Music History and Literature

Question 1

The Garland Encyclopedia of World Music is a ____ volume series of encyclopedic reference covering all world music. Started in 1988, it is generally regarded as the authoritative source for information regarding ______.

Answer 1

10

ethnomusicology

Question 2

The New Grove Dictionary of Music and Musicians, first published under a different name in 1879, is the authoritative reference work for ______ music, with over ____ volumes.

It is now available online through _____ Online and is now a part of ______ Online.

Answer 2

Western;
20 (sacred grove-joe smith 20yrs old)

Grove Music Online;
Oxford Music Online;

Question 3

The ____ Music Online is a web resource containing several reference works covering a BROAD range of musical topics. Online resources through this website include: ______ Online, the _____ of Music, and the ______ to Music.

Answer 3

Oxford
Grove Music Online;
Oxford Dictionary of Music;
Oxford Companion to Music

Question 4

The ENCYCLOPEDIA of Popular Music, initiated in 1989 as a POPULAR music counterpart to the definitive ______, is an authoritative reference work for all POPULAR music, including rock, pop, jazz, hip-hop, reggae, blues, electronica, and heavy metal.

Answer 4

New Grove;

Question 5

JSTOR, also known as _____, is a DIGITAL (periodical) database that holds 32 SCHOLARLY JOURNALS dedicated to music and includes complete back runs of the journals’ contents. Titles include: Early Music H____, Music A_____, The Musical Q_____, P_____ of New Music and The Journal of M_____ among others.

Answer 5

Journal Storage;
Early Music History,
Music Analysis,
The Musical Quarterly,
Perspectives of New Music,
The Journal of Musicology

Question 6

The Music INDEX Online is a source for music _____ and _____ from 1973 to the present and contains over ____ international music journals.

Answer 6

periodicals;
literature
655

Question 7

The INTERNATIONAL INDEX of Music Periodicals is another important database and indexes over 425 music periodicals, both ____ and ____, including International Journal of Music Education, Ethnomusicology, Jazz Education Journal, Rock and Rap Confidential, and Rolling Stone.

Answer 7

scholarly;

popular

Question 8

For the nineteenth and twentieth centuries, the RIPM: Retrospective Index to Music Periodicals provides a valuable resource for SCHOLARLY writing on music h____ and c____, holding over 200 music periodicals in its database.

Answer 8

history;
culture

(“RIPM” some history and culture!)

Question 9

The Repertoire International des Sources Musicales Online (RISM) is a musical database founded in Paris in 1952. It is one of the largest non-profit organizations of its kind and operates internationally to document musical sources from around the world.

The RISM publications are divided into three series.

Series A of the Repertoire International des Sources Musicales Online is arranged by COMPOSER and includes _____ music (Series A/I), and music _____ (Series A/II).

Series B is arranged by _____.

Series C is an INDEX of music Lib____, private collections, and ar____ from around the world.

The largest portion of the RISM inventory is Series A/II, consisting of over 380,000 ______ by over 18,000 composers, t_____, and librettists after 1600. This series is now an ONLINE SEARCHABLE DATABASE that lists the composer or author’s name, title, origin, and holding library for every entry.

Answer 9

printed;
manuscripts;

topic;

libraries;
archives;

manuscripts;
theorists

Question 10

The RILM Abstracts of Music Literature (Repertoire International de Litterature Musicale), is an international DATABASE focused on ____ from around the world relating to any aspect of musical DISCIPLINE. This includes historical musicology, ethnomusicology, instruments and voice, music therapy, and dance.

The RILM international bibliography contains books, catalogs, master’s theses, doctoral dissertations, articles, bibliographies, films, videos, ethnographic recordings, conference proceedings, reviews, Festschriften ( a collection of writings published in honor of a scholar), technical drawings, facsimile (an EXACT COPY) editions, and iconographies. The entries are presented in the original language with an ENGLISH translation of the title, an abstract, and the full bibliographic data. The online searchable database, which covers over 780,000 entries in over 117 ____ from 1967 to the present, requires a subscription and is regularly updated.

Answer 10

scholarship;

languages;

(you can find anything in the “RILM”)

Question 11

Music of the Middle Ages was dominated by VOCAL music that could be separated into two separate genres:(sacred and secular)

SACRED music of the Middle Ages included ____ and ____ and SECULAR music included music for d____and e____, such as that of the TROUBADOURS and TROUVERES.

The SACRED music of the middle ages evolved with the development of the _____, an early from of polyphony in which voices were sung in PARALLEL motion. MASSES were also an important religious ritual and featured _____ polyphony.

GREGORIAN CHANT of the Middle Ages had melodies that were FREE FLOWING with no distinct ___, MELISMATIC phrases (a single syllable carried through many notes) sung by ____ voice or ____.

Answer 11

Gregorian chant;
masses;
dance and entertainment;

organum;
non-imitative;

meter;
unaccompanied;
choir

Question 12

The most important form of Medieval polyphony was the ____, which spanned BOTH sacred and secular genres.

By the end of the Middle ages, SECULAR music became the driving force of musical development, and the music of TROUBADOURS and TROUVERES saw ____ accompaniment and had regular METER, s____, p____, and HARMONY.

Answer 12

motet;

drone
meter, syncopations, polyphony, and harmony

Question 13

As one of the most important services of the ROMAN CATHOLIC Church, the ____ was a driving force of musical development in the ____ eras. The liturgy (worship ceremony) of the Ordinary was most often ____, and musical ADVANCEMENTS were applied to the composition of the ____.

Answer 13

mass;
Medieval and Renaissance;
set to music;
mass;

Question 14

By the RENAISSANCE era, ____ was common, musical ______ had been refined, and complete MASSES were written by a SINGLE composer; the first mass by a known composer was _______. The mass continued to appear in many composers’ oeuvre (works of art). Although the genre declined through the twentieth century, composers continue to set the mass to new musical settings. The Ordinary includes six sections and is outlined as follows: _______. (KGCSBA)

Answer 14

polyphony;
notation;
Machaut’s Mess de Notre Dame;
Kyrie, Gloria, Credo, Sanctus, Benedictus, and Agnus Dei.

