exam1 music120 f06 Russell

exam1 music120 f06 Russell - Music Appreciation, MU 120...

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Unformatted text preview: Music Appreciation, MU 120 NAMI' Exam No. 1, Fall 2006 Dr. Craig H. Russell 1. Multiple Choice: bubble in the letter of the best answer in the blank on your Scantron. (2 points each) 1. If notes are played 0 e after another in succession then we have a(n) A. tempo melody C. consonance D. harmony E. measure 2. The texture that consists of one main melody with a subordinate accompaniment (often consisting of back—up chords) is @homophony B. ostinophony D. monophony C. polyphony E. heterophony ’ he rhythmic modes of Arab art music employ § a low sound call; “do” a high sound calpo “re.” ' lowgsoun callé “dee” ahd ailiigh so‘und called “doon A low {souni called ‘i‘dah” arid a higll; sound called “dee” , low sound‘called atdymm”“a/nd a igh s'qgnd calleNd/“takk.” “ none of the a ove i 4. The abbreviation mf indicates that the musician should play A softer and softer with each passing moment. B. at a steady meter, but gradually adding “surprising” beats. @ather loud, but not exceedingly so. D. in a compound meter, but with extreme accents on “1” and “5.” E. by constantly ornamenting and embellishing the core phrases. XA work in binary form has Atwo voices that intertwine. Normally the top voice is the main melody, and the lower voice is the drone. \B\two pulses per meter. It differs from duple form in that the larger pulses are never subdivided into smaller units in binary form. Rtwo contrasting cadences. One is called the retrograde, and its “answer” is called the ostinato. R a slow introduction followed by a very fast main section. These two sections are then repeated over and over, creating the shape Slow-fast-slow-fast-slow—fast. .. @wo sections, the first of which often ends in suspense and the second one resolves the tension. Also, both sections can be repeated, creating a final shape A-A-B-B. 6. The term “dynamics”—in a musical context—primarily concerns A. the amount of energy in inversions, retrogrades, and their subdivisions. @‘row loud or soft one is playing and whether or not there are changes in volume. C. whether the speed is increasing or decreasing. D. how many parts are being performed and whether they are independent or imitative. E. how far apart the melody notes extend (from high-to—low, or low-to-high). 7. A melodic idea that is restated several times, each time at a progressively higher or lower pitch level, is called a(n) A. drone @sequence C. dissonance D. range E. hemiola 8. Of the following instruments, which uses a “bow” and can play arco technique or pizzicato and is capable of playing a glissando, a tremolo, and a double—stop, and normally employs vibrato? @iolin B. piccolo C. saxophone D. kettledrum E. tuba 9. The syllables do—re-mi—fa—sol—la-ti are used in music to refer to the seven A. secret ingredients in Taco Heaven’s new “Monster Chimichanga.” B. most offensive insults leveled by Eric Cartman against Stan on South Park. C. Dwarves in the animated Disney film Snow White. D. digits of the telephone number for Officer Garcia on Reno 911. itches of a scale, beginning with the first note and then ascending upwards. 10. The way pulses are grouped together (the grouping of pulses into patterns of 23 or 3s, etc.) is called A. dynamics B. tempo C. tonality @meter E. syncopation 11. The term timbre describes the A. fastest speed in composition (faster than presto). olor or quality of sound (such as a shift from clarinet to flute). . the grouping of beats into regular packages of “3.” D. the Italian term for “soft” or “quietly.” E. addition of a new melody to a pre—existent one. 12. A sound’s relative “highness” or “lowness” is directly determined its A. atonality B. chromaticism C.- timbre D. inversioni E. requency 13. A cadence A. explains the number of chords in a round. B. indicates a gradual slowing down of the speed. C. describes the dynamic distance between the various intervals. D. determines the number of notes in a scale or a key. @unctuates music in the same way a period punctuates a sentence. >¢<If one plays a melody and then plays it again but doubles all the note values so that it takes twice as long to get through the same material, hen the melody has undergone A. an ostinato K hemiola C.‘ additive rhythm @mgmentationXandante X “The simultaneous sounding of notes in music is called _. Another way of Viewing this concept is to consider the mOVement and relationship of intervals & chords. Ne. melody texture C. form D. rhythm @harmony 16. If a song initially is “major” in sound and emphasizes the pitch E as a sort of gravitational center, and if it then shifts so that the newly emphasized center of gravity is A (and it now feels “minor” in character), then the piece has undergone a(n) A. root canal @nodulation C. inversion D. rondo E. compound meter 2 ‘ ‘ \ Of the following, which is NOT one of the four families of instruments found in ,..,Iraditional “Western music”——as found in a symphony orchestra, for example? (“Arvlmembranophones \‘B\woodwinds ‘Cmstrings y E. brass E. percussion yfdab art mus1c I as rdots fthat predate the 1seventh entury. A. grew fronf/fhe coloni I, ion of the Arabian peninsula. 