Music theory - Quiz
A) Key B) Interval C) Chord D) Scale
A) Harmony B) Triad C) Interval D) Octave
A) Sharp B) Double Sharp C) Flat D) Natural
A) Denote dynamics B) Indicate key of the piece C) Specify time signature D) Show tempo changes
A) Subdominant B) Mediant C) Dominant D) Tonic
A) Intonation B) Orchestration C) Syncopation D) Transposition
A) Natural B) Double Flat C) Sharp D) Flat
A) Pitch B) Rhythm C) Tempo D) Dynamics
A) Diminuendo B) Decrescendo C) Ritardando D) Crescendo
A) Analyzing individual works, comparing musical performances, and studying historical instruments. B) Examining tuning systems, composition methods, and practical aspects of performance. C) Exploring electronic sound production, improvisation techniques, and orchestration methods. D) Understanding music notation, studying scholars' views on music from antiquity to present, and defining processes in musicology.
A) It focuses on electronic sound production instead of traditional instruments. B) It starts with fundamental materials rather than individual works or performances. C) It studies only modern music, ignoring historical perspectives. D) It emphasizes improvisation over composition methods.
A) Comparative analysis of different musical cultures. B) The study of electronic sound production exclusively. C) Methods and concepts used by composers and musicians in creating and performing music. D) Only written treatises about music notation.
A) Experience with electronic sound production. B) University study, typically to the MA or PhD level. C) Only practical experience in performing music. D) A degree in musical acoustics exclusively.
A) Only descriptive and statistical methods. B) Exclusively comparative analysis. C) Mathematics, graphic analysis, and western music notation. D) Primarily improvisation techniques.
A) A composer specializing in electronic sound production. B) A person who researches or teaches music theory. C) An individual focused solely on musical acoustics. D) Someone who only performs music.
A) Mesopotamia B) Egypt C) Greece D) Rome
A) Metal plates B) Clay tablets C) Papyrus scrolls D) Stone carvings
A) Before 500 BCE B) Before 200 CE C) Before 1500 BCE D) Before 1000 BCE
A) Aristotle B) Sam Mirelman C) Plato D) Herodotus
A) The Pentatonic Scale, which primarily uses a 5-note scale B) The number of notes in a scale C) The number of musical instruments D) The number of musical modes
A) Huangzhong, the 'Yellow Bell' B) Phoenix tone C) Lülü D) Shierlü
A) Nicomachus of Gerasa B) Cleonides C) Ptolemaios D) Aristoxenus
A) Porphyrius B) Ptolemaios (Πτολεμαίος), Claudius C) Aristoxenus D) Nicomachus of Gerasa
A) 4th century CE or later B) 3rd or 4th century CE C) 2nd century CE D) 100–150 CE
A) Άρμονικά στοιχεία [Harmonic Elements] B) Είσαγωγή άρμονική [Introduction to Harmonics] C) Είσαγωγή τέχνης μουσικής [Introduction to the Art of Music] D) Άρμονική είσαγωγή [Harmonic Introduction]
A) Aristoxenus B) Bacchius Geron C) Porphyrius D) Nicomachus of Gerasa
A) 100–150 CE B) 2nd century CE C) 4th–5th century CE D) 3rd or 4th century CE
A) c. 232~233 – c. 305 CE B) 428–347 BCE C) 100–150 CE D) 127–148 CE
A) The guzheng B) The erhu C) The dizi D) The pipa
A) Safi al-Din al-Urmawi B) Boethius C) Abū Yūsuf Ya'qūb al-Kindi D) al-Fārābi
A) Ta'rῑkh al-mῡsῑqᾱ al-arabiyya wa-usῡluha wa-tatawwurᾱtuha B) Singing by Note C) Zamzama e wahdat-i-mῡsῑqῑ D) La musique arabe
A) None of the above B) Baron Francois Rodolphe d'Erlanger C) Reverend Thomas Symmes D) Bāqiyā Nāyinῑ
A) The solfege 'do, re, mi' B) The solfege 'ti, do, re' C) None of the above D) The solfege 'fa, sol, la'
A) None of the above B) Baron Francois Rodolphe d'Erlanger C) Reverend Thomas Symmes D) Bāqiyā Nāyinῑ
A) 1800 B) 1750 C) 1900 D) 1720
A) The Renaissance B) 1750–1900 C) The Baroque period D) The 1800s
A) African cultures B) Central Asian cultures C) European cultures D) Middle Eastern cultures
A) Schenkerian analysis techniques. B) The makeup of musical objects. C) Tonal spaces in music. D) Relations between musical objects.
