A) Key B) Scale C) Interval D) Chord
A) Triad B) Interval C) Harmony D) Octave
A) Double Sharp B) Flat C) Sharp D) Natural
A) Show tempo changes B) Specify time signature C) Indicate key of the piece D) Denote dynamics
A) Dominant B) Tonic C) Mediant D) Subdominant
A) Orchestration B) Intonation C) Syncopation D) Transposition
A) Flat B) Natural C) Double Flat D) Sharp
A) Tempo B) Dynamics C) Pitch D) Rhythm
A) Diminuendo B) Decrescendo C) Crescendo D) Ritardando
A) Understanding music notation, studying scholars' views on music from antiquity to present, and defining processes in musicology. B) Analyzing individual works, comparing musical performances, and studying historical instruments. C) Exploring electronic sound production, improvisation techniques, and orchestration methods. D) Examining tuning systems, composition methods, and practical aspects of performance.
A) It focuses on electronic sound production instead of traditional instruments. B) It studies only modern music, ignoring historical perspectives. C) It starts with fundamental materials rather than individual works or performances. D) It emphasizes improvisation over composition methods.
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) University study, typically to the MA or PhD level. B) Only practical experience in performing music. C) Experience with electronic sound production. 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) Someone who only performs music. B) An individual focused solely on musical acoustics. C) A person who researches or teaches music theory. D) A composer specializing in electronic sound production.
A) Greece B) Mesopotamia C) Egypt D) Rome
A) Papyrus scrolls B) Metal plates C) Stone carvings D) Clay tablets
A) Before 200 CE B) Before 1000 BCE C) Before 1500 BCE D) Before 500 BCE
A) Sam Mirelman B) Herodotus C) Plato D) Aristotle
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) Phoenix tone B) Huangzhong, the 'Yellow Bell' C) Shierlü D) Lülü
A) Cleonides B) Aristoxenus C) Ptolemaios D) Nicomachus of Gerasa
A) Ptolemaios (Πτολεμαίος), Claudius B) Aristoxenus C) Nicomachus of Gerasa D) Porphyrius
A) 4th century CE or later B) 3rd or 4th century CE C) 100–150 CE D) 2nd century CE
A) Είσαγωγή άρμονική [Introduction to Harmonics] B) Άρμονική είσαγωγή [Harmonic Introduction] C) Άρμονικά στοιχεία [Harmonic Elements] D) Είσαγωγή τέχνης μουσικής [Introduction to the Art of Music]
A) Nicomachus of Gerasa B) Porphyrius C) Aristoxenus D) Bacchius Geron
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) 127–148 CE C) 428–347 BCE D) 100–150 CE
A) The guzheng B) The dizi C) The pipa D) The erhu
A) Safi al-Din al-Urmawi B) Abū Yūsuf Ya'qūb al-Kindi C) Boethius D) al-Fārābi
A) La musique arabe B) Zamzama e wahdat-i-mῡsῑqῑ C) Singing by Note D) Ta'rῑkh al-mῡsῑqᾱ al-arabiyya wa-usῡluha wa-tatawwurᾱtuha
A) Baron Francois Rodolphe d'Erlanger B) Reverend Thomas Symmes C) None of the above D) Bāqiyā Nāyinῑ
A) The solfege 'do, re, mi' B) The solfege 'fa, sol, la' C) The solfege 'ti, do, re' D) None of the above
A) None of the above B) Baron Francois Rodolphe d'Erlanger C) Bāqiyā Nāyinῑ D) Reverend Thomas Symmes
A) 1800 B) 1720 C) 1900 D) 1750
A) The Renaissance B) 1750–1900 C) The 1800s D) The Baroque period
A) Central Asian cultures B) African cultures C) Middle Eastern cultures D) European cultures
A) Tonal spaces in music. B) Relations between musical objects. C) The makeup of musical objects. D) Schenkerian analysis techniques.
