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1 | |
Music always has rhythm. |
| | A) | true |
| | B) | false |
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2 | |
Rhythm refers to the arrangement of |
| | A) | long and short sounds. |
| | B) | strong and weak pulses. |
| | C) | high and low pitches. |
| | D) | fast and slow tempos. |
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3 | |
Rests indicate |
| | A) | measured silence. |
| | B) | unmeasured silence. |
| | C) | rate of speed. |
| | D) | rhythmic notation. |
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4 | |
Rhythm notation indicates all of the following except |
| | A) | long and short sounds. |
| | B) | measured silence. |
| | C) | rate of speed. |
| | D) | none of the above. |
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5 | |
The rate of speed of a musical composition is its |
| | A) | meter. |
| | B) | pulse. |
| | C) | beat. |
| | D) | tempo. |
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6 | |
The __________ is an instrument that helps composers indicate the tempo of a composition. |
| | A) | hippodrome |
| | B) | tempometer |
| | C) | metrodome |
| | D) | metronome |
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7 | |
Verbal tempo indications are |
| | A) | used by many composers. |
| | B) | often expressed in Italian terms. |
| | C) | useful to know because they usually appear in concert programs. |
| | D) | all of the above. |
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8 | |
Meter refers to the organization of rhythm into |
| | A) | long and short sounds called rhythms. |
| | B) | metrical patterns called measures. |
| | C) | high and low pitches. |
| | D) | fast and slow tempos. |
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9 | |
Music is never static, but continually moves in |
| | A) | time. |
| | B) | rhythm. |
| | C) | meter. |
| | D) | sound. |
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10 | |
Musical sounds vary in intensity as well as in duration. |
| | A) | true |
| | B) | false |
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11 | |
One example of unmetered music is a |
| | A) | march. |
| | B) | polka. |
| | C) | waltz. |
| | D) | chant. |
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12 | |
The rhythms in unmetered music may be compared with |
| | A) | literary prose. |
| | B) | poetry. |
| | C) | dialogue. |
| | D) | recitation. |
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13 | |
The rhythms in metered music may be compared with |
| | A) | literary prose. |
| | B) | poetry. |
| | C) | dialogue. |
| | D) | recitation. |
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14 | |
Metered music is notated in units called |
| | A) | braces. |
| | B) | staves. |
| | C) | measures. |
| | D) | sections. |
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15 | |
In metered music, tones may occur on, before, or after the beats. |
| | A) | true |
| | B) | false |
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16 | |
Duple meter has __________ beats per measure. |
| | A) | two |
| | B) | three |
| | C) | four |
| | D) | a flexible number of |
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17 | |
Triple meter has __________ beats per minute. |
| | A) | two |
| | B) | three |
| | C) | four |
| | D) | a flexible number of |
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18 | |
Quadruple meter has __________ beats per minute. |
| | A) | two |
| | B) | three |
| | C) | four |
| | D) | a flexible number of |
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19 | |
In metered Western music, it is customary to accent the first and fourth beats of each measure. |
| | A) | true |
| | B) | false |
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20 | |
When there are more than three beats per measure, a secondary accent cannot occur. |
| | A) | true |
| | B) | false |
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21 | |
Accents may be achieved each of the following ways except |
| | A) | stress. |
| | B) | supposition. |
| | C) | duration. |
| | D) | position. |
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22 | |
Accented notes occurring in unexpected places create the rhythmic effect called |
| | A) | anticipation. |
| | B) | syncopation. |
| | C) | retardation. |
| | D) | augmentation. |
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23 | |
One way to achieve rhythmic variety in metered music is to avoid syncopation. |
| | A) | true |
| | B) | false |
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24 | |
Syncopation is used in jazz and in __________, a precursor of jazz. |
| | A) | gamelan |
| | B) | chant |
| | C) | realtime |
| | D) | ragtime |
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25 | |
The melodic sections in ragtime are called |
| | A) | melodies. |
| | B) | refrains. |
| | C) | strains. |
| | D) | stresses. |
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26 | |
The note that usually equals two beats: |
| | A) | whole note. |
| | B) | half note. |
| | C) | quarter note. |
| | D) | eighth note. |
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27 | |
The note that usually equals one beat: |
| | A) | whole note. |
| | B) | half note. |
| | C) | quarter note. |
| | D) | eighth note. |
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28 | |
The note that usually equals four beats: |
| | A) | whole note. |
| | B) | half note. |
| | C) | quarter note. |
| | D) | eighth note. |
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29 | |
The note that usually equals one-half beat: |
| | A) | whole note. |
| | B) | half note. |
| | C) | quarter note. |
| | D) | eighth note. |
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30 | |
There is usually no reference to tempo on a printed program. |
| | A) | true |
| | B) | false |
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31 | |
The conductor bears little responsibility and has only limited control over a performance. |
| | A) | true |
| | B) | false |
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32 | |
The conductor brings his arm up on the first beat of the measure, which is normally the strongest. |
| | A) | true |
| | B) | false |
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33 | |
The last beat of a measure, which is usually the weakest, is called the |
| | A) | crescendo. |
| | B) | decrescendo. |
| | C) | downbeat. |
| | D) | upbeat. |
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34 | |
Conducting patterns should coincide with the music. |
| | A) | true |
| | B) | false |
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2003 McGraw-Hill Higher Education