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Music 1030
Music Appreciation
| Question | Answer |
|---|---|
| All of the modern woodwind instruments are made out of wood | FALSE |
| The modern French horn developed from the early hunting horns. | TRUE |
| REFERS TO HOW LOUD OR SOFT A SOUND IS | DYNAMICS |
| THE RATE OF VIBRATION OF A SOUND SOURCE (string, vocal fold, etc) | FREQUENCY |
| CONSISTS OF A SINGLE, UNACCOMPANIED MELODY | MONOPHONIC TEXTURE |
| REFERS TO THE QUALITY OF A PITCH | TIMBRE |
| REFERS TO THE HIGHNESS/LOWNESS OF A SOUND | PITCH |
| CONSISTS OF A SINGLE MELODY W/ACCOMPANYING CHORDS | HOMOPHONIC TEXTURE |
| CONSISTS OF A SEQUENCE OF NOTES WHICH FORM THE MUSICAL STATEMENT | MELODY |
| CONSISTS OF A SEQUENCE OF CHORDS THAT SUPPORT A MELODY | HARMONY |
| THE FLOW OF MUSIC THROUGH TIME | RHYTHM |
| CONSISTS OF TWO OR MORE MELODIC LINES | POLYPHONIC TEXTURE |
| SACRED VOCAL PIECE WHICH DOESN'T USE A TEXT FROM THE MASS ORDINARY | MOTET |
| MUSIC USING ONLY VOICES | A CAPELLA |
| ROMAN CATHOLIC LATIN LITURGY | MASS |
| EARLY POLYPHONIC CHANT | ORGANUM |
| MONOPHONIC CHANT | PLAINCHANT |
| PLUCKED, STRINGED INSTRUMENT OF THE RENAISSANCE | LUTE |
| SECULAR VOCAL PIECE IN THE RENAISSANCE | MADRIGAL |
| FOR THERE TO BE SOUND, THERE MUST BE AN OBJECT VIBRATING | TRUE |
| MUSICAL NOTATION ONLY TOOK A FEW YEARS TO DEVELOP | FALSE |
| WESTERN MUSIC IS THE ONLY MUSICAL SYSTEM IN THE WORLD TO MAKE SLIGHT ADJUSTMENTS TO MATHEMATICALLY PERFECT RATIOS & EQUAL TEMPER INSTRUMENTS | TRUE |
| A THOUSAND YEARS OF EUROPEAN HISTORY ARE SPANNED BY THE PHRASE "MIDDLE AGES". | TRUE |
| THE TEXTURE OF THE RENAISSANCE IS CHIEFLY HOMOPHONIC. | FALSE |
| A "RENAISSANCE MAN" IS A PERSON WHO SPECIALIZES IN ONE THING AND DOES IT REALLY WELL. | FALSE |
| RENAISSANCE COMPOSERS OFTEN USED "WORD PAINTING", A MUSICAL REPRESENTATION OF SPECIFIC POETIC IMAGES. | TRUE |
| IN THE MIDDLE AGES, INSTRUMENTS WERE USED IN SERVICES THROUGHOUT THE CATHOLIC CHURCH. | FALSE |
| THE INTELLECTUAL MOVEMENT CALLED HUMANISM FOCUSED STRICTLY ON THE CHURCH'S TEACHINGS. | FALSE |
| AFTER THE REFORMATION, LUTHER BELIEVED THAT CHURCH MUSIC SHOULD CONCENTRATE ON CONGREGATIONAL OR GROUP SINGING, SUCH AS HYMNS OR CHORALES. | TRUE |
| THE FIRST OPERA, COMPOSED BY PERI IN 1598 | DAPHNE |
| THE SECOND OPERA WAS WRITTEN FOR A | ROYAL WEDDING |
| THE SECOND OPERA WAS A GREAT SUCCESS | FALSE |
| THE FIRST GREAT OPERA FROM 1607 WAS COMPOSED BY | MONTEVERDI |
| AFTER HIS FIRST OPERAS, MONTEVERDI MOVED TO WHAT IMPORTANT CITY? | VENICE |
