Test Bank for Listening to Western Music 7th Edition by Wright Link full download: https://digitalcontentmarket.org/download/test-bank-forlistening-to-western-music-7th-edition-by-wright/ CHAPTER 2 RHYTHM, MELODY, HARMONY LECTURE IDEAS HARMONY BEAT In order to help students differentiate between rhythm and beat, ask them to try tapping a rhythm pattern with their foot. They will immediately realize our natural perception of beat, and that it is different from shifting rhythmic patterns. Have them practice finding the beat with the following examples. Vivaldi, Concerto in E major, I The Spring (CD 1/25) 1 Mozart, Symphony No. 40, I (CD 2/15) Musorgsky, Pictures at an Exhibition, Promenade (CD 3/22) METER This is a difficult concept for students without a musical background. Teach them the conducting patterns for duple and triple meter and have the class practice with a few examples. They should observe the following routine: Establish the beat before determining the metrical structure. Listen for the accented note, which will identify the downbeat. They should pay particular attention to the bass, since it often accentuates the downbeat. Conduct the patterns. (It is sometimes helpful, once the correct pattern has been established, to show how odd it feels to conduct a duple meter composition with a ternary pattern.) When going over the examples below, make certain that students write down the examples for review at a later point in time. If they will be responsible for identifying the metrical structure of listening examples on an exam, it is best to let them know at this point in time. Duple examples Vivaldi, Concerto in E major, I The Spring, (CD 1/25) Mozart, Eine kleine Nachtmusik (A Little Night Music), I (CD 2/8) Copland, Appalachian Spring, VII (CD 5/21)
Triple examples Handel, Water Music, Minuet and Trio (CD 2/3) Bach, Wachet auf, ruft uns die Stimme (Awake, A Voice is Calling), I (CD 1/30) Josquin, Ave Maria (CD 1/9; 2:26-3:00) Verdi, Un di felice from La Traviata (CD 4/7) SYNCOPATION There are numerous examples in the CD set, including the following: Machaut, Kyrie from Messe de Nostre Dame (CD 1/4; 0:18-0:20) Mozart, Eine kleine Nachtmusik (A Little Night Music), III (CD 2/11) Haydn, Symphony No. 94, II (Intro CD/23; 4:22-5:11) Brahms, Wiegenlied (Lullaby) (in accompaniment, Intro CD/20) DISCUSSION QUESTIONS 1. Listen to the third movement of Haydn s Symphony No. 94, the Surprise (CD 2/12; 0:00-0:34). What is the meter of this example? Is it the melody, the bass line, or the two together that accent the downbeats? Compare it with Viderunt omnes (CD 1/1). Is there a metrical structure to this latter composition or is it simply a succession of beats? 2. Listen while Alfredo sings the opening section of Un di felice from La traviata (CD 4/7). Is the meter regular while the tempo is treated with great flexibility or is the tempo regular while the number of beats per measure constantly change? MELODY For a comparison between major and minor, have students listen to the third and fourth ritornello sections in Vivaldi s Spring Concerto (CD 1/25). While the third ritornello is in B major and the fourth in C# minor, the violin line offers a pretty clear distinction in the mode. In addition to Beethoven s Ode to Joy, antecedent and consequent phrases can also be heard in the first theme of Mozart s A Little Night Music (I; CD 2/8 0:00-0:30). Phrase a and c are subdivided into antecedent and consequent phrases while phrase c also functions as a consequent to the antecedent phrase b. This is an interesting example of a phrase serving a dual purpose: the subdivided phrases balance the structure of phrase a while matching the weight of phrase b.