Question 15

The MOTET was a major musical from of the Medieval and Renaissance periods that emerged from medieval o____ and c____.

Clausulae was a POLYPHONIC section sung in d____ style over a c____ f____.

The MEDIEVAL motet was a ______ of music that featured a TENOR line derived from plainchant with one or more _____ in French or Latin. The tenor vocal line usually had a s___, r___ rhythmic pattern, while the upper voices had contrasting, LIVELY voices. The text of the upper voices were sometimes INDEPENDENT and in a different_____ from the tenor line.

The RENAISSANCE motet, in contrast, referred more to a _____ of music than to a certain form or structure. By the mid-fifteenth century, the motet was known as a polyphonic setting of ANY SACRED LATIN TEXT, NOT RESTRICTED to the ______ (worship ceremony). Composers of the RENAISSANCE introduced i_____, h_____, and f___-p___ h___ to the motet.

Answer 15

organum;
clausulae

discant style ("note against note");
cantus firmus;

FORM/STRUCTURE;
upper voices;
short, repeated;
language;

genre;
liturgy;
imitation;
homophony;
four-part harmony

Question 16

The terms polyphony, homophony, and monophony all refer to a certain TEXTURE of music.

Polyphony refers to when all voices hold similar musical _____ (like several DISTINCT melodic lines occurring AT THE SAME TIME). The RHYTHM of each line in polyphonic music moves ______ of each other.

Homophony also has several voices or parts, but melodic interest is reduced to a ______. All other parts SUPPORT the main melody as accompaniment and move together in RHYTHMIC likeness. In this way, homophony can be thought of as any form of m___ and a___ texture.

Monophony also centers on a SINGLE melodic line. However, it does NOT have supplemental _____ parts. A prime example of monophony is _____, in which a single line of melody embodies the entire work itself.

Answer 16

prominence;
independently;

single voice or part;
melody and accompaniment;

accompaniment;
plainchant

Question 17

In the Baroque era, music was stylistically ORNATE and HEAVILY ORNAMENTED. During the BAROQUE period, ____ was established, _____ was invented, and the size, range, and complexity of orchestrations were _____.

Answer 17

tonality;
counterpoint;
expanded

Question 18

By the end of the BAROQUE era, music innovations became SO COMPLEX that a new AESTHETIC was formed in reaction against the overly embellished Baroque aesthetic. Thus, ______ music was born.

In Classical music, ______ replaced polyphony, ______ replaced complexity, and GENTLER sentiment replaced strong passion.

With the prominence of HOMOPHONY, Classical music featured a _____ harmonic rhythm than Baroque music that had featured a LINEAR BASS line.

Classical composers emphasized a ______ melody above textural complexity and wrote music with a clear p____ and p____ structure. Instead of keeping a musical piece in one affect as in the Baroque period, Classical composers introduced ______CONTRASTS within a piece.

Answer 18

CLASSICAL;

homophony;
simplicity;

slower;

natural;
phrase;
period;
stylistic

Question 19

The NATIONALIST movement was a facet (feature) of the _____ era during the late nineteenth and early twentieth centuries in which music evoked the n____ or r____ character of a PLACE. Composers used ____ music in their compositions either as a direct quote or as a framework for the composition of melodies and rhythms that resemble ___music of the area.

Nationalistic composers who represented _____ include Glinka, Borodin, Balakirev, Mussorgsky, and Rimsky-Korsakov

Nationalistic composers who represented ______ include Smetana, Dvorak, and Janacek

Composers who represented ______ are Grieg and Sibelius.

Composers who represented ______ are Elgar, Vaughan Williams, and Holst.

Composers who represented ______ are Albeniz, Granados, and de Falla.

Composers who represented Hungary include __(b and k)__.

Composers who represented the U.S. are __(i, h, g, and c)__.

Answer 19

ROMANTIC;
national;
regional;
folk;
folk;

RUSSIA

CZECHOSLOVAKIA

NORWAY/FINLAND-

ENGLAND

SPAIN

HUNGARY-Barok and Kodaly;

U.S.-Ives, Harris, Gershwin, and Copland.

Question 20

In the 19th century, music philosophers debated the value of program music vs. absolute music.

Programmatic music, or music that represented NON-MUSICAL ___or ___, flourished in the Romantic era with program s____, s_____ poems, and c_____ pieces with DESCRIPTIVE titles. Examples of Romantic-period PROGRAM music include DON QUIXOTE (by Richard _____), DANSE MACABRE (by Camille _____), SYMPHONY FANTASTIQUE (by Hector ____), and the SORCERER’S APPRENTICE (by Paul ___).

Supporters of programmatic music argued that music alone could not _____ and that music needed ASSOCIATIONS for audiences to fully grasp musical expression.

Absolute music was defined as ____music that existed apart from EXTRA-MUSICAL REFERENCES. Music should be able to move audiences solely on the ____ of the music itself.

Answer 20

images or ideas;
symphonies;
symphonic;
character;
(Richard Strauss);
(Camille Saint-Saens);
(Hector Berlioz);
(Paul Dukas);

express anything;

instrumental;
purity;

Question 21

Before the nineteenth century, horns had a range limited to the notes of the OVERTONE series and to CROOKS or HAND-STOPPING techniques that changed the _____ of the instrument. Although the hand-stopping technique added a WIDER range to the horn, t____ and v____ were highly variable.

The trumpets of the classical era were ____ than the horns; although they still had a range limited to the notes of the overtone series, hand-stopping techniques could NOT be used because of the ____ of the early trumpet.

Answer 21

pitch;
tone and volume;

more limited;
length;

Question 22

The invention of the ____horn and ____ for the trumpet allowed players to play _____ throughout their entire range. Composers began to incorporate MORE BRASS into their orchestral writing, so brass instruments of the nineteenth century increased in p___ and c____, and composers such as Wagner, Strauss, Stravinsky, and Mahler became known for their TREMENDOUSLY LARGE orchestrations and v___ s___ of sound.

