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Question Pool

1. the main theme or part of a musical composition, the "tune" (something you can sing, hum, play, or whistle)

A. form

B. tempo

C. harmony

D. dynamics

E. melody

F. rhythm

G. timbre/tone color

2. Accompanying parts or musical lines that are not the melody, and how they blend with and/or support the melody

A. rhythm

B. harmony

C. melody

D. dynamics

E. tempo

F. form

G. timbre/tone color

3. Patterns of sounds and silence, pulse (beat). How the sounds and silence divide time. Whether the beats are accented (stressed) or unaccented

A. tempo

B. dynamics

C. rhythm

D. melody

E. timbre/tone color

F. harmony

G. form

4. Speed of the beat or pulse. Whether or not the speed changes and how it changes

A. rhythm

B. timbre/tone color

C. form

D. harmony

E. melody

F. tempo

G. dynamics

of 239Quiz: Question Pool

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5. Degrees of loudness and softness

A. tempo

B. dynamics

C. harmony

D. form

E. timbre/tone color

F. melody

G. rhythm

6. The quality of sound as determined by the instruments or voices that are performing the music

A. tempo

B. dynamics

C. melody

D. form

E. harmony

F. timbre/tone color

G. rhythm

7. The structure of a musical composition, how it is organized

A. timbre/tone color

B. form

C. harmony

D. melody

E. tempo

F. rhythm

G. dynamics

8. highness or lowness of sound, measured in cycles per second or hertz.

A. bass clef

B. pitch

C. treble clef

9. Identify this note:



A. C

B. D

C. A

D. G

E. F

F. E

G. B


A. G

B. D

C. E

D. C



E. F

F. B

G. A


A. B

B. G

C. D

D. C

E. A

F. F

G. E




A. G

B. F

C. D

D. A

E. B

F. E

G. C


A. C

B. D

C. A

D. B



E. F

F. G

G. E


A. C

B. D

C. A

D. B

E. F

F. G

G. E




A. B

B. G

C. D

D. C

E. A

F. F

G. E


A. E

B. C

C. A

D. B



E. G

F. F

G. D


A. B

B. A

C. E

D. D

E. F

F. C

G. G




A. B

B. F

C. A

D. C

E. G

F. D

G. E


A. B

B. F

C. E

D. D



E. A

F. C

G. G


A. G

B. F

C. C

D. D

E. E

F. B

G. A




A. F

B. G

C. A

D. D

E. E

F. B

G. C


A. F

B. G

C. E

D. C



E. A

F. D

G. B


A. E

B. C

C. D

D. F

E. B

F. A

G. G




A. B

B. F

C. E

D. A

E. G

F. C

G. D


A. B

B. G

C. D

D. C



E. A

F. F

G. E


CD 1, Track 59 CD

A. F

B. B

C. E

D. G

E. D

F. A

G. C

27. gives a song its basic identity

A. bass clef

B. range

C. melody

D. pitch location (general)

E. motion in leaps

F. treble clef

G. repeated pitch

H. movement in skips

I. Hertz (Hz)



J. stepwise motion

K. pitch

28. highness or lowness of sounds

A. bass clef

B. melody

C. repeated pitch

D. pitch location (general)

E. movement in skips

F. stepwise motion

G. range

H. pitch

I. treble clef

J. Hertz (Hz)

K. motion in leaps

29. measurement in cycles per second

A. bass clef

B. treble clef

C. stepwise motion

D. repeated pitch

E. pitch

F. melody

G. movement in skips

H. pitch location (general)

I. motion in leaps

J. Hertz (Hz)

K. range

30. two or more notes of the same pitch

A. stepwise motion

B. pitch location (general)

C. Hertz (Hz)

D. motion in leaps

E. movement in skips

F. bass clef

G. pitch

H. melody



I. repeated pitch

J. treble clef

K. range

31. a change in pitch in notes, going up or down exactly one note at a time

A. movement in skips

B. stepwise motion

C. range

D. treble clef

E. pitch location (general)

F. bass clef

G. motion in leaps

H. repeated pitch

I. pitch

J. Hertz (Hz)

K. melody

32. a change in pitch in notes, either up or down, where exactly one note is skipped

A. repeated pitch

B. range

C. stepwise motion

D. pitch

E. bass clef

F. Hertz (Hz)

G. motion in leaps

H. treble clef

I. movement in skips

J. melody

K. pitch location (general)

33. a change in pitch in notes, either up or down, where two or more notes are skipped

A. range

B. motion in leaps

C. bass clef

D. pitch

E. treble clef

F. Hertz (Hz)

G. stepwise motion



H. movement in skips

I. repeated pitch

J. pitch location (general)

K. melody

34. a way of describing pitch as either high-pitched, medium-pitched, or low-pitched

A. bass clef

B. treble clef

C. stepwise motion

D. Hertz (Hz)

E. motion in leaps

F. pitch location (general)

G. pitch

H. melody

I. movement in skips

J. range

K. repeated pitch

35. used for higher pitched instruments and voices like the violin, flute, trumpet, and female voices (sopranos and altos)

A. movement in skips

B. melody

C. bass clef

D. stepwise motion

E. Hertz (Hz)

F. repeated pitch

G. motion in leaps

H. treble clef

I. pitch

J. pitch location (general)

K. range

36. used for lower pitched instruments and voices, such as string bass, tuba, bassoon, and male voices (tenor andbass)

A. stepwise motion

B. pitch location (general)

C. melody

D. treble clef

E. motion in leaps



F. Hertz (Hz)

G. repeated pitch

H. pitch

I. bass clef

J. movement in skips

K. range

37. the distance from the lowest to the highest pitches used throughout the melody

A. Hertz (Hz)

B. melody

C. pitch location (general)

D. pitch

E. treble clef

F. repeated pitch

G. motion in leaps

H. stepwise motion

I. range

J. bass clef

K. movement in skips

38. According to the notation here, "Mary Had a Little Lamb" is in _____ clef.

CD 1, Track 60

CD

A. treble

B. bass

39. According to the notation here, the first five notes of "Mary Had a Little Lamb" use _____.



CD 1, Track 60

CD

A. motion in leaps

B. repeated pitches

C. movement in skips

D. stepwise motion

40. According to the notation here, notes five, six, and seven of "Mary Had a Little Lamb" use _____.

CD 1, Track 60

CD

A. stepwise motion

B. motion in leaps

C. repeated pitches

D. motion in skips

41. According to the notation here, notes eleven and twelve of "Mary Had a Little Lamb" use _____.



CD 1, Track 60

CD

A. stepwise motion

B. motion in leaps

C. movement in skips

D. repeated pitches

42. Match this definition with the corresponding term: determines the key (tonality) and texture of a musical selection.

A. atonal

B. key signatures

C. a cappella

D. key

E. circle of fifths

F. accidentals

G. modal

H. synchopation

I. pentatonic

J. monophonic

K. homophonic

L. whole-tone scale

M. sharps

N. flats

O. polyphonic

P. minor

Q. naturals

R. texture

harmony



S.

T. major

43. Match this definition with the corresponding term: tonality of a musical selection, either major, minor, modal, pentatonic, whole-toned, or atonal.

A. circle of fifths

B. sharps

C. monophonic

D. naturals

E. accidentals

F. synchopation

G. texture

H. modal

I. atonal

J. flats

K. pentatonic

L. major

M. harmony

N. key signatures

O. minor

P. polyphonic

Q. key

R. homophonic

S. a cappella

T. whole-tone scale

44. Match this definition with the corresponding term: happy or cheerful sounding.

A. atonal

B. key signatures

C. homophonic

D. modal

E. harmony

F. flats

G. a cappella

H. monophonic

I. key

J. minor

K. major



L. circle of fifths

M. pentatonic

N. synchopation

O. accidentals

P. sharps

Q. whole-tone scale

R. texture

S. polyphonic

T. naturals

45. Match this definition with the corresponding term: sad, gloomy, uneasy, or spooky sounding.

A. whole-tone scale

B. key

C. minor

D. texture

E. homophonic

F. harmony

G. modal

H. naturals

I. polyphonic

J. atonal

K. major

L. monophonic

M. accidentals

N. circle of fifths

O. flats

P. synchopation

Q. sharps

R. key signatures

S. pentatonic

T. a cappella

46. Match this definition with the corresponding term: Compositions that sound mostly major or minor but have a few notes that ?don't fit?.

A. homophonic

B. monophonic

C. naturals

D. whole-tone scale



E. key signatures

F. major

G. atonal

H. harmony

I. flats

J. sharps

K. modal

L. texture

M. key

N. polyphonic

O. minor

P. accidentals

Q. a cappella

R. circle of fifths

S. pentatonic

T. synchopation

47. Match this definition with the corresponding term: Most folk songs and Asian music are based on this five-tone scale.

A. monophonic

B. harmony

C. flats

D. key

E. minor

F. texture

G. key signatures

H. pentatonic

I. homophonic

J. whole-tone scale

K. circle of fifths

L. major

M. polyphonic

N. accidentals

O. a cappella

P. atonal

Q. sharps

R. modal

naturals



S.

T. synchopation

48. Match this definition with the corresponding term: a scale made up entirely of whole steps, a very exotic sound heard in Impressionist music.

A. atonal

B. naturals

C. flats

D. monophonic

E. minor

F. modal

G. major

H. sharps

I. key signatures

J. pentatonic

K. synchopation

L. homophonic

M. a cappella

N. accidentals

O. key

P. circle of fifths

Q. polyphonic

R. texture

S. harmony

T. whole-tone scale

49. Match this definition with the corresponding term: no scale identity and may sound very odd to the listener, often heard in the modern period.

A. texture

B. accidentals

C. modal

D. major

E. pentatonic

F. circle of fifths

G. minor

H. atonal

I. a cappella

J. key



K. synchopation

L. harmony

M. flats

N. sharps

O. monophonic

P. whole-tone scale

Q. homophonic

R. key signatures

S. polyphonic

T. naturals

50. Match this definition with the corresponding term: the thickness of sound, including monophonic, homophonic, and polyphonic.

A. synchopation

B. a cappella

C. key signatures

D. polyphonic

E. homophonic

F. accidentals

G. minor

H. harmony

I. texture

J. atonal

K. circle of fifths

L. modal

M. key

N. major

O. sharps

P. flats

Q. naturals

R. monophonic

S. pentatonic

T. whole-tone scale

51. Match this definition with the corresponding term: one sound, music is performed in unison; everyone sings or plays the same part or pitches at the same time; there is only melody, no harmony.

