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