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