A. texture

B. accidentals



C. modal

D. major

E. pentatonic

F. circle of fifths

G. minor

H. atonal

I. a cappella

J. key

K. synchopation

L. harmony

M. flats

N. sharps

O. monophonic

P. whole-tone scale

Q. homophonic

R. key signatures

S. polyphonic

T. naturals

52. Match this definition with the corresponding term: (same sound) music has multiple or different parts being sung or played, but they are sung or played at the same time, the parts use the same rhythmic patterns and phrase structure; melody and harmony both exist, but melody is most important; a common example is the hymn or chorale.

A. texture

B. sharps

C. synchopation

D. key

E. polyphonic

F. circle of fifths

G. pentatonic

H. whole-tone scale

I. key signatures

J. monophonic

K. major

L. modal

M. harmony

N. flats

O. atonal



P. naturals

Q. homophonic

R. minor

S. a cappella

T. accidentals

53. Match this definition with the corresponding term: (many sounds) music has multiple, independent parts that are sung or played at the same time; each part is as important as the others; because the parts overlap, there is often no silence, making this texture the thickest sounding of the three. Examples are rounds (canon), madrigals, and motets of the Renaissance period.

A. homophonic

B. monophonic

C. flats

D. atonal

E. accidentals

F. a cappella

G. synchopation

H. major

I. modal

J. harmony

K. key signatures

L. minor

M. sharps

N. pentatonic

O. whole-tone scale

P. texture

Q. naturals

R. polyphonic

S. circle of fifths

T. key

54. Match this definition with the corresponding term: vocal music that is performed without accompanying instruments.

A. naturals

B. key

C. a cappella

D. monophonic

E. harmony

F. polyphonic



G. modal

H. synchopation

I. minor

J. sharps

K. pentatonic

L. homophonic

M. accidentals

N. texture

O. whole-tone scale

P. atonal

Q. circle of fifths

R. major

S. flats

T. key signatures

55. Match this definition with the corresponding term: three symbols used to indicate a raised or lowered pitch to make it fit into the key of a piece; includes sharps, flats, and naturals.

A. whole-tone scale

B. synchopation

C. pentatonic

D. key

E. accidentals

F. a cappella

G. minor

H. naturals

I. major

J. texture

K. homophonic

L. atonal

M. harmony

N. polyphonic

O. flats

P. monophonic

Q. modal

R. sharps

S. circle of fifths

T. key signatures



56. Match this definition with the corresponding term: raises the pitch by ½ step.

A. circle of fifths

B. sharps

C. homophonic

D. accidentals

E. pentatonic

F. a cappella

G. modal

H. flats

I. harmony

J. polyphonic

K. synchopation

L. naturals

M. key signatures

N. major

O. whole-tone scale

P. key

Q. monophonic

R. atonal

S. texture

T. minor

57. Match this definition with the corresponding term: lowers the pitch by ½ step.

A. harmony

B. monophonic

C. texture

D. minor

E. circle of fifths

F. pentatonic

G. synchopation

H. homophonic

I. atonal

J. a cappella

K. key signatures

L. polyphonic

M. accidentals

N. sharps



O. major

P. key

Q. modal

R. naturals

S. flats

T. whole-tone scale

58. Match this definition with the corresponding term: cancels a sharp or flat.

A. synchopation

B. monophonic

C. whole-tone scale

D. texture

E. harmony

F. key signatures

G. polyphonic

H. circle of fifths

I. major

J. modal

K. atonal

L. minor

M. flats

N. pentatonic

O. sharps

P. key

Q. a cappella

R. naturals

S. homophonic

T. accidentals

59. Match this definition with the corresponding term: combinations of sharps or flats at the beginning of a compostion.

A. texture

B. sharps

C. synchopation

D. key

E. polyphonic

F. circle of fifths

G. pentatonic



H. whole-tone scale

I. key signatures

J. monophonic

K. major

L. modal

M. harmony

N. flats

O. atonal

P. naturals

Q. homophonic

R. minor

S. a cappella

T. accidentals

60. Match this definition with the corresponding term: a diagram in which major keys are represented by capital letters, minor keys by lower case letters. Key signatures are located in the center of each sector.

A. atonal

B. key signatures

C. a cappella

D. key

E. circle of fifths

F. accidentals

G. modal

H. synchopation

I. pentatonic

J. monophonic

K. homophonic

L. whole-tone scale

M. sharps

N. flats

O. polyphonic

P. minor

Q. naturals

R. texture

S. harmony

T. major

61. Match this definition with the corresponding term: happens when beats that are normally unstressed are accented; this rhythm is a characteristic that is often found in jazz music.



A. atonal

B. naturals

C. sharps

D. a cappella

E. key signatures

F. flats

G. polyphonic

H. whole-tone scale

I. minor

J. accidentals

K. synchopation

L. homophonic

M. monophonic

N. circle of fifths

O. major

P. key

Q. harmony

R. pentatonic

S. modal

T. texture

62. Match the following definition with the appropriate term: patterns of sounds and silences that make music move through time.

A. measures

B. duple meter

C. triple meter

D. rhythm

E. meter signature (time signature)

F. bar lines

63. Match the following definition with the appropriate term: vertical lines through a staff.

A. measures

B. triple meter

C. meter signature (time signature)

D. rhythm

E. bar lines

F. duple meter

64. Match the following definition with the appropriate term: sections of a staff as indicated by bar lines.



A. triple meter

B. meter signature (time signature)

C. measures

D. rhythm

E. duple meter

F. bar lines

65. Match the following definition with the appropriate term: a notation that most often looks like a fraction without the dividing line between the numerator and denominator; the top number tells how many beats are in each measure, while the bottom number tells what kind of note is equal to one beat.

A. triple meter

B. duple meter


D. rhythm

E. bar lines

F. measures

66. Match the following definition with the appropriate term: two beats per measure.

A. triple meter

B. duple meter


D. measures

E. bar lines

F. rhythm

67. Match the following definition with the appropriate term: three beats per measure.

A. measures

B. meter signature (time signature)

C. bar lines

D. rhythm

E. triple meter

F. duple meter

68. What is the time signature of this piece of music?

CD 1, Track 66



A. 3 - 4 time

B. 2 - 4 time

C. 4 - 3 time

D. 4 - 4 time


CD 1, Track 67 CD

A. 3 - 4 time

B. 4 - 3 time

C. 4 - 4 time

D. 2 - 4 time


CD 1, Track 68 CD

A. 3 - 4 time

B. 4 - 3 time

C. 2 - 4 time

D. 4 - 4 time




CD 1, Track 69 CD

A. 3 - 4 time

B. 4 - 3 time

C. 6 - 8 time

D. 4 - 4 time

72. What is the first note of this piece, located in the bass clef?

CD 1, Track 68 CD

A. G

B. E

C. A

D. F

73. What are the first five notes of this piece of music?

CD 1, Track 66 CD



A. G

B. A

C. B

D. C

74. What is the speed of the beat in music?

A. Metronome

B. Tempo

C. Allegro

D. Adagio

E. Moderato

F. Largo

75. What is a fast beat in music?

A. Metronome

B. Largo

C. Adagio

D. Moderato

E. Allegro

F. Tempo

76. What is a moderate beat in music?

A. Moderato

B. Metronome

C. Largo

D. Allegro

E. Adagio

F. Tempo

77. What is a slow beat in music?

A. Metronome

B. Adagio

C. Tempo

D. Allegro

E. Largo

F. Moderato

78. What is a very slow beat in music?

A. Metronome



B. Adagio

C. Tempo

D. Allegro

E. Moderato

F. Largo

79. What is a mechanical device that ticks or beeps audibly at a steady tempo?

A. Moderato

B. Metronome

C. Adagio

D. Tempo

E. Allegro

F. Largo

80. What does ♩ = 20 mean?

A. There are twenty beats per measure.

B. There are twenty notes per measure.

C. The composition has a total of twenty beats.

D. There are twenty beats per minute.

E. There are twenty notes per minute.

81. What is ♩ = 20 called?

A. time signature

B. metronome

C. metronome marking

D. beat measure

82. What is this?

CD 1, Track 70

A. tambourine

B. odometer



C. metronome

D. clock

83. Define pianissimo.

A. very loud

B. very soft

C. soft

D. moderately loud

E. moderately soft

F. loud

84. Define piano.

A. soft

B. very soft

C. very loud

D. moderately soft

E. moderately loud

F. loud

85. Define mezzo piano.

A. moderately soft

B. loud

C. very soft

D. soft

E. very loud

F. moderately loud

86. Define mezzo forte.

A. soft

B. very loud

C. moderately soft

D. moderately loud

E. loud

F. very soft

87. Define forte.

A. very loud

B. moderately loud

C. very soft



D. loud

E. moderately soft

F. soft

88. Define fortissimo.

A. very loud

B. loud

C. moderately soft

D. moderately loud

E. very soft

F. soft

89. Define dynamics.

A. a gradual decrease in volume

B. degrees of loudness or softness (volume) and the intensity of sound

C. a gradual increase in volume

90. Define crescendo.




91. Define diminuendo.




92. What is this symbol?

CD 1, Track 79

A. treble

B. crescendo

C. bass

D. diminuendo

93. What is this symbol?



CD 1, Track 81Look on the course cd.

A. diminuendo

B. bass

C. treble

D. crescendo

94. Which voice is "the highest and lightest female voice."

A. contralto

B. tenor

C. mezzo soprano

D. baritone

E. soprano

F. bass

95. Which voice is "the highest male voice."

A. contralto

B. baritone

C. bass

D. soprano

E. tenor

F. mezzo soprano

96. Which voice is "the mid range female voice."

A. contralto

B. baritone

C. soprano

D. tenor

E. mezzo soprano

F. bass

97. Which voice is "the mid range male voice."

A. tenor

B. soprano

C. bass

D. mezzo soprano

E. contralto

F. baritone

98. Which voice is "the lowest female voice."



A. bass

B. soprano

C. mezzo soprano

D. contralto

E. tenor

F. baritone

99. Which voice is "the lowest male voice."

A. bass

B. tenor

C. soprano

D. mezzo soprano

E. baritone

F. contralto

100. Define timbre.

A. includes ranges: soprano, mezzo soprano, contralto, tenor, baritone, bass

B. determined by the voices or instruments; sound qualities; varies by voice type and by the style of music being performed

C. includes the following groups: string, woodwind, brass, percussion, and keyboard

101. Define instrument families.

A. includes the following groups: string, woodwind, brass, percussion, and keyboard

B. includes ranges: soprano, mezzo soprano, contralto, tenor, baritone, bass

C. determined by the voices or instruments; sound qualities; varies by voice type and by the style of music being performed

102. Define voice classifications.

A. determined by the voices or instruments; sound qualities; varies by voice type and by the style of music being performed