| MOZART USED THIS PLAY THAT WAS BANNED BY MANY RULERS ACROSS EUROPE AS THE BASIS FOR WHICH OF HIS FAMOUS OPERAS? | THE MARRIAGE OF FIGARO |
| HOW MANY OPERAS DID BEETHOVEN COMPOSE? | ONLY 1 |
| IN ITALY, ALMOST EVERY TOWN HAS A STREET NAMED AFTER THIS GREAT ITALIAN COMPOSER | VERDI |
| USED WAGNER OPERAS TO STIR UP NATIONALISTIC FERVOR LONG AFTER WAGNER HAD DIED | THE NAZIS |
| OFFENBACH'S PARISIAN OPERAS WERE FULL OF THIS TYPE OF SAUCY DANCING | CAN-CAN |
| JOHN ADAMS' AMERICAN OPERA, NIXON IN CHINA, IS A MODERN MASTERPIECE WHICH DETAILS THE COLLISION OF THESE 2 TYPES OF GOV'T. | CAPITALISM & COMMUNISM |
| IN CHINA, THE CITY OF SHANGHAI IS EMBRACING WESTERN OPERA AS WELL AS MAINTAINING ITS OWN TRADITIONAL MUSIC | TRUE |
| WAS BORN IN BONN, GERMANY | BEETHOVEN |
| WAS EXPECTED TO HELP SUPPORT HIS FAMILY AS A YOUNG TEENAGER | BEETHOVEN |
| WAS ABLE TO WRITE OUT OTHER COMPOSER'S MUSIC HE HAD ONLY HEARD ONE TIME | MOZART |
| WAS A SUCCESSFUL FREE-LANCE MUSICIAN IN VIENNA | BEETHOVEN |
| CHILD PRODIGY, BORN IN SALZBURG, AUSTRIA | MOZART |
| WROTE SYMPHONIES NICKNAMED 'SURPRISE', 'MILITARY', AND 'CLOCK'. | HAYDN |
| COMPOSED 9 SYMPHONIES (NAMES LIKE EROICA, PASTORAL) | BEETHOVEN |
| WAS IN CHARGE OF ONE OF THE BEST ORCHESTRAS IN EUROPE | HAYDN |
| COMPOSED TWO ORATORIOS, "CREATION" & "THE SEASONS" | HAYDN |
| REMOVED A DEDICATION TO NAPOLEON FROM HIS 3RD SYMPHONY | BEETHOVEN |
| SOLD TICKETS OUT OF HIS HOUSE FOR HIS OWN CONCERTS | MOZART |
| HIS FATHER, LEOPOLD, WAS ANXIOUS TO SHOW OFF HIS SON AT EUROPEAN COURTS. | MOZART |
| GRADUALLY WENT DEAF, BUT STILL COMPOSED MUSIC. | BEETHOVEN |
| CLASSICISM, AS A STYLISTIC PERIOD IN WESTERN ART MUSIC, ROUGHLY ENCOMPASSED WHAT YEARS? | 1750-1820 |
| AN INSTRUMENTAL WORK FOR ORCHESTRA | SYMPHONY |
| THE FORM KNOWN AS "MINUET AND TRIO" IS EMPLOYED AS WHICH MOVEMENT OF CLASSICAL SYMPHONY QUARTETS? | THIRD |
| THE MOST IMPORTANT KEYBOARD INSTRUMENT OF THE CLASSICAL PERIOD WAS THE ? | PIANO |
| THE USUAL ORDER OF MOVEMENTS IN A CLASSICAL SYMPHONY IS: | FAST, SLOW, DANCE-RELATED, FAST |
| CLASSICAL CHAMBER MUSIC IS DESIGNED | FOR THE INTIMATE SETTING OF A SMALL ROOM |
| AS THE MUSICAL HEIR OF HAYDN AND MOZART, BEETHOVEN BRIDGED WHICH TWO MUSIC ERAS? | CLASSICAL & ROMANTIC |
| IN THE CLASSICAL ERA, SERIOUS COMPOSITION WAS FLAVORED BY FOLK AND POPULAR MUSIC. | TRUE |
| MOZART COMPOSED MASTERPIECES IN ALL THE MUSICAL FORMS OF HIS TIME. | TRUE |
| A COMMON RONDO PATTERN IS ABCBA | FALSE |
