Download melody - Test Bank 1

INSTRUCTOR’S MANUAL
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)
1
Unless otherwise specified, the CD tracks reference the 5-CD set for “Listening to Music” 7e


Handel, “Hallelujah” Chorus from Messiah (Intro CD/18)
Monteverdi, “Toccata from Orfeo” (CD 1/15)
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. Terms may be used more than once.
accent
meter
bar lines
meter signature (time signature)
bass clef
minor scale
beat
mode
cadence
modulation
canon
octave
chord
ostinato
chord progression
pickup
chromatic scale
pitch
clef
rest
consonance
rhythm
dissonance
ritard
dominant
scale
doo-wop
sharp
downbeat
staff
duple meter
syncopation
flat
tempo
great staff (grand staff)
tonality (key)
harmony
tonic
interval
treble clef
major scale
triad
measure (bar)
triple meter
melody
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.
ANSWER: accent
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
ANSWER: a
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
ANSWER: a [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
ANSWER: a
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
ANSWER: a [Monteverdi, Orfeo, Toccata, CD 1/15, 0:00-0:31]
14.
Identify the meter of the listening example.
a. duple
b. triple
ANSWER: a [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, 0:000:34]
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
ANSWER: a
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
ANSWER: a [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 4:225:11]
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
ANSWER: a
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
ANSWER: a
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
ANSWER: a
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
ANSWER: a
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
ANSWER: a
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
ANSWER: a
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
ANSWER: a
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
ANSWER: a
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
ANSWER: a [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
ANSWER: a
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]