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| 1 | |
In music, two or more different tones sounded together produce harmony.
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| | A) | true
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| | B) | false
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| 2 | |
In music, harmony signifies a pleasant or desirable condition.
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| | A) | true
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| | B) | false
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| 3 | |
In music, dissonance implies a negative or undesirable situation.
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| | A) | true
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| | B) | false
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| 4 | |
In music, the opposite of dissonance is
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| | A) | sustenance.
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| | B) | abstinence.
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| | C) | consonance.
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| | D) | perseverance.
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| 5 | |
When two or more simultaneous pitches create a sense of tension and drive, they are said to be
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| | A) | consonant.
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| | B) | dissonant.
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| | C) | tonal.
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| | D) | none of the above.
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| 6 | |
Consonance and dissonance are relative rather than absolute terms, meaningful only when compared to each other.
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| | A) | true
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| | B) | false
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| 7 | |
The most consonant interval is a
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| | A) | second.
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| | B) | third.
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| | C) | octave.
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| | D) | fifth.
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| 8 | |
The standard by which sounds are labeled "consonant" and "dissonant" remains constant through time but differs from culture to culture.
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| | A) | true
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| | B) | false
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| 9 | |
Three or more pitches sounding simultaneously to form a whole comprise a
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| | A) | triad.
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| | B) | diad.
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| | C) | tetra.
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| | D) | chord.
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| 10 | |
The relationship between dissonance and consonance in tonal music may be summarized as:
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| | A) | consonance resolves the tension created by dissonance.
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| | B) | dissonance resolves the tension created by consonance.
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| | C) | dissonance and consonance are interchangeable.
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| | D) | dissonance and consonance are unrelated.
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| 11 | |
Chords may be constructed upon the following intervals: |
| | A) | seconds. |
| | B) | thirds. |
| | C) | fourths. |
| | D) | all of the above. |
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| 12 | |
The most common interval used in chord construction in traditional Western music is |
| | A) | seconds. |
| | B) | thirds. |
| | C) | fourths. |
| | D) | none of the above. |
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| 13 | |
When two or more simultaneous pitches create a sense of stability or rest, they are said to be |
| | A) | consonant. |
| | B) | dissonant. |
| | C) | tonal. |
| | D) | none of the above. |
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| 14 | |
Although melody is consecutive and "linear" while harmony is simultaneous and "vertical," the two concepts are in fact interrelated, and work closely together. |
| | A) | true |
| | B) | false |
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| 15 | |
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 |
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| 16 | |
Tonality refers to the dominance of the dominant note over other pitches in the major or minor scale. |
| | A) | true |
| | B) | false |
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| 17 | |
The fifth step of a diatonic scale is called the |
| | A) | tonic. |
| | B) | supertonic. |
| | C) | subdominant. |
| | D) | dominant. |
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| 18 | |
The dominant triad seems to lead toward the tonic. |
| | A) | true |
| | B) | false |
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| 19 | |
The fourth step of a diatonic scale is called the |
| | A) | tonic. |
| | B) | supertonic. |
| | C) | subdominant. |
| | D) | dominant. |
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| 20 | |
The subdominant triad provides a somewhat weaker sense of drive toward the tonic chord than the dominant triad. |
| | A) | true |
| | B) | false |
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| 21 | |
The strongest harmonic 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. |
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| 22 | |
Melodic lines, used singly, combined with one another, or accompanied by harmony, form |
| | A) | timbre. |
| | B) | torque. |
| | C) | tenacity. |
| | D) | texture. |
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| 23 | |
A single, unaccompanied melodic line has a type of texture called |
| | A) | monophony. |
| | B) | polyphony. |
| | C) | homophony. |
| | D) | oligophony. |
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| 24 | |
A texture that involves melody used in two or more lines simultaneously is called |
| | A) | monophony. |
| | B) | polyphony. |
| | C) | homophony. |
| | D) | oligophony. |
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| 25 | |
When a primary melody is accompanied by other, subordinate voices that produce harmony, the texture is called |
| | A) | monophony. |
| | B) | polyphony. |
| | C) | homophony. |
| | D) | heterophony. |
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| 26 | |
A round is an example of __________ texture. |
| | A) | monophonic |
| | B) | polyphonic |
| | C) | homophonic |
| | D) | heterophonic |
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| 27 | |
A hymn sung with accompaniment is an example of ___________ texture. |
| | A) | monophonic |
| | B) | polyphonic |
| | C) | homophonic |
| | D) | oligophonic |
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| 28 | |
Because polyphony consists of simultaneous, independent melodies, it can not produce harmony. |
| | A) | true |
| | B) | false |
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| 29 | |
The modern concept of tonal harmony based on major and minor scales was accepted in the |
| | A) | 1300s. |
| | B) | 1400s. |
| | C) | 1500s. |
| | D) | 1600s. |
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| 30 | |
Harmony is an essential element of non-Western music. |
| | A) | true |
| | B) | false |
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