| HAYDN COMPOSED OVER 100 SYMPHONIES IN HIS LIFETIME. | TRUE |
| BEETHOVEN STOPPED COMPOSING AFTER HE BECAME COMPLETELY DEAF. | FALSE |
| CONSISTS OF TWO REPEATED SECTIONS (AABB) | BINARY FORM |
| THE "ALL" THAT PLAY IN A CONCERTO | TUTTI |
| THE CENTRAL THEME IN A FUGUE | SUBJECT |
| THE STATEMENT OF THE THEME BY THE FULL ENSEMBLE IN A CONCERTO | RITORNELLO |
| HYMN TUNE IN LUTHERAN CHURCH | CHORALE |
| A CHANGE OF KEY WITHIN THE COURSE OF A MOVEMENT | MODULATION |
| REFLECTS SPOKEN DIALOGUE AND COMMUNICATES THE DRAMA'S ACTION | RECITATIVE |
| SONG FORM (AAB) | BAR FORM |
| AN INSTRUMENTAL WORK ASSOCIATED WITH A STORY, EVENT, OR IDEA | PROGRAM MUSIC |
| A MUSIC PRODUCER WHO FORMED HIS OWN COMPANY | IMPRESARIO |
| THE LUTE, HARPSICHORD, VIOL, OR CELLO THAT PROVIDES HARMONIC SUPPORT | BASSO CONTINUO |
| INSTRUMENTAL WORK FOR A SOLOIST (OR SOMETIMES MORE THAN ONE SOLOIST) AND A LARGER ENSEMBLE | CONCERTO GROSSO |
| COMPLEX INSTRUMENTAL WORK BASED ON A CENTRAL THEME WHICH IS IMITATED IN ALL "VOICES" | FUGUE |
| VOCAL GENRE INVENTED AROUND 1600 BY A GROUP OF PHILOSOPHERS, MUSICIANS, AND POETS IN FLORENCE, ITALY | OPERA |
| DANCE-BASED INSTRUMENTAL PIECES | SUITE |
| SIMILAR TO A CANTATA,THIS RELIGIOUS GENRE USES SINGERS, ORGAN (OR HARPSICHORD), AND AN ORCHESTRA. NO SCENERY OR STAGING IS USED. | ORATORIO |
| J.S.BACH WROTE HUNDREDS OF THESE SACRED VOCAL WORKS, BASING THEM ON GERMAN HYMN TUNES. | CANTATAS |
| SUNG IN ITALIAN | OPERA |
| SECULAR PRODUCTION WITH STAGING, SCENERY, SINGERS, AND ORCHESTRA | OPERA |
| THIS INSTRUMENTAL PIECE TYPICALLY BEGINS WITH A MELODY CALLED THE "SUBJECT". | FUGUE |
| J.S.BACH CAME FROM A VERY MUSICAL FAMILY. | TRUE |
| ANTONIO VIVALDI IS MOST REMEMBERED FOR HIS MANY LUTHERAN CHURCH CANTATAS. | FALSE |
| HANDEL SPENT MANY YEARS IN LONDON, AND BECAME RICH AND FAMOUS. | TRUE |
| J.S.BACH IS RECOGNIZED AS ONE OF THE MOST IMPORTANT EARLY OPERA COMPOSERS. | FALSE |
| CLAUDIO MONTEVERDI'S CAREER STRADDLED THE RENAISSANCE AND BAROQUE ERAS, AND HE IS REGARDED AS A KIND OF TRANSITIONAL COMPOSER. | TRUE |
| ALTHOUGH J.S.BACH WAS A PROTESTANT, HE COMPOSED A MASS IN B MINOR AS PART OF A JOB APPLICATION FOR POLAND'S ROMAN CATHOLIC KING. | TRUE |
| MONTEVERDI WAS FOR MANY YEARS DIRECTOR OF MUSIC AT ST. MARK'S BASILICA IN VENICE, WHERE HE LIVED FOR MUCH OF HIS LIFE. | TRUE |
| VIVALDI WAS KNOWN AS THE "RED PRIEST". | TRUE |
| GEORGE FRIDERIC HANDEL WAS BORN IN ITALY. | FALSE |
| J.S.BACH FATHERED MANY CHILDREN, SEVERAL OF WHOM BECAME SUCCESSFUL MUSICIANS THEMSELVES. | TRUE |
