MU101 f01 exam - ExamNo.1,W1nter2001 Name Dr Craig Russell...

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Unformatted text preview: ExamNo.1,W1nter2001 Name_ ' ,,.,. . Dr. Craig Russell / Music Appreciation I. Multiple Choice: mark the letter of the best answer on your Scantron. (2 pts) 1. A triad is * A. the arrangement of three meters in equal triplet subdivisions: in other words, the pulses are arranged as (123 I456 [789). B. a chord type consisting of three pitches built on alternate tones of a scale: for example the pitches (1,3,5) or do-mi-sol. ' C. a melodic unit consisting of three overtones that are continually modulating from one to the other , (creating a "wobbling" sound). . Pfany grouping of three performing musicians: Mozart developed the triad as a major performing medium in the Classical Period. )3! a texture of three independent lines that alternate between the tonic, ostinato, and contrapuntal ’ tempos. 2. A major scale consists primarily of whole'steps between adjacent scale members, but the interval of a half step occurs in two iocations. For a major scale, half steps occur between members A. 2-3 and 4—5 if 34 and 78 C. 1—2 and 4—5 D. 2—3 and 6—7 E. 3-4 and 6—7 3. A minor scale consists primarily of whole steps between adjacent scale members, except between the scale members __ where the two pitches are separated by the distance of a half-step. A. 2-3 and 4—5 B. 3-4 and 78 C. 1—2 and 4-5 D. 2-3 and 5-6 B. 3-4 and 67 4. Of the following, which would indicate the slowest speed? A? decrescendo B. adagio fl: allegro VB? mezzo piano E. andante ' / . A fugue is - - In; a short melodic fragment repeated over and over, with that fragment serving as a type of musical foundation. - B. a type of texture where several instrumentalists or vocalists simultaneously ornament and adorn , a single melodic line. ‘ AC the changing of key centers suddenly and without any smooth transition or preparation. - D. a melodic game of catch where the parts enter one-by-one, imitating each other, and alternating between tonic and dominant levels. E. composition in three parts, each of which is a variant of the other. The first part is “right side up," the second part is “upside down,” and the last is “backwards.” a.) . \ 6. When we have one main melody that is accompanied by chords we have ”R .- ’- 3 A. atonality B. monophony C. polyphony (D homophony E. modulation 7. The musical form-that has a recurring section A (that is repeated in the same way and in the same key each time) and that is interspersed between contrasting sections is called __..- It could be graphed out by the letters: A«B—A—C~A-D—A-E-A fl. P; 3 A? tripartite form B. rondo form (ytemary form i _D.,fitggi15flo form fl. strophic form VP- " ’ [>6 T" 8. The musical form A-B—A that most resembles a sandwich (that is, there is similar material at the beginning and end and different material ' the middle) is called A. tripartite form B. rondo form i ternary form D. ritornello form E. strophic form 9. We are at a concert with the Dave Matthews band and notice that he is singing the same tune over and over, but each time the tune comes back he is changing the words. This formal structure with recurring a melody but changing words is called ___ form. A. xitornello B. contrapuntal C. heterophonic D. strophic E. augmentation \ 22. The terms legato and staccato might be used when discussing A. harmony B. sequence C. intervals D. timbre E. articulation 23. The musical term "tonic" refers to the A. way that melodies are combined and rearranged (in other words, how many melodies there are and their relationship to each other). B. way rhythms are generated to form a solid foundation (in other words, if we have rhythmic chaos and then suddenly have a steady beat, then we have a tonic). C. musical tone toward which other tones gravitate (in other words, a tonic is a sort of musical “center of gravity”). D. general highness or lowness of a melody. Very high pitches played by a piccolo would have a “high tonic” whereas a tuba would have a low tonic. E. simultaneous sounding of several pitches to generate a chord. Therefore, a tonic would be the opposite of a crescendo. 24. The accenting of notes at an unexpected time, as between two beats or on a weak beat, is called A. syncopation B. augmentation C. ostinato D. staccato E. modulation 25. The musical term which refers to loudness is called A. timbre B. tonality C. register D. range E. dynamics 26. If a composition is in the key of Aumajor, then we can ascertainwhat toneis the A. climax of the melodic subsections and what the volume level will be—wwhether or not the piece will be loud (optimistic) or soft (more introspective). B. soprano and whether or not the articulations will be smooth or disconnected. C. tonic and certain features of the work's underlying scale from which the melodic and harmonic pitches are drawn. D. tempo and whether or not the timbre will be diatonic (very agitated) or chromatic (extremely gentle). E. inversion and which one is the retrograde. For A~major the pitches will be going up; for A- minor the pitches will be going down. 27. Of the following features, which has NO bearing on the sound production of a violin? In other words, it would not influence whether a sound is “high” or “low.” ’A‘.’ string tension 18‘. string diameter x6. vibrating string length D. string embouchure E. string density (what it’s made of) 28. The interval of a sixth occurs if we have A. six pulses separating two events. B. the difference of 6 cycles per second separating two different pitches. C. a low note A followed by a higher note F. D. a chord that includes a total of six different frequencies. fit a major scale, in which all six notes are separated by half-steps. 29. A melodic fragment that is repeated over and over again to form a musical foundation is a(n) A. embouchure B. retrograde C. ostinato D. ritardando E. dissonance 30. A specific grouping of pulses in a specific piece is called a(n) A. measure B. meter C. tonic D. register E. syncopation 31. A series of single notes (that is, notes sounding one after the other in succession) is referred to as A. melody B. harmony y dynamics 33. syncopation E. texture 32. The relative highness or lowness of a pitch or tone is directly related to A. its frequency or cps. C. the metric speed of the work or mes. B. its embouchure or erg. D. the textural coefficient or Ice. E. the contrapuntal polyphony or cpp. 3 10. A tone combination that is stable and agreeable would best be described as being A. atonal B. consonant C. andante D. dissonant E. monophonic 11. The portion of a melody that most closely corresponds in spoken grammar to a clause or sentence is the A. register B. ostinato If. cadence D. counterpoint E. phrase 12. The alternating pattern of six pulses into two groups of three pulses—and then three groups of two—continually alternating back and forth is called: 1-2—3— 4-5-6 I 1-2 3—4 5—6 | 1-2-3- 4—5-6 I 1—2 3-4 5-6 I.. A. ritardando B. heterophony C. hemiola D. compound tempo E. a fugue 13. An enormous number of pop songs in the twentieth century used “song form” which could best be graphed out as ' A. A-A-B-B-A-A B. A-B—A-B—A f A-A ’-B—B ’-C-C’ D A_A)_A;)_A!):_Auu EA-A’-B-A , flame organization of beats into regular groups (1. e. the way pulses are grouped together) IS called fin tempo B meter C. measure 12’ modulation fiftonality 15. The flow of music through time (in other words, the patterns of durations and silences along with accent) is called A. rhythm B. melody C. texture D. form E. tempo 16. An arpeggio is fin the accompanying of a melody with rich- -sounding block chords, as opposed to individual notes. B. the sounding of individual notes in a chord separately, one after another, rather than simultaneously. C. a type of imitative homophony in which one line enters at the tonic level, and the next voice enters at that same level. An example would be “Row, row, row your boat.” ‘Dc- the loudest kind of marking one can place on a scoreu-uit means “extremely loud” and is the ’ opposite of “subitissimo.” E. a type of percussion instrument that roughly resembles a large soup bowl. One can change its pitch by stepping on a pedal and changing the tension in the drum head. 17. The use of a bow by a string instrument is called __ technique. A. legato B. pizzicato C. allegro D. arco E. contrapuntal :18.~The term “diminution” refers to A. the gradual slowing down of a piece (such as from Vivace to largo). B. the gradual decrease in how loud the sounds are (such as from excrutiating to very, very soft). QC the compositional technique where a melody comes back but with shorter rhythmic values. DC the decrease 1n frequency that results when one shifts from a high note to a lower one. Bimitative polyphony where all the voice parts are staggered. {9. If we double or halve the frequency, we automatically obtain a(n) A. octave ”B. dissonance fiZ cadence /B. double-stop E. ritornello 20. The national anthem of the USA is extremely difficult to sing, primarily because the A. register is so high. \9. the range is so wide. 9 the timbre 18 so wide. )3 it is written in Hungarian D the intervals are all half-steps 21. Amusical gesture that ends a phrase and gives a sense of conclusion is a(n) AX cadence B. sequence C. envelope D. climax E. canon 2 41. The term staccato would indicate to the musician that he or she should play A. extremely quickly (even faster than Vivace). B. the melody progressively higher or progressively lower with each repetition. C. accompanying chords to support the melody (but they should not compete in interest with the main melodic idea). D. in a detached way so that there is space or silence between notes. /E.>the same melody but flipped upside down so that all the “downs” are now “ups,” and all of the “ups” are now “downs.” 