Play the following passages and have students determine whether the melodies are diatonic or chromatic. They may not be able verbalize their reason but may nevertheless be able to determine the correct answer. Haydn, Concerto for Trumpet and Orchestra in E-flat major, III (CD 2/14) Bizet, Carmen, Habanera (CD 4/17) Debussy, Prelude to the Afternoon of a Faun (CD 5/6, 0:00-0:57) Copland, Appalachian Spring, VII, (CD 5/21 1:00-1:40) Students may also find it intriguing to determine the emotional mood of different melodies and what the music does to establish that mood. They need to consider aspects such as tempo, rhythm, timbre, etc. Some of the following selections offer vivid contrasts: Handel, He shall feed his flock from Messiah (CD 2/5) Bach, Brandenburg Concerto No. 5, I (CD 1/27) Tchaikovsky, Romeo and Juliet, Love Theme (CD 3/20; 2:58-3:53) Musorgsky, Pictures at an Exhibition, Great Gate of Kiev (CD 4/1) Bizet, Carmen, Habanera (CD 4/17) Wagner, Die Walküre, Ride of the Valkyries (CD 4/13) HARMONY This topic of harmony can quickly become needlessly complex. Students should be familiar, however, with the basic concept of consonance and dissonance. Emphasize that perceptions have changed over time and that many cultures have unique ideas of what sounds pleasing or harsh. Some students confuse consonance and dissonance with good and bad sounds. They need to realize that dissonance provides momentum while consonance gives a sense of rest. The manner in which a composer treats these two opposing sounds often provides a clue to his or her musical style. Schubert s Erlkönig (The Elf King) (CD 3/14) offers a contrast between chordal and arpeggiated accompaniment, although in this particular recording it is so rushed that students may have difficulty in perceiving the difference. (This song also demonstrates the contrast between major and minor). For an example of a composition featuring nothing but arpeggiated chords, play Bach s Prelude in C Major from WTC I. To illustrate different tonal centers, play the ritornello sections of Vivaldi s Spring Concerto (CD 1/25). Note that for the first two ritornello statements, the key is the same. The third statement is on the dominant, the fourth occurs on the sixth degree of the scale, while the last two return to the tonic. The process of modulation occurs during the intervening solo sections.
TEST BANK IDENTIFICATION Select the term that fits the description. accent bar lines bass clef beat cadence canon chord chord progression chromatic scale clef consonance dissonance dominant doo-wop downbeat duple meter flat great staff (grand staff) harmony interval major scale measure (bar) melody Terms may be used more than once. meter meter signature (time signature) minor scale mode modulation octave ostinato pickup pitch rest rhythm ritard scale sharp staff syncopation tempo tonality (key) tonic treble clef triad triple meter 1. Term describing a type of score that combines the two clefs and is used primarily by keyboard players. ANSWER: great staff 2. It is an even pulse that divides the passing of musical time into equal segments. ANSWER: beat 3. A rhythm, melody, or harmony that repeats continually. ANSWER: ostinato 4. The element that adds depth and dimension to music. ANSWER: harmony 5. Term that defines the distance between the notes of a chord. ANSWER: interval 6. This combination of pitches sounds harsh and jarring,
resulting in a harmonic tension that ultimately seeks resolution. ANSWER: dissonance 7. Scale generally associated with positive emotions. ANSWER: major scale 8. Term that describes changing from one key to another within a composition. ANSWER: modulation 9. An arrangement of pitches that ascend and descend in a fixed unvarying pattern. ANSWER: scale 10. Portion of a musical phrase that leads to its last chord. ANSWER: cadence 11. Term that describes placing an accent on a weak beat or between the beats. ANSWER: syncopation 12. Derived from the Greek word for color, it describes a scale that utilizes all twelve notes contained within the octave. ANSWER: chromatic scale 13. The clef indicating that melodies are to be sung or played in the lower range. ANSWER: bass clef 14. A chord consisting of one third placed on top of another third. ANSWER: triad 15. Metrical pattern consisting of three beats per bar. ANSWER: triple meter 16. Term that describes a tonal center built on a tonic note and making use of a scale. ANSWER: tonality (key) 17. The basic unit of beat in most music. ANSWER: quarter note 18. Chord giving the greatest impetus toward the tonic.
ANSWER: dominant 19. Sounds that provide support and accompaniment to the melody. ANSWER: harmony 20. The distance between any two pitches on a musical scale ANSWER: interval 21. A pattern of whole and half steps. In Western musical tradition these steps have been organized into two patterns, forming the basis for most classical and popular compositions. ANSWER: mode 22. Negative feelings such as sorrow, fear, and despair are generally associated with this scale. ANSWER: minor scale 23. Symbol raising a note to the one immediately above it. ANSWER: sharp 24. A unit of two or more pitches that sound at the same time. ANSWER: chord 25. Which clef signifies that the melody is to be played or sung in the upper range, either by a high instrument or a woman s voice? ANSWER: treble clef 26. One of two terms that informs the performer how many beats will occur in each measure. ANSWER: meter signature or time signature 27. Organization of time in music. ANSWER: rhythm 28. The triad built on the fifth degree of the scale. ANSWER: dominant 29. A group of beats, usually between two and four, is called a: ANSWER: measure or bar 30. The relative position, either high or low, of a musical sound.
