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