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