Foundations of Western Music
Exam Answer Key
Course Introduction
Foundations of Western Music explores the key concepts, historical developments, and influential works that have shaped Western musical tradition from the Middle Ages to the present. The course introduces students to essential musical elements such as melody, harmony, rhythm, and form, while examining major genres, composers, and stylistic periods including Gregorian chant, Baroque, Classical, Romantic, and contemporary music. Through listening, analysis, and discussion, students gain a broad understanding of the evolution of Western music and its cultural contexts, preparing them for further study in music appreciation, performance, or theory.
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Listen 8th Edition by Vivian Kerman
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Chapter 1: Rhythm, Meter, and Tempo
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Q1) Which term refers to the specific arrangements of long and short notes in music?
A) tempo
B) meter
C) beat
D) rhythm
Answer: D
Q2) Placement of accents away from their normal stresses in the meter results in:
A) nonmetrical music.
B) simple triple meter.
C) compound triple meter.
D) syncopation.
Answer: D
Q3) Which term indicates the slowest tempo?
A) grave
B) moderato
C) adagio
D) larghetto
Answer: A
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Chapter 2: Pitch,Dynamics,and Tone Color
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Q1) What is the musical term for "medium"?
A) subito
B) mezzo
C) diminuendo
D) sforzando
Answer: B
Q2) The musical term for the level of sound is:
A) pitch.
B) amplitude.
C) duration.
D) dynamics.
Answer: D
Q3) A healthy human ear can hear from ________ to ________ cycles of sound vibrations per second.
A) 10; 20
B) 20; 20,000
C) 20; 440
D) 20; 440,000
Answer: B
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Page 4
Chapter 3: Scales and Melody
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Q1) The most general term for the basic subject matter of a piece of music is: A) phrase.
B) tune. C) theme.
D) melody.
Answer: C
Q2) An organized series of pitches played or sung in a certain rhythm is called a: A) melody. B) phrase. C) scale.
D) sequence.
Answer: A
Q3) Motives are by definition: A) brief.
B) elaborate.
C) harmonic.
D) parallel.
Answer: A
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Page 5
Chapter 4: Harmony, Texture, Tonality, and Mode
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Q1) Define the term key.Relate key to the chromatic scale.
Q2) Define the terms tonality,tonal,and tonic.How are they related to one another?
Q3) Which mode is formed with the diatonic scale oriented around C (do)?
A) major
B) minor
C) tonic
D) chromatic
Q4) Non-imitative polyphony occurs when:
A) various musical lines are heard one after another with the same melody or similar melodies.
B) the main melody is heard in one line and the other parts have clearly less important material, forming an accompaniment to the melody.
C) all musical lines are heard simultaneously, but each has a different melody.
D) all voices or parts are heard simultaneously with the same melody.
Q5) The effect of chords used with a melody is called:
A) harmony.
B) texture.
C) mode.
D) rhythm.
Q6) Define harmony and give some examples of how music can be harmonized.
Page 6
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Chapter 5: Musical Form and Musical Style
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Q1) Name,define,and discuss the two factors that determine musical form.
Q2) The arrangement,relationship,or organization of elements in music is called: A) tone.
B) form.
C) symmetry.
D) texture.
Q3) Fugue,ritornello,and rondo are examples of: A) genres.
B) forms.
C) styles.
D) tunes.
Q4) Which is true of form?
A) It is purely intellectual.
B) It is purely structural.
C) It contributes to the emotional effect of music.
D) It hampers the composer's creativity.
Q5) Contrast the notions of form and a form.
Q6) Discuss the elements of form as applied to poetry and visual arts.Refer to at least two elements for each discipline.
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Q7) List the elements of music that a composer can manipulate in a piece of music.
Chapter 6: The Middle Ages
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Q1) Who is traditionally associated with collecting and codifying the chants of the church?
A) Léonin
B) Pérotin
C) Pope Gregory I
D) Guillaume de Machaut
Q2) A plainchant sequence consists of:
A) a simpler melody than an antiphon.
B) a series of short tunes repeated with some variation.
C) a choir accompanied by an instrumental drone.
D) a soloist accompanied by an instrumental drone.
Q3) Who were the medieval poet-composers of southern France?
