Survey of Music Exam Solutions
Course Introduction
Survey of Music provides a broad overview of the development of music from ancient times to the present, exploring major genres, styles, and cultural contexts. This course introduces students to fundamental musical concepts, key composers, and influential works from various historical periods and world traditions. Emphasis is placed on attentive listening and critical analysis, helping students appreciate the diversity and significance of music in different societies. Through lectures, listening assignments, and discussions, students gain a foundational understanding of musics role in human expression and cultural history.
Recommended Textbook
Listen 8th Edition by Vivian Kerman
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25 Chapters
1803 Verified Questions
1803 Flashcards
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Page 2
Chapter 1: Rhythm, Meter, and Tempo
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32 Verified Questions
32 Flashcards
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Sample Questions
Q1) Define syncopation.With what type of music is it often associated?
Answer: Syncopation is a musical term that refers to the deliberate disruption of the regular flow of rhythm. It involves placing emphasis on beats or parts of beats that are not typically emphasized within a given meter. This is achieved by accenting unexpected beats, such as the off-beats or the weaker beats in a measure, rather than the strong, downbeat which is usually emphasized. Syncopation creates a sense of rhythmical surprise or deviation from the predictable pattern of strong and weak beats, making the music feel more dynamic and engaging.
Syncopation is often associated with various types of music that have a strong rhythmic component, particularly genres that evolved from African musical traditions. It is a fundamental aspect of jazz, where it contributes to the swing feel and is used extensively in improvisation and jazz compositions. Syncopation is also a key element in many forms of popular music, including rock, funk, hip-hop, and electronic dance music. Additionally, it is prevalent in Latin American music genres such as salsa, samba, and tango, where it adds to the lively and danceable quality of the music. Classical music also employs syncopation, particularly in the works of composers like Igor Stravinsky and Ludwig van Beethoven, who used it to add tension and interest to their compositions.
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Page 3
Chapter 2: Pitch,Dynamics,and Tone Color
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Sample Questions
Q1) Define tone color.Use adjectives to describe some tone colors with which you are familiar.
Answer: Tone color, also known as timbre, refers to the unique quality of a sound that distinguishes it from other sounds. It is what allows us to differentiate between different instruments or voices, even when they are playing or singing the same pitch at the same volume.
Some adjectives to describe tone colors include bright, warm, dark, mellow, harsh, rich, and piercing. For example, the tone color of a trumpet can be described as bright and piercing, while the tone color of a cello can be described as warm and rich. The human voice can have a mellow or smooth tone color, while a saxophone can have a dark and sultry tone color. These adjectives help to convey the unique qualities of each instrument or voice and how they contribute to the overall sound of a musical piece.
Q2) The English horn is not really a horn but a type of:
A) flute.
B) clarinet.
C) oboe.
D) violin.
Answer: C
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Page 4
Chapter 3: Scales and Melody
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Q1) The moments at the ends of phrases where a melody pauses or stops altogether are called:
A) climaxes.
B) cadences.
C) contrasts.
D) balances.
Answer: B
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) The distance between two pitches that seem to duplicate each other and blend very well together is called:
A) diatonic.
B) a scale.
C) an octave.
D) chromatic.
Answer: C
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Chapter 4: Harmony, Texture, Tonality, and Mode
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Sample Questions
Q1) Define counterpoint.Compare and contrast the terms counterpoint and polyphony,and describe how they are related.
Q2) Homophony occurs when:
A) various musical lines are heard one after another with the same melody or similar melodies.
B) the melody is heard in one line and the other parts have clearly less important material that forms an accompaniment.
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.
Q3) The three main textures of Western art music are:
A) monophony, polyphony, and counterpoint.
B) monophony, non-imitative polyphony, and imitative homophony.
C) monophony, homophony, and polyphony.
D) monophony, imitative monophony, and non-imitative polyphony.
Q4) Define the term key.Relate key to the chromatic scale.
Q5) Define the terms tonality,tonal,and tonic.How are they related to one another?
Q6) Define and contrast imitative polyphony and non-imitative polyphony.Name a type of music for each.
Q7) How many major and minor scales can be built on the chromatic scale? Why?
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Chapter 5: Musical Form and Musical Style
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Q1) What is the function of musical form? What is the value of repetition and contrast? Can you think of types of music that have no sections of contrast?