Answer 22

valved;
keys;
chromatically;

power and capacity;
vast scope

Question 23

The IMPRESSIONIST movement in music was influenced by the synonymous movement in visual arts by painters such as Monet, Cezanne, Dega, Manet, and Renoir, in which SUBTLE brushstrokes obscured any sharp lines to give a general “____” of a scene without precise details.

French composer ____ developed a musical equivalent in which sound defied strict HARMONIC rules and soft instrumental colors focused on CONSTANT _____ without distinct SECTIONAL _____. Melodies tended to center around a _____ without much _____.

DEBUSSY was a KEY Impressionist composer; other composers who have worked in the Impressionist aesthetic include Maurice RAVEL, Bela BARTOK, Oliver MESSIAEN, Gyorgy LIGETI, and George CRUMB.

Answer 23

“impression;

Claude Debussy;
movement;
borders;
single pitch;
climax;

Question 24

______ (1874-1951) was an Austrian theorist and painter, and one of the most influential composers of his time. He developed the 12-TONE TECHNIQUE OF MUSIC in which all 12 pitches of the chromatic scale are treated as _____, rejecting the conventions of _____.

The 12 pitches are ordered into a series that becomes the basic _____ for the composition. The pitches can be in any ___ or ___, but they must be introduced in the composition in THAT order. His revolutionary system of composition abandoned any hint of a _____. The impact of his 12-tone system of composition continued in the music of Milton BABBIT, Pierre BOULEZ, Charles Wuorinen, Anton WEBERN, Karlheinz STOCKHAUSEN, Alban BERG, Luigi NONO, Roger Sessions, and multiple other composers.

Answer 24

Arnold Schoenberg;
equal;
traditional tonality;

structure;
range or duration;
tonal center;

Question 25

A the end of the nineteenth century, Romantic music reached the height of EXPRESSIVE EMOTIONALISM with the large-scale works of _____ by composers such as T____, L____, and M______.

The beginning of the twentieth century brought about _____ and the REJECTION of TONALITY by experimental composers such as S_____, BOULEZ, BERG, and WEBERN. ______ was a trend of the the twentieth century that emerged as a reaction to the EMOTIONALISM of the late Romantic era and the abandonment of _____. Composers of the NEOCLASSICAL movement sought a return to the o____, r____, c____, and formal b____ of the music of the eighteenth century.

Neoclassical music usually featured RESTRAINT, l_____ texture, ob_____, a tr____ melodic line, and a call to the music of the past.

Prominent composers of the neoclassical movement include Paul Hindemith, Igor Stravinsky, Richard Strauss, Sergei Prokofiev, Manuel de Falla, and Aaron Copland

Answer 25

program music;
Tchaikovsky, List, and Mahler;

modernism;
Schoenberg;

Neoclassicism;
tonality;
order;
restraint;
clarity;
balance;

lighter;
objectivity;
transparent

Question 26

_____ began as a compositional movement in the late 1960s, as a reaction to the traditional, GOAL-ORIENTED, n_____, and REPRESENTATIONAL music of the previous centuries.

As an extension of EXPERIMENTAL music, minimalist music often features compositional techniques that emphasize the ____ of music rather than motion towards a ____. MINIMALIST composers sought to create music that uses a minimal amount of NOTES, minimal INSTRUMENTS, and minimal FOCAL POINTS, so that the music could become more a WALL OF SOUND than a goal-oriented mission.

MINIMALIST music tends to have a c____ harmony, perpetually repeated p___ (or drones), in_____ rhythms and rhythmic phrases, and gr_____ transformation.

The FORM tends to be c____ without well-defined separate s_____; notes may be ADDED to a r___p___ SLOWLY so that the resulting effect of the music becomes somewhat HYPNOTIC. Representative MINIMALIST composers include Steve Reich, Terry Riley, Philip Glass, John Adams, and La Monte Young.

Answer 26

Minimalism;
narrative

process;
goal;

constant;
patterns;
interlocking;
gradual;
continuous;
sections;
repeating pattern;

Question 27

LATIN jazz originated in the late ____ when musicians merged the rhythms and instruments of ____ music with _____ jazz music. The two prominent sub-genres of Latin jazz are AFRO-CUBAN jazz and AFRO-BRAZILIAN jazz.

Afro-CUBAN jazz incorporated C____ RHYTHMS such as the m___ and the h____ with elements of b_____. Afro-Cuban BASS LINES featured distinctive s____ rhythms labeled as either ___ or ____.

Afro-BRAZILIAN jazz incorporated rhythms of the s____ with music of E___and A___. A new STYLE OF _____ known as BOSSA NOVA featured a laid-back singing style, increased _____complexity, and a distinctive rhythmic pattern known as the bossa nova clave.

Famous Latin jazz musicians include Mario Bauza, Luciano Pozo, Frank Grillo, W.C. Handy, Dizzy Gillespie, among others.

Answer 27

1940s
Afro-Latin;
American;

Cuban;
mambo;
habanera;
bebop;
syncopated;
2-3 clave;
3-2 clave;

samba;
Europe and America;
SAMBA;
textural;

Question 28

The BOSSA NOVA MOVEMENT originated in Rio de Janeiro, Brazil, in the late 1950s and combined elements of the popular B___s___ with elements of A___j___. It soon became popular in the U.S. and then became in international sensation.

Bossa nova is characterized by a LAID-BACK singing style, complex _____, and a DISTINCTIVE RHYTHMIC pattern known as the ______. The music of bossa nova often features _____ as a principal instrument and also includes b___, DRUMS, voice, and p____.

The bossa nova rhythm, often notated in _____, starts with a ____, but is otherwise s_____ to give a SWAYING feeling rather than a strong, measured _____.

Central figures of the bossa nova movement include ANTONIO CARLOS JOBIM, JOAO GILBERTO, Vinicius de Moraes, Roberto Menescal, and Nara Leao.

Famous tunes include “Chega de Saudade,” “Girl from Ipanema,” “Desafinado,” “Corcovado,” “Aguas de Marco,” and “Mas Que Nada.”