A) troubadours
B) trouvères
C) Léonin and Pérotin
D) Minnesingers
Q4) Define plainchant sequence and diagram an example.
Q5) Differentiate between the music of ars antiqua and that of ars nova.Name two composers of each style.
Page 8
Q6) How does Qur'anic recitation compare to Gregorian chant?
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Chapter 7: The Renaissance
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Q1) The process by which Renaissance composers freely embellished plainchant melodies for use in their compositions is known as:
A) harmonization.
B) improvisation.
C) paraphrase.
D) elaboration.
Q2) Define Gregorian hymn and give an example of one.
Q3) What gives Weelkes's madrigal "As Vesta Was from Latmos Hill Descending" a modern feel? Explain the musical causes for the difference between the mood of this music and that of Josquin's music.
Q4) Approximately when did Josquin Desprez live? What were his most important musical contributions? In which genres was he a great pioneer?
Q5) The texture of "Daphne" is:
A) monophonic.
B) homophonic.
C) polyphonic.
D) monophonic, then polyphonic.
Q6) For which two types of composition is Dufay best known?
Q7) Explain how polyphonic voices can sometimes sound homophonic.
Page 9
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Chapter 8: The Early Baroque Period
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Q1) What accompanies the hunting song for chorus?
A) a lyre being strummed
B) two sticks struck together to keep the beat
C) flutes and drums
D) a layering of drumbeats
Q2) Who is singing to whom in the recitative section of the final scene of Dido and Aeneas?
A) Dido sings to Aeneas.
B) Aeneas sings to Dido.
C) Dido sings to Belinda.
D) Belinda sings to Dido.
Q3) The term basso continuo:
A) refers to an extended style of singing for men in the Baroque period.
B) indicates where the plainchant melody is paraphrased in Baroque vocal music.
C) refers to the bass line and continuous chords of a Baroque composition.
D) is another term for ground bass.
Q4) Outline the flow of this Gambian song.
Q5) What are the background and plot of Dido and Aeneas? What is the literary source for this work?
Q6) Characterize the nature and purpose of early Florentine operas.
Page 10
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Chapter 9: Prelude: The Late Baroque Period
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Q1) Alessandro Scarlatti,Antonio Vivaldi,François Couperin,Jean-Philippe
Rameau,Domenico Scarlatti,and Georg Philipp Telemann were important composers in the late Baroque period.Name their respective countries of employment.
Q2) Which best describes the dualism found in Baroque art and music?
A) recitative versus aria
B) pomp and extravagance versus system and calculation
C) church music versus secular music
D) systematic extravagance versus calculated pomp
Q3) Explain the impact of improved tuning on composers in the Baroque era.
Q4) The numerical shorthand below the basso continuo notes indicating the content of the chords to be played is called:
A) ground bass.
B) figured bass.
C) ground figures.
D) concerto grosso.
Q5) Describe the scientific approach to emotional expression in music in the late Baroque era.
Q6) Briefly describe the two ways Baroque composers approached and used tone color.
Q7) Describe two purposes of opera in the Age of Absolutism.
Page 11
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Chapter 10: Baroque Instrumental Music
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Q1) Briefly describe two ways in which a fugue subject may be manipulated.
Q2) What Latin word does the term fugue come from? What does it mean,and how does the fugue illustrate its meaning?
Q3) The section of a fugue in which all subject entries first occur is the:
A) subject.
B) exposition.
C) countersubject.
D) episode.
Q4) Explain variation form.Why did Baroque composers emphasize the bass line?
Q5) In Bach's Fugue in C Major,later entries of the fugue subject:
A) are interwoven with a countersubject.
B) are in stretto.
C) were composed as an inversion.
D) are twice as fast as the original exposition.
Q6) The poetry associated with Vivaldi's Spring,describes:
A) a springtime picnic.
B) singing birds, murmuring streams, and a sudden thunderstorm.
C) a boating party.
D) an outdoor festival.
Q7) Describe the program of the first movement of Vivaldi's Spring.
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Chapter 11: Baroque Vocal Music
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Q1) Explain the impresario side of Handel's musical career.
