Music theory - Quiz
A) Interval B) Chord C) Scale D) Key
A) Harmony B) Octave C) Interval D) Triad
A) Double Sharp B) Natural C) Sharp D) Flat
A) Show tempo changes B) Denote dynamics C) Specify time signature D) Indicate key of the piece
A) Subdominant B) Mediant C) Dominant D) Tonic
A) Syncopation B) Orchestration C) Transposition D) Intonation
A) Natural B) Flat C) Double Flat D) Sharp
A) Rhythm B) Pitch C) Tempo D) Dynamics
A) Decrescendo B) Diminuendo C) Ritardando D) Crescendo
A) Exploring electronic sound production, improvisation techniques, and orchestration methods. B) Examining tuning systems, composition methods, and practical aspects of performance. C) Analyzing individual works, comparing musical performances, and studying historical instruments. D) Understanding music notation, studying scholars' views on music from antiquity to present, and defining processes in musicology.
A) It emphasizes improvisation over composition methods. B) It starts with fundamental materials rather than individual works or performances. C) It studies only modern music, ignoring historical perspectives. D) It focuses on electronic sound production instead of traditional instruments.
A) Comparative analysis of different musical cultures. B) Only written treatises about music notation. C) Methods and concepts used by composers and musicians in creating and performing music. D) The study of electronic sound production exclusively.
A) A degree in musical acoustics exclusively. B) Only practical experience in performing music. C) Experience with electronic sound production. D) University study, typically to the MA or PhD level.
A) Only descriptive and statistical methods. B) Mathematics, graphic analysis, and western music notation. C) Exclusively comparative analysis. D) Primarily improvisation techniques.
A) Someone who only performs music. B) A composer specializing in electronic sound production. C) An individual focused solely on musical acoustics. D) A person who researches or teaches music theory.
A) Mesopotamia B) Rome C) Greece D) Egypt
A) Metal plates B) Clay tablets C) Papyrus scrolls D) Stone carvings
A) Before 1000 BCE B) Before 1500 BCE C) Before 500 BCE D) Before 200 CE
A) Aristotle B) Sam Mirelman C) Herodotus D) Plato
A) The number of musical modes B) The number of musical instruments C) The Pentatonic Scale, which primarily uses a 5-note scale D) The number of notes in a scale
A) Phoenix tone B) Shierlü C) Huangzhong, the 'Yellow Bell' D) Lülü
A) Cleonides B) Ptolemaios C) Nicomachus of Gerasa D) Aristoxenus
A) Aristoxenus B) Nicomachus of Gerasa C) Ptolemaios (Πτολεμαίος), Claudius D) Porphyrius
A) 4th century CE or later B) 3rd or 4th century CE C) 100–150 CE D) 2nd century CE
A) Είσαγωγή τέχνης μουσικής [Introduction to the Art of Music] B) Άρμονικά στοιχεία [Harmonic Elements] C) Άρμονική είσαγωγή [Harmonic Introduction] D) Είσαγωγή άρμονική [Introduction to Harmonics]
A) Bacchius Geron B) Nicomachus of Gerasa C) Aristoxenus D) Porphyrius
A) 2nd century CE B) 100–150 CE C) 3rd or 4th century CE D) 4th–5th century CE
A) 100–150 CE B) c. 232~233 – c. 305 CE C) 428–347 BCE D) 127–148 CE
A) The erhu B) The pipa C) The guzheng D) The dizi
A) Abū Yūsuf Ya'qūb al-Kindi B) Safi al-Din al-Urmawi C) al-Fārābi D) Boethius
A) Singing by Note B) Ta'rῑkh al-mῡsῑqᾱ al-arabiyya wa-usῡluha wa-tatawwurᾱtuha C) Zamzama e wahdat-i-mῡsῑqῑ D) La musique arabe
A) None of the above B) Bāqiyā Nāyinῑ C) Baron Francois Rodolphe d'Erlanger D) Reverend Thomas Symmes
A) The solfege 'fa, sol, la' B) The solfege 'do, re, mi' C) None of the above D) The solfege 'ti, do, re'
A) Bāqiyā Nāyinῑ B) None of the above C) Reverend Thomas Symmes D) Baron Francois Rodolphe d'Erlanger
A) 1750 B) 1800 C) 1900 D) 1720
A) 1750–1900 B) The 1800s C) The Renaissance D) The Baroque period
A) Middle Eastern cultures B) Central Asian cultures C) European cultures D) African cultures
A) Schenkerian analysis techniques. B) Tonal spaces in music. C) Relations between musical objects. D) The makeup of musical objects.
A) A vector space B) A finite field C) A ring D) A free abelian group
A) marcato B) staccatissimo C) legato D) tenuto
A) 100 B) Around 25 C) 50 D) 10
A) Marcato (^) B) Crescendo (<) C) Decrescendo (>) D) Staccato (.)
