Jean Ferris Music the Art of Listening Ninth Edition Ebook

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Music The Art of Listening 9th Edition by Jean Ferris – Test Banking company

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Chapter 02

Rhythm

Multiple Choice Questions

1. Rhythm refers to the organisation of
   A. long and brusk sounds.
   B. strong and weak pulses.
   C. high and low pitches.
   D. fast and slow tempos.

2. Rests indicate
   A. measured silence.
   B. unmeasured silence.
   C. rate of speed.
   D. rhythmic annotation.

3. Rhythm notation indicates all of the post-obit except
   A.long sounds.
   B. measured silence.
   C.  rate of speed.
   D. short sounds.

4. The rate of speed of a musical limerick is its
   A.meter.
   B. pulse.
   C. beat.
   D.  tempo.

5. The __________ is an instrument that helps composers indicate the tempo of a composition.
   A.hippodrome
   B. tempometer
   C. metrodome
   D.  metronome

6. Verbal tempo indications are
   A.used by many composers.
   B. often expressed in Italian terms.
   C. useful to know because they normally appear in concert programs.
   D.  all of the above.

7. Meter refers to the organization of rhythm into
   A.long and short sounds called rhythms.
   B.  metrical patterns of stiff and weak beats.
   C. high and low pitches.
   D. fast and irksome tempos.

8. Music is never static, only continually moves in
   A. time.
   B. rhythm.
   C. meter.
   D. audio.

9. The rhythms in metered music may be compared with
   A. the rhythm of text as it would exist spoken.
   B. the movement of birds.
   C. a dialogue betwixt two debaters.
   D. pelting as it falls.

10. Metered music is notated in units called
    A.braces.
    B. staves.
    C.  measures.
    D. sections.

11. It is the custom in Western music to accent the __________ beat of the measure.
    A. offset
    B. second
    C. third
    D. fourth

12. Duple meter has __________ beats per measure.
    A. ii
    B. iii
    C. four
    D. a flexible number of

13. Triple meter has __________ beats per minute.
    A.ii
    B.  three
    C. iv
    D. a flexible number of

14. Quadruple meter has __________ beats per infinitesimal.
    A.two
    B. three
    C.  four
    D. a flexible number of

15. Accents may be accomplished each of the following ways except
    A.stress.
    B.  supposition.
    C. duration.
    D. position.

16. The notation that ordinarily equals ii beats:
    A.whole note.
    B.  half notation.
    C. quarter note.
    D. eighth note.

17. The note that usually equals one trounce:
    A.whole note.
    B. half note.
    C.  quarter note.
    D. eighth note.

18. The note that usually equals four beats:
    A. whole notation.
    B. half note.
    C. quarter annotation.
    D. eighth notation.

19. The notation that usually equals one-half beat:
    A.whole note.
    B. half note.
    C. quarter note.
    D.  8th note.

20. The last beat of a measure, which is usually the weakest, is called the
    A.crescendo.
    B. decrescendo.
    C. downbeat.
    D.  upbeat.

True / False Questions

21. Music always has rhythm.
    Truthful

22. The listener responds to rhythm merely physically.
    False

23. Musical sounds vary in intensity equally well as in elapsing.
    TRUE

24. A quarter annotation is twice every bit long as a half note.
    FALSE

25. The metronome made it possible for composers to betoken tempo equally exactly every bit they notate pitch.
    TRUE

26. In metered music, tones may occur on, before, or after the beats.
    TRUE

27. In metered Western music, it is customary to accent the get-go and 4th beats of each measure.
    FALSE

28. When there are more than three beats per mensurate, a secondary accent cannot occur.
    False

29. There is unremarkably no reference to tempo on a printed program.
    Imitation

30. The conductor bears lilliputian responsibility and has only limited control over a functioning.
    Imitation

31. The conductor brings his arm upwards on the first crush of the measure.
    False

32. Conducting patterns should remain recognizable to the performers.
    True

Matching Questions

33. Matching

i. rest	the pulse of a piece	5
2. bar	the system of long and brusque sounds	3
3. rhythm	the speed at which a piece is performed	four
four. tempo	a symbol indicating the cessation of sound	1
5. vanquish	a unit containing a certain number of beats	2

34. Matching

1. con brio	very fast	v
ii. vivace	slow; "at ease"	4
iii. allegro	lively	two
four. adagio	with spirit	1
5. presto	fast; cheerful	iii

35. Matching

1. non troppo	ho-hum; "wide"	2
2. largo	moderately tiresome; "walking" tempo	3
three. andante	very	four
four. molto	non also much	1
v. moderato	moderate	v

Chapter 04

Harmony

Multiple Option Questions

1. In music, the opposite of noise is
   A.sustenance.
   B. forbearance.
   C.  consonance.
   D. perseverance.

2. When ii or more simultaneous pitches create a sense of tension and drive, they are said to exist
   A.consonant.
   B.  dissonant.
   C. tonal.
   D. none of the higher up.