| GERMAN WORD MEANING SONG | LIEDER |
| THE ART OF ARRANGING MUSIC FOR THE INSTRUMENTS OF THE ORCHESTRA. | ORCHESTRATION |
| A MUSICAL PHRASE ASSOCIATED WITH A PERSON, THING, OR IDEA IN A STORY | LEITMOTIF |
| A POEM THAT TELLS A STORY | BALLAD |
| UNACCOMPANIED VOICES | A CAPPELLA |
| A MOVEMENT TO SHOW REALITY AND TRUE EMOTIONS OF PEOPLE | VERISMO |
| AN UNRELENTING MELODY THAT REOCCURS THROUGHOUT DIFFERENT MOVEMENTS OF AN INSTRUMENTAL PIECE | IDEE FIXE |
| A THEME INTRODUCED SUBTLETY COMES BACK TRIUMPHANTLY | THEMATIC TRANSFORMATION |
| USE OF MANY INCIDENTAL AND TRANSITIONAL NOTES. | CHROMATIC |
| ROMANTIC STYLE FLOURISHED IN MUSIC DURING WHAT TIME PERIOD? | 1820-1900 |
| A SLOW, LYRICAL, INTIMATE COMPOSITION FOR PIANO, ASSOCIATED WITH EVENING AND NIGHT TIME IS WHAT? | NOCTURNE |
| A STUDY PIECE, DESIGNED TO HELP A PERFORMER MASTER SPECIFIC TECHNICAL DIFFICULTIES IS KNOWN AS WHAT? | ETUDE |
| THIS SCALE CONSISTS OF FIVE NOTES, AND IS USED PRIMARILY IN FOLK MUSIC AND ASIAN CULTURES. | PENTATONIC |
| EMPLOYS DESCRIPTIVE TITLES FOR EACH MOVEMENT | A PROGRAM SYMPHONY |
| WHEN THE SAME MUSIC IS REPEATED FOR EACH STANZA OF A POEM, THE FORM IS KNOWN AS WHAT? | STROPHIC |
| BECAME THE VOGUE OF WEALTHY MUSIC ENTHUSIASTS DURING THE ROMANTIC PERIOD, WHERE THE HOST INVITED A SELECT GROUP TO HEAR A RECITAL IN THEIR HOME | SALON CONCERTS |
| FRANZ SCHUBERT MADE HIS LIVING BY SERVING A WEALTHY COURT PATRON. | FALSE |
| AS A STUPENDOUS PERFORMER, INNOVATIVE COMPOSER, AND HAVING A CHARISMATIC PERSONALITY, FRANZ LISZT TYPIFIED THE ROMANTIC MOVEMENT. | TRUE |
| BESIDES HIS MUSICAL ACHIEVEMENTS, FELIX MENDELSSOHN WAS A TALENTED PAINTER, A FINE WRITER, AND A BRILLIANT CONVERSATIONALIST IN MULTIPLE LANGUAGES. | TRUE |
| DURING THE 19TH CENTURY, EUROPEANS FELT STRONGLY THAT THEIR HOMELANDS MERITED LOYALTY AND SELF SACRIFICE. | TRUE |
| RUSSIAN COMPOSER TCHAIKOVSKY WAS A HAPPILY MARRIED MAN WITH A CHEERFUL SELF-CONFIDENT OUTLOOK ON LIFE. | FALSE |
| COMPOSER WHO LOVED TO INFUSE HIS MUSIC WITH PATRIOTIC TUNES AND AMERICAN SOUNDS AND WAS THE SON OF GENERAL GRANT'S FAVORITE BAND DIRECTOR. | CHARLES IVES |
| THIS BALLET CAUSED A RIOT AT ITS PREMIERE IN PARIS IN 1913. | THE RIGHT OF SPRING |
| COMPOSER ASSOCIATED WITH ALEATORY OR "CHANCE" MUSIC, PARTICULARLY IN HIS NOTORIOUS WORK 4'33". | JOHN CAGE |
| COMPOSER THAT RE-DEFINED MUSIC THEATER WITH HIS VIBRANT AND MOVING RE-TELLING OF THE STORY OF ROMEO AND JULIET. | LEONARD BERNSTEIN |