Q2) A way to connect the beginning,middle,and end of a musical piece is through the use of:
A) form.
B) texture.
C) meter.
D) tone color.
Q3) Fugue,ritornello,and rondo are examples of: A) genres.
B) forms.
C) styles.
D) tunes.
Q4) Describe and explain the two levels of musical style that can exist within one style period.
Q5) Discuss the ways in which sections of a musical work can be related to each other and how these relations are diagrammed in musical form.Draw an example to support your answer.
Q6) Name,define,and discuss the two factors that determine musical form.
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Chapter 6: The Middle Ages
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Sample Questions
Q1) The form of "La dousa votz" can be described as having:
A) one main melody recurring with variations.
B) several stanzas in an a a¢ b form.
C) no real structure; it is free-flowing.
D) several tunes, each sung twice, with one single tune at the end.
Q2) In the late Middle Ages,what relationship did the motet have to church services? Explain.
Q3) Briefly define the term vocables.
Q4) Name and describe the two characteristics common to all plainchant.
Q5) Define plainchant sequence and diagram an example.
Q6) Name the three types of court poet-composers and performers of the twelfth and thirteenth centuries.List the geographic location of each.
Q7) The few surviving medieval court dances are called: A) sequences. B) estampies.
C) albas.
D) troubadour songs.
Q8) How does Qur'anic recitation compare to Gregorian chant?
Page 8
Q9) Who was Guillaume de Machaut? Describe his chanson "Dame,de qui toute ma joie vient."
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Page 9
Chapter 7: The Renaissance
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Sample Questions
Q1) Describe the change in the use of imitation from the beginning to the end of the fifteenth century.
Q2) Which was the most widespread Renaissance instrumental genre?
A) the madrigal
B) dance music
C) organ music
D) instrumental music used to accompany voices in church
Q3) Briefly discuss the explorers from 1480 to 1620.
Q4) What form does "Kemp's Jig" illustrate? Explain how the dance unfolds.
Q5) The words of "Hanaq pachap kusikuynin" are in the native Andean language:
A) Nahuatl.
B) Basque.
C) Quechua.
D) Mayan.
Q6) "Daphne" is a:
A) pavan.
B) galliard.
C) jig.
D) stylized dance.
Q7) Define chanson.Is a chanson sacred or secular?
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Chapter 8: The Early Baroque Period
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Q1) "Remember me,but ah,forget my fate" is part of the text of:
A) "O magnum mysterium."
B) The Coronation of Poppea.
C) "When I am laid" (Dido's Lament).
D) "Thy hand, Belinda."
Q2) When does the chorus begin to sing in the final scene of Dido and Aeneas?
A) as Dido is singing
B) after Dido stabs herself
C) when Aeneas finishes his aria
D) when Aeneas stabs himself
Q3) Summarize the career and types of compositions of Henry Purcell.
Q4) The plot of Monteverdi's Coronation of Poppea involves:
A) the founding of Rome and the Roman Empire.
B) biblical characters, including David, Goliath, and Poppea.
C) Nero; his mistress, Poppea; his wife, Ottavia; and his adviser, Seneca.
D) Poppea's coronation as queen of Carthage.
Q5) Briefly describe how this composition unfolds,particularly the appearance and presence of the ostinato.
Q6) Briefly discuss the construction of the kora.
Q7) Outline the flow of this Gambian song.
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Chapter 9: Prelude: The Late Baroque Period
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Q1) Describe the scientific approach to emotional expression in music in the late Baroque era.
Q2) Describe two purposes of opera in the Age of Absolutism.
Q3) Which characteristic of Baroque theater made it appealing to Baroque audiences and composers of opera?
A) the deep, quiet spirituality
B) the slapstick comedy
C) the display of strong emotions
D) the realistic, down-to-earth topics and characters
Q4) Briefly describe the two ways Baroque composers approached and used tone color.
Q5) Describe the way a career as a composer was viewed in the Baroque era.
Q6) Describe the types of music and the musical forces demanded in the courts of nobility in the Age of Absolutism.
Q7) Is it generally easier to sing typical Baroque melodies or to play them on instruments? Explain.
Q8) How did Baroque composers and performers use dynamics?
Q9) Define harmonic rhythm.