3. The most consonant interval is a
   A.2nd.
   B. 3rd.
   C.  octave.
   D. fifth.

4. Three or more pitches sounding simultaneously to form a whole comprise a
   A.triad.
   B. diad.
   C. tetra.
   D.  chord.

5. The relationship between dissonance and consonance in tonal music may exist summarized as:
   A. consonance resolves the tension created by racket.
   B. noise resolves the tension created by consonance.
   C. dissonance and consonance are interchangeable.
   D. dissonance and consonance are unrelated.

6. Chords may be constructed upon the post-obit intervals:
   A.seconds.
   B. thirds.
   C. fourths.
   D.  all of the higher up.

7. When 2 or more simultaneous pitches create a sense of stability or rest, they are said to be
   A. consonant.
   B. dissonant.
   C. tonal.
   D. none of the to a higher place.

8. The system of harmony that has been prevalent in the West for nearly three hundred years is called the __________ system.
   A.modal
   B. bitonal
   C.  tonal
   D. atonal

9. The fifth step of a diatonic scale is called the
   A.tonic.
   B. supertonic.
   C. subdominant.
   D.  dominant.

10. The fourth step of a diatonic scale is called the
    A.tonic.
    B. supertonic.
    C.  subdominant.
    D. dominant.

11. The strongest harmonic relationship or "pull" in the tonal system is
    A.the tonic leading toward the dominant.
    B. the tonic leading toward the subdominant.
    C. the subdominant leading toward the tonic.
    D.  none of the above.

12. Melodic lines, used singly, combined with one another, or accompanied by harmony, grade
    A.timbre.
    B. torque.
    C. tenacity.
    D.  texture.

13. A unmarried, unaccompanied melodic line has a type of texture chosen
    A. monophony.
    B. polyphony.
    C. homophony.
    D. oligophony.

14. A texture that involves melody used in ii or more lines simultaneously is chosen
    A.monophony.
    B.  polyphony.
    C. homophony.
    D. oligophony.

15. When a primary melody is accompanied by other, subordinate voices that produce harmony, the texture is called
    A.monophony.
    B. polyphony.
    C.  homophony.
    D. heterophony.

16. A circular is an case of __________ texture.
    A.monophonic
    B.  polyphonic
    C. homophonic
    D. heterophonic

17. A hymn sung with accessory is an example of ___________ texture.
    A.monophonic
    B. polyphonic
    C.  homophonic
    D. oligophonic

18. The modern concept of tonal harmony based on major and minor scales was accepted in the
    A.1300s.
    B. 1400s.
    C. 1500s.
    D.  1600s.

True / False Questions

19. In music, two or more different tones sounded together produce harmony.
    Truthful

20. In music, harmony signifies a pleasant or desirable condition.
    Simulated

21. In music, dissonance implies a negative or undesirable situation.
    FALSE

22. Consonance and noise are relative rather than absolute terms, meaningful only when compared to each other.
    True

23. The standard past which sounds are labeled "consonant" and "anomalous" remains abiding through time simply differs from civilization to culture.
    Faux

24. Although melody is sequent and "linear" while harmony is simultaneous and "vertical," the two concepts are in fact interrelated, and work closely together.
    TRUE

25. Tonality refers to the authorisation of the ascendant note over other pitches in the major or minor calibration.
    FALSE

26. The ascendant triad seems to lead toward the tonic.
    Truthful

27. The subdominant triad provides a somewhat weaker sense of drive toward the tonic chord than the dominant triad.
    TRUE

28. Because polyphony consists of simultaneous, independent melodies, it can not produce harmony.
    Fake

29. Harmony is an essential element of non-Western music.
    Imitation

Matching Questions

30. Matching

1. dissonance	passive sound that seems at rest	iv
2. texture	active, unsettled sound	1
three. chord	manner in which melodic lines are used in music	2
four. consonance	simultaneous sounding of ii or more different tones	5
5. harmony	meaningful combination of three or more than tones	iii

31. Matching

ane. polyphony	i unaccompanied melodic line	three
2. homophony	combination of two or more simultaneous melodic lines	ane
iii. monophony	melodic line accompanied past chordal harmony	2

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