B. includes the following groups: string, woodwind, brass, percussion, and keyboard

C. includes ranges: soprano, mezzo soprano, contralto, tenor, baritone, bass

103. Select three areas covered by form.

A. genre

B. duration

C. structure

D. style

E. force

104. Define structure.



A. relate to the time period or culture in which the music was created and performed

B. meant for religious purposes

C. how the composition is put together

D. meant for non-religious purposes

105. Define style and genre.

A. relate to the time period or culture in which the music was created and performed

B. meant for non-religious purposes

C. meant for religious purposes

D. how the composition is put together

106. Define sacred.

A. meant for non-religious purposes

B. meant for religious purposes

C. how the composition is put together

D. relate to the time period or culture in which the music was created and performed

107. Define secular.

A. meant for non-religious purposes

B. how the composition is put together

C. relate to the time period or culture in which the music was created and performed

D. meant for religious purposes

108. Which two formats are considered when determining form?

A. stand alone

B. analog

C. digital

D. component

109. A musical selection can be divided into parts called _____.

A. sectors

B. sections

C. pieces

D. units

110. Define binary form.

A. a form with three parts

B. The theme is a basic musical idea that is repeated over and over. It is changed each time it is repeated.

C. a form with two parts



D. has a main theme (A) which returns throughout the work

111. Define ternary form.

A. The theme is a basic musical idea that is repeated over and over. It is changed each time it is repeated.

B. a form with two parts

C. has a main theme (A) which returns throughout the work

D. a form with three parts

112. Define rondo form.


B. has a main theme (A) which returns throughout the work

C. a form with two parts

D. a form with three parts

113. Define theme and variation form.


B. a form with two parts

C. a form with three parts

D. has a main theme (A) which returns throughout the work

114. Major components of a symphony are called _____.

A. opus

B. movements

C. major

D. parts

115. What is a form in which a leader or lead group sings or plays a phrase and then the others either repeat the phrase or sing or play a response to the phrase?

A. opera

B. call and response

C. verse and chorus

D. round

116. What is a simple melody performed by different groups of singers starting at different times? Example: Row, Row, Row Your Boat.

A. opera

B. verse and chorus

C. round

D. call and response



117. What has verses with the same melody but different words, ending with a refrain or chorus each time that has the same melody and words? Example: Jingle Bells

A. opera

B. verse and chorus

C. call and response

D. round

118. What is a combination of music and theatre?

A. round

B. verse and chorus


D. opera

119. Define aria.

A. the sung dialogue between the performers that moves the plot along; does not contain the variation of pitch and movement of the melody line that is present in the arias; is like sung speech

B. the ?song? sung by a principal character in the opera. It is the main vehicle for the character to express emotions

C. the music played by the orchestra before the curtain opens for the first act; usually contains a medley of all the important themes sung during the production

120. Define overture.

A. the music played by the orchestra before the curtain opens for the first act; usually contains a medley of all the important themes sung during the production

B. the sung dialogue between the performers that moves the plot along; does not contain the variation of pitch and movement of the melody line that is present in the arias; is like sung speech

C. the ?song? sung by a principal character in the opera. It is the main vehicle for the character to express emotions

121. Define recitative.

A. the music played by the orchestra before the curtain opens for the first act; usually contains a medley of all the important themes sung during the production

B. the sung dialogue between the performers that moves the plot along; does not contain the variation of pitch and movement of the melody line that is present in the arias; is like sung speech

C. the ?song? sung by a principal character in the opera. It is the main vehicle for the character to express emotions

122. Forte and piano are words used to describe what?

A. timbre

B. texture

C. melody

D. rhythm

E. dynamics

F. harmony

form



G.

