Jean Ferris Music the Art of Listening Baroque Vocab Quiz

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Music The Art of Listening 9th Edition by Jean Ferris – Test Bank

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Chapter 02

Rhythm

Multiple Choice Questions

1. Rhythm refers to the arrangement of
   A. long and curt sounds.
   B. strong and weak pulses.
   C. high and low pitches.
   D. fast and slow tempos.

2. Rests indicate
   A. measured silence.
   B. unmeasured silence.
   C. charge per unit of speed.
   D. rhythmic notation.

3. Rhythm notation indicates all of the post-obit except
   A.long sounds.
   B. measured silence.
   C.  rate of speed.
   D. short sounds.

4. The charge per unit of speed of a musical composition is its
   A.meter.
   B. pulse.
   C. beat.
   D.  tempo.

5. The __________ is an musical instrument that helps composers indicate the tempo of a composition.
   A.hippodrome
   B. tempometer
   C. metrodome
   D.  metronome

6. Verbal tempo indications are
   A.used by many composers.
   B. oft expressed in Italian terms.
   C. useful to know considering they usually appear in concert programs.
   D.  all of the above.

7. Meter refers to the arrangement of rhythm into
   A.long and brusk sounds called rhythms.
   B.  metrical patterns of potent and weak beats.
   C. loftier and low pitches.
   D. fast and boring tempos.

8. Music is never static, but continually moves in
   A. fourth dimension.
   B. rhythm.
   C. meter.
   D. sound.

9. The rhythms in metered music may be compared with
   A. the rhythm of text as it would be spoken.
   B. the motility of birds.
   C. a dialogue betwixt two debaters.
   D. rain as it falls.

10. Metered music is notated in units chosen
    A.braces.
    B. staves.
    C.  measures.
    D. sections.

11. Information technology is the custom in Western music to emphasis the __________ beat of the measure.
    A. first
    B. second
    C. 3rd
    D. fourth

12. Duple meter has __________ beats per measure.
    A. 2
    B. three
    C. four
    D. a flexible number of

13. Triple meter has __________ beats per minute.
    A.two
    B.  three
    C. four
    D. a flexible number of

14. Quadruple meter has __________ beats per minute.
    A.two
    B. three
    C.  iv
    D. a flexible number of

15. Accents may be achieved each of the following means except
    A.stress.
    B.  assumption.
    C. duration.
    D. position.

16. The note that normally equals 2 beats:
    A.whole note.
    B.  half note.
    C. quarter annotation.
    D. eighth note.

17. The note that usually equals one beat:
    A.whole notation.
    B. half annotation.
    C.  quarter note.
    D. eighth notation.

18. The note that commonly equals four beats:
    A. whole annotation.
    B. half note.
    C. quarter notation.
    D. eighth note.

19. The annotation that usually equals one-half beat:
    A.whole note.
    B. half note.
    C. quarter note.
    D.  eighth annotation.

20. The last beat of a measure out, which is usually the weakest, is chosen the
    A.crescendo.
    B. decrescendo.
    C. downbeat.
    D.  upbeat.

Truthful / False Questions

21. Music e'er has rhythm.
    Truthful

22. The listener responds to rhythm merely physically.
    Fake

23. Musical sounds vary in intensity as well as in duration.
    TRUE

24. A quarter note is twice as long as a half annotation.
    FALSE

25. The metronome made it possible for composers to indicate tempo as exactly equally they notate pitch.
    TRUE

26. In metered music, tones may occur on, before, or afterward the beats.
    Truthful

27. In metered Western music, it is customary to accent the first and fourth beats of each measure.
    Simulated

28. When in that location are more than three beats per mensurate, a secondary accent cannot occur.
    FALSE

29. There is normally no reference to tempo on a printed program.
    FALSE

30. The conductor bears little responsibility and has only limited control over a functioning.
    Imitation

31. The conductor brings his arm up on the beginning beat of the measure.
    Imitation

32. Conducting patterns should remain recognizable to the performers.
    Truthful

Matching Questions

33. Matching

one. rest	the pulse of a slice	five
2. bar	the arrangement of long and brusque sounds	3
3. rhythm	the speed at which a piece is performed	4
iv. tempo	a symbol indicating the cessation of sound	1
5. beat	a unit containing a certain number of beats	2

34. Matching

one. con brio	very fast	5
2. vivace	slow; "at ease"	4
3. allegro	lively	2
4. adagio	with spirit	1
5. presto	fast; cheerful	three

35. Matching

1. not troppo	slow; "broad"	2
two. largo	moderately slow; "walking" tempo	3
3. andante	very	4
four. molto	not too much	one
five. moderato	moderate	5

Chapter 04

Harmony

Multiple Choice Questions

1. In music, the opposite of dissonance is
   A.sustenance.
   B. forbearance.
   C.  consonance.
   D. perseverance.

2. When two or more simultaneous pitches create a sense of tension and bulldoze, they are said to be
   A.consonant.
   B.  dissonant.
   C. tonal.
   D. none of the above.