Q10) How did composers approach form in the late Baroque era?
Q11) Explain the impact of improved tuning on composers in the Baroque era. Page 12
Q12) Briefly explain the way Baroque harmony is polarized.
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Chapter 10: Baroque Instrumental Music
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Q1) Which do you hear in the first movement of the Violin Concerto in G,La stravaganza?
A) contrast between ritornello and solo passages
B) variation on a melody above a ground bass
C) subjects and countersubjects
D) A B A¢ form
Q2) A ________ beginning and ________ cadence are typical of the opening ritornello of the first movement of a Baroque concerto.
A) quiet; a strong final
B) strong; a strong final
C) quiet; a quiet
D) strong; no
Q3) The Baroque dance form consists of:
A) imitative counterpoint interspersed with contrasting episodes.
B) solo sections alternating with the full orchestral ritornello.
C) a section repeated and b section repeated, a binary form.
D) shorter versions of the main melodies of the suite to come, serving as a preview.
Q4) Describe how musical forms and genres relate to the rise of instrumental music in the Baroque era.
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Page 14
Chapter 11: Baroque Vocal Music
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Sample Questions
Q1) Explain how Handel changed the genre he composed in when the public's tastes changed.
Q2) Castrati generally sang:
A) soprano or alto solo.
B) soprano or alto chorus.
C) tenor or bass solo.
D) tenor or bass chorus.
Q3) Briefly explain the structure of Cantata No.4,"Christ lag in Todesbanden." On what material is the work based?
Q4) "Christ lag in Todesbanden" is part of a(n):
A) cantata.
B) chorale.
C) opera.
D) Mass.
Q5) The text of an opera is called the:
A) mot.
B) word painting.
C) arioso.
D) libretto.
Q6) How is Messiah different from other works in the same genre?
Page 15
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Chapter 12: Prelude: Music and the Enlightenment
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Q1) 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.
Q2) Characterize the use of rhythm by Classical composers.
Q3) Which eighteenth-century composer is comparable to Jane Austen in his exploration of social forces and the individual? What is the title of the opera mentioned in this regard,and why is this work significant?
Q4) How are Classical themes "closed off"?
A) with one clear cadence
B) with multiple cadences
C) with a rest
D) with the beginning of the next theme
Q5) Music during the Enlightenment was meant to:
A) impress and instruct.
B) glorify God.
C) please and entertain.
D) enlighten the world with rational, intellectual polyphony.
Q6) What instrument became a favorite in the Classical period? Why?
Page 16
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Chapter 13: The Symphony
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Q1) While in Vienna,Mozart relied on ________ for income.
A) opera ticket sales
B) teaching and concerts
C) the church
D) the patronage system
Q2) The meter of the first movement of Symphony No.40 in G Minor is:
A) simple duple.
B) simple triple.
C) compound duple.
D) compound triple.
Q3) In sonata form,in what key is the second theme likely to be heard in the recapitulation?
A) a second key to which the music has modulated during the bridge passage
B) the relative major or relative minor of the tonic key
C) the tonic key
D) many different keys
Q4) Describe Classical variation form.What is the purpose of variations?
Q5) Compare and contrast Baroque minuets and Classical minuets.
Q6) What was the attraction of sonata form for Classical composers?
Q7) Define coda.
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Chapter 14: Other Classical Genres
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Sample Questions
Q1) The basic structural unit of a gamelan composition is known as the:
A) legong.
B) gangsa.
C) gongan.
D) ostinato.
Q2) For Piano Concerto No.23 in A,the composer uses a reduced orchestra,omitting:
A) oboes, trumpets, and timpani.
B) cellos.
C) clarinets.
D) violas.
Q3) What happens in the development section of the first movement of Piano Concerto No.23 in A?
A) The meter shifts frequently.
B) The performing forces include trumpets.
C) The tempo fluctuates.
D) The orchestra and piano are in a dialogue.
Q4) Briefly summarize the movement plan of a typical Classical string quartet.Refer to tempos and forms in your answer.
Q5) How is the Bopong organized?
Q6) Why was opera buffa suited so well to the cultural climate of the Classical era?
Page 18
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Chapter 15: Beethoven
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Q1) Which of the following is true about the end of the third movement of Symphony No.5 in C Minor?