H. tempo

123. Verses, chorus, movements, and sections are words used to describe what?

A. timbre

B. texture

C. harmony

D. form

E. dynamics

F. rhythm

G. tempo

H. melody

124. Key, major, and minor are words used to describe what?

A. rhythm

B. melody

C. timbre

D. harmony

E. form

F. dynamics

G. tempo

H. texture

125. Tonality, modal, pentatonic, whole-tone, and atonal are words used to describe what?

A. melody

B. tempo

C. dynamics

D. timbre

E. harmony

F. rhythm

G. texture

H. form

126. Pitches and notes are words used to describe what?

A. timbre

B. tempo

C. form

D. melody

E. texture



F. harmony

G. rhythm

H. dynamics

127. Alegro, moderato, adagio, and largo are words used to describe what?

A. rhythm

B. melody

C. harmony

D. dynamics

E. texture

F. tempo

G. timbre

H. form

128. Time signature, duple, triple and 4/4 are words used to describe what?

A. timbre

B. texture

C. melody

D. tempo

E. harmony

F. form

G. dynamics

H. rhythm

129. Monophonic, homophonic and polyphonic are words used to describe what?

A. timbre

B. tempo

C. form

D. rhythm

E. melody

F. texture

G. harmony

H. dynamics

130. String, woodwind, percussion, brass and vocal are words used to describe what?

A. timbre

B. rhythm

C. harmony

D. dynamics



E. texture

F. tempo

G. melody

H. form

131. What does the highlighted area describe?

A. timbre

B. texture

C. melody

D. harmony

E. form

F. dynamics

G. tempo

H. rhythm


A. melody

B. rhythm

C. form

D. harmony

E. tempo

F. timbre

G. texture

H. dynamics


A. harmony



B. timbre

C. tempo

D. melody

E. dynamics

F. form

G. rhythm

H. texture


A. texture

B. form

C. tempo

D. rhythm

E. melody

F. timbre

G. harmony

H. dynamics

135. Describe the dynamic of the first note.

A. fortissimo

B. mezzo forte

C. forte

D. pianissimo

E. mezzo piano

F. piano

136. What is the time signature of this piece?



A. allegro

B. bass

C. forte

D. 4/4

137. Which of the following has very low dynamics?

A. RspAV:O The Devil Went Down to Georgia by Charlie Daniels Band

B. Clair de Lune by Claude Debussy

138. Which of the following has very fast tempo?

A. RspAV:O The Devil Went Down to Georgia by Charlie Daniels Band

B. RspAV:O Clair de Lune by Claude Debussy

139. What was melody like during earliest times?

A. unusual tonalities, whole tone scale

B. simple, repetitive

C. simple, pentatonic

D. chant-like, syllabic, modal

E. simple, modal

F. complex, widening intervals

G. increase of complexity, text painting

H. use of simple, easy to sing tunes

I. atonal, large intervals, complex

J. use of wide intervals

140. What was melody like during ancient Greece and classical Rome?

A. increase of complexity, text painting

B. use of wide intervals

C. complex, widening intervals

D. simple, pentatonic

E. simple, modal

F. use of simple, easy to sing tunes

G. simple, repetitive

H. chant-like, syllabic, modal

I. atonal, large intervals, complex

J. unusual tonalities, whole tone scale

141. What is melody like in Middle Eastern and Asian cultures?




B. atonal, large intervals, complex

C. simple, repetitive

D. complex, widening intervals

E. chant-like, syllabic, modal

F. use of wide intervals

G. increase of complexity, text painting

H. simple, modal

I. simple, pentatonic

J. use of simple, easy to sing tunes

142. What was melody like during the Medieval period?

A. atonal, large intervals, complex

B. complex, widening intervals

C. use of simple, easy to sing tunes

D. increase of complexity, text painting

E. use of wide intervals

F. simple, repetitive

G. simple, pentatonic

H. unusual tonalities, whole tone scale

I. chant-like, syllabic, modal

J. simple, modal

143. What was melody like during the Renaissance?


B. use of simple, easy to sing tunes

C. use of wide intervals



F. unusual tonalities, whole tone scale

G. simple, repetitive

H. atonal, large intervals, complex

I. complex, widening intervals

J. simple, modal

144. What was melody like during the Baroque?

A. simple, repetitive

B. increase of complexity, text painting



C. use of simple, easy to sing tunes

D. use of wide intervals


F. unusual tonalities, whole tone scale


H. simple, modal


J. atonal, large intervals, complex

145. What was melody like during the Neoclassical Period?


B. complex, widening intervals

C. simple, pentatonic

D. simple, repetitive


F. use of simple, easy to sing tunes

G. unusual tonalities, whole tone scale

H. atonal, large intervals, complex

I. simple, modal


146. What was melody like during the Romantic and Realism Periods?


B. simple, repetitive

C. simple, modal

D. use of simple, easy to sing tunes

E. use of wide intervals

F. increase of complexity, text painting

G. atonal, large intervals, complex

H. chant-like, syllabic, modal


J. simple, pentatonic

147. What was melody like during Impressionist and Post-Impressionist Periods?

A. simple, modal


C. increase of complexity, text painting

D. use of simple, easy to sing tunes



E. unusual tonalities, whole tone scale

F. chant-like, syllabic, modal


H. simple, repetitive



148. What was melody like during Modern and Contemporary times?



C. simple, repetitive


E. simple, modal

F. increase of complexity, text painting

G. chant-like, syllabic, modal

H. use of simple, easy to sing tunes



149. What were rhythm and tempo like during earliest times?

A. complex rhythms, syncopation, African and Non-Western influence

B. free use of ritardando, accelerando, rubato

C. ostinato patterns or feeling of free rhythm

D. complex patterns over a steady beat

E. steady pulse, experimented with tempo, little variation within a song

F. steady pulse, usually at speed of heart beat, use of hemiola (3 against 2)

G. feeling of constant pulse, not grouped in meters, some isorhythms (small patterns)

H. use of percussion to set pulse, not complex

I. no sense of rhythm or beat

150. What were rhythm and tempo like during ancient Greece and classical Rome?

A. ostinato patterns or feeling of free rhythm

B. complex rhythms, syncopation, African and Non-Western influence

C. no sense of rhythm or beat

D. steady pulse, experimented with tempo, little variation within a song

E. complex patterns over a steady beat

F. use of percussion to set pulse, not complex

G. steady pulse, usually at speed of heart beat, use of hemiola (3 against 2)



H. free use of ritardando, accelerando, rubato

I. feeling of constant pulse, not grouped in meters, some isorhythms (small patterns)

151. What is rhythm like in Middle Eastern and Asian cultures?

A. feeling of constant pulse, not grouped in meters, some isorhythms (small patterns)


C. complex rhythms, syncopation, African and Non-Western influence

D. no sense of rhythm or beat

E. ostinato patterns or feeling of free rhythm

F. steady pulse, experimented with tempo, little variation within a song

G. complex patterns over a steady beat

H. steady pulse, usually at speed of heart beat, use of hemiola (3 against 2)

I. use of percussion to set pulse, not complex

152. What were rhythm and tempo like during the Medieval period?


B. steady pulse, experimented with tempo, little variation within a song

C. ostinato patterns or feeling of free rhythm

D. free use of ritardando, accelerando, rubato

E. feeling of constant pulse, not grouped in meters, some isorhythms (small patterns)

F. use of percussion to set pulse, not complex

G. no sense of rhythm or beat

H. complex patterns over a steady beat

I. steady pulse, usually at speed of heart beat, use of hemiola (3 against 2)

153. What were rhythm and tempo like during the Renaissance?



C. use of percussion to set pulse, not complex


E. complex rhythms, syncopation, African and Non-Western influence

F. complex patterns over a steady beat

G. steady pulse, experimented with tempo, little variation within a song

H. ostinato patterns or feeling of free rhythm

I. steady pulse, usually at speed of heart beat, use of hemiola (3 against 2)

154. What were rhythm and tempo like during the Baroque?





C. use of percussion to set pulse, not complex

D. steady pulse, experimented with tempo, little variation within a song

E. no sense of rhythm or beat

F. complex patterns over a steady beat

G. ostinato patterns or feeling of free rhythm

H. steady pulse, usually at speed of heart beat, use of hemiola (3 against 2)

I. complex rhythms, syncopation, African and Non-Western influence

155. What were rhythm and tempo like during the Neoclassical Period?



C. complex patterns over a steady beat

D. use of percussion to set pulse, not complex

E. steady pulse, experimented with tempo, little variation within a song

F. steady pulse, usually at speed of heart beat, use of hemiola (3 against 2)


H. complex rhythms, syncopation, African and Non-Western influence

I. ostinato patterns or feeling of free rhythm

156. What were rhythm and tempo like during the Romantic and Realism Periods?


B. ostinato patterns or feeling of free rhythm

C. steady pulse, usually at speed of heart beat, use of hemiola (3 against 2)

D. use of percussion to set pulse, not complex

E. free use of ritardando, accelerando, rubato

F. feeling of constant pulse, not grouped in meters, some isorhythms (small patterns)



I. steady pulse, experimented with tempo, little variation within a song

157. What were rhythm and tempo like during Impressionist and Post-Impressionist Periods?



C. steady pulse, experimented with tempo, little variation within a song


E. steady pulse, usually at speed of heart beat, use of hemiola (3 against 2)

F. ostinato patterns or feeling of free rhythm

G. use of percussion to set pulse, not complex





158. What were rhythm and tempo like during Modern and Contemporary times?

A. ostinato patterns or feeling of free rhythm

B. no sense of rhythm or beat

C. steady pulse, usually at speed of heart beat, use of hemiola (3 against 2)

D. complex patterns over a steady beat

E. free use of ritardando, accelerando, rubato

F. complex rhythms, syncopation, African and Non-Western influence

G. use of percussion to set pulse, not complex

H. steady pulse, experimented with tempo, little variation within a song


159. What was the harmony in music during earliest times?

A. polyphonic, independent part with cadence points

B. atonal, serialism, 12 Tone, aleatoric

C. combination of textures, advanced rules of counterpoint, figured bass

D. unusual, exotic harmony

E. followed specific rules related to keys, modulation

F. full complex chords,experimented with exotic sounds

G. none

H. none to very simple

160. What was the harmony in music in ancient Greece and classical Rome?

A. unusual, exotic harmony

B. atonal, serialism, 12 Tone, aleatoric

C. none

D. full complex chords,experimented with exotic sounds


F. combination of textures, advanced rules of counterpoint, figured bass

G. polyphonic, independent part with cadence points

H. none to very simple

161. What is the harmony in music in Middle Eastern and Asian cultures?

A. combination of textures, advanced rules of counterpoint, figured bass

B. full complex chords,experimented with exotic sounds

C. none

D. atonal, serialism, 12 Tone, aleatoric



E. unusual, exotic harmony

F. followed specific rules related to keys, modulation

G. none to very simple

H. polyphonic, independent part with cadence points

162. What was the harmony in music during the Medieval Period?

A. atonal, serialism, 12 Tone, aleatoric

B. full complex chords,experimented with exotic sounds

C. unusual, exotic harmony

D. none


F. none to very simple

G. combination of textures, advanced rules of counterpoint, figured bass


163. What was the harmony in music during the Renaissance?


B. unusual, exotic harmony


D. polyphonic, independent part with cadence points

E. full complex chords,experimented with exotic sounds


G. none

H. followed specific rules related to keys, modulation

164. What was the harmony in music during the Baroque?



C. none to very simple


E. atonal, serialism, 12 Tone, aleatoric

F. followed specific rules related to keys, modulation


H. none

165. What was the harmony in music during Neoclassical (Classical) Period?



C. followed specific rules related to keys, modulation



D. none to very simple

E. combination of textures, advanced rules of counterpoint, figured bass

F. none


H. full complex chords,experimented with exotic sounds

166. What was the harmony in music during the Romanticism and Realism Periods?




D. polyphonic, independent part with cadence points



G. none

H. followed specific rules related to keys, modulation

167. What was the harmony in music during the Impressionism and Post-Impressionism Periods?



C. none to very simple

D. followed specific rules related to keys, modulation


F. none

G. atonal, serialism, 12 Tone, aleatoric


168. What was the harmony in music during the Modern and Contemporary Periods?


B. followed specific rules related to keys, modulation



E. unusual, exotic harmony



H. none

169. Describe the use of dynamics in music during earliest times.

A. determined by shape of musical phrase

B. terraced dynamics - volume increased by addition of instruments or voices



C. experiment with shift in dynamics

D. constant / no variety

E. large variety of dynamics with sudden changes

F. dependent on instruments used

170. Describe the use of dynamics in music in ancient Greece and classical Rome.

A. large variety of dynamics with sudden changes

B. experiment with shift in dynamics

C. constant / no variety

D. determined by shape of musical phrase

E. terraced dynamics - volume increased by addition of instruments or voices


171. Describe the use of dynamics in music in Middle Eastern and Asian cultures.


B. large variety of dynamics with sudden changes



E. dependent on instruments used

F. terraced dynamics - volume increased by addition of instruments or voices

172. Describe the use of dynamics in music during the Medieval Period.

A. experiment with shift in dynamics

B. dependent on instruments used

C. constant / no variety

D. determined by shape of musical phrase

E. terraced dynamics - volume increased by addition of instruments or voices

F. large variety of dynamics with sudden changes

173. Describe the use of dynamics in music during the Renaissance.



C. determined by shape of musical phrase

D. dependent on instruments used

E. constant / no variety

F. experiment with shift in dynamics

174. Describe the use of dynamics in music during the Baroque.





C. terraced dynamics - volume increased by addition of instruments or voices

D. experiment with shift in dynamics



175. Describe the use of dynamics in music during Neoclassical (Classical) Period.



C. terraced dynamics - volume increased by addition of instruments or voices

D. experiment with shift in dynamics



176. Describe the use of dynamics in music during the Romanticism and Realism Periods.


B. constant / no variety

C. dependent on instruments used

D. terraced dynamics - volume increased by addition of instruments or voices

E. experiment with shift in dynamics

F. determined by shape of musical phrase

177. Describe the use of dynamics in music during the Impressionism and Post-Impressionism Periods.




D. large variety of dynamics with sudden changes


F. constant / no variety