Answer 28

Brazilian samba;
American jazz;

harmonies;
bossa nova clave;
acoustic guitar;
bass;
piano;

duple meter;
downbeat;
syncopated;
pulse

Question 29

Music of the blues originated through AFRICAN WORK SONGS that were brought over to the U.S. in the 19TH and early-20TH centuries. The rise of the blues occurred around the time of the _____ in the U.S., especially in the MISSISSIPPI DELTA and EAST TEXAS. Elements such as the C____ format, the U____ voice, and A_____ styles all have roots in traditional AFRICAN music.

By the mid-twentieth century, the BLUES had a standard _____ harmonic progression: I-I-I-I-IV-I-I-V-IV-I-I. The blues also utilizes the blues scale that features a ____ THIRD and a ____SEVENTH, called the “______.”

BLUES Music usually centers on a MELANCHOLY emotion, with instrumental and vocal techniques such as moans, growls, and cries to express that emotion.

Famous blues musicians include Blind Lemon Jefferson, Charley Patton, Blind Blake, Blind Willie McTell, Leadbelly, Bukka White, Big Bill Broonzy, Muddy Waters, B.B. King, and T-Bone Walker.

Answer 29

emancipation of slaves;
call and response;
unaccompanied;
accompaniment;

12-bar;
lowered third;
dominant seventh;
“blues notes”

Question 30

The term leitmotif is used to identify a r___m___FRAGMENT that musically represents some part of a musical DRAMA, usually a _____. The leitmotif must be clearly recognizable by its MELODY, HARMONIC PROGRESSION, or RHYTHM.

In the context of an opera, the leitmotif becomes a useful tool for composers as _____development and the _____ of a story.

In a musical drama, the leitmotif can r____ the action taking place onstage, as well as r____an event or person from a previous scene.

The leitmotif can also be modified through t_____ transformation and even combined with other leitmotifs to suggest a CHANGE in the n____ and the c___r___.

The term is most often associated with _____ later operatic works, although he preferred the terms GRUNDTHEMA and HAUPTMOTIV instead.

Answer 30

reoccurring motivic;
person, place, or idea;

character;
unfolding;

reinforce;
recall;

thematic;
narrative;
characters’ relationships;

Wagner’s;

Question 31

Before Wagner, harmonic language was dominated by the rules of d_____ and straightforward v_____. By the middle of the 19th century, composers started to explore ideas of c_____ and common t__r___ rather than strong r__p___.

Diatonicism is using only the 7 TONES of a standard scale without _____alterations.

Chromaticism is a compositional technique interspersing the primary ______ pitches and chords with other pitches of the CHROMATIC SCALE.

Answer 31

diatonicism;
voice leading;
chromaticism
tone relationships;
root progressions;

chromatic;

diatonic;

Question 32

The arrival of Wagner’s _____ brought a major change to the harmonic language of the past and signaled a new era of modern compositional techniques. In the four-hour opera, CHROMATICISM plays a prominent role in the dissolution of typical ____ expectation.

Now known as the Tristan chord, the ____ of the main character reveals a functionally ambiguous ____(f-b-d#’-d#’), which instead of resolving, _____to ANOTHER TRITONE chord.

Wagner’s use of harmonic SUSPENSION, full CHROMATICISM, p____, and range of c____ in Tristan und Isolde paved the way to the modern collapse of traditional TONAL WRITING and to the advent of EXPERIMENTAL, a_____ compositions of the 20th century such as those of Bruckner, Mahler, and Schoenberg.

Answer 32

Tristan und Isolde;
harmonic;

leitmotif;
tritone chord;
progresses;

polyphony;
colors;
atonal

Question 33

Organum is considered to be one of the earliest forms of POLYPHONY and appeared in the ____ period. Organum was BASED on a c___f___ and BEGAN as ____ voices that DUPLICATED the original melody.

Organum types included PARALLEL voices at the ____ and PARALLEL voices at the _____. Composers adjusted the lines to avoid TRITONES as necessary.

Organum expanded to include ____ and ____ motion, instead of ONLY parallel motion, as well as f___ or FLORID organum in which the tenor chant ____ notes and upper voices DECORATED the tenor with phrases of varying length.

In the 12th century, the development of the ____ (a melody sungABOVE the plainsong of the TENOR) in organum moved the compositional techniques FURTHER toward p_____ as voices became increasingly COMPLEX and INDEPENDENT. By the 13th century, the ____ had replaced organum as a major polyphonic genre.

Answer 33

Medieval;
cantus firmus;
improvised;

octave;
fifth below;

contrary;
oblique;
free;
held;

DISCANT;
polyphony
motet

Question 34

ANCIENT GREEK TRAGEDIES hold an important influence on the modern opera and theatre of today.

The elements of a classic tragedy include: __(p,c,t,d,m,s)__.

In a Greek tragedy PLOT, the hero often has a ___ but encounters LIMITS through human frailty, the gods, or nature, and usually encounters _____.

The CHARACTERS must show essential QUALITIES or m___ that remain consistent throughout the plot.

____ is often displayed through a Greek tragedy to DRIVE THE PLOT and to _____ key plot elements.

DICTION must be _____ and serve the lines of the tragedy as one of the most important elements.

_____ is subservient to words and should only be used to ACCESSORIZE the plot.

____ refers to the setting of the drama and, like melody, should be used as an accessory.

Answer 34

plot, character, thought, diction, melody, and spectacle;
goal;
suffering;
morals;
Thought;
reveal;
clear;
Melody;
Spectacle

Question 35

By the end of the 17th century, OPERA had been widely accepted. TWO genres appeared as the new century turned its attention to the _____. Composers of the ENLIGHTENMENT held that opera should reflect ANCIENT___VALUES such as CLARITY, u___, s____ and propriety;

The opera SERIA that arose during this time focused on t___and SERIOUS subjects that were h____ rather than mythical. The STRUCTURE, NUMBER of singers, and PLOT line were structured so that the action usually took place in ___ acts with alternating ARIAS and RECITATIVES, and the number of characters usually was ___or ___ with ___to___ MAIN characters.