ANSWER: pitch 31. The basic chord in music; it consists of a specific arrangement of three pitches. ANSWER: triad 32. The first beat of a measure. ANSWER: downbeat 33. Term for the gathering of beats into groups, usually between two and four. ANSWER: meter 34. is a style of music that emerged during the midtwentieth century that featured a cappella singing, repeating phrases, and brief chord progressions. ANSWER: doo-wop 35. A group of beats providing metrical organization. ANSWER: measure or bar 36. The speed at which beats occur. ANSWER: tempo 37. Beat which normally receives the strongest accent. ANSWER: downbeat 38. The grid of lines and spaces facilitating the precise notation of pitch. ANSWER: staff 39. The extra five notes of this scale provide greater melodic intensity. ANSWER: chromatic scale 40. Symbol signifying that the pitch is to be lowered to the one immediately below it. ANSWER: flat 41. The movement of chords in a purposeful manner. ANSWER: chord progression 42. Melodies revolve around this central tone. ANSWER: tonic 43. A gradual slowing of the tempo.
ANSWER: ritard 44. A recognizable and memorable series of notes. ANSWER: melody 45. Combination of pitches that sound agreeable and stable, producing a sense of rest. ANSWER: consonance 46. Metrical pattern consisting of two beats per bar. ANSWER: duple meter 47. Term that means to emphasize a particular beat. ccent 48. General term for the designation appearing on the staff that indicates the range in which the melody is to be sung. ANSWER: clef 49. The interval that results when a pitch is duplicated at a higher or lower level. ANSWER: octave 50. The musical element that provides a shape or profile to the melody. ANSWER: rhythm 51. A silence in music of a specific duration. ANSWER: rest 52. A contrapuntal form in which the individual voices enter and each in turn duplicates exactly the melody that the first voice played or sang. ANSWER: canon MULTIPLE CHOICE 1. The term, referring to the organization of time in music, gives shape to the pitches of the melody. a. accent b. rhythm c. meter d. harmony e. syncopation
ANSWER: b 2. What is the term for the even pulse that divides the passing of musical time into equal segments? a. measure b. tempo c. phrase d. beat e. ritard ANSWER: d 3. Which term means the speed at which beats progress? a. tempo b. syncopation c. accent d. dissonance e. homophony 4. What is the English word that means to slow the tempo of the music? a. syncopation b. pickup c. downbeat d. ritard e. score ANSWER: d 5. Which term best describes what is happening in the music example. a. ritard b. tempo c. syncopation d. mode e. modulation [Handel. Water Music, Minuet, CD 2/3 0:19-0:27] 6. The downbeat is: a. the strongest beat in any given measure b. the first beat in a measure c. more accented than other beats d. indicated by a downward movement of the conductor s hand e. all of the above
ANSWER: e 7. What is the term for the emphasis or stress placed on a musical tone or chord? a. allegro b. tempo c. beat d. accent e. all of the above ANSWER: d 8. When beats are gathered into regular groups, what is the result? a. meter b. rhythm c. ritard d. upbeats e. tempo 9. Which term is synonymous with measure? a. meter signature b. bar c. syncopation d. downbeat e. phrase ANSWER: b 10. What is the term for a group of beats? a. rhythm b. tempo c. consonance d. meter signature e. measure ANSWER: e 11. In a meter signature (or time signature), what does the top number tell the performer? a. how fast the beats should go b. how many lines there are in the texture c. what note value receives the beat d. how many beats there are per measure e. how many measures there are in the composition
ANSWER: d 12. Identify the meter of the listening example. a. duple b. triple ANSWER: b [Corelli, Trio Sonata in C minor, CD 1/22 0:00-0:28] 13. Identify the meter of the listening example (it begins with an upbeat). a. duple b. triple [Monteverdi, Orfeo, Toccata, CD 1/15, 0:00-0:31] 14. Identify the meter of the listening example. a. duple b. triple [Corelli, Trio Sonata in C minor, CD 1/22, 0:00-0:44] 15. Identify the meter of the listening example. a. duple b. triple ANSWER: b [Haydn, Surprise Symphony, third movement; CD 2/10, 0:00-0:34] 16. Identify the term that indicates the absence of sound. a. accent b. ostinato c. rest d. dissonance e. style ANSWER: c 17. Term for the note or two that occurs at the very beginning of a piece that provides a little extra momentum into the first downbeat. a. pickup b. hook c. syncopation d. phrase e. cadence
