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