Opera BUFFA, in contrast, focused on HUMOROUS and l__-h___ elements. there was often a WIDE range of characters, and SPOKEN DIALOGUE replaced recitative. The form was ____ structured and often featured prominent ORCHESTRAL and INSTRUMENTAL parts. Music tended to be ____ and helped portray COMIC elements of the plot line, such as laughter and sneezing.

Answer 35

Enlightenment;
Greek;
unity;
structure

tragic;
historical;
three;
six or seven;
two to four;

light-hearted;
less;
faster;

Question 36

The authentic musical modes are commonly used in modern times and have origins in the M___ and G___ musical traditions. The most commonly known are __(IDPLMAL)__.

The Ionian (I) mode is also known as the MAJOR SCALE in modern musical theory.
Dorian (ii) is similar to the ____ scale, but has a ____ scale degree.
Phrygian (iii) is similar to the ____ scale, but has a ____ scale degree.
Lydian (IV) is similar to the ____ scale, but has a ____ scale degree.
Mixolydian (V) is similar to the ____ scale, but has a ____ scale degree.
Aeolian (vi) is also known as the NATURAL minor scale in modern musical theory.
Locrian (viio) is similar to the ____ scale, but has a ____ scale degree and a _____ scale degree.

Answer 36

Medieval;
Greek;
Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, and Locrian;

(Dorian) natural minor; raised 6th

(Phrygian) natural minor; lowered 2nd;

(Lydian) major scale; raised 4th;

(Mixolydian) major scale; lowered 7th;

(Locrian) natural minor; lowered 2nd; lowered 5th

Question 37

The SONATA form has been a key compositional structure since the _____ era. Usually referring to a CONVENTION (the way something is done) within a ____ of a sonata or symphony, the form features 3 main sections: the EXPOSITION, the DEVELOPMENT, and the RECAPITULATION.

The ___ and ___ themes of the movement are usually introduced in the EXPOSITION. The initial FIRST subject is introduced in the ___ key, while the SECOND subject is usually in the ___ or ___ ___ key. In a typical sonata form, a b___ or a short TRANSITION connects the first and second subjects.

In the DEVELOPMENT section, the thematic material from the exposition is a___, m___, and t___ through m___, k___, and m___. DEVELOPMENT introduces t____ that demands r_____; tension builds until the beginning of the RECAPITULATION.

In the recapitulation, t___b___ is reinstated with a shortened version of the ____ and the ____, this time in the ____ key instead of the dominant or relative minor.

A ____ may round out the sonata at the end.

Answer 37

Classical;
single movement;

melodic and harmonic;
exposition;
tonic;
dominant or relative minor;
bridge;

altered, modified, and transformed;
mood, key and modulations;
tension;
resolution;

tonal balance;
initial subject;
second subject;
tonic;

coda

Question 38

The SYMPHONY was a major compositional form in the ____ era and refers to a large musical work in _____ movements.

The classical symphonic form has a _____first movement, a _____second movement, a _____ in the third movement, and a _____ fourth movement.

The first movement is usually in _____FORM, which contains an exposition, development, and recapitulation.

The second slow movement is usually in a _____PATTERN or a t___ and VARIATIONS.

The third movement is typically in a _____ FORM such as the M___ and T___ or the S_____.

The fourth movement is typically in ____FORM or _____ FORM, in which a principal ____ in the ___ key alternates with NEW episodes: ABACADA…etc.

Answer 38

Classical
four;

fast;
slow;
dance form;
fast;

sonata allegro;

gentle, lyrical ABA;
theme;

dance;
Minuet and Trio;
Scherzo;

Rondo;
Sonata Rondo;
theme;
tonic;

Question 39

OPERA began as an art form in the LATE-16TH century and consisted of a STAGED DRAMATIC WORK with SINGERS and ORCHESTRA.

ORATORIOS began as an art form in the 17TH century and became popular in part because of the ____ of opera and because of ____bans on s___o___ during L____

Both opera and oratorio are large-scale musical works that feature DRAMATIC , MUSICAL , and NARRATIVE elements. The two forms both utilize s___VOCALISTS, CHORUS, ENSEMBLES, and o___. However, opera is usually THEATRICALLY STAGED, while oratorio is not. Also, oratorio usually centers on a ___or___ subject, while opera usually centers on h___, m___, or other s___ plot lines.

Famous operas include Jacopo Peri’s D____, Gioacchino Rossini’s B___of S___, Giacomo Puccini’s M___B___, W.A. Mozart’s The M___of F____, Guiseppe Verdi’s La T_____, and Georges Bizet’s C_____.

Famous oratorios include G.F. Handel’s M_____, Joseph Haydn’s C_____, and Felix Mendelssohn’s E_______.

Answer 39

success
religious;
secular operas
Lent;

solo;
orchestras;
religious or ethical;
historical;
mythological;
secular;

Daphne;
Barber of Seville;
Madame Butterfly;
The Marraige of Figaro;
La Traviata;
Carmen;

Messiah;
Creation;
Elijah

Question 40

The WALTZ is a dance form that has been popular since the ____ century and features triple meter in a lively tempo. The term literally means ____.

In waltz time, emphasis is on the DOWNBEAT, while the other two beats create a sense of FLOATING. Early forms of the waltz featured ____ simple, REPEATED phrases of about ___ measures.

As the dance evolved, the waltz became longer in ___ and more COMPLEX, with ____ material as well as a ____. It achieved popularity across all of Europe and reached its height of fashion with the VIENNESE waltz.

Representative composers of the Viennese waltz include Joseph LANNER, Johann S_____, Franz S____, Frederic C____, Franz L____, Johannes B____, and Pyotr T____.

Answer 40

18TH
“to turn about”

two;
eight;

form;
introductory;
coda;

Strauss;
Schubert;
Chopin;
Liszt;
Brahms;
Tchaikovsky

Question 41

The period from ____ was a time of major change in Western history. The __00s marked the end of the HUNDRED YEARS’ war, the fall of the BYZANTINE Empire, and the end of the GREAT SCHISM.