178. Describe the use of dynamics in music during the Modern and Contemporary Periods.






F. terraced dynamics - volume increased by addition of instruments or voices

179. Describe the use of timbre (tone color) in music during earliest times.



A. calm, pure vocal sound, a capella, instruments subtle

B. instruments chosen to capture a moment in time

C. addition of tuba, low brass, variety of percussion

D. harsh, nasal singing voice

E. harsh, throaty singing voice, imitates nature

F. haut-loud outdoor instruments reeds, brass, percussion. Bas-low, quiet, indoor instruments - viols, recorders

G. developing modern instruments - violin, trumpet

H. electronic instruments, amplification, recording

I. dependent on purpose

J. addition of piano, bassoon, clarinet

180. Describe the use of timbre (tone color) in music in ancient Greece and classical Rome.


B. instruments chosen to capture a moment in time

C. dependent on purpose

D. haut-loud outdoor instruments reeds, brass, percussion. Bas-low, quiet, indoor instruments - viols, recorders

E. harsh, nasal singing voice

F. electronic instruments, amplification, recording


H. addition of piano, bassoon, clarinet

I. harsh, throaty singing voice, imitates nature

J. addition of tuba, low brass, variety of percussion

181. Describe the use of timbre (tone color) in music in Middle Eastern and Asian cultures.

A. electronic instruments, amplification, recording

B. addition of piano, bassoon, clarinet

C. instruments chosen to capture a moment in time

D. addition of tuba, low brass, variety of percussion

E. harsh, throaty singing voice, imitates nature

F. haut-loud outdoor instruments reeds, brass, percussion. Bas-low, quiet, indoor instruments - viols, recorders

G. dependent on purpose

H. developing modern instruments - violin, trumpet

I. calm, pure vocal sound, a capella, instruments subtle

J. harsh, nasal singing voice

182. Describe the use of timbre (tone color) in music during the Medieval Period.

A. haut-loud outdoor instruments reeds, brass, percussion. Bas-low, quiet, indoor instruments - viols,



recorders

B. addition of tuba, low brass, variety of percussion

C. electronic instruments, amplification, recording

D. instruments chosen to capture a moment in time

E. harsh, nasal singing voice

F. addition of piano, bassoon, clarinet

G. calm, pure vocal sound, a capella, instruments subtle

H. harsh, throaty singing voice, imitates nature

I. developing modern instruments - violin, trumpet

J. dependent on purpose

183. Describe the use of timbre (tone color) in music during the Renaissance.

A. instruments chosen to capture a moment in time

B. harsh, throaty singing voice, imitates nature

C. harsh, nasal singing voice

D. dependent on purpose

E. calm, pure vocal sound, a capella, instruments subtle

F. addition of tuba, low brass, variety of percussion

G. haut-loud outdoor instruments reeds, brass, percussion. Bas-low, quiet, indoor instruments - viols, recorders

H. addition of piano, bassoon, clarinet

I. electronic instruments, amplification, recording

J. developing modern instruments - violin, trumpet

184. Describe the use of timbre (tone color) in music during the Baroque.


B. electronic instruments, amplification, recording

C. developing modern instruments - violin, trumpet


E. addition of piano, bassoon, clarinet

F. dependent on purpose

G. haut-loud outdoor instruments reeds, brass, percussion. Bas-low, quiet, indoor instruments - viols, recorders

H. instruments chosen to capture a moment in time

I. addition of tuba, low brass, variety of percussion

J. harsh, throaty singing voice, imitates nature

185. Describe the use of timbre (tone color) in music during Neoclassical (Classical) Period.

A. electronic instruments, amplification, recording



B. addition of tuba, low brass, variety of percussion


D. harsh, throaty singing voice, imitates nature

E. haut-loud outdoor instruments reeds, brass, percussion. Bas-low, quiet, indoor instruments - viols, recorders

F. addition of piano, bassoon, clarinet

G. calm, pure vocal sound, a capella, instruments subtle

H. dependent on purpose

I. instruments chosen to capture a moment in time


186. Describe the use of timbre (tone color) in music during the Romanticism and Realism Periods.

A. haut-loud outdoor instruments reeds, brass, percussion. Bas-low, quiet, indoor instruments - viols, recorders




E. calm, pure vocal sound, a capella, instruments subtle

F. addition of tuba, low brass, variety of percussion

G. dependent on purpose

H. instruments chosen to capture a moment in time

I. harsh, throaty singing voice, imitates nature

J. electronic instruments, amplification, recording

187. Describe the use of timbre (tone color) in music during the Impressionism and Post-Impressionism Periods.

A. harsh, throaty singing voice, imitates nature

B. haut-loud outdoor instruments reeds, brass, percussion. Bas-low, quiet, indoor instruments - viols, recorders

C. dependent on purpose

D. calm, pure vocal sound, a capella, instruments subtle

E. electronic instruments, amplification, recording

F. developing modern instruments - violin, trumpet

G. harsh, nasal singing voice

H. addition of tuba, low brass, variety of percussion

I. instruments chosen to capture a moment in time

J. addition of piano, bassoon, clarinet

188. Describe the use of timbre (tone color) in music during the Modern and Contemporary Periods.

A. haut-loud outdoor instruments reeds, brass, percussion. Bas-low, quiet, indoor instruments - viols, recorders




C. harsh, throaty singing voice, imitates nature

D. dependent on purpose

E. instruments chosen to capture a moment in time

F. electronic instruments, amplification, recording


H. addition of tuba, low brass, variety of percussion

I. calm, pure vocal sound, a capella, instruments subtle


189. Describe the main form in music during earliest times.

A. madrigal, motet, mass, chorale

B. sonata, symphony, concerto, string quartet, theme and variation, Rondo

C. chant, mass, organum, motet, ballads, dance music

D. ritual, ceremonies, chants, ballads, drama-Kabuki

E. ritual, ceremonies, chants, ballads, call and response

F. jazz, popular, folk, movie/theater music, commercial music

G. mass, cantata, opera, oratorio, toccata, fugue, concerto grosso, dance forms

H. symphony, suite, concerto, tone poem, programme music art song, lieder

I. tone poem, art song

J. chants, sung lyric poetry, drama songs, dithyrambs

190. Describe the main form in music in ancient Greece and classical Rome.



C. chant, mass, organum, motet, ballads, dance music


E. ritual, ceremonies, chants, ballads, call and response

F. jazz, popular, folk, movie/theater music, commercial music

G. mass, cantata, opera, oratorio, toccata, fugue, concerto grosso, dance forms


I. tone poem, art song

J. chants, sung lyric poetry, drama songs, dithyrambs

191. Describe the main form in music in Middle Eastern and Asian cultures.

A. jazz, popular, folk, movie/theater music, commercial music


C. ritual, ceremonies, chants, ballads, call and response



D. mass, cantata, opera, oratorio, toccata, fugue, concerto grosso, dance forms

E. ritual, ceremonies, chants, ballads, drama-Kabuki

F. chant, mass, organum, motet, ballads, dance music

G. tone poem, art song


I. chants, sung lyric poetry, drama songs, dithyrambs

J. madrigal, motet, mass, chorale

192. Describe the main form in music during the Medieval Period.


B. symphony, suite, concerto, tone poem, programme music art song, lieder

C. ritual, ceremonies, chants, ballads, drama-Kabuki

D. mass, cantata, opera, oratorio, toccata, fugue, concerto grosso, dance forms

E. chant, mass, organum, motet, ballads, dance music

F. tone poem, art song

G. chants, sung lyric poetry, drama songs, dithyrambs

H. jazz, popular, folk, movie/theater music, commercial music

I. ritual, ceremonies, chants, ballads, call and response

J. sonata, symphony, concerto, string quartet, theme and variation, Rondo

193. Describe the main form in music during the Renaissance.

A. tone poem, art song

B. chants, sung lyric poetry, drama songs, dithyrambs

C. sonata, symphony, concerto, string quartet, theme and variation, Rondo

D. madrigal, motet, mass, chorale

E. mass, cantata, opera, oratorio, toccata, fugue, concerto grosso, dance forms

F. chant, mass, organum, motet, ballads, dance music

G. ritual, ceremonies, chants, ballads, drama-Kabuki


I. jazz, popular, folk, movie/theater music, commercial music

J. ritual, ceremonies, chants, ballads, call and response

194. Describe the main form in music during the Baroque.



C. tone poem, art song

D. jazz, popular, folk, movie/theater music, commercial music

E. chants, sung lyric poetry, drama songs, dithyrambs



F. ritual, ceremonies, chants, ballads, drama-Kabuki

G. ritual, ceremonies, chants, ballads, call and response

H. mass, cantata, opera, oratorio, toccata, fugue, concerto grosso, dance forms

I. chant, mass, organum, motet, ballads, dance music

J. sonata, symphony, concerto, string quartet, theme and variation, Rondo

195. Describe the main form in music during Neoclassical (Classical) Period.

A. mass, cantata, opera, oratorio, toccata, fugue, concerto grosso, dance forms

B. ritual, ceremonies, chants, ballads, drama-Kabuki

C. ritual, ceremonies, chants, ballads, call and response

D. chant, mass, organum, motet, ballads, dance music


F. symphony, suite, concerto, tone poem, programme music art song, lieder

G. jazz, popular, folk, movie/theater music, commercial music

H. madrigal, motet, mass, chorale

I. sonata, symphony, concerto, string quartet, theme and variation, Rondo

J. tone poem, art song

196. Describe the main form in music during the Romanticism and Realism Periods.

A. tone poem, art song

B. ritual, ceremonies, chants, ballads, call and response

C. jazz, popular, folk, movie/theater music, commercial music

D. chant, mass, organum, motet, ballads, dance music

E. symphony, suite, concerto, tone poem, programme music art song, lieder

F. mass, cantata, opera, oratorio, toccata, fugue, concerto grosso, dance forms

G. ritual, ceremonies, chants, ballads, drama-Kabuki

H. chants, sung lyric poetry, drama songs, dithyrambs

I. sonata, symphony, concerto, string quartet, theme and variation, Rondo

J. madrigal, motet, mass, chorale

197. Describe the main form in music during the Impressionism and Post-Impressionism Periods.



C. ritual, ceremonies, chants, ballads, drama-Kabuki

D. ritual, ceremonies, chants, ballads, call and response


F. sonata, symphony, concerto, string quartet, theme and variation, Rondo

G. tone poem, art song



H. jazz, popular, folk, movie/theater music, commercial music


J. mass, cantata, opera, oratorio, toccata, fugue, concerto grosso, dance forms

198. Describe the main form in music during the Modern and Contemporary Periods.

A. jazz, popular, folk, movie/theater music, commercial music


C. sonata, symphony, concerto, string quartet, theme and variation, Rondo


E. mass, cantata, opera, oratorio, toccata, fugue, concerto grosso, dance forms

F. tone poem, art song

G. madrigal, motet, mass, chorale

H. chants, sung lyric poetry, drama songs, dithyrambs


J. ritual, ceremonies, chants, ballads, call and response

199. refers to the area that the human body occupies

A. Force

B. Space

C. Time

200. the body can make certain shapes

A. Force

B. Space

C. Time

201. shapes can be soft or sharp

A. Time

B. Force

C. Space

202. Pathway

A. Force

B. Space

C. Time

203. movements can be fast while others very slow

A. Space

B. Force

C. Time



204. 4/4 or 3/4

A. Time

B. Force

C. Space

205. refers to the amount of energy it takes to execute a movement

A. Time

B. Space

C. Force

206. sharp, smooth, or weighted movement

A. Time

B. Force

C. Space

207. the body travels through space which takes it from one place to another

A. non-locomotor

B. locomotor

208. stationary movements which stay in one place

A. locomotor

B. non-locomotor

209. direction

A. Force

B. Space

C. Time

210. duration

A. Force

B. Space

C. Time

211. weight

A. Time

B. Force

C. Space

212. a person who creates dances from movements

A. dance form

B. choreographer



C. dance style

213. A choreographer will create a dance using the _____ and _____ movements. (Select two.)

A. locomotor

B. vertical

C. non-locomotor

D. horizontal

214. Choreographers use _____, _____, and _____ in various combinations to change the movement, giving it variety and excitement. (Select three.)

A. force

B. sound

C. time

D. pattern

E. space

215. Out of all the possible movement combinations that exist, the _____ selects, edits, heightens, and sharpens those he thinks are suitable for his specific purposes.

A. actor

B. painter

C. dancer

D. editor

E. choreographer

216. sequence of movements that should be recognizable to the audience

A. choreographer

B. dance form

C. dance style

217. a structure often associated with African music and dance forms, although it is also used elsewhere, including classical, folk, traditional, and other primal forms; one soloist/group performs, with the second soloist/group answering or moving in response

A. narrative

B. rondo

C. theme and variation


218. a choreographic structure that follows a specific story line to convey specific information through a dance

A. narrative

B. rondo




D. theme and variation

219. a structure in which a theme or set of movements are repeated but with other movements added

A. narrative

B. theme and variation

C. rondo


220. a dance structure with three or more themes where one theme is repeated: ABACAD...

A. narrative

B. rondo


D. theme and variation

221. a dance compositional form made up of two contrasting sections, each of which may or may not be repeated

A. Call and Response

B. Theme and Variation

C. AB

D. ABA

E. Narrative

222. a three-part dance compositional form in which the third section is a restatement of the first section and can be in a condensed, abbreviated, or expanded form

A. Narrative

B. Theme and Variation

C. ABA

D. AB

E. Call and Response

223. a theatrical dance style that is built on a strict set of movements that were standardized in the 17th and 18th centuries.

A. ballet

B. tap

C. jazz

D. modern

224. associated with music beginning in the Roaring 20s, this highly syncopated dance has it?s roots in the African-American South

A. modern

B. jazz

C. ballet



D. tap

225. closely linked to jazz dancing, this dancing has its roots in ceremonial dance from West Africa, traditional Irish step dancing and English Clogging; there are certainly connections with the rhythmic percussive steps of Spanish Flamenco dance

A. modern

B. jazz

C. ballet

D. tap

226. a dance style that was a rebellion from the stiff ballet style of dance; is expressive and natural; dancers have bear feet and wear loose fitting clothes; includes dancers like Martha Graham

A. modern

B. ballet

C. jazz

D. tap

227. Which dance style uses these shoes?

A. tap

B. ballet

C. jazz

D. modern

228. Which dance style uses these shoes?

A. jazz



B. ballet

C. tap

D. modern

229. costume, lighting, props and scenery

A. dancing

B. staging

C. choreography

230. In the late 1800s and early 1900s, visual artists such as Matisse and Picasso began to collaborate with musicians and choreographers to bring a complete artistic package to the public. Why?

