Music History 1700—Midterm Exam (Version "0")
I. Match each description with its correct element:
Choose your answer from the following list of elements:
1 Rhythm
2 Dynamics
3 Melody
4 Harmony
5 Timbre
6 Texture
Question
1. The horizontal presentation of pitch.
2. The relationship of vertical combinations of pitches.
3. The characteristic sound of a musical instrument or voice.
4. The inter-relationship of simultaneously-sounding musical lines
II. Match each description with its correct term:
Choose your answer from the following list of terms:
1 Ballata
2 Ballade
3 Virelai
4 Musica ficta
5 Cantus firmus
Question
5. Accidentals that are not written in the music, but added in performance to avoid unallowed dissonances.
6. One of the 13th-/14th-century French formes fixes, with the specific form [AaB].
7. A late-Medieval Italian song form, with the specific design [ABbaA].
8. A pre-existing tune that is being used as the basis for a new polyphonic composition.
9. One of the 13th-/14th-century French formes fixes, with the specific form [ABbaA].
III. Match each description with its correct term:
Choose your answer from the following list of terms:
1 Ordinary
2 Motet
3 Gregorian chant
4 Organum
5 Proper
Question
10. Monophonic, unmetered melodies set to a sacred Latin text.
11. The prayers of a Mass that change each day to reflect the liturgical calendar.
12. The 5 daily prayers of the Mass (Kyrie, Gloria, Credo, Sanctus, Agnus Dei).
13. A polyphonic choral piece set to a sacred Latin text that is NOT from the Mass.
14. Melismatic/rhythmic-mode upper voice(s) on top of a slow/unmetered chant tune in the lowest voice.
IV. Match each description to its appropriate title:
Choose your answer from the following list of titles:
1 Tu sei morta
2 Ein' feste Burg
3 Flow, My Tears
4 Agnus Dei
5 Moro, lasso
Question
15. This prayer refers to Jesus as God's sacrificial "Lamb."
16. Gesualdo's personally-intense and shockingly-experimental madrigal.
17. This lute-ayre by Dowland is based on his famous Lacrimae Pavane for viol consort.
18. This arioso is a pivotal dramatic moment in Monterverdi's L'Orfeo.
19. This chorale by Luther is the foundation of JS Bach's Cantata No. 80.
V. Match each description with its correct term:
Choose your answer from the following list of terms:
1 Prima pratica
2 Seconda pratica
3 Ars Nova
4 Trecento
5 Ars Antiqua
Question
20. A term used to describe the era of experimental 14th-century Italian music (Landini).
21. A term used to describe the experimental early-Baroque vocal style (Monteverdi).
22. A term used to describe the smooth/controlled Renaissance polyphonic vocal style (Palestrina).
23. A term used to describe the era of early French polyphony from c1150-1300 (Perotin)
24. A term used to describe the era of experimental late-Medieval French music (Machaut).
(Music 1700 Midterm--version "0", continued)
VI. Match each description with its correct term:
Choose your answer from the following list of terms:
1 Cantata
5 Recitative
9 Oratorio
2 Basso continuo
6 Chorale
 Melisma
3 Aria
7 Opera
4 Ostinato
8 Concerto grosso
Question
25. A large-scale sacred work for solo singers, chorus and orchestra that is NOT staged.
26. A short, usually religious multi-movement composition for chorus, soloist(s) and orchestra.
27. A beautiful manner of solo singing, accompanied by orchestra, with a steady metrical beat.
28. A large-scale fully-staged dramatic theatrical work for solo singers, chorus, and orchestra.
29. A Lutheran liturgical melody.
30. Many pitches sung while sustaining one syllable of text.
31. A short rhythmic/melodic idea that is repeated exactly over and over throughout a musical section.
32. A "speech-like" manner of singing style with a free rhythm over a sparse accompaniment.
33. The back-up band of the Baroque (harpsichord + a melodic bass instrument).
34. A 3-movement work for a small group of soloists and orchestra.
VII. Match each description with its correct term:
Choose your answer from the following list of terms:
1 Pavane
5 Canon
9 Binary
2 Strophic
6 Word-painting
 Fugue
3 Madrigal
7 Ternary
4 Suite
8 Point-of-Imitation
Question
35. A form comprised of two distinctly opposing sections (A vs. B).
36. A complex contrapuntal manipulation of a musical "subject."
37. Strict imitative echoing by a melodic "leader" and subsequent "follower(s)."
38. Musical gestures that intentionally reflect the specific meaning of the text.
39. A section of vocal polyphony in which the same/similar melodic idea is passed successively from one
voice-part to another.
40. A composition on a short love-related poem, usually sung by a small group of singers (one on a part).
41. A stately, processional Renaissance dance in a slow, duple meter.
42. A collection of dance-related movements.
VIII. Choose the composer who correctly matches each description:
Choose your answer from the following list of composers:
1 Monteverdi
5 Handel
2 J.S. Bach
6 Palestrina
3 Purcell
7 Weelkes
4 Josquin Desprez
8 Machaut
Question
43. This Frenchman brought Medieval music to its height of rhythmic and harmonic complexity.
44. One of the most important English madrigalists of the Renaissance.
45. This Italian initiated the Baroque era with a daring new approach to vocal music.