5 . mplpys melodic modes that 0041\ain five notes each. \_,l i. ll of above "xx / r E. none of the above/ \/' ' 19. The term legato best describes a piece that is A. exceeding slow B. changing its “center of gravity” C. very, very loud ery smooth & connected E. devoid of any pulse or “beat” 20. Which of the following characteristics is n_ot a factor in determining how high or low a note will be on a violin? ‘ string diameter (how thick is the string?) 'size of the violin's body (how large is the box or resonating space)? 2 . density of string material (is it made of steel, sheep gut, nylon, etc.) ‘Dssstring tension (how tight the string is, and this is adjusted with tuning pegs). B. vibrating string length (changes made by depressing a string against the fingerboard). ‘ 21. ‘ chromatic scale would be one that ncludes every single available note as one ascends by half steps, leaving no note out. . includes an alternating pattern of whole-half—whole-half—whole—half . . . C. begins in one key but changes its “center” continually as it ascends. D. excludes all of the black keys on the piano and includes only “regular” white keys. E. is based exclusively on whole steps and has expunged the “unnecessary” half steps. 2><I/wae play a note A and then play a note C, we have meas , . register of a 2’“. B. range of a triad : terval of a 3‘.“ D. register of a 3rd 'nterv of a 2nd 23. In melody, the coherent grouping that is roughly analogous to a “sentence” in spoken language, is the A. tempo B. cadence C. counterpoint / , @hrase E. meter 24. Of the following te’ s, which indicates the slowest speed or pace? A. andante @agio C. allegro D. mezzo forte E. legato 25. If we know the “center of gravity” of a piece (the note that generates a sort of pull , toward stability) and if we know the scale upon which a piece is based, then we automatically can determine the w ’ A. articulation B. meter . key D. register E. texture 26., A texture in which several voices simultaneously ornament and embellish a single " lodic line (much like an “audible rope” that has many frayed edges) is called eterophony B. dissonance C. polyphony D. monophony E. homophony 3 27. rajhe rhythmic modes of Arab art music employ LA.>,4additive meters (e. g., 3 + 2 + 2 + 3). B. subtractive meters (e.g., 10 — 5 — 3 — 2). C. multiplicative meters (e.g., 2 x 2 x 3 x 3). D. divisive meters (e.g., 12 + 3 + 2). E. none of the above gister B. rondo C. counterpoint D. range E. interval 29. What two instruments woull iormally be con51dered to be percussron ins ruments? 28.;fiverage height of a melody (the general area where it lies) is best described as its A. clarinet & a soprano - ylophone & and bass drum Ktmmbone & trumpet Mute J guitar E. oboe & saxophone 30. An arpeggio is A. the accompanying of a melody with rich—sounding block chords, as opposed to individual notes. B\the loudest kind of marking one can place on a scoreflit'means “extremely loud” and is the opposite of “subitissimo.” KS\a type of imitative homophony in which one line enters at the tonic level, and the . next voice enters at that same level, as in the song “Row, row, row your boat.” \D. he sounding of individual notes in a chord separately, one after another, rather than simultaneously. B a type of rhythmic device in which layers of pulses are added, one after another, creating a highly energetic (but slightly confusing) “pulsation.” 31. A consonance occurs when a musical piece has Xa measure that has an odd number of beats (as opposed to an even number). B. multiple rhythms superimposed on top of each other (as opposed to following each other). C. phrases that balance in length but not in their articulation (thus disrupting their symmetry). D. severe extremes in the musical texture, due to an incessant alternation between ostinatos and canons. @concordant, agreeable combination of musical tones that provides a sense of relaxation and fulfillment. 32. In our first lecture we discussed the definition of music proposed by the American composer Elliot Schwartz in which he described music as the organization of ' A. sound and time in rhythmic harmony. sound and melodic space in augmentation or diminution. 'me and sound in a performance space. . harmony and rhythm and melody in beautiful and pleasing shapes. E. performance and measured spectacle in a psychological meter. 