A. to achieve fame

B. to form a unified visual and auditory experience

C. to create a new art form

D. to increase profits

231. What is the key to Singin' in the Rain?

from http://www.musicnotes.com/sheetmusic/mtdVPE.asp?ppn=mn0075211

A. D Major

B. G Major

C. F Major

D. C Minor

232. What is the rhythm of Singin' in the Rain?




A. Triple (3/4)

B. Duple (2/2, 6/8, or 2/4)

C. Common (4/4)

D. Quadruple (4/2)

233. True/False - The rhythm of Singin' in the Rain is consistant measure to measure.




A. False

B. True

234. Describe the melody of Singin' in the Rain.


A. Repeated

B. Skips

C. Leaps

D. All of the above

235. Compare/contrast the lighting with the music key signature of Singin' in the Rain.




from http://www.youtube.com/watch?v=p7QL46cK7B8

A. The scene was bright, and the music was in D major.

B. The scene was dark, and the music was in C minor.

C. The scene was dark, but the music was in G major.

D. The scene was bright, and the music was in F major.

236. In Singin' in the Rain, what props did Gene Kelly use? SELECT THREE.



A. rain coat

B. hat

C. umbrella

D. lamp post

237. In Singin' in the Rain, what scenery appears in the set? SELECT FOUR.

A. street gutters

B. mailbox on corner

C. barbershop pole

D. stairs and sidewalk

E. lit windows of shops

F. lamp post

G. planes in an airport

238. Gene Kelly choreographed, directed, and performed the scene in the lesson of Singin' in the Rain. What predominant emotion did the various dance steps create?

A. Happy

B. Scared

C. Sad

D. Angry

239. What statement does this dance move from Singin' in the Rain make? (He stops and holds out his hat with his right hand and his umbrella with his left, holding his face up to the falling rain.)

from http://www.youtube.com/watch?v=p7QL46cK7B8



A. He feels dirty and wants to wash away the past.

B. He is angry and is defying the rain to harm him.

C. He is happy and feels energized by the rain.

D. He is tired and is giving up the fight.

240. Describe Gene Kelly's costume in Singin' in the Rain.

A. It is dark gray, unlike his cheerful emotions.

B. It is bright and cheerful like his emotions.

241. Overall, what is the mood (not the setting) of Singin' in the Rain? HINT: The dance and music outweigh the setting and lighting.

A. Angry

B. Scared

C. Sad

D. Happy

242. What are the dynamics of "Singin' in the Rain"?


A. forte

B. piano

C. mezzo-piano

D. mezzo-forte

243. What is an art that communicates stories, characters and situations through drama rather than narration?



A. plot structure

B. theater

C. point of view

D. literature

244. What is the performing of stories, scenes, or events by actors?

A. drama

B. plot structure

C. theater

D. point of view

245. What is the playwright's approach to the subject matter in the play?

A. plot structure

B. theater

C. point of view

D. drama

246. What is the way the segments of the action are ordered or arranged?

A. plot structure

B. point of view

C. theater

D. drama

247. What aspects of live actors are used to portray these characters, "bringing them to life" on the stage?

A. music, song and dance

B. movements, gestures and voices

C. visual elements

248. What items such as props, scenery, costuming, makeup, lighting, and special effects create mood, establish setting, and create the visual world of the play before the audience's eyes?

A. music, song and dance

B. movements, gestures and voices

C. visual elements

249. What creates mood, enhances emotional impact, and provides interesting, entertaining and memorable movement and melody?

A. visual elements

B. music, song and dance



C. movements, gestures and voices

250. Which form, including tragedy, melodrama, history play, Romantic drama, mystery play, morality play, bourgeois and domestic drama, treats the subject matter in a sober or serious way?

A. mixed

B. musical

C. experimental

D. serious

E. comic

251. Which form, farce, satire, comedy of manners, burlesque, treats the subject matter in a light-hearted or care-free manner?

A. mixed

B. serious

C. experimental

D. comic

E. musical

252. Which form, tragicomedy, absurdism, combines elements of both the serious and comic viewpoints ?

A. mixed

B. serious

C. experimental

D. musical

E. comic

253. Which form, including musical comedy, musical, opera, operetta, revue, includes song and/or dance ?

A. comic

B. experimental

C. musical

D. serious

E. mixed

254. Which formis also known as avante garde?

A. experimental

B. serious

C. mixed

D. comic

E. musical

255. That which propels the character towards his/her goal



A. Character motivation

B. Dialogue

C. Acting

D. Analysis

256. the art of using your face, body, and voice to portray a character

A. Character motivation

B. Analysis

C. Dialogue

D. Acting

257. looking at a script to understand a character

A. Acting

B. Character motivation

C. Dialogue

D. Analysis

258. used to pronounce words, alter volume

A. Vocal expression

B. Breath control

C. Diction

D. Projection

259. the strength of the actor's breath control to carry his or her voice to all members of the audience

A. Projection

B. Vocal expression

C. Breath control

D. Diction

260. how actors use their voices to convey their character, including volume, speed, and pitch

A. Projection

B. Diction

C. Vocal expression

D. Breath control

261. how words are pronounced

A. Projection

B. Diction

C. Breath control



D. Vocal expression

262. the use of the face and body to tell the audience something about the character the actor is portraying

A. Stage directions

B. Facial expressions

C. Gestures

D. Nonverbal expression

E. Blocking & movement

F. Body alignment

263. when and where the character moves around the stage

A. Facial expressions

B. Blocking & movement

C. Body alignment

D. Stage directions

E. Gestures

F. Nonverbal expression

264. notations in the script giving the actor instructions about what to do and where to move on stage

A. Body alignment

B. Facial expressions

C. Gestures

D. Stage directions

E. Blocking & movement


265. meaningful looks and glances

A. Nonverbal expression

B. Gestures

C. Blocking & movement

D. Stage directions

E. Facial expressions

F. Body alignment

266. posture

A. Stage directions

B. Gestures

C. Body alignment

D. Nonverbal expression




F. Blocking & movement

267. movements that communicate specific meanings

A. Blocking & movement

B. Stage directions

C. Body alignment

D. Gestures



268. the culminating event of the plot

A. Climax

B. Rising action

C. Reversal or turning point

D. Denouement or Resolution

E. Exposition

F. Tension

269. the giving of information about the plot and characters that helps the audience know background details; usually at the beginning of the play; sometimes delayed until later

A. Climax

B. Rising action

C. Reversal or turning point

D. Resolution

E. Exposition

F. Tension

270. the resolution of the plot; events that happen after the climax

A. Reversal or turning point

B. Exposition

C. Tension

D. Climax

E. Resolution

F. Rising action

271. a series of events that advances the storyline; usually of increasing complication

A. Reversal or turning point

B. Resolution



C. Rising action

D. Climax

E. Tension

F. Exposition

272. an event that changes the direction of the action; usually as a result of a discovery that is contrary to what a character expects

A. Exposition

B. Climax

C. Denouement

D. Resolution

E. Rising action

F. Tension

273. The three little pigs build their houses.

A. Exposition

B. Exposition

C. Climax

D. Tension

E. Rising action

F. Resolution

274. The Big Bad Wolf blows down house of straw.

A. Exposition

B. Tension

C. Exposition

D. Rising action

E. Climax

F. Resolution

275. The Big Bad Wolf fails to blow down the brick house.

A. Rising action

B. Exposition

C. Climax

D. Exposition

E. Resolution

F. Tension

276. The three Little Pigs live together in a nice, safe brick home.



A. Exposition

B. Exposition

C. Climax

D. Rising action

E. Tension

F. Resolution

277. illuminates the action of the play. Factors to consider include the brightness or darkness of the lighting, the color of the light, and the direction and angle from which the light comes. All of these elements add to the overall atmosphere of the play.

A. makeup

B. costumes

C. lighting

D. sound

E. props

F. sets

278. varied in importance from a simple façade, against which scenes in different locations are played with the location being identified in the dialogue, to elaborate settings with revolving stages, scenic drops, traps, etc. creating the illusion of multiple locations

A. sound

B. makeup

C. sets

D. props

E. costumes

F. lighting

279. is frequently an extension of costumes in creating characters. In addition to traditional types, this can also include latex forms to change the shape of noses, chins, etc., and wigs, beards, and hairpieces; can create the illusion of age, wounds, and scars

A. sound

B. sets

C. lighting

D. costumes

E. props

F. makeup

280. the items actors use during the action of the play, including pens, spectacles, suitcases, ladders, or anything else that a character picks up and uses

A. costumes

B. sets



C. sound

D. props

E. lighting

F. makeup

281. add to the overall atmosphere of the play. They can be as simple as a doorbell or telephone ring during the action of the play, or as complex as digitized soundtracks that might underscore the action (similar to a movie soundtrack)

A. sets

B. makeup

C. costumes

D. lighting

E. sound

F. props

282. the clothing that characters wear (sometimes includes hats, accessories, and masks). Factors to consider include time period, socio-economic status, etc. of the characters

A. sets

B. costumes

C. props

D. lighting

E. makeup

F. sound

283. Where were morality plays were performed?

A. inside the church

B. in the King's theater

C. on pageant wagons

D. the Globe

284. like a movie screen with the audience seated facing the stage

A. arena stage

B. thrust stage

C. stadium

D. proscenium

285. seating all around and the action takes place on a raised platform in the center. This is also called "theatre in the round."

A. proscenium

B. thrust stage

arena stage



C.

D. stadium

286. seating on three sides; sometimes called an open stage or apron stage

A. stadium

B. thrust stage

C. proscenium

D. arena stage

287. seating on two sides like some basketball gyms

A. arena stage

B. stadium

C. thrust stage

D. proscenium

288. The actors and the audience are on the same level and the sets can be moved anywhere in the space. This kind of theatre is very intimate. The audience feels like they are a part of the action

A. black-box theater

B. roving platform stage theater

C. moving stage theater

D. blue-screen

289. Which of the following diagrams is a proscenium stage?

A.

B.

C.



D.

290. Which of the following diagrams is a stadium stage?

A.

B.

C.



D.

291. Which of the following diagrams is a thrust stage?

A.

B.

C.



D.

292. Which of the following diagrams is an arena stage?

A.

B.

C.

D.