18. Does this listening example, in triple meter, begin with a pickup or on the downbeat? a. it begins with a pickup b. it begins on the downbeat [Verdi, La Traviata, «Un di felice, CD 4/1 0:00-0:08] 19. Which term describes placing an accent on a weak beat or between the beats? a. ritard b. tempo c. syncopation d. triad e. pickup ANSWER: c 20. Which term describes the predominant musical technique heard in the listening example? a. motive b. syncopation c. ritard d. allegretto e. imitative polyphony ANSWER: b [Haydn, Symphony No. 94, second movement; Intro CD/22 4:22-5:11] 21. Which definition is appropriate to melody? a. a recognizable and memorable series of notes that form a cohesive musical line b. an arrangement of pitches that ascend and descend in a fixed, unvarying pattern c. the movement of music through time d. a short, distinctive figure e. the element that adds depth and dimension to music 22. What is pitch? a. a short, distinctive figure b. the speed of the beat c. the relative position, high or low, or a musical sound d. the tonal center of the scale e. the concluding part of a musical phrase
ANSWER: c 23. What is the term for the interval that comprises the first and eighth tones of the major and minor scales? Their sounds are quite similar because the frequency of vibration of the higher pitch is exactly twice that of the lower. a. clef b. antecedent c. ritard d. octave e. natural ANSWER: d 24. The octave is a feature of all musical cultures, although each culture subdivides the pitches within the octave differently. a. true b. false 25. Which symbol raises a note to the next higher neighboring tone? a. leap b. natural c. sharp d. mode e. key ANSWER: c 26. Symbols that correspond to the black keys of the keyboard are known as: a. consonance and dissonance b. sharps and flats c. antecedents and consequents d. timbre and tone color e. motives and cadences ANSWER: b 27. The distance between two pitches in music is called. a. motive b. interval c. mode d. tonality e. key ANSWER: b
28. The is a horizontal grid from which musicians read the symbols of musical notation. a. clef b. scale c. cadence d. staff e. melody ANSWER: d 29. What symbol indicates the range used for lower-sounding instruments and male voices? a. staff b. tonic c. bass clef d. key signature e. octave ANSWER: c 30. The, which includes both clefs, is for two-handed keyboard music with a large range. a. great (grand) staff b. chromatic scale c. modulation d. invertible counterpoint e. symphony 31. The arrangement of pitches within the octave that ascends and descends according to a fixed pattern is known as: a. clef b. scale c. tempo d. key e. modulation ANSWER: b 32. Which two scales have been used for almost all Western melodies since the seventeenth century? a. pentatonic and chromatic b. major and whole tone c. minor and blues
d. chromatic and major e. major and minor ANSWER: e 33. Which scale adds five more notes to the typical Western scale, adding color and richness to a melody? a. chromatic b. minor c. modulation d. major e. whole-tone 34. Although it is the first note of the scale, melodies rarely conclude on the tonic. a. true b. false ANSWER: b 35. What is the name for the central pitch around which melodies gravitate and on which they generally end? a. phrase b. consequent c. clef d. key e. tonic ANSWER: e 36. What provides the gravitational field that embodies both the scale of the melody and the strong pull of its tonic pitch? a. tonality b. mode c. meter d. counterpoint e. modulation 37. What is the term describing the change in tonal center from one key to another? a. modulation b. cadence c. tonality d. syncopation
e. counterpoint 38. The element that adds depth and dimension to music as well as providing support and accompaniment to the melody is. a. texture b. rhythm c. harmony d. color e. chromaticism ANSWER: c 39. What is a unit of three or more pitches that sound at the same time? a. arpeggio b. blues c. interval d. chord e. meter ANSWER: d 40. A is the basic chord in music; it consists of three pitches arranged in a specific manner. a. triad b. dominant c. beat d. motive e. arpeggio 41. What is the term for a purposeful movement of chords? a. dissonance b. chord progression c. harmony d. meter e. counterpoint ANSWER: b 42. Which triad provides the gravitational pull of a chord progression; it is the central chord around which the melody and harmony function? a. consonant b. dominant
