A.   the emotional focal point of a melody.

B.   a part of a melody.

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

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

A.   tempo.

B.   meter.

C.   harmony.

D.   melody.

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

B.   resting point at the end of a phrase.

C.   pattern of accents used in music.

D.   series of individual tones heard one after another.

A.   chord.

B.   dissonance.

C.   consonance.

D.   progression.

A.   consonance.

B.   dyad.

C.   dissonance.

D.   triad.

A.   dynamic accent.

B.   an interval.

C.   timbre.

D.   duration.

A.   scale.

B.   chromaticism.

C.   key.

D.   modulation.

A.   220

B.   440

C.   1760

D.   660

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.   repetition.

C.   variation.

D.   ternary.

A.   contrast.

B.   cadence.

C.   repetition.

D.   form.

A.   A A B.

B.   All answers are correct.

C.   A B A.

D.   A B C.

A.   it was too primitive to interest later generations.

B.   it is too difficult to be played today.

C.   there probably was almost none.

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

A.   the degree of loudness and softness.

B.   an exemplary performance.

C.   the quality that distinguishes musical sounds.

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

A.   fortissimo.

B.   decrescendo.

C.   crescendo.

D.   diminuendo.

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

B.   the number of reeds an instrument uses.

C.   part of an instrument's total range.

D.   the instrument manufacturer's brand name.

A.   were originally made of wood.

B.   are made of wood.

C.   use a wooden reed.

D.   have wooden key mechanisms.

A.   piccolo flute.

B.   oboe.

C.   clarinet.

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.   crook.

B.   mute.

C.   tailpiece.

D.   reed.

A.   organ

B.   accordion

C.   harpsichord

D.   piano

A.   head.

B.   upbeat.

C.   intro.

D.   downbeat.

A.   softer

B.   louder

C.   lower

D.   higher

A.   beat

B.   clock

C.   stopwatch

D.   metronome

A.   rhythm.

B.   range.

C.   sequence.

D.   cadence.

A.   at a higher or lower pitch.

B.   in a smooth, connected manner.

C.   in small steps.

D.   in a short, detached manner.

A.   vibrato.

B.   glissando.

C.   legato.

D.   staccato.

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

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.   a resting place at the end of a phrase.

A.   use in early Jewish religious ceremonies.

B.   association with minstrels and jongleurs.

C.   sacred quality and background.

D.   earlier role in pagan rites.

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.   for the organ.

C.   for the piano.

D.   instrumental.

A.   contemporary gospel.

B.   Trouvère songs.

C.   estampies.

D.   Gregorian chant.

A.   composed all of the Gregorian chants.

B.   published all of the Gregorian chants.

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

D.   All answers are correct.

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

B.   completely different from any other form of scale.

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

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

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

B.   All answers are correct.

C.   abbess of the convent at Rupertsberg.

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

A.   during the ninth century.

B.   during the twelfth and thirteenth centuries.

C.   from 590 to 604.

D.   during the fifteenth century.

A.   song of worship.

B.   dance.

C.   stringed instrument.

D.   secular song form.

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.   London.

B.   Paris.

C.   Rome.

D.   Reims.

A.   German music of the sixteenth century.

B.   paintings from the new world.

C.   Italian and French music of the fourteenth century.

D.   the new art of baroque painters.

A.   late twelfth century.

B.   early thirteenth century.

C.   early fourteenth century.

D.   late fourteenth century.

A.   homophonic.

B.   heterophonic.

C.   monophonic.

D.   polyphonic.

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 other than the ordinary of the mass.

A.   All answers are correct.

B.   was based on Gregorian chant.

C.   was tiresomely monophonic.

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

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

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

C.   dancelike song for several solo voices.

D.   polyphonic choral composition made up of five sections.

A.   keyboard instrument suitable for playing basso continuo parts.

B.   bass woodwind instrument similar to the bassoon.

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

D.   electronic instrument whose tone is generated by oscillators.

A.   Florence.

B.   Cremona.

C.   Rome.

D.   Venice.

A.   violinist

B.   composer

C.   organist

D.   cellist

A.   fugue.

B.   sonata.

C.   opera.

D.   concerto.

A.   national origin.

B.   tempo.

C.   meter.

D.   All answers are correct.

A.   balanced and symmetrical phrases

B.   foot stomps and hand claps

C.   melodies in minor keys

D.   choral singers

A.   sonatas

B.   concertos

C.   operas

D.   suites

A.   orchestral accompaniment.

B.   acting, scenery, or costumes.

C.   vocal soloists.

D.   choral part.

A.   Antonio Vivaldi.

B.   Arcangelo Corelli.

C.   Johann Sebastian Bach.

D.   Claudio Monteverdi.

A.   England.

B.   Italy.

C.   Germany.

D.   Ireland.

A.   the doctrine of universal brotherhood.

B.   terraced dynamics.

C.   the nobility's manner of deportment.

D.   emotional states or moods of music.

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.   accordion.

B.   piano.

C.   harpsichord.

D.   clavichord.

A.   figured bass.

B.   counterpoint.

C.   basso profundo.

D.   sequenced bass.

A.   one

B.   two

C.   three

D.   four

A.   shake.

B.   trill.

C.   wobble.

D.   blurb.

A.   subject.

B.   episode.

C.   countersubject.

D.   answer.

A.   stretto.

B.   retrograde.

C.   inversion.

D.   countersubject.

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

B.   All answers are correct.

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

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.   Notre Dame, Paris.

C.   The Duomo, Florence.

D.   the Vatican, Rome.

A.   aria.

B.   duet.

C.   ensemble.

D.   stretto.

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

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 improvise new words for the returning A section.

A.   sonata.

B.   fugue.

C.   conceerto

D.   opera.

A.   foot stomps and hand claps

B.   balanced and symmetrical phrases

C.   melodies in minor keys

D.   choral singers

A.   operas

B.   sonatas

C.   concertos

D.   suites