3. The most consonant interval is a
   A.second.
   B. third.
   C.  octave.
   D. fifth.

4. 3 or more pitches sounding simultaneously to form a whole comprise a
   A.triad.
   B. diad.
   C. tetra.
   D.  chord.

5. The relationship between dissonance and consonance in tonal music may be summarized as:
   A. consonance resolves the tension created past racket.
   B. noise resolves the tension created by consonance.
   C. dissonance and consonance are interchangeable.
   D. racket and consonance are unrelated.

6. Chords may be constructed upon the following intervals:
   A.seconds.
   B. thirds.
   C. fourths.
   D.  all of the above.

7. When two or more simultaneous pitches create a sense of stability or remainder, they are said to exist
   A. consonant.
   B. dissonant.
   C. tonal.
   D. none of the to a higher place.

8. The system of harmony that has been prevalent in the West for nearly three hundred years is called the __________ system.
   A.modal
   B. bitonal
   C.  tonal
   D. atonal

9. The fifth footstep of a diatonic scale is chosen the
   A.tonic.
   B. supertonic.
   C. subdominant.
   D.  dominant.

10. The quaternary step of a diatonic scale is called the
    A.tonic.
    B. supertonic.
    C.  subdominant.
    D. dominant.

11. The strongest harmonic human relationship or "pull" in the tonal system is
    A.the tonic leading toward the dominant.
    B. the tonic leading toward the subdominant.
    C. the subdominant leading toward the tonic.
    D.  none of the above.

12. Melodic lines, used singly, combined with one another, or accompanied by harmony, class
    A.timbre.
    B. torque.
    C. tenacity.
    D.  texture.

13. A single, unaccompanied melodic line has a type of texture called
    A. monophony.
    B. polyphony.
    C. homophony.
    D. oligophony.

14. A texture that involves melody used in 2 or more lines simultaneously is called
    A.monophony.
    B.  polyphony.
    C. homophony.
    D. oligophony.

15. When a principal melody is accompanied by other, subordinate voices that produce harmony, the texture is called
    A.monophony.
    B. polyphony.
    C.  homophony.
    D. heterophony.

16. A round is an example of __________ texture.
    A.monophonic
    B.  polyphonic
    C. homophonic
    D. heterophonic

17. A hymn sung with accompaniment is an example of ___________ texture.
    A.monophonic
    B. polyphonic
    C.  homophonic
    D. oligophonic

18. The modern concept of tonal harmony based on major and minor scales was accepted in the
    A.1300s.
    B. 1400s.
    C. 1500s.
    D.  1600s.

True / False Questions

19. In music, two or more different tones sounded together produce harmony.
    TRUE

20. In music, harmony signifies a pleasant or desirable status.
    Simulated

21. In music, noise implies a negative or undesirable situation.
    FALSE

22. Consonance and racket are relative rather than absolute terms, meaningful simply when compared to each other.
    True

23. The standard by which sounds are labeled "consonant" and "dissonant" remains abiding through time just differs from culture to civilisation.
    FALSE

24. Although tune is consecutive and "linear" while harmony is simultaneous and "vertical," the ii concepts are in fact interrelated, and work closely together.
    TRUE

25. Tonality refers to the dominance of the dominant note over other pitches in the major or minor calibration.
    FALSE

26. The dominant triad seems to atomic number 82 toward the tonic.
    Truthful

27. The subdominant triad provides a somewhat weaker sense of drive toward the tonic chord than the dominant triad.
    TRUE

28. Because polyphony consists of simultaneous, independent melodies, it can not produce harmony.
    Simulated

29. Harmony is an essential element of not-Western music.
    FALSE

Matching Questions

30. Matching

1. dissonance	passive sound that seems at residue	4
2. texture	active, unsettled sound	1
iii. chord	manner in which melodic lines are used in music	2
iv. consonance	simultaneous sounding of two or more unlike tones	v
5. harmony	meaningful combination of 3 or more tones	iii

31. Matching

1. polyphony	one unaccompanied melodic line	3
2. homophony	combination of two or more simultaneous melodic lines	1
iii. monophony	melodic line accompanied by chordal harmony	2

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