A) It ends with a conclusive, triumphant coda.
B) It ends with an oboe solo.
C) The recapitulation is repeated.
D) It continues right into the next movement of this work.
Q2) The meter of the third movement of Symphony No.5 in C Minor is:
A) duple.
B) triple.
C) quadruple.
D) irregular.
Q3) The meter of the fourth movement of Symphony No.5 in C Minor is: A) duple.
B) triple.
C) quadruple.
D) irregular.
Q4) Briefly describe the image of Beethoven that listeners get from his music.
Q5) Define scherzo.Use letters to diagram this form.
Q6) Briefly describe the image of the artistic genius that evolved at the beginning of the nineteenth century.
Page 19
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Chapter 16: Prelude: Music after Beethoven: Romanticism
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Q1) The composer who started a magazine to defend the music of the Romantics against public indifference was:
A) Franz Liszt.
B) Robert Schumann.
C) Richard Wagner.
D) Gustav Mahler.
Q2) Briefly discuss the influence of the revolutionary political climate on musical trends in the nineteenth century.Refer to two nineteenth-century composers in your answer.
Q3) Which is true of the relationship between Romantic composers and the public?
A) With the popularity of public concerts, composers and the public saw eye to eye on what sort of music fit the Romantic ideal.
B) Popular performers and composers such as Liszt and Wagner helped close the gap between the Romantic artist and the public.
C) Nineteenth-century audiences became more conservative and more critical of innovative composers.
D) The music of innovative composers such as Liszt, Wagner, and Mahler was embraced enthusiastically by a forward-looking public in the nineteenth century.
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Page 20
Chapter 17: The Early Romantics
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Q1) In the nineteenth century,what instrument was the most likely to beused for the great profusion of Romantic miniature compositions?
A) piano
B) organ
C) violin
D) trumpet
Q2) Which is true of the ending of "Im wunderschönen Monat Mai"?
A) The climax at the end gives the impression of love returned at last.
B) The lack of a harmonic resolution gives the impression of yearning.
C) The quiet cadence gives the impression of peace and solitude.
D) The climax at the end gives the impression that the hero is victorious over his rival suitor.
Q3) The Fantastic Symphony is a(n):
A) opera.
B) song cycle.
C) program symphony.
D) concert overture.
Q4) Differentiate between program music,the concert overture,and the program symphony.
Q5) Briefly explain the influence of literature on early Romantic composers.
Page 21
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Chapter 18: Romantic Opera
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Q1) Who composed The Valkyrie?
A) Richard Wagner
B) Giuseppe Verdi
C) Giacomo Puccini
D) Carl Maria von Weber
Q2) 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.
Q3) When Sieglinde enters in the first scene of The Valkyrie,she bends over Siegmund,and in a leitmotiv:
A) the flute plays a flowing melody.
B) the melody rises in the cellos.
C) the melody rises and gently falls back in the violins.
D) the low brasses repeat notes gently.
Q4) Describe how opera as an art form was connected to Romantic themes in the nineteenth century.
Q5) Briefly describe the events of Act I,scene i,of The Valkyrie.
Q6) Define leitmotiv.
Page 22
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Chapter 19: The Late Romantics
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Q1) Name an important tradition of musical drama in Japan.In what way does it parallel Baroque opera in Europe?
Q2) Briefly explain the friendships Johannes Brahms had with the Schumann family and Joseph Joachim.Describe one result of each friendship in the musical career of Brahms.
Q3) The full a b a statement of the Love theme in Romeo and Juliet is joined by:
A) the timpani.
B) a "sighing" motive in the French horn.
C) the Hymn theme in the English horn.
D) the harp.
Q4) Modest Musorgsky's music reflects:
A) a polished skill as an orchestrator.
B) an intense nationalism.
C) his aristocratic origins.
D) a sunny disposition.
Q5) Which would you least associate with nationalism in music?
A) the kuchka
B) Antonin Dvo ák
C) Slavonic Dances
D) Johannes Brahms
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Chapter 20: Prelude: Music and Modernism
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Q1) Modernist composers before World War I were mainly preoccupied with changing their approach to:
A) rhythm and harmony.
B) melody, rhythm, and tone color.
C) melody, harmony, and tonality.
D) tone color and rhythm.