33. A melody that moves with small, connected intervals definition—is A. heterophonic B. staccato C. modulating ' . onjunct E. adagio 34. If we arrange an ascending scale with tiny half—steps between notes 3—4 and notes 7—8 (and with wider whole tones i he other locations) then we automatically get a(n) A. crescendoing octave B. ajor scale C. asymmetric consonance tn D. asymme meter E. minor scale XSome works can be graphed out in the pattern A-B—A—D—A—E-A where A represents a section that keeps coming back, over and over. The other letters (B, C,D,E ...) ‘7 represent other sections of music that are always new. These sections never repeat and often depart to new key areas. A work that adheres to this often described as a A. strophic work \B\canon or fugue ‘ ompound tempo D song for In no 36. Your text uses the words “the controlled movement of music through time” to define the concept of _. (Another way of looking at this concept would be to consider “the patterns of durations and silences ng with accent”) A. harmony B. diatonicism ” C. r ythm D. “common” time E. texture ork in ternary form has A B I, . shape where the first and last sections of a piece are identical or at least very J similar; in between these outer sections there is a different, contrasting section. \thhree vocal lines that intertwine and are of equal importance. Most often the three voice types of a ternary form are: soprano, alto, and grave, but sometimes the grave is replaced by a slightly higher voice (a tenor). Q. three pulses in every tempo,- with a strong accent on beat one and a weaker accent on beat three of each grouping. Ternary form is particularly common in rock music and Delta blues. hree different sections in a piece, each of which is repeated. The piece thus unfolds in a shape that could be graphed out A-A-B—B-C—C. B\chords that are only made of three members (as opposed to the more common chord construction where each harmony is made of five notes—not three). 38. If we take a melody and then measure from the lowest note to its highest note, we can determine its / A. drone B.meter I C. ange D. inversion E. register 39. If a piece gradually gets louder and louder, then it has a(n) / A. ostinato B. accelerando C. subito ritard D. hemiola @escendo X Of the following instruments, which is NOT generally considered to be a brass i strument? @French horn B. trumpet C. tuba D. trombone @Ii 'mpafifim(_'\ \ {N 41. A tonic is A. the initial starting speed, regardless of whether it is slow or fast. . he speed that is slower than andante. 6%} sort of “center of gravity” towards which other tones gravitate. . the marking to indicate a sudden, very, very loud sound. E. the simplest kind of texture in which two performers sing alternate “canons.” 5 ’“3 42. The term inversion refers to the practice of \W” A. stating a theme, and then restating that same material but with the order of the notes reversed so that the last note is now first in line. B. suddenly switching the dynamics of a piece so what had been soft is now loud, and what had been loud is now soft. C. gradually getting slower and softer at the same time, defying our “normal” expectations of how a piece should build to a dramatic conclusion. 5 . t ning a melody upside down so that if a melody went “down” it now goes “up,” and conversely, all of the old “ups” are now “downs.” E. changing the value of the theme, so the “inverted” tune is half the length of the original. (T - . A combination of tones that sound discordant, unstable, & in need of resolution, is a(n) isjunct interv B. ritardando triad C. contrapuntal cps . h monic dissonance E. compound fugue 44. If we arrange an ascending scale with tiny half—steps between notes 2—3 and notes 5—6 (and with wider whole tones in the other locations) then we automatically get a(n) A. ascending ostinato B. major scale A C. augmented dissonance D. ascending tonic Qijninor scale \. 7% ‘ ntecedent, and the “reply” is called the consequent. 5' upbeat, and the “reply” is called the downbeat. C. prelude, and the “reply” is called the sequence. .,_D. tonic, and the “reply” is called the dominant. E. exposition, and the “reply” is called the counterpoint. 45. Ipiece has phrases that are grouped into pairs, the first phrase is often called the LISTENING: 46. The texture of the following selection is most likely A. allegro B. major C. polyphony D. composite E. atonal 47. The tempo of the following piece is most likely A. duple B. forte C. dissonant D. homophonic E. presto 48. The articulation of the following work is best described as A. legato B. homophonic C. compound D. staccato E. largo 49. The following composition is most likely in the form known as A. rondo B. contrapuntal C. tripartite D. strophic E. retrograde 50. A prominent feature of the following composition is its A. recurring ostinato B. monophonic meter C. tripartite fugue D. legato staccatos E. conjunct arpeggios * BEFORE TURNING IN YOUR EXAM, MAKE SURE THAT YOU WRITE YOUR NAME ON BOTH THE SCANTRON AND ALSO ON THE QUESTION SHEET. 6 ...
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exam1 music120 f06 Russell - Music Appreciation, MU 120...

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