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