293. This example of art falls into which category?

A. fine art

B. applied art




A. applied art

B. fine art


A. fine art

B. applied art




A. applied art

B. fine art


A. applied art

B. fine art



A. applied art

B. fine art

301. a mark made on a surface by a moving point

A. intensity

B. value

C. line

D. color

E. hue

302. What kind of line is this? ___

A. curved

B. horizontal

C. zigzag

D. vertical

E. diagonal

303. What kind of line is this? |

A. curved

B. zigzag

C. vertical

D. diagonal

E. horizontal

304. What kind of line is this? /

A. curved

B. zigzag

C. vertical



D. diagonal

E. horizontal

305. What kind of line is this? \/\/\

A. curved

B. horizontal

C. diagonal

D. zigzag

E. vertical

306. What kind of line is this? (

A. curved

B. vertical

C. zigzag

D. horizontal

E. diagonal

307. How are these lines different? ___ ______

A. texture

B. value

C. size

308. How are these lines different?

A. value

B. size

C. texture

309. How are these lines different? _____ _____

A. texture

B. value

C. size

310. refers to a color's name, such as "red" or "blue"

A. intensity



B. line

C. hue

D. value

E. color

311. lightness or darkness of a color

A. color

B. intensity

C. line

D. value

E. hue

312. brightness or dullness of a color

A. intensity

B. line

C. hue

D. value

E. color

313. What are the primary colors?

A. orange, green, and violet

B. red-orange, yellow-orange, yellow-green, blue-green, blue-violet, and red-violet

C. yellow, blue, and red

314. What are the secondary colors?

A. red-orange, yellow-orange, yellow-green, blue-green, blue-violet, and red-violet

B. yellow, blue, and red

C. orange, green, and violet

315. What are the intermediate colors?

A. orange, green, and violet

B. red-orange, yellow-orange, yellow-green, blue-green, blue-violet, and red-violet

C. yellow, blue, and red

316. The color wheel is made up of _____ colors organized in a circle

A. six

B. twelve

C. three

317. hues that are next to each other on the color wheel and are related by a single hue. For example: yellow-orange, orange, red-orange.



A. analogous color scheme

B. cool color scheme

C. warm color scheme

D. monochromatic color scheme

318. hues that we think of being or making us feel warm; colors associated with red (e.g., red, red-violet, red-orange, orange, yellow-orange, and yellow).

A. monochromatic color scheme

B. warm color scheme

C. analogous color scheme

D. cool color scheme

319. hues that we think of being or making us feel cool; colors associated with blue (e.g., blue, blue-green, blue-violet, green, yellow-green, and violet).

A. cool color scheme

B. monochromatic color scheme

C. warm color scheme

D. analogous color scheme

320. the degree of lightness or darkness of a hue

A. shade

B. value

C. tint

321. adding white to make a light value (e.g., red + white = pink)

A. tint

B. shade

C. value

322. adding black to make a dark value is called a _____ (red + black = maroon)

A. tint

B. shade

C. value

323. How does this art work create a sense of movement?



Mulholland Drive: The Road to the Studio, 1980 David Hockney (1937 - ) Painting, Acrylic on canvas, 86 x 243 in. (218.44 x 617.22 cm) © David Hockney. All rights reserved

A. Parts of the image actually move around on the page.

B. The poles move in perpendicular lines, making the eyes move at an angle.

C. The contrast of the pink hill makes the eyes move along the crest.

D. The road moves up and down through the painting.


Image: Public Domain from http://en.wikipedia.org/wiki/File:Cadillac_Ranch.jpg

A. The cars are moving.

B. Parts of the image actually move around on the page.

C. The repetition of the cars makes the eye move from left to right.

D. The cars are arranged in perspective (at an angle), so they move from closer (larger) on the left to farther (smaller) on the right.

325. How does the artist create a feeling of movement in this work of art? (SELECT ALL THAT APPLY.)



View of Toledo El Greco c.1604-1614. Oil on canvas. Metropolitan Museum of Art, New York from http://www.abcgallery.com/E/elgreco/elgreco10.html

A. Your eyes move from one building to another.

B. If you stare long enough, the clouds seem to move.

C. Your attention moves from one cloud to another.

D. Your eyes move along the roads to the town.

326. How does rhythm in visual art create a feeling of movement in this work of art? (SELECT ALL THAT APPLY.)



A. Your eyes move up the bridge from one person to another.

B. If you stare long enough, the sky and water seem to move.

C. Your attention moves from the bridge to the shore to the sky.

D. Your eyes move with the lines in the waves.




A. If you stare long enough, the stars and swirls seem to move.

B. Your eyes move along the foreground to the town.

C. Your attention moves from one star to another.

D. Your eyes move from one swirl in the sky to another.

328. Which shading technique is used below?

A. stippling

B. blending

C. crosshatching

D. hatching


A. crosshatching

B. blending

C. stippling

D. hatching




A. crosshatching

B. blending

C. stippling

D. hatching


A. hatching

B. stippling

C. crosshatching

D. blending

332. Does form describe two-dimensional works or three-dimensional works?

A. two

B. three

333. Does the arrow point to positive or negative space?

A. negative

B. positive

334. Does the arrow point to positive or negative space?



A. positive

B. negative

335. discovered by Filippo Brunelleschi; depict three-dimensional space on a two-dimensional surface using mathematical guidelines

A. orthogonal lines

B. horizon line

C. linear perspective

D. vanishing point

336. a place where converging lines meet in a painting

A. vanishing point

B. orthogonal lines


D. horizon line

337. a line that indicates the horizon

A. linear perspective

B. vanishing point

C. orthogonal lines

D. horizon line

338. lines that all come to together in a single spot in a painting

A. vanishing point

B. orthogonal lines


D. horizon line

339. What is the visual texture of this hand of David from the famous statue by Michelangelo?



A. rough

B. soft/smooth

C. hard/prickly

340. What is the actual texture of this hand of David from the famous statue by Michelangelo?

A. hard/smooth

B. rough

C. soft

341. Describe the visual texture of the lady's dress.



Arnolfini Wedding Portrait by Jan van Eyck, 1434

A. prickly, jagged

B. rich, soft, velvety, smooth

C. sticky, bumpy

D. hard, rough

342. Describe the visual texture of the ship in this painting.



A. hard

B. soft

343. What is the mediaof this hand of David from the famous statue by Michelangelo?



A. oil and canvas

B. watercolor and paper

C. stone, marble

344. Describe the media of the painting.



Arnolfini Wedding Portrait by Jan van Eyck, 1434

Arnolfini Wedding Portrait by Jan van Eyck shows a man and women dressed in rich furs and heavy velvet.

A. watercolor on paper

B. woven fibers



C. charcoal on paper

D. oil on oak wood

345. Name the media of painting.

Myself: Portrait Landscape by Henri Rousseau, 1890

Myself: Portrait Landscape by Henri Rousseau, 1890 shows a man standing in the road. The ship in the background, like eve



A. stone

B. oil on canvas

C. watercolor on paper

346. Notice the visible brush strokes in this painting. Assuming the media is dry, what would the actual texture be?

Portrait of Matisse by André Derain, 1905

A. rough



B. smooth

347. Contrast the visual texture of the face with the visual texture of the rest of the painting.

A. The face is soft and fuzzy, but the background and clothes are hard and very sharp.

B. The face is hard and distinct, but the rest of the painting is soft and blurry.

348. What media did the artist use here? (Hint: you can see visible brush strokes.)



A. watercolor on paper

B. pencil on paper

C. stone

D. oil on canvas

349.



Classify the balance in this image.

A. asymmetrical balance

B. radial balance

C. symmetrical balance

350.



B. radial balance


351.



B. symmetrical balance

C. radial balance



352.


A. radial balance

B. asymmetrical balance


353.


A. radial balance




C. asymmetrical balance

354.


A. radial balance



355.


A. radial balance



356.




A. symmetrical balance


C. radial balance

357.




A. radial balance



358.


A. radial balance



359.




C. radial balance

360.



B. radial balance


361.




A. radial balance



362.



B. radial balance


363.



Describe the contrast in this painting.

A. high contrast of colors

B. low contrast

C. high contrast of light and dark

D. obvious contrast between geometric and organic shapes

364.





B. obvious contrast between geometric and organic shapes


D. low contrast

365.




C. low contrast

D. high contrast of light and dark

366.







D. low contrast

367.





D. low contrast

368.





B. low contrast


D. obvious contrast between geometric and organic shapes

369.

Describe the contrast in this painting. (Hint: Notice the building and figures.)


B. low contrast

C. obvious contrast between geometric and organic shapes

D. high contrast of light and dark

370.





D. low contrast

371.



What is the emphasis in this painting?

A. the grass

B. the man and woman

C. the sky

D. the trees

372.


A. his robe



B. the rug

C. the man's face and hand

D. the pillar

373.


A. the building

B. the trees

C. the stone table

D. the woman and angel

374.


A. painting on the wall

B. the chair

C. the object under the lady's feet

D. the woman

375.




A. the grapes

B. the birds

C. the grape vines

D. the grape leaves

376.



This painting uses obvious repetition.

377.


378.


379.




380.


381.


382.


383.




384.


385.


386. How does the artist (Escher) use repetition to fool the viewer?



A. He makes you think the images are the same, but they are each a little different.

B. He makes the image move.

387. The following image uses pattern.

A. True

B. False


A. True

B. False


A. False



B. True


A. False

B. True


A. True

B. False


A. False

B. True


A. False

B. True




A. False

B. True


A. False

B. True


A. False

B. True

397. Does the painting below show either rhythm or movement?



A. No

B. Yes




A. Yes

B. No




A. Yes

B. No


A. Yes

B. No




A. No

B. Yes


A. Yes

B. No




A. No

B. Yes


A. No

B. Yes




View of Toledo El Greco c.1604-1614. Oil on canvas. Metropolitan Museum of Art, New York

from http://www.abcgallery.com/E/elgreco/elgreco10.html

A. You have to move to see the artwork.

B. If you stare long enough, the clouds seem to move.

C. Your eyes move from one building to another.

D. Your eyes move along the roads to the town.

E. Your attention moves from one cloud to another.




Autumn Rhythm Jackson Pollock (American, 1912–1956) Enamel on canvas; H. 105, W. 207 in. (266.7 x 525.8 cm) ©1999 Pollock-Krasner Foundation/Artists Rights Society (ARS), New York

from http://www.metmuseum.org/works_of_art/collection_database/all/autumn_rhythm_number_30_jackson_pollocpage=1&sort=0&sortdir=asc&keyword=autumn rhythm&fp=1&dd1=0&dd2=0&vw=1&collID=0&OID=2100092

A. Your eyes move from one shape to another.

B. You have to move to see the artwork.

C. Your eyes move with the lines.

D. If you stare long enough, the lines seem to move.

E. Your attention moves from one place to another.




A. If you stare long enough, the sky and water seem to move.

B. Your eyes move up the bridge from one person to another.

C. Your attention moves from the bridge to the shore to the sky.

D. Your eyes move with the lines in the waves.

E. You have to move to see the artwork.




A. Your attention moves from one star to another.

B. If you stare long enough, the stars and swirls seem to move.

C. Your eyes move along the foreground to the town.

D. You have to move to see the artwork.

E. Your eyes move from one swirl in the sky to another.




A. Your eyes move from one image of Marilyn to another, comparing the differences.

B. Your attention moves from the color to the black and white images.

C. You look for one image to stand out or be different.

D. Your eyes move up and down the columns to note differences.

E. You have to move to see the artwork.


Mulholland Drive: The Road to the Studio, 1980 David Hockney (1937 - ) Painting, Acrylic on canvas, 86 x 243 in. (218.44 x 617.22 cm) © David Hockney. All rights reserved

A. Parts of the image actually move around on the page.

B. The poles move in perpendicular lines, making the eyes move at an angle.



C. The road moves up and down through the painting.

D. The contrast of the pink hill makes the eyes move along the crest.


Image: Public Domain from http://en.wikipedia.org/wiki/File:Cadillac_Ranch.jpg

A. The cars are moving.

B. Parts of the image actually move around on the page.

C. The cars are arranged in perspective (at an angle), so they move from closer (larger) on the left to farther (smaller) on the right.

