The Duomo, Florence.

A.   ensemble.

B.   duet.

C.   stretto.

D.   aria.

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

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

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

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

A.   fugue.

B.   conceerto

C.   sonata.

D.   opera.

A.   balanced and symmetrical phrases

B.   choral singers

C.   foot stomps and hand claps

D.   melodies in minor keys

A.   suites

B.   sonatas

C.   concertos

D.   operas