| THIS COMPOSER GREW UP IN BROOKLYN, LEARNED TO PLAY THE PIANO EARLY, AND BECAME FAMOUS FOR MIXING JAZZ AND CLASSICAL STYLES IN SUCH WORKS AS "RHAPSODY IN BLUE". | GEORGE GERSHWIN |
| FIRST AFRICAN-AMERICAN COMPOSER TO HAVE A WORK PERFORMED BY A MAJOR SYMPHONY ORCHESTRA. | WILLIAM GRANT STILL |
| CONSIDERED A MINIMALIST COMPOSER, HE HAD SOME SUCCESS AS A FILM COMPOSER AS WELL. | PHILIP GLASS |
| COMPOSER INSPIRED BY THE SOUND OF THE ASIAN GAMELAN ORCHESTRA, COMPOSING PIANO WORKS WHICH IMITATED IT. | CLAUDE DEBUSSY |
| KNOWN AS THE KING OF RAGTIME | SCOTT JOPLIN |
| ORIGINALLY FROM SAN FRANCISCO, HE EXPERIMENTED EARLY WITH A "PREPARED PIANO" AND MADE USE OF MANY UNORTHODOX PLAYING TECHNIQUES. | HENRY COWELL |
| MUSICAL STYLE CHARACTERIZED BY BLURRED HARMONIES AND RHYTHMS, INTENDED TO EVOKE A MOOD OR CAPTURE A MOMENT | IMPRESSIONISM |
| MUSICAL STYLE IN WHICH A BRIEF MUSICAL IDEA IS REPEATED MANY TIMES, AND VARIED INCREMENTALLY OVER TIME | MINIMALISM |
| PLAYING STRAIGHT NOTES UNEVENLY, IN A LONG-SHORT PATTERN | SWING |
| A WAY OF COMPOSING WHICH RELIED ON A STRICT ORDERING OF PITCHES ACCORDING TO A PREDETERMINED PATTERN & INVENTED BY SCHOENBERG | TWELVE-TOME SYSTEM |
| A RHYTHMIC EMPHASIS ON WEAK BEATS; REGULARLY OCCURRING MUSICAL ACCENTS WHICH OCCUR OFF THE BEAT. | SYNCOPATION |
| USE OF NON-WESTERN SCALES, HARMONIES, AND TECHNIQUES TO CREATE A SENSE OF "FOREIGNNESS" | EXOTICISM |
| THE ART OF MAKING UP MUSIC ON THE SPOT | IMPROVISATION |
| MUSIC WHICH IS COMPOSED AND/OR PERFORMED WITH A HIGH DEGREE OF CHANCE OR RANDOMNESS | ALEATORY MUSIC |
| THE USE OF MUSICAL FORMS AND TECHNIQUES FROM THE 18TH CENTURY | NEO-CLASSICISM |
| A JAZZ TECHNIQUE IN WHICH INSTRUMENTS (OR GROUP OF INSTRUMENTS) CREATE A KIND OF ALTERNATING MUSICAL CONVERSATION | CALL AND RESPONSE |
| A SPOKEN DRAMA WITH A SUBSTANTIAL AMOUNT OF SINGING | MUSICAL |
| BORROWING A WELL-KNOWN TUNE OR MUSICAL IDEA FROM ANOTHER COMPOSER | MUSICAL QUOTATION |
| MIDDLE AGES | 450-1450 |
| RENAISSANCE ERA | 1450-1600 |
| BAROQUE ERA | 1600-1750 |
| CLASSICAL ERA | 1750-1820 |
| ROMANTIC ERA | 1820-1900 |
| MODERN ERA | 1900-2000 |
| "Spring" | Vivaldi |
| "Canon" | Pachelbel |
| "Moonlight Sonata" | Beethoven |
| "Adagio for Strings" | Barber |
| suite "Rigaoudon" | Handel |
| "Prelude in E minor" | Chopin |
| "Ode to Joy" | Beethoven |
| "Messiah" | Handel |
| "Piano Concerto in A Major" | Mozart |
| "Piano Concerto no. 1" | Tchaikovsky |
| "Banshee" | Cowell |
| "Radio Music" | Cage |
| RISE OF THE SOLOIST | BAROQUE ERA |