During the Renaissance, ___ emerged through the Reformation, European ____ expanded, and a MIDDLE class GREW in many European nations. As a result of the OTTOMAN TURKS’ victory, displaced Byzantine scholars brought ______ with them to other European countries, and the Western world had access to the PLAYS and HISTORIES of Ancient Greece for the first time.

Renaissance art featured classical Greek and Roman ideals of h___, CLARITY, and c___form. As a result, music of the RENAISSANCE featured G___m___, c___ of vocal lines,harmonic c___, IMITATIVE c___, and e___ .
The PRINTING PRESS was also invented during this time (1400-1600), so music became widely available to the expanding middle class.

Answer 41

1400-1600;
14;

religious conflicts;
colonialism;
ancient Greek writings;

humanism;
clean;
Greek modes;
clarity;
consonance;
imitative counterpoint;
expressivity;

Question 42

Music of the BAROQUE era, from ______, was influenced by the rise of r___ in the philosophy of the time. Composers sought to portray emotions through o____ rather than s_____, and the expression of any one piece or movement was limited to a_____.

____ was prominent during the Baroque era, and a Baroque ensemble would typically read music and ____ on a figured bass, also known as c____.

ORNAMENTATION was used heavily during the Baroque period and consisted of EMBELLISHED notes of a musical line. These included TRILLS, m____, and g___ notes that were rarely written out but instead were i___ by the performers.

Famous composers of the Baroque era include Claudio MONTEVERDI, Girolamo FRESCOBALDI, Arcangelo CORELLI, Antonio V____, Domenico SCARLATTI, Francois COUPERIN, Jean-Phillippe RAMEAU, Georg Philipp TELEMANN, G.F. H_____, J.S. B____, and Henry PURCELL.

Answer 42

1600-1750;
rationalism;
objectivity;
subjectivity;
single affect;

bass;
improvise;
continuo;

mordents;
grace;
improvised;

Vivaldi;
Handel;
Bach;

Question 43

The historically large African population found in the CARIBBEAN region near South America has had a substantial influence on the development of ____ music. Common features of African music include call and response singing, REPEATED and IMPROVISED musical figures, p___, and the use of African instruments such as congas, rattles, thumb pianos, claves, and drum ensembles.

_____ music, originally developed in Trinidad, is a popular song AND DANCE form in the Caribbean. Typically played with a STEEL DRUM band, this music is witty, lovely, and humorous.

The RUMBA is another African song AND DANCE form now popular in Cuba that uses ____ drums and sticks. It has a ____-part form with FAST p____, i____ verses, and REPETITIVE CALL AND RESPONSE sections.

The ____, prominent in both the Dominican Republic and Haiti, is a popular song and dance style in a swift DUPLE meter.

Instruments with some African influences include the double-headed TAMBORA drum and the metal GUAYO scraper.

Answer 43

Latin American;
polyrhythm

Calypso;

conga
three-part;
polyrhythms;
improvised;

Merengue;

Question 44

Most of the Pre-Colombian INDIGENOUS musical culture of South America known today revolves around the ____ of Peru and the ____ of central Mexico. The SPANISH conquerors of the 16th century recorded the role of music in these highly developed civilizations that produced PUBLIC c___, p___MUSICIANS, and m___-specific e___ INSTITUTIONS.

Aztec and Inca rulers employed musicians who were responsible for NEW COMPOSITIONS and performances of _____repertoires. Standards of performance were held high, and a mistake in a ceremonial performance or dance could mean ____.

Since NO ____ has been found of a Pre-Columbian musical notation, little is known about the actual sound and style of their music. However, evidence of Aztec and Inca instruments reveals those such as the huehuetl and teponaztli types of d____, gourd r_____, flutes and panpipes, clay j___, wood and c____ shell trumpets, b___ rasps, and ocarinas.

Answer 44

Inca;
Aztecs;
ceremonies;
professional;
musician-;
educational;

large;
death;

evidence;
drums;
rattles;
jingles;
conch;
bone

Question 45

The MAMBO (no.5) is a song AND DANCE genre of music that stems from the ____ movement of the 1940s. The form developed in ____ with influences from Mexico and the USA, as well as those from European dances and African rhythms. The genre soon became popular in Latin America and crossed over to the United States, where the mambo dance became a BALLROOM staple, especially in NEW YORK CITY.

Mambo is performed by _____ that usually consists of d___b___, b___, t___, t___, g___, and VOICES.

The mambo rhythms are ______ and features distinctive r____ for the RHYTHM section and ____ instruments.

C_______ often play strong syncopations over the ___ beat in a mambo ostinato, while the CONGA drum varies STRUCK tones through u____strokes, s___a___strokes, and o____tones.

Answer 45

Afro-Cuban;
Cuba;

an ensemble;
double bass;
bongo;
tumbadora;
trumpets;
guitar;

moderate to fast;
riffs;
brass;

Cowbells;
second;
unaccented;
strongly accented;
open;

Question 46

American musical theater of the early 20th century was intricately tied to the New York music industry called Tin Pan Alley, a GEOGRAPHICAL LOCATION where musicians and composers came together to create popular NEW SONGS for the w___c___ as a reaction against upper-class_____ music. The style borrowed heavily from the _____ scene as well as ______ sounds and themes.

The success of Tin Pan Alley songs depended on l___-s___p___ and STAGE SHOWS ON BROADWAY, and the first Broadway shows were LOOSELY RELATED s___, d___ and v___ music from Tin Pan Alley.

Answer 46

working class;
parlor;
jazz;
African-American;

large-scale productions;
singing, dancing, and vaudeville

Question 47

Appalachian music refers to the f___t___ of the EASTERN U.S. specifically the Appalachian mountain range. The music is heavily influenced by the IRISH, SCOTTISH, AND ENGLISH EMIGRANTS of the 18th century and features musical traditions such as English and Scottish b____, d____tunes, and f____songs.