42. If the dots drawn below represented pulses, this would be an example of _ since each rectangular grouping has two large pulses (the oval bags), and these large-scale pulses are subdivided into smaller groups of three shorter pulses. Thus, larger pulses are subdivided into smaller triplets. )1. syncopation lggg’compound meter C. triple meter thriadic tempo E tertian harmony 43. The term mezzo piano refers to 7 ”Ara female vocalist specializing in soaring, lyrical melodies. MB. the first keyboard instrument which was invented by the Greeks. ,Cz. a specific register of the clarinet and oboe that is quite rich and warm. 3. a type of speed where the musicians play extremely slowly. ® a dynamic marking that is rather soft but not extremely soft. 44. The different timbre of instruments is determined by the )ntype of toothpaste that they used that morning. Crest sounds much cooler than Ultrabrite. @m'mture of tempos and meters that the instrumentalists play. As the speeds and tonal centers recombine, the timbre fluctuates radically. K combination of sequence and cadence that they use. If the phrasing is balanced, we have a consonant timbre; if the phrasing is unbalanced we have a contrapuntal timbre. H syncopation of the texture. Ifthe rhythmic features are performed in an unstable way we have an unsettling effect called an “ostinato timbre." ,5; composite tone that combines various overtones of different loudness or volumes. The different combinations of overtones will create different tone colors. 43%;“: speed of a piece gradually slows down then it has 301) ['subito crescendo B. diminuendo C. ritardando Q/aocelerando i/Eibad spark plug LISTENING 46. The texture of the following selection is most likely A. allegro @atonal C. composite D. major E. polyphony 47. The tempo of the following piece is most likely / A. presto Bf homophonic C. dissonant ,D- duple ,E“. forte 48. The following exce t could best be described as being _ A. monophony . . tripartite /G. allegro D. legato Kostinato 49. 0f the following terms, which most readily applies to this musical example? . A. subito chromatic flpizzieato C. sequence D. mum-metric /.Ef strophic 50. Of the following terms, which most readily applies to this musical example? . A. fortissimo fl. embouchure fl. grave D. plzzwato ,5 human 5 33. The texture in which several performers simultaneously ornament or embellish the same melodic line is called Afmonophony ,3; homophony C: nnisophony D. polyphony E. heterophony 34. In singing most songs, there is an emotional focal point (that usually is the highest tone of the melody) that is called a(n) A. climax B. cadence C. frequency D. subito E. octave 35. In general, it is expected that men and women sing in a different A. measure B. texture C. dynamic D. register E. meter 36. We discussed in class on the first day a definition of music put forward by the American composer Elliot Schwartz; he states that music is the organization of A. sonic combinations into structures that are beautiful, blending, pleasing, and soothing. B. shapes that are highly structured and predictable and void of chaos and instability. C. sound and time within a performance space. D. melodies and harmonies into rhythmic sequences and textures. E. half steps and whole steps into scales and modes. 37. A downbeat is A. the first beat of any measure (and is usually accented) and the upbeat is the last beat of a measure. . B. the indication written on the orchestral score at the beginning that tells the conductor how fast the piece should go. C. the frequency of the pulse: it is measured in cycles per second and its nodal points determine where accents should occur. D. the place where any given melody begins. The downbeat is the first note of a melody, and the upbeat is the last beat of a melody (regardless of how long it is). E. any accented pulse, regardless of its location, and the upbeat is any unaccented pulse, regardless of its location. 38. The abbreviations FM and MIDI are types of A. dynamic markings. FM means one should play exceedingly loud (louder than F), and MIDI means one should play right in the middle between loud and soft. B. articulation markings. FM means to play rapidly (forte mezzo) and MIDI means to play at a moderate pace (midi mezzo). . woodwind instruments used in the Baroque. F M stands for the double-reed Feuerenmaterlich related to the oboe, and MIDI stands for Midiflauten, a type of wooden flute that was popular before the metal flute replaced it in popularity in the 19lb century. D. compositional techniques used to develop or expand ideas. FM (Farbenmelodie) would indicate the melody has been played at much longer rhythmic values, and MIDI (Midimelodie) indicates that the melody starts at its mid—point and is played both forwards and backwards simultaneously. E. devices used with synthesizers. FM is short for frequency modulation (a technique developed by Yamaha where sound waves are based on numbers), and MIDI is short for “musical instrument digital interface,” a device that allows a computer and synthesizer to interact. 