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 part of a melody.

A.   meter.

B.   harmony.

C.   melody.

D.   tempo.

A.   pattern of accents used in music.

B.   resting point at the end of a phrase.

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.   dyad.

B.   consonance.

C.   dissonance.

D.   triad.

A.   timbre.

B.   an interval.

C.   dynamic accent.

D.   duration.

A.   chromaticism.

B.   scale.

C.   key.

D.   modulation.

A.   440

B.   660

C.   1760

D.   220

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

B.   an independence from major or minor scales.

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

D.   the central tone of a musical composition.

A.   form.

B.   ternary.

C.   variation.

D.   repetition.

A.   cadence.

B.   repetition.

C.   form.

D.   contrast.

A.   A B A.

B.   A B C.

C.   A A B.

D.   All answers are correct.

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 quality that distinguishes musical sounds.

B.   the degree of loudness and softness.

C.   an exemplary performance.

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

A.   decrescendo.

B.   fortissimo.

C.   crescendo.

D.   diminuendo.

A.   the instrument manufacturer's brand name.

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

C.   the number of reeds an instrument uses.

D.   part of an instrument's total range.

A.   use a wooden reed.

B.   were originally made of wood.

C.   have wooden key mechanisms.

D.   are made of wood.

A.   oboe.

B.   piccolo flute.

C.   clarinet.

D.   English horn.

A.   the degree of loudness or softness in music.

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

C.   leaning on a musical note.

D.   the quality that distinguishes musical sounds.

A.   crook.

B.   reed.

C.   mute.

D.   tailpiece.

A.   harpsichord

B.   piano

C.   organ

D.   accordion

A.   intro.

B.   head.

C.   downbeat.

D.   upbeat.

A.   louder

B.   lower

C.   softer

D.   higher

A.   metronome

B.   beat

C.   stopwatch

D.   clock

A.   rhythm.

B.   sequence.

C.   range.

D.   cadence.

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.   glissando.

C.   legato.

D.   vibrato.

A.   the emotional focal point of a melody.

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

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

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

A.   earlier role in pagan rites.

B.   association with minstrels and jongleurs.

C.   sacred quality and background.

D.   use in early Jewish religious ceremonies.

A.   lively dance in triple meter.

B.   silly, humorous dance in duple meter.

C.   wooden instrument with a cup-shaped mouthpiece.

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

A.   instrumental.

B.   vocal.

C.   for the piano.

D.   for the organ.

A.   estampies.

B.   Gregorian chant.

C.   Trouvère songs.

D.   contemporary gospel.

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.   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.   All answers are correct.

B.   abbess of the convent at Rupertsberg.

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

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

A.   during the ninth century.

B.   during the fifteenth century.

C.   from 590 to 604.

D.   during the twelfth and thirteenth centuries.

A.   secular song form.

B.   dance.

C.   stringed instrument.

D.   song of worship.

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

B.   The humanists were basically atheistic in their beliefs.

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

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

A.   Paris.

B.   Reims.

C.   Rome.

D.   London.

A.   the new art of baroque painters.

B.   Italian and French music of the fourteenth century.

C.   German music of the sixteenth century.

D.   paintings from the new world.

A.   late fourteenth century.

B.   early fourteenth century.

C.   early thirteenth century.

D.   late twelfth century.

A.   polyphonic.

B.   monophonic.

C.   heterophonic.

D.   homophonic.

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

B.   dancelike song for several solo voices.

C.   polyphonic choral composition made up of five sections.

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

A.   was tiresomely monophonic.

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

C.   was based on Gregorian chant.

D.   All answers are correct.

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

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

C.   dancelike song for several solo voices.

D.   polyphonic choral composition made up of five sections.

A.   electronic instrument whose tone is generated by oscillators.

B.   bass woodwind instrument similar to the bassoon.

C.   keyboard instrument suitable for playing basso continuo parts.

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

A.   Florence.

B.   Cremona.

C.   Rome.

D.   Venice.

A.   violinist

B.   composer

C.   organist

D.   cellist

A.   sonata.

B.   opera.

C.   fugue.

D.   concerto.

A.   tempo.

B.   national origin.

C.   All answers are correct.

D.   meter.

A.   choral singers

B.   balanced and symmetrical phrases

C.   melodies in minor keys

D.   foot stomps and hand claps

A.   suites

B.   sonatas

C.   concertos

D.   operas

A.   acting, scenery, or costumes.

B.   vocal soloists.

C.   orchestral accompaniment.

D.   choral part.

A.   Claudio Monteverdi.

B.   Antonio Vivaldi.

C.   Johann Sebastian Bach.

D.   Arcangelo Corelli.

A.   Ireland.

B.   England.

C.   Italy.

D.   Germany.

A.   the nobility's manner of deportment.

B.   terraced dynamics.

C.   the doctrine of universal brotherhood.

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

D.   a gradual change from loud to soft.

A.   piano.

B.   harpsichord.

C.   clavichord.

D.   accordion.

A.   sequenced bass.

B.   figured bass.

C.   basso profundo.

D.   counterpoint.

A.   four

B.   two

C.   one

D.   three

A.   blurb.

B.   wobble.

C.   trill.

D.   shake.

A.   subject.

B.   answer.

C.   countersubject.

D.   episode.

A.   inversion.

B.   countersubject.

C.   retrograde.

D.   stretto.

A.   received the highest fees of any musicians.

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

C.   All answers are correct.

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

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 Vatican, Rome.

D.   The Duomo, Florence.

A.   ensemble.

B.   aria.

C.   duet.

D.   stretto.

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

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

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

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

A.   opera.

B.   conceerto

C.   fugue.

D.   sonata.

A.   foot stomps and hand claps

B.   balanced and symmetrical phrases

C.   choral singers

D.   melodies in minor keys

A.   sonatas

B.   suites

C.   operas

D.   concertos