c. tonic d. clef e. ritard ANSWER: c 43. The end of a chord progression is called a/an: a. canon b. accent c. modulation d. timbre e. cadence ANSWER: e 44. On which note of the scale is the dominant triad always built? a. second b. third c. fourth d. fifth e. octave ANSWER: d 45. Which chord tends to move to the tonic at the end of musical phrases, helping create the strong effect of a cadence? a. dominant b. chromatic c. subdominant d. polychord e. arpeggio 46. Chords that are consist of pitches that sound agreeable and stable. a. homophonic b. syncopated c. consonant d. motivic e. all of the above ANSWER: c 47. Dissonant chords add to the music? a. rhythm b. peace and tranquility
c. tension and anxiety d. pleasure and security e. nothing ANSWER: c 48. The harmony of the listening example is best described as dissonant. a. true b. false [Stravinsky, Rite of Spring, CD 5/9, 0:00-0:09 (Rite chord)] 49. The harmony of the listening example is best described as dissonant. a. true b. false ANSWER: b [Haydn, Emperor Quartet, CD 2/18; 0:00-0:16 (opening phrase)] 50. Any element of music (rhythm, melody, or harmony) that continually repeats is called. a. an ostinato b. a cadence c. modulation d. an arpeggio e. Doo-Wop 51. Pachelbel s Canon in D is an early example of doo-wop. a. true b. false ANSWER: b FILL IN THE BLANK 52. The gathering of beats into regular groups produces. ANSWER: meter 53. Most of the music we hear in Western society falls into and meter. ANSWER: duple and triple 54. The upward motion of the hand signals the in any given measure.
ANSWER: upbeat 55. adds variety and excitement to music by giving an unexpected bounce or lift. ANSWER: syncopation 56. A note that duplicate another pitch, but at a higher or lower level, is called an. ANSWER: octave 57. The two scales that are the basis of almost all Western melodies are the and. ANSWER: major, minor 58. is changing the tonal center from one key to another within a composition. ANSWER: modulation 59. The scale divides the octave into twelve notes. ANSWER: chromatic 60. Chords that consist of a discordant, disagreeable mingling of sounds are said to be. ANSWER: dissonant 61. chords add a sense of tension and anxiety to music, while chords produce a sense of rest and stability. ANSWER: dissonant, consonant 62. An outgrowth of soul music that emerged in the 1950s, it was an improvised a cappella vocal music initially sung by African American groups. ANSWER: doo-wop SHORT ANSWER 1. Provide a brief definition of syncopation. [placing the accent on either a weak beat or between beats] 2. What makes the octave sound like the duplication of an earlier pitch, but at a higher or lower level? [the vibrations, or cycles per second are twice as fast for a note an octave higher or half the speed for a note an octave lower]
3. What is the purpose of the clef sign? [to indicate the range of pitch that is notated on the staff] 4. What effect does the notational symbols of sharp and flat have on a pitch? [raises or lowers by a half-step] 5. What is the effect modulation has on our perception of music? [gives a dynamic sense of movement, like a change of scenery (Schoenberg)] 6. What mood or feeling is often associated with the major scale? [generally bright, cheery, and more optimistic] 7. What are the three meanings that can apply to the word harmony? [pleasant sounding; accompanied; specific chords used to accompany the melody] 8. Why is listening to the bass line helpful in listening to harmony? [chords are often built on the notes in the bass, and changing pitches in that line often signal a change in chords] ESSAY 1. Choose two compositions (popular or classical). One work should emphasize rhythm, while in the other it should not be a predominant characteristic. Compare the effect rhythm has on your perception of the two examples. [Answers may vary] 2. All musical cultures, Western and non-western, make use the octave. Do they all use it in the same manner or are there differences? Explain. [Pitches within the octave are divided differently: many Chinese use a pentatonic melody; some Arabic traditions have fourteen subdivisions; historically Western music has preferred the division into seven pitches, with the eighth the octave]