Q2) Handel knew how to follow the tastes of the public in his compositional style.This is shown in his switch from writing ________ to writing ________.
A) operas; oratorios
B) string music; woodwind and brass music
C) oratorios; operas
D) vocal music; instrumental music
Q3) Define and discuss the elements of Italian opera seria.
Q4) In the Baroque era,women were most able to participate in music professionally by:
A) playing an instrument.
B) singing.
C) making instruments.
D) composing music.
Q5) Which is true of an oratorio?
A) An oratorio is performed as part of a religious service.
B) An oratorio is the most secular of all religious genres.
C) An oratorio uses a chorus and soloists as well as instrumentalists.
D) Oratorios are staged, with elaborate sets.
Q6) Describe the varied role of the chorus in Messiah.
Page 13
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Chapter 12: Prelude: Music and the Enlightenment
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Q1) Briefly describe Rococo style.
Q2) The novel,a new literary genre of the eighteenth century,can be compared to:
A) the secular cantata.
B) opera seria.
C) the secular oratorio.
D) comic opera.
Q3) The main function of the brass section in a Classical orchestra was to:
A) play along with the woodwind section.
B) play along with the string section.
C) support the main harmonies.
D) play special effects such as fanfares.
Q4) Which is true of the use of dynamics in the Classical era?
A) Dynamics and gradual dynamic changes were specifically notated by composers.
B) Dynamics were not notated by composers; they were improvised by performers.
C) Dynamics could change only from movement to movement within a piece.
D) Dynamics were notated by composers but remained more or less constant throughout a piece.
Q5) What instrument became a favorite in the Classical period? Why?
Q6) Briefly describe how the composer's use of set forms might influence the listener's comprehension of the music.
Page 14
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Chapter 13: The Symphony
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Q1) The third movement in Classical symphonies is always:
A) a slow movement with beautiful, relaxing melodies.
B) the fastest, lightest movement.
C) a minuet and trio.
D) a moderate or fast movement in sonata form that sometimes has a slow introduction.
Q2) What was the attraction of sonata form for Classical composers?
Q3) Which is true of the minuet?
A) The Classical minuet is more danceable than the Baroque minuet.
B) The Classical minuet is shorter and simpler than the Baroque minuet.
C) The Classical minuet is more extended than the Baroque minuet.
D) The minuet remained basically unchanged from the Baroque era to the Classical era.
Q4) The first movement in most Classical symphonies is generally:
A) a slow movement with a quiet mood.
B) the fastest, lightest movement.
C) in minuet form and triple meter.
D) a moderate or fast movement in sonata form that sometimes has a slow introduction.
Q5) Define retransition as it relates to sonata form.
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Chapter 14: Other Classical Genres
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Q1) The form developed by Mozart for the first movement of a concerto is called ________ form.
A) sonata
B) rondo
C) double-exposition
D) double-development
Q2) The European symphony orchestra first assumed a standardized makeup when it was used to reflect the power and splendor of:
A) European courts.
B) Emperor Franz Joseph.
C) the Catholic Church.
D) Pope Marcellus.
Q3) An operatic number sung by two or more people is called a(n):
A) arioso.
B) buffa.
C) recitative.
D) ensemble.
Q4) Define cadenza and place it in the structure of a concerto.
Q5) List the instruments (and the number of each)in a string quartet.
Q6) Discuss the establishment of the court orchestra in Japan and its influences.
Page 16
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Chapter 15: Beethoven
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Q1) Which instrument is not heard until the fourth movement of Symphony No.5 in C Minor?
A) clarinet
B) viola
C) French horn
D) trombone
Q2) The performing forces in the first movement of Symphony No.5 in C Minor consist of:
A) strings, woodwinds, and percussion.
B) strings, woodwinds, brass, and percussion.
C) strings, woodwinds, continuo, and brass.
D) strings, woodwinds, continuo, brass, and percussion.
Q3) What gives the opening of the first movement of Symphony No.5 in C Minor its "improvisational,primal quality"?
A) the fanfare of the bassoons
B) the use of polyphony
C) the use of fermatas in the presentation of the opening motive
D) the use of the upper range of the woodwind section
Q4) Briefly describe the image of the artistic genius that evolved at the beginning of the nineteenth century.