39. Of the following, which is a “standard” woodwind instrument in a symphony orchestra that uses a double-reed and plays rather low notes? (By “standard,” I mean that it was employed by Il-Iggdn in )his London Symphonies and was subsequently used by most composers for the next years . A. tenor saxophone B. cello C. clarinet D. trombone E. bassoon 40. If a piece begins in D—minor and then shifts to A—major, the work has a(n) A. retrograde B. modulation 9’. cadence D. augmentation E. sequence 4 ' Exam No. 1, Winter 2001 Name Dr. Craig Russell / Music Appreciation 1. Multiple Choice: mark the letter of the best answer on your Scantron. (2 pts) 1. The portion of a melody that most closely corresponds in spoken grammar to a clause or sentence is the A. register B. ostinato C. cadence D. counterpoint @ phrase 2. A triad is A. the arrangement of three meters in equal triplet subdivisions: in other words, the pulses are fl arranged as (123 I 456 l 789). (7135a chord type consisting of three pitches built on alternate tones of a scale: for example the pitches (1,3,5) or do—mi-sol. C. a melomc unit consisting of three overtones that are continually modulating from one to the other (creating a "wobbling" sound). D. any grouping of three performing musicians: Mozart developed the triad as a major performing medium in the Classical Period. E. a texture of three independent lines that alternate between the tonic, ostinato, and contrapuntal tempos. 3. If a compOsition is in the key of A-major, then we can ascertain what tone is the A. climax of the melodic subsections and what the volume level will be—whether or not the piece will be loud (optimistic) or soft (more introspective). BK. soprano and whether or not the articulations will be smooth or disconnected. «£2. tonic and certain features of the work's underlying scale from which the melodic and harmonic pitches are drawn. D. tempo and whether or not the timbre will be diatonic (very agitated) or chromatic (extremely gentle). E. inversion and which one is the retrograde. For A-rnajor the pitches will be going up; for A- minor the pitches will be going down. 4. The relative highness or iowness of a pitch or tone is directly related to TE its frequency or cps. C. the metric speed of the work or mes. B. its embouchure or erg. D. the textural coefficient or tce. - E. the contrapuntal polyphony or opp. 5. If the speed of a piece gradually slows down then it has a(n) A. subito crescendo B. diminuendo ©ritardando D. accelerando E. bad spark plug 6. A major scale consists primarily of whole steps between adjacent scale members, but the interval of a half step occurs in locations. For a major scale, half steps occur between members A. 2-3 and 4-5 . 3—4 and 7-8 C. 1—2 and 4—5 D. 23 and 6-7 E. 3-4 and 6—7 7. A fugue is A. a short melodic fragment repeated over and over, with that fragment serving as a type of musical foundation. B. a type of texture where several instrumentalists or vocalists simultaneously ornament and adorn a single melodic line. C. the changing of key centers suddenly and without any smooth transition or preparation. ® a melodic game of catch where the parts enter one—by-one, imitating each other, and alternating between tonic and dominant levels. E. composition in three parts, each of which is a variant of the other. The first part is “right side up,” the second part is “upside down,” and the last is “backwards.” 19. The alternating pattern of six pulses into two groups of three pulses—41nd then three groups of two—continually alternating back and forth is called: 123- 4-5-6 I 1—2 34 5-6 I 1—2— - 4-5—6 1 1—2 3—4 5—6 I.. A. ritardando B. heterophony C hemiola D. compound tempo E. afugue 20. A downbeat is {E the first beat of any measure (and is usually accented) and the upbeat is the last beat of a measure. B. the indication written on the orchestral score at the beginning that tells the conductor how fast the piece should go. C. the frequency of the pulse: it is measured in cycles per second and its nodal points determine where accents should occur. D. the place where any given melody begins. The downbeat is the first note of a melody, and the upbeat is the last beat of a melody (regardless of how long it is). E. any accented pulse, regardless of its location, and the upbeat is any unaccented pulse, regardless of its location. ' 21. Of the following, which would indica the slowest speed? A. decrescendo B. adagio C allegro D. mezzo piano E. andante ry?.§l"fi 22. The musical form that has a recurring section A (that is repeated in the same way and in the sam% key each time) and that is interspersed between contrasting sections is called _. It could be graphed out by the letters: A-B—A-C- - ~A-E—A A. tripartite form . rondo form C. ternary form D. ritornelio form E. strophic form 23. The musical term which refers to loudness is called _ A. timbre B. tonality C. register D. range (gynanncs 24. The national anthem of the A is extremely difficult to sing, primarily bECause the A. register is so high. . the range is so wide. C. the timbre is so wide. D. it is written in Hungarian E. the intervals are all ...
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