A) A ring B) A free abelian group C) A vector space D) A finite field
A) legato B) marcato C) staccatissimo D) tenuto
A) 100 B) Around 25 C) 50 D) 10
A) Crescendo (<) B) Marcato (^) C) Staccato (.) D) Decrescendo (>)
A) Melody B) Harmony 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) Société d'Analyse musicale C) Society for Music Theory D) Gesellschaft für Musiktheorie
A) mezzo forte, meaning moderately loud B) sforzando C) forte followed by piano D) piano followed by forte
A) Polyrhythm B) Syncopation C) Monophony D) Homophony
A) sforzando (sfz) B) forte (f) C) piano (p) D) mezzo piano (mp)
A) Rhythmic patterns B) Melodic lines C) Harmonic progressions D) Roman numerals
A) A scale B) A chord C) A rhythm D) A melody
A) sforzando (sfz) B) pianissimo (pp) C) fortississimo (ffff) D) mezzo piano (mp)
A) Adolf Bernhard Marx B) David Lewin C) Ian Bent D) Heinrich Schenker
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) Arnold Schoenberg B) Milton Babbitt C) Howard Hanson D) Allen Forte
A) Robert Hatten B) Jean-Jacques Nattiez C) Kofi Agawu D) Raymond Monelle
A) Melody B) Polyphony C) Harmony D) Counterpoint
A) Counterpoint B) Monophony C) Homophony D) Polyphony
A) Twelve-tone technique B) Post-tonal thinking C) Integral serialism D) General serialism
A) Advanced Bachelor's Degree B) Associate Board Director C) All But Dissertation D) Academic Board Delegate
A) Baroque music B) Classical common practice period C) Jazz harmony D) All of the above
A) Chord progressions. B) Tonal space. C) Dominant operation. D) Musical intervals.
A) Heinrich Schenker B) David Lewin C) Adolf Bernhard Marx D) Ian Bent
A) Anthony Newcomb B) Jean-Jacques Nattiez C) Heinrich Schenker D) Eero Tarasti
A) Dolce B) Marcato C) Sul tasto D) Cuivre
A) pianissississimo (pppp) B) mezzo forte (mf) C) forte (f) D) sforzando (sfz)
A) Raymond Monelle B) Roland Barthes C) Kofi Agawu D) Philip Tagg
A) legato B) staccato C) spiccato D) tenuto
A) sforzando (sfz) B) piano (p) C) forte (f) D) mezzo forte (mf)
A) Two voices, one playing a drone note and the other a melody. B) A single melodic voice with rhythmic accompaniment. C) Multiple independent melodies played simultaneously. D) Chords accompanying a melody.
A) Raymond Monelle B) Roland Barthes C) Philip Tagg D) Kofi Agawu
A) Multiple serialism B) General serialism C) Twelve-tone technique D) Total serialism
A) Seven B) Twelve C) Eight D) Fifteen
A) {2 5 9} B) {1 4 8} C) {0 4 7} D) {0 3 7}
A) 450 Hz B) 432 Hz C) 435 Hz D) 440 Hz
A) legato B) portato C) marcato D) staccatissimo
A) legato B) tenuto C) marcato D) staccato
A) a loud attack with a sudden decrease B) a sudden decrease to a soft level C) progressively increasing volume D) a moderately loud dynamic
A) Arpeggios B) Rhythm C) Minor triads D) Natural scales
A) Transposition B) Complementation C) Inversion D) Rhythm analysis
A) Actual rhythm of the music. B) Musical intervals. C) Hierarchical relationships between pitch-events. D) Chord progressions.
A) Claude Debussy B) Johann Sebastian Bach C) Ludwig van Beethoven D) Arnold Schoenberg
A) Progressions B) Inversions C) Triads D) Sequences
A) Linear algebra B) Boolean algebra C) Abstract algebra D) Differential algebra
A) Unison B) Third C) Fifth D) Octave
A) Rhythm B) Volume C) Pitch D) Color
A) Anthony Newcomb B) Leonard B. Meyer C) Philip Tagg D) Kofi Agawu
A) Texture B) Melody C) Chords D) Harmony
A) Instrumentation B) Subject matter C) Musical form D) Tempo
A) A minor third B) A half step C) An octave D) A whole tone
A) High, low, sharp, flat B) Fast, slow, loud, soft C) Major, minor, major seventh D) Bright, dull, shrill, etc.
A) Harmony B) Repetition C) Improvisation D) Rhythm
A) Context B) Volume C) Tempo D) Instrumentation
A) A chord progression B) A scale pattern C) An arpeggio sequence D) A melody line
A) Syncopation B) Homophony C) Polyrhythm D) Monophony |