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Chapter 16: Prelude: Music after Beethoven: Romanticism
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Q1) An early monument to supernatural Romanticism was the opera The Magic Bullet by:
A) Franz Schubert.
B) Carl Maria von Weber.
C) Richard Wagner.
D) Hector Berlioz.
Q2) The composer most responsible for elevating music to a new level of respect during the Romantic era is:
A) Ludwig van Beethoven.
B) Franz Liszt.
C) Wolfgang Amadeus Mozart.
D) Gustav Mahler.
Q3) Name and describe the two most highly valued qualities in Romantic creative activity.
Q4) Define the term Romantic and give the source of the term.Explain who applied it to this style period.
Q5) The important new member of the Romantic orchestra was the:
A) concertmaster.
B) continuo player.
C) conductor.
D) moderator.
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Chapter 17: The Early Romantics
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Q1) Which technique do you hear in Nocturne in F-sharp?
A) decoration of the melodic line
B) syncopation in the bass line
C) isorhythm throughout
D) fugue in the middle section
Q2) A concert overture such as the Hebrides Overture is in ________ form.
A) through-composed
B) strophic
C) sonata
D) rondo
Q3) The nineteenth-century German genre consisting of a musical setting of a short poem for voice and piano is the:
A) song cycle.
B) lied.
C) concert overture.
D) character piece.
Q4) Which composer had the greatest influence on early Romantic composers? Explain this influence.
Q5) Briefly explain why the piano was so popular with nineteenth-century composers and audiences.
19
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Chapter 18: Romantic Opera
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Q1) Vincenzo Bellini,Gaetano Donizetti,and Gioacchino Rossini were all:
A) early Italian Romantic opera composers.
B) legendary singers of the bel canto era.
C) famous tenors in the nineteenth century.
D) owners of the most famous early opera houses.
Q2) Gioacchino Rossini's opera buffa style was similar to that of:
A) Schubert.
B) Beethoven.
C) Berlioz.
D) Mozart.
Q3) Which is true of Vincenzo Bellini?
A) He used a light folk song style in his opera arias.
B) He was a composer of refined, highly expressive Romantic melodies.
C) He stressed the orchestra in his operas, sometimes overshadowing the singers.
D) He was admired by Schubert for his melodic writing.
Q4) Who was Gaetano Donizetti? Briefly describe his compositional style and name one opera he composed.
Q5) Compare and contrast the recitatives of Verdi with those of earlier Italian composers of Romantic opera.
Page 20
Q6) Briefly describe the events of Act I,scene i,of The Valkyrie.
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Chapter 19: The Late Romantics
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Q1) Brahms's Violin Concerto in D was composed for:
A) Joseph Joachim.
B) Clara Schumann.
C) Franz Liszt.
D) Niccolò Paganini.
Q2) Describe the voice types in Beijing opera.Explain the conventional connections between voice and character type in your answer.
Q3) With regard to form,Brahms's Violin Concerto in D is more ________ than Romantic.
A) Renaissance
B) Baroque
C) Classical
D) modern
Q4) Briefly explain how the third movement of Mahler's Symphony No.1 is a personal lament.Briefly describe the relationship between this work and some of Mahler's earlier vocal music.
Q5) Was Tchaikovsky a Russian nationalist composer? Explain.
Q6) What three countries are not associated with the nationalist movement in Romantic music? Explain.
21
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Chapter 20: Prelude: Music and Modernism
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Q1) The feeling of centrality or focus toward a particular pitch is related to:
A) tonality.
B) texture.
C) rhythm.
D) dissonance.
Q2) Atonal music is music in which no ________ can be found.
A) harmonic contrast
B) tonal center
C) incoherence
D) points of imitation
Q3) In the early twentieth century,harmony:
A) became more consonant.
B) became more dissonant.
C) became less important.
D) stressed resolution once again.
Q4) Music where no tonal center can be found is:
A) dependent on a regular harmonic pulse.
B) dependent on a general harmonic set of progressions.
C) more consonant.
D) atonal.
Page 22
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Chapter 21: Early Modernism
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Q1) In Act III,scene iii,of Wozzeck,what compositional device is heard?