A) Polyphony B) Counterpoint C) Harmony D) Melody
A) A basic chord B) A simple chord C) A primary chord D) An extended chord
A) Vereniging voor Muziektheorie B) Gesellschaft für Musiktheorie C) Society for Music Theory D) Société d'Analyse musicale
A) forte followed by piano B) piano followed by forte C) mezzo forte, meaning moderately loud D) sforzando
A) Homophony B) Polyrhythm C) Syncopation D) Monophony
A) piano (p) B) mezzo piano (mp) C) forte (f) D) sforzando (sfz)
A) Melodic lines B) Roman numerals C) Rhythmic patterns D) Harmonic progressions
A) A rhythm B) A melody C) A scale D) A chord
A) fortississimo (ffff) B) pianissimo (pp) C) mezzo piano (mp) D) sforzando (sfz)
A) Ian Bent B) Adolf Bernhard Marx C) David Lewin D) Heinrich Schenker
A) Nature's influence on music is purely aesthetic B) Nature has no connection to mathematics C) Nature itself is amazingly mathematical D) Nature only influences biology, not music
A) Milton Babbitt B) Howard Hanson C) Allen Forte D) Arnold Schoenberg
A) Jean-Jacques Nattiez B) Raymond Monelle C) Kofi Agawu D) Robert Hatten
A) Counterpoint B) Harmony C) Polyphony D) Melody
A) Homophony B) Counterpoint C) Polyphony D) Monophony
A) Twelve-tone technique B) Post-tonal thinking C) Integral serialism D) General serialism
A) All But Dissertation B) Associate Board Director C) Advanced Bachelor's Degree D) Academic Board Delegate
A) Baroque music B) Jazz harmony C) All of the above D) Classical common practice period
A) Musical intervals. B) Chord progressions. C) Tonal space. D) Dominant operation.
A) David Lewin B) Ian Bent C) Adolf Bernhard Marx D) Heinrich Schenker
A) Eero Tarasti B) Heinrich Schenker C) Anthony Newcomb D) Jean-Jacques Nattiez
A) Sul tasto B) Dolce C) Marcato D) Cuivre
A) sforzando (sfz) B) mezzo forte (mf) C) pianissississimo (pppp) D) forte (f)
A) Roland Barthes B) Raymond Monelle C) Kofi Agawu D) Philip Tagg
A) legato B) spiccato C) staccato D) tenuto
A) piano (p) B) mezzo forte (mf) C) forte (f) D) sforzando (sfz)
A) Chords accompanying a melody. B) Multiple independent melodies played simultaneously. C) A single melodic voice with rhythmic accompaniment. D) Two voices, one playing a drone note and the other a melody.
A) Philip Tagg B) Roland Barthes C) Raymond Monelle D) Kofi Agawu
A) General serialism B) Twelve-tone technique C) Multiple serialism D) Total serialism
A) Fifteen B) Seven C) Twelve D) Eight
A) {1 4 8} B) {0 4 7} C) {0 3 7} D) {2 5 9}
A) 440 Hz B) 432 Hz C) 435 Hz D) 450 Hz
A) marcato B) portato C) legato D) staccatissimo
A) staccato B) tenuto C) legato D) marcato
A) a sudden decrease to a soft level B) progressively increasing volume C) a loud attack with a sudden decrease D) a moderately loud dynamic
A) Natural scales B) Arpeggios C) Rhythm D) Minor triads
A) Complementation B) Rhythm analysis C) Transposition D) Inversion
A) Hierarchical relationships between pitch-events. B) Musical intervals. C) Chord progressions. D) Actual rhythm of the music.
A) Claude Debussy B) Ludwig van Beethoven C) Arnold Schoenberg D) Johann Sebastian Bach
A) Inversions B) Sequences C) Triads D) Progressions
A) Abstract algebra B) Differential algebra C) Boolean algebra D) Linear algebra
A) Fifth B) Third C) Octave D) Unison
A) Rhythm B) Color C) Volume D) Pitch
A) Philip Tagg B) Leonard B. Meyer C) Kofi Agawu D) Anthony Newcomb
A) Melody B) Harmony C) Texture D) Chords
A) Musical form B) Subject matter C) Tempo D) Instrumentation
A) An octave B) A whole tone C) A minor third D) A half step
A) Bright, dull, shrill, etc. B) Major, minor, major seventh C) High, low, sharp, flat D) Fast, slow, loud, soft
A) Improvisation B) Repetition C) Harmony D) Rhythm
A) Volume B) Context C) Instrumentation D) Tempo
A) A melody line B) A chord progression C) A scale pattern D) An arpeggio sequence
A) Polyrhythm B) Homophony C) Monophony D) Syncopation |
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