A) A ring B) A finite field C) A free abelian group D) A vector space
A) tenuto B) marcato C) staccatissimo D) legato
A) 10 B) 100 C) Around 25 D) 50
A) Staccato (.) B) Decrescendo (>) C) Crescendo (<) D) Marcato (^)
A) Harmony B) Melody C) Polyphony D) Counterpoint
A) A primary chord B) An extended chord C) A simple chord D) A basic chord
A) Vereniging voor Muziektheorie B) Society for Music Theory C) Société d'Analyse musicale D) Gesellschaft für Musiktheorie
A) piano followed by forte B) forte followed by piano C) mezzo forte, meaning moderately loud D) sforzando
A) Monophony B) Polyrhythm C) Homophony D) Syncopation
A) mezzo piano (mp) B) piano (p) C) sforzando (sfz) D) forte (f)
A) Rhythmic patterns B) Melodic lines C) Harmonic progressions D) Roman numerals
A) A scale B) A melody C) A chord D) A rhythm
A) sforzando (sfz) B) pianissimo (pp) C) mezzo piano (mp) D) fortississimo (ffff)
A) Heinrich Schenker B) Ian Bent C) David Lewin D) Adolf Bernhard Marx
A) Nature only influences biology, not music B) Nature itself is amazingly mathematical C) Nature has no connection to mathematics D) Nature's influence on music is purely aesthetic
A) Howard Hanson B) Arnold Schoenberg C) Allen Forte D) Milton Babbitt
A) Robert Hatten B) Raymond Monelle C) Kofi Agawu D) Jean-Jacques Nattiez
A) Harmony B) Melody C) Counterpoint D) Polyphony
A) Polyphony B) Monophony C) Homophony D) Counterpoint
A) General serialism B) Twelve-tone technique C) Post-tonal thinking D) Integral serialism
A) Associate Board Director B) All But Dissertation C) Advanced Bachelor's Degree D) Academic Board Delegate
A) Jazz harmony B) Classical common practice period C) Baroque music D) All of the above
A) Musical intervals. B) Tonal space. C) Dominant operation. D) Chord progressions.
A) Adolf Bernhard Marx B) Ian Bent C) Heinrich Schenker D) David Lewin
A) Eero Tarasti B) Jean-Jacques Nattiez C) Heinrich Schenker D) Anthony Newcomb
A) Marcato B) Dolce C) Sul tasto D) Cuivre
A) mezzo forte (mf) B) pianissississimo (pppp) C) forte (f) D) sforzando (sfz)
A) Kofi Agawu B) Philip Tagg C) Roland Barthes D) Raymond Monelle
A) legato B) staccato C) spiccato D) tenuto
A) sforzando (sfz) B) mezzo forte (mf) C) forte (f) D) piano (p)
A) A single melodic voice with rhythmic accompaniment. B) Multiple independent melodies played simultaneously. C) Chords accompanying a melody. D) Two voices, one playing a drone note and the other a melody.
A) Roland Barthes B) Raymond Monelle C) Philip Tagg D) Kofi Agawu
A) Twelve-tone technique B) General serialism C) Total serialism D) Multiple serialism
A) Twelve B) Fifteen C) Eight D) Seven
A) {1 4 8} B) {0 4 7} C) {0 3 7} D) {2 5 9}
A) 450 Hz B) 432 Hz C) 435 Hz D) 440 Hz
A) staccatissimo B) marcato C) legato D) portato
A) legato B) marcato C) staccato D) tenuto
A) a moderately loud dynamic B) a loud attack with a sudden decrease C) a sudden decrease to a soft level D) progressively increasing volume
A) Arpeggios B) Rhythm C) Natural scales D) Minor triads
A) Rhythm analysis B) Inversion C) Complementation D) Transposition
A) Chord progressions. B) Hierarchical relationships between pitch-events. C) Musical intervals. D) Actual rhythm of the music.
A) Arnold Schoenberg B) Johann Sebastian Bach C) Claude Debussy D) Ludwig van Beethoven
A) Progressions B) Triads C) Sequences D) Inversions
A) Abstract algebra B) Linear algebra C) Boolean algebra D) Differential algebra
A) Fifth B) Third C) Octave D) Unison
A) Volume B) Color C) Pitch D) Rhythm
A) Philip Tagg B) Leonard B. Meyer C) Kofi Agawu D) Anthony Newcomb
A) Chords B) Harmony C) Texture D) Melody
A) Subject matter B) Tempo C) Musical form D) Instrumentation
A) An octave B) A minor third C) A whole tone D) A half step
A) Fast, slow, loud, soft B) High, low, sharp, flat C) Major, minor, major seventh D) Bright, dull, shrill, etc.
A) Repetition B) Harmony C) Rhythm D) Improvisation
A) Volume B) Tempo C) Instrumentation D) Context
A) A scale pattern B) An arpeggio sequence C) A chord progression D) A melody line
A) Polyrhythm B) Homophony C) Monophony D) Syncopation |
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