A) a short chant
B) spoken dialogue
C) a flute and soprano duet
D) a "master rhythm"-a kind of ostinato in many different tempos
Q2) Briefly explain what Charles Ives thought was the most important thing about music.
Q3) The Rite of Spring does not include:
A) a tone row.
B) irregular, shifting meters.
C) Russian folk music.
D) use of the extreme high and low ranges of instruments.
Q4) Which statement about Debussy is false?
A) Like the Romantics, he searched for new ways to express emotion in music.
B) His orchestral sound is very similar to Mahler's.
C) His tone colors avoid the usual heavy sonorities of the Romantic era.
D) He developed new rich harmonies and new tone colors for orchestra and piano.
Q5) Briefly characterize Stravinsky's use of folk melodies,rhythm,and ostinato in The Rite of Spring.
Q6) Name three facets of Schoenberg's career besides composing.
Page 23
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Chapter 22: Modernism between the Wars
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Q1) Each movement of Afro-American Symphony is associated with verses by which poet?
A) Emily Dickinson
B) Paul Laurence Dunbar
C) Robert Frost
D) Langston Hughes
Q2) Prelude for Piano No.6 was composed in the:
A) 1910s.
B) 1920s.
C) 1930s.
D) 1940s.
Q3) Which composer took part in the cultural movement known as the Harlem Renaissance?
A) William Grant Still
B) Ruth Crawford
C) Henry Cowell
D) Maurice Ravel
Q4) Name three different facets of Béla Bartók's career.
Q5) Briefly describe the setting and events of Copland's Appalachian Spring.
Q6) What was Bartók's opinion of the Nazis? What did this mean for him in terms of performing and publishing his music?
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Chapter 23: The Late Twentieth Century
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Q1) Describe two ways in which the aria "Batter my heart" recalls the Baroque da capo aria.
Q2) Compare and contrast the way Anton Webern uses the time elements of music with the way Terry Riley uses them.
Q3) New music that refers to styles older than modernism is sometimes called:
A) post-avant-garde.
B) postmodern.
C) chance music.
D) millennial.
Q4) What are the performing forces in Indígena?
A) voice, piano, and percussion
B) strings, woodwinds, brass, piano, and percussion
C) brass, piano, and percussion
D) voice, woodwinds, and percussion
Q5) The performing forces in Lux aeterna consist of:
A) organ and several vocal soloists.
B) solo voices and chorus.
C) voices and synthesizers.
D) voices and musique concrète.
Q6) Briefly explain why John Cage's 4' 33'' is considered music.
Page 25
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Chapter 24: Music in America: Jazz and Beyond
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Q1) Each stanza of "If You Ever Been Down" Blues is in what form?
A) a b c
B) a a b
C) a a a
D) a b b
Q2) What is beat syncopation? Contrast beat syncoption with regular syncopation.Which instruments in an early jazz ensemble would have been most likely to play beat syncopation?
Q3) Which instrument did Miles Davis play? What jazz movement did he lead?
Q4) Briefly describe two outcomes of the recording of early jazz.
Q5) Name the two most important composers of early American musical comedy.
Q6) Which style of music suddenly lost popularity after World War II?
A) bebop
B) rock
C) rhythm and blues
D) big-band jazz
Q7) How did the Puritans' views on music affect the beginning of American music?
Q8) Briefly describe the musical contributions of Louis Armstrong.
Page 26
Q9) Briefly trace the development of popular song and its relationship to early jazz.What was a "standard"?
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Chapter 25: Musical Notation
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Q1) Which symbol name indicates that a note should be raised one half step?
A) sharp
B) flat
C) staccato
D) ledger line
Q2) Distinguish between beams and flags.Draw examples of notes with each to illustrate your answer.
Q3) The musical term for the effect called for by dots placed above or below notes is:
A) legato.
B) staccato.
C) adagio.
D) largo.
Q4) In musical notation,the staff is:
A) the collection of sharps or flats at the beginning of each line of music.
B) the symbol at the beginning of a composition showing how beats are grouped.
C) a set of five parallel lines on which notes are placed.
D) the line used to connect two notes on the same line.
Q5) Draw and list the rhythmic values for six different notes and their corresponding rests in order from longest to shortest.
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