AFRICAN-AMERICAN musical traditions also contributed to the conventional aspects of Appalachian folk music, such as the b___, STRONG r___d___, h___b___ notes, and GROUP singing, all originate from African-American slaves of the time.

Appalachian music features heavy o____, i_____, rhythmic and melodic f___, and an ____ tempo. Typical instruments used in the genre include the banjo, mandolin, guitar, AUTOHARP, American fiddle, fretted dulcimer, DOBRO, and dulcimer.

Answer 47

folk traditions;
ballads;
dance;
fiddle;

banjo;
rhythmic drive;
harmonic blues;

ornamentation;
improvisation;
focus;
upbeat;

Question 48

Early jazz music originated from a wide variety of CULTURAL, SOCIAL, and INSTRUMENTAL influences from the 1890s through the 1910s.

NEW ORLEANS jazz was one of the earliest forms of jazz music and borrowed from the music of black and CREOLE musicians; it featured frequent i___between instruments, i_____, and s___m___ rhythms.

Early jazz music, as well as blues music, was heavily influenced by the BLACK CHURCH through improvisation, storytelling, call and response, vocal i___, and the b___p___. Early jazz music also borrowed features of American m___b___ music and r____, such as strong s___ rhythms, and m__-h___ material.

P______ harmonies of composers such as DEBUSSY and RAVEL also contributed to early jazz music, and composers also incorporated the CLAVES and syncopations of _____ SONG AND DANCE forms.

Answer 48

interplay;
improvisations;
syncopated march;

black church;
inflections;
blues progression;
marching band;
ragtime;
stride;
multi-thematic;

Pianistic;
Latin

Question 49

Both the waltz and the mazurka were important ____ dances of the _____ era and became popular COMPOSITIONAL forms in the 1800s. The waltz originated in SOUTHERN GERMANY and AUSTRIA, while the mazurka originated in the province of MAZOVIA in P___.

BOTH dances feature TRIPLE time; however, the waltz places emphasis on the DOWNbeat, while the mazurka places emphasis on EITHER THE SECOND OR THE THIRD beats. Both dances usually consisted of __or__ REPEATED ___-measure sections; however, the waltz eventually evolved to become a l___, c___work within art music and included an i_____ as well as a c___. The waltz usually held a ____ tempo with an ELEGANT style, but stylistic ___ among MAZURKAS was common.

______ were livelier and more jovial versions; ______ were slower and more melancholic forms of the MAZURKA, while the conventional mazurka typically featured an INTENSE, m___ aesthetic.

Answer 49

European;
Romantic;
Poland;

two or four;
eight-measure;
longer complex work;
introduction;
coda;
faster;
variation;

Obertas;
kujawiak;
militant

Question 50

The region of NORTH Africa received considerable cultural influence from _____ countries, and the music reflects that cultural diversity. The North African region that includes present-day Morocco, Libya, Tunisia, and Algeria is also known by the Arabic term MAGHRIB (“WEST”).

Although ____ is geographically included on the African continent, it holds is own unique cultural, musical, and sociopolitical place within North Africa.

A__-I__ ruled the Maghrib from approximately the 7th century to the 16th century; beginning in the 11th century, J___and M___ REFUGEES from the a__-A___ region of the IBERIAN Peninsula brought with them the A___-A___music traditions that originated in Baghdad.

Elements of Arabic influence in North African music include the Q____ chant, __p/h/l__playing, and instruments such as the GIMBRI, d____, and metal c____.

Answer 50

Arabic;

Egypt;

Arabic-Islamists;
Jewish and Muslim;
al-Andalus;
Arab-Andalusian;

Quranic;
poetry/harp/lute;
drums;
castanets

Question 51

WEST Africa holds several local musical traditions such as those used in p____singing, various c____, w____ activities, and n____ identities.

_____musicians were responsible for continuing the oral tradition through singing and performing several instruments such as the l___, long t___, f___, and drum. Drum ensembles in SOUTH GHANA frequently use _____patterns, but those in Senegal, Niger, and OTHER parts of Ghana use the t___d___, one of the oldest instruments in West Africa.

Music plays an important role in birth, adulthood initiations, marriages, and death through singing, drumming, and dancing. During ceremonies, professional musicians perform special music to induce trance, possession, or direct communication with spirits.

PRAISE singing emerged in the 20th century through the GHANIAN musical genre called h____, which incorporates g____ playing with traditional A_____music.

Answer 51

praise;
ceremonies;
work;
national;

Court;
lute;
trumpet;
fiddle;
bell;
talking drum;

highlife;
guitar;
Akan

Question 52

The djembe is a rope-tuned, skin-covered drum dating back to the MALI Empire around 1230 AD that can produce a variety of pitches through different hand-striking techniques and drum positions. The djembe yields a large sound relative to its size and has been used for _____.

Up until the 1950s, the djembe was only known in its local _____ ethnic groups, but has since become popular in Western culture as well. In a traditional African ensemble, MULTIPLE drums are used, including a LEAD djembe and other _____. Drummers repeat various rhythmic figures resulting in POLYRHYTHMS, while lead djembe accentuates DANCER’S MOVEMENTS and i____ over the rest of the drumming ensemble. Musicians and singers typically form a CIRCLE with the d____ on the inside.

Answer 52

speech-like communication;

West African;
dunun;
improvises;
dancers

Question 53

Dialogue, also known as CALL AND RESPONSE, is an important and unique feature of African musical expression. SOLO performers can also have a musical dialogue through musical or extra-musical interjections such as w_____, p____ sounds, or other ALTERNATING m___p___.

The call and response form has been an influential African musical element that can be seen in the music of BLUES, h__-h__, j____, r____, and GOSPEL.

Answer 53

whistles;
percussive;
musical phrases;

jazz;
hip-hop;
rock;

Question 54

Distinctively African features are the use of p_____, s_____, and o___phrasing in rhythmic patterns, as well as call-and-response.