Q2) With which movement in the visual arts is Debussy most often associated? Explain.Name the other artistic movement with which he is also sometimes associated and explain why.
Q3) Briefly trace the shift from tonality to atonality in terms of the use of dissonance and chromaticism from the nineteenth century to the twentieth century.What was meant by the "holy trinity" of music?
Q4) Atonal music is music in which no ________ can be found.
A) harmonic contrast
B) tonal center
C) incoherence
D) points of imitation
Q5) Name three composers who contributed to the disintegration of melody in the early twentieth century.How did they contribute to this change?
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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) The premier of The Rite of Spring was famous for:
A) lovely, graceful dancing.
B) a riot by the audience.
C) thunderous applause.
D) the first audience sing-along.
Q3) Which statement about Charles Ives is false?
A) He was born in the South, where he was deeply moved by African American music.
B) He had jobs in insurance and as a church organist.
C) He developed unique mystical notions about music that were related to New England transcendentalism.
D) He believed that all kinds of music and all musical experiments are equally valid.
Q4) Briefly describe two influences on the music of Igor Stravinsky.
Q5) Name three facets of Schoenberg's career besides composing.
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Chapter 22: Modernism between the Wars
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Q1) Two important American composers who contributed to film music are:
A) Max Steiner and Nino Rota.
B) Charles Ives and Max Steiner.
C) Kurt Weill and Sergei Eisenstein.
D) Aaron Copland and Leonard Bernstein.
Q2) Much of Prokofiev's music can be characterized as:
A) being a modernist exploration of atonality.
B) having clear tonality and using Russian folk themes.
C) relying on frequently changing meters.
D) having an elegant style influenced by his years in Vienna.
Q3) The development of the second movement of Music for Strings,Percussion,and Celesta is introduced by the:
A) strings.
B) timpani.
C) piano.
D) celesta.
Q4) Compare and contrast the musical contributions and significance of Maurice Ravel and Claude Debussy (see Chapter 21).
Q5) Briefly discuss the musical contributions and significance of William Grant Still.
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Chapter 23: The Late Twentieth Century
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Q1) 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
Q2) Which composer wrote the famous essay "Who Cares If You Listen?"
A) Edgard Varèse
B) John Cage
C) György Ligeti
D) Milton Babbitt
Q3) How does John Adams's Doctor Atomic demonstrate characteristics of postmodernism?
Q4) The performing forces in Music for 18 Musicians include,among others:
A) vibraphone, two clarinets, and four singers.
B) recorded nature sounds and strings.
C) piccolo and viola.
D) musique concrète, flutes, and piccolo.
Q5) Describe three stages of evolution in electronic music in the post-World War II era.
Q6) Define chance music.Describe an example of this style of composition.
Page 27
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Chapter 24: Music in America: Jazz and Beyond
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Q1) Who was the leading composer of ragtime in the early 1900s?
A) William Billings
B) Stephen Collins Foster
C) Duke Ellington
D) Scott Joplin
Q2) Aside from the main drum,the function of the other drums in the drum ensemble from Benin is to:
A) provide countermelodies.
B) play with the main drum softly.
C) play a variety of different rhythms.
D) play in triple meter constantly.
Q3) What instruments are featured in solos in "Out of Nowhere"?
A) trumpet, saxophone, and piano
B) trombone, saxophone, and piano
C) trumpet, trombone, and piano
D) trumpet, clarinet, and saxophone
Q4) Briefly describe the makeup of a typical New Orleans jazz band.
Q5) Which instrument did Miles Davis play? What jazz movement did he lead?
Q6) Define polyrhythm in regard to West African drumming.
Q7) Briefly describe some of the elements of avant-garde jazz.
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Chapter 25: Musical Notation
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Q1) Which notational device lengthens a note by one-half?
A) a slur between the note and another note
B) a beam between the note and another note
C) a flag connected to the stem
D) a dot to the right of the note
Q2) Flags on musical notes can be connected into horizontal: A) stems.
B) ties.
C) beams.
D) slurs.
Q3) If you think of musical notation as a graph,the horizontal aspect represents: A) volume.
B) pitch.
C) time.
D) instruments.
Q4) Measures are separated by vertical: A) stems.
B) flags.
C) beams.
D) bar lines.
To view all questions and flashcards with answers, click on the resource link above. Page 29