| CONTROLLED DISSONANCE, CONJUNCT MOVEMENT, FULL CHORAL TEXTURES | RENAISSANCE ERA |
| BORN IN WARSAW | CHOPIN |
| ASSOCIATED WITH VERISMO | PUCCINI |
| ITALIAN TERM FOR SLOW PACE | ADAGIO |
| ITALIAN TERM FOR FAST PACE | ALLEGRO |
| REFERS TO THE SPEED OF THE BEAT | TEMPO |
| CREATED WHEN RHYTHMIC BEATS ARE ORGANIZED INTO REGULAR GROUPS | METER |
| an ordered sequence of notes that serves as the basis for a piece. It outlines the underlying tonality | SCALE |
| refers to a way of arranging pitches in a hierarchy of importance, and creating harmony based on this arrangement. Most of the music we listen to uses this approach. | TONALITY |
| works like punctuation in a sentence. It indicates a momentary pause in the flow of music | CADENCE |
| The musical term for the vertical arrangEment of musical elements | TEXTURE |
| texture that consists of two or more melodies of equal importance | polyphonic |
| The horizontal organization of musical elements | form |
| "ABA" denotes which common type of form? | ternary |
| Musical harmony is rooted in simple mathematical relationships called "natural harmonics." | true |
| refers to the link between man and the cosmos, the belief that music, like the universe was measured in ordered numerical relationships. | music of the spheres |
| The dissonance in pitch relations that results from dividing the octave in consistent 2/3 relationships is called | Pythagorean comma |
| The earliest musical _____________ was based on the seven pitches found between the span of the octave | scale |
| The "barren" and "austere" sound of early church music can be attributed to the predomominant use of the intervals of the _________ and __________. | fourth and fifth |
| John Dunstable was a fifteenth century Italian composer who challeneged the rules of harmony that dominated music for 2000 years since Pythagoras. | false |
| the adjustment of notes within a scale to allow for its use within a larger key system. | temperament |
| The "Well Tempered Keyboard," an important set of compositions written to illustrate how a single instrument can play in a variety of keys, was written by this important 17th century composer. | Bach |
| Neumes were an early attempt to show the ___________ of a melody. | shape or contour |
| a fixed reference pitch for the rest of the pitches to "lock onto". | music staff |
| Guido Monaco (Guido of Arezzo) used a __________ to demonstrate different pitches | hand |
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