Much of African music uses a CYCLIC form in which various phrases with a set number of beats can be _____ as the performers want; musicians can begin at any part of the cycle and frequently i_____ over the form. Instruments that j____, b____, or r____ are also popular in African cultures; examples include the mbira and the dagbamba.

Answer 54

polyrhythms;
syncopation;
offbeat;

continued;
improvise;
jingle;
buzz;
rattle

Question 55

Kabuki is a JAPANESE theater form stemming from the EDO period of the 1600s that was originally performed by FEMALES, but is now performed by males as well.

____, the kabuki makeup, is a hallmark of the art form in which a WHITE o____ base is decorated with boldly colored k_____ to produce exaggerated and dramatic masks.

There are three types of kabuki: iidai-mono are _____; sewa-mono are DOMESTIC THEATER DRAMAS; and shosagoto are _____.

The form of a kabuki play generally contains four parts: the first part called the d___ includes 2 sections that introduce the m___ and the c____ (OKI and m___).

The second part called the c____ includes 2 sections that ____the plot EMOTIONALLY and CLIMACTICALLY (k___ and m___).

The third part called the o____ is a DANCE component.

The fourth part called the i____ includes both the musical FINALE and the ___ of the plot (CHIRASHI and DANGIRE).

Answer 55

Kesho;
oshiroi;
kumadori;

deha;
mood;
characters (oki and michiyuki);

chuha;
build;
(kudoki and monogatari);

odoriji;

iriha;
end

Question 56

The MAQAM system of melodic organization used in Middle Eastern music most resembles the WESTERN MODE but is distinctively confined to the _____-chord. There are more than ___ different maqamat, and each defines the melodic c___, p___, and h___ development of the scale.

The Middle Eastern maqam is not e__-t___ as in Western music, as ___ notes are tuned based on the ____; additionally, each of the remaining notes may be TUNED DIFFERENTLY depending on which MAQAM is being used.

Scalar intervals may include approximations of ____tones, ____tones, and even MICROtones. Musicians frequently compose and improvise over a _____maqam, but may also modulate to others before returning. Since the nature of the Middle Eastern maqam contains numerous subtle microtonal variations, music of the region is mostly ____ and is rarely ever harmonic.

Answer 56

lower tetra;
30;
contour;
pitches;
hierarchical;

even-tempered;
fifth;
third harmonic;

quartertones;
semitones;
single;
melodic;

Question 57

The PIPA is a pear-shaped ____ LUTE traditionally made with silk thread that has ____ strings and a ___ neck. It has been a popular instrument of Chinese culture since the 7th century, and is often played as a SOLO instrument in performance. The standard tuning for this instrument, A-D-C-A, allows the FULL_____scale to be played.

The e____ is another traditional Chinese LUTE often featured as a SOLO instrument and has ___ strings with a bow that sits ____ the strings. The traditional instrument is typically made with SNAKESKIN on the sound box and horsehair for the bow.

The y____ is a trapezoidal, hammered d____ that is often played solo as well as in ensembles.

The d____ is a TRANSVERSE FLUTE that plays an important role in Chinese folk, operatic, and orchestral music. It includes a special hole in addition to the BLOWING and FINGER holes that, when applied, gives the resulting sounds a n___and b___ quality.

Answer 57

Chinese;
four;
bent;
chromatic;

erhu;
two;
in between;

yangqin;
dulcimer

dizi;
nasal and buzzing

Question 58

The most well-known of the Aboriginal instruments, the didgeridoo, consists of a simple wooden tube that is slightly FLARED at the end. Didgeridoo musicians ____ similarly to brass players but without a ____. The sound produced is likened to a low-pitched d____ and is often used to accompany s____ or traditional s______.

The bull-roarer consists of a simple w___s___ connected to the END of a length of ____. Sound is produced when the cord is ____ and the bull-roarer is WHIRLED in a circular motion. The aerodynamics of this instrument creates a pulsing, LOW-PITCHED ROAR.

The gum leaf is a more primitive Aboriginal instrument, yet still plays an important role in the culture and tradition of native Australians. Musicians use the LEAF of the EUCALYPTUS TREE held ____against the ___, as a simple w___v___ for the mouth. Skilled players can easily play tunes using the same technique as in whistling.

Answer 58

buzz their lips;
mouthpiece;
drone;
songs;
stories;

wooden slat;
cord;
wound (twisted);

taut;
lip;
wind valve;

Question 59

Music played a key role in Australian Aboriginal culture through s____, PRESERVING h____, and LEADING c____. Since there was no formal system of writing, the Aborigines held a strong ORAL TRADITION; records were passed down through generations via s___and d___.

The aborigines believed that all music comes from the ____, and new songs were discovered through v___and d___. Music played an integral role in Aboriginal daily life, and children were encouraged at an early age to sing and dance while doing EVERYDAY TASKS.

The aborigines had songs that recorded family h____, g___ of the land, RULES, and CUSTOMS. The Aborigines also had SECULAR g___ songs about controversies and relationships.

C______ music played an important role in the various spiritual ceremonies, whether to i___ ANCESTRAL beings or to p___ items of the DECEASED.

Answer 59

storytelling;
history;
ceremonies;
song and dance;

spiritual realm;
visions and dreams;

histories;
geographies;
gossip;

Ceremonial;
invoke;
purify;

Question 60

The Polynesian nose flute is a widely important wind instrument throughout the P____, except for Australia and New Zealand. Commonly made out of ____, the nose flute is played through a SINGLE nostril, while the other nostril is held SHUT. Since the nose flute produces a s___ and g___ sound, it played an important role in many POLYNESIAN musical TRADITIONS.

The nose flute was popular during c___ and l___; the timbre and tone of the nose flute had an ENTICING sound, and as a quiet instrument, encouraged intimacy and privacy for current and prospective lovers. In TONGA, the nose flute was also used as a respectful way to GENTLY ___ the ___ of a tribe. Some cultures believed that nose flutes were also instruments that could evoke m___and s___ qualities.

Answer 60

Pacific;
bamboo;
soft and gentle;

courtship and lovemaking;
awaken;
chief;
magical and spiritual