D. The repetition of the cars makes the eye move from left to right.




View of Toledo El Greco c.1604-1614. Oil on canvas. Metropolitan Museum of Art, New York from http://www.abcgallery.com/E/elgreco/elgreco10.html

A. Your attention moves from one cloud to another.

B. Your eyes move along the roads to the town.

C. If you stare long enough, the clouds seem to move.

D. Your eyes move from one building to another.




A. If you stare long enough, the sky and water seem to move.

B. Your attention moves from the bridge to the shore to the sky.

C. Your eyes move with the lines in the waves.

D. Your eyes move up the bridge from one person to another.




A. If you stare long enough, the stars and swirls seem to move.

B. Your eyes move along the foreground to the town.

C. Your eyes move from one swirl in the sky to another.

D. Your attention moves from one star to another.

415. What does the proportion of the clouds / lips to the rest of the composition tell you about their significance?

A. The proportion shows us that the mind (chess) is more important than the emotion (lips).

B. The proportion shows us that what we see is all that there is.

C. The proportion shows us that the lips are as important as the whole woman.



416. What does the proportion of the deer to the rest of the painting indicate about the landscape?

A. The proportion tells us that the deer are the most important part.

B. The proportion tells us that the landscape is colorful.

C. The proportion tells us that the landscape as a whole is enormous.

417. Notice the large head behind the egg \ tree and under the red bag-pipe beast. Why is this one face so much larger in proportion to the rest of the images?



A. The proportion is to scare us, since the face is so ugly.

B. The proportion means that this face is not special.

C. The proportion of the head to the rest of the painting tells us this must be an important person, perhaps the artist himself.

418. What does the proportion of these two figures tell us about their importance compared to each other?

A. She was much more important.

B. They were about the same in importance.



C. He was much more important.

419. Looking at the proportions here, how did Rameses feel about his own importance compared to that of his wives (he had hundreds)?

from http://www.bluffton.edu/~sullivanm/egypt/abusimbel/ramses/lookingup.jpg

A. They were more important than he was.

B. He was much more important than they were.

C. They were just as important as he was.

420. Why does this artist use such a variety of evil demons in his depiction of Hell?



A. He was just copying images from other artists and had no idea where to stop.

B. He wanted to fill the canvas.

C. He wants to show how many torments await sinners, to persuade them to avoid sin. Each demon represents a sin on earth: gambling, gluttony, music, war, sex, etc.

421. Why did the artist show so many people in the island?

A. He was very nearsighted and did not know the image was too busy.

B. He was puting several paintings together.

C. Because it was a popular place and to make the picture more interesting.

D. He had to use up all of his different colors of paint.

422. This statue tells the story of Daphne who turned herself into a tree to avoid the unwanted advances of Apollo. Photo from http://en.wikipedia.org/wiki/Apollo_and_Daphne_(Bernini)



How did Bernini, the scuptor, use variation in this piece?

A. He used various colors to show the different emotions.

B. He used various media to show the different origins of the participants.

C. He used various textures to show the contrast between flesh and bark.

423. John Constable created beautiful landscapes like the one below, The Cornfield.



What variety did Constable use? SELECT ALL THAT APPLY.

A. trees

B. fluffy clouds

C. a small town in the distance



D. shafts of sunlight

E. a boy drinking water

F. a sheepdog herding sheep

G. weeds like Queen Anne's Lace

H. workers in a hay field

I. a dead tree on the left

424. Flemish Fair, below, by Pieter Brueghel the Younger, shows many activities.

What variety of activities did Brueghel use? SELECT ALL THAT APPLY

A. eating at a picnic table

B. riding in a wagon

C. cooking some soup

D. dancing in a ring

E. gambling with dice (lower left)



F. climbing a tree

G. performing a play on a stage

425. Girl at an Open Half-Door, below, by Rembrandt, has little variety of topic.



Why did Rembrandt use a variety of shades of light, but a limited variety of topics?

A. He did not finish the painting.

B. He had a limited set of paints.

C. He wanted the focus to be on the girl's face.

D. He could not think of anything else to add to the picture.

426. Works which show unity often use simple topics, repetition of shapes, closeness of objects, and a limited color scheme. In Landscape by Cornelius Poelenburg, below, which of these aspects of unity are present? SELECT ALL THAT APPLY.

A. limited color scheme

B. simple topic

C. closeness of objects

D. repetition of shapes

427. Works which show unity often use simple topics, repetition of shapes, closeness of objects, and a limited color scheme. In Madchen Mit Perle by Jan Vermeer van Delft, below, which of these aspects of unity are present? SELECT ALL THAT APPLY.



A. repetition of shapes

B. limited color scheme

C. simple topic

D. closeness of objects

428. Works which show unity often use simple topics, repetition of shapes, closeness of objects, and a limited color scheme. In The Rowers Lunch by Auguste Renoir, below, which of these aspects of unity are present? SELECT ALL THAT APPLY.




B. closeness of objects

C. simple topic

D. repetition of shapes

429. Works which show unity often use simple topics, repetition of shapes, closeness of objects, and a limited color scheme. In Landscape of Ile de France by Paul Cezanne, below, which of these aspects of unity are present? SELECT ALL THAT APPLY.


B. simple topic

C. repetition of shapes


430. Works which show unity often use simple topics, repetition of shapes, closeness of objects, and a limited color scheme. In Dempsey and Firpo by George Wesley Bellows, below, which of these aspects of unity are present? SELECT ALL THAT APPLY.



A. repetition of shapes

B. limited color scheme

C. simple topic


431. Which process uses ink, pastel (oil and chalk), paper?

A. painting

B. printing

C. drawing

D. fiber art

432. Which process uses watercolor, tempera, oil, and acrylic media, while brush and ink are used in traditional Chinese and Japanese art?

A. painting

B. fiber art

C. drawing

D. printing

433. Which process uses ink, paper, and printing plate?

A. painting

B. printing

C. drawing

D. fiber art

434. Which process uses fabric, yarn, fiber, paint, and ink?

A. painting

B. drawing

C. fiber art



D. printing

435. What are the loose powders which give paint its color?

A. binders

B. solvents

C. pigments

436. What are the materials that holds the loose powders together?

A. solvents

B. pigments

C. binders

437. What are the materials that controls the thickness or thinness of the paint?

A. binders

B. solvents

C. pigments

438. Match the type of paint with its appropriate binder

1. Oil

2. Watercolor

3. Acrylic

4. Tempera

A. egg yolk

B. linseed oil

C. gum Arabic

D. Synthetic

439. Match the solvents with the appropriate types of paint.

1. turpentine

2. water

3. water

4. water

A. Acrylic

B. Oil

C. Tempera

D. Watercolor

440. What type of paint is transparent, applied in thin layers or washes, easily transportable, dries quickly, not permanent when dry, must mask off areas to remain white, and be used to create a variety of emotions,



from lively and exciting to calm and peaceful?

A. Acrylic

B. Oil

C. Tempera

D. Watercolor

441. What type of paint is opaque, white paint is needed to lighten colors, not permanent when dry, colors not true (difference between color when wet and dry), chalky texture, paint will crack when surface is bent, and can be used to create effects: childlike, delicate, whimsical, bold, melancholy?

A. Acrylic

B. Oil

C. Watercolor

D. Tempera

442. What type of paint is translucent or opaque (depending on how thick the layers are applied), dries slowly, permanent when dry, can be applied thickly to create texture, very glossy or shiny, bad odor, must use turpentine or paint thinner to clean brushes, gesso must be used to seal the painting surface (will rot canvas or wood otherwise), and can create any effect, mood or emotion?

A. Acrylic

B. Watercolor

C. Oil

D. Tempera

443. What type of paint is most versatile, can be transparent to opaque depending on how thick or thin you apply the paint, fast drying, permanent when dry, can be cleaned with water, semi-matte finish (can be made glossy with an additive), cannot be painted over oil paints, does not require gesso, brushes must be cleaned before they dry, and can be used to create any effect, mood, or emotion, just as oil paint (some artists feel that acrylic doesn’t achieve a degree of richness or depth as in oil paint?

A. Tempera

B. Acrylic

C. Watercolor

D. Oil

444. Match each printmaking technique with the appropriate definition.

1. Planographic process

2. Intaglio printing

3. Relief printing

A. (woodcut, wood engraving, linoleum cut) ? the image is left on the surface, and everything else is cut away. The image is inked and pressed against the paper

B. (lithography, screen printing or serigraphy, stenciling) ? the image is placed directly on the plate by drawing, painting, or stenciling. A resist is used on the printing plate where you don?t want the ink to stick, and print is made when the plate is pressed against the paper



C. (engraving, etching, aquatint) ? the image is cut into the printing plate. Ink is placed in the grooves that make up the image, then a printing press is used to apply pressure to the plate so the paper picks up the ink in the grooves

445. Match these 3D media with the appropriate process.

1. architecture

2. ceramics

3. sculpture

4. textiles and fiber art

A. wood, stone, metal, glass, concrete, bricks, shingles, fiberglass

B. wood, metal, stone, plaster, glass

C. fabric, yarn, fiber, paint, ink

D. clay

446. Match the sculpture term with the appropriate definition.

1. assemblage

2. carving

3. modeling

4. constructive

5. casting

A. putting together found objects

B. putting materials together; sometimes called additive

C. pouring a liquid material into a mold, allowing it to cool and harden, then removing the mold

D. creating a form with the pressure of your hands

E. removing material to ?reveal? the image, sometimes called subtractive

447. What is CADD?

A. cats addicted to drunk driving

B. carpets, accessories, drapes, decorating

C. computer aided design and drafting

D. carpentry and drafting designs

448. Identify the process used to create this artwork.



A. ceramics

B. sculpture

C. textile and fiber art

D. architecture

449. Identify the process used to create the work of art below.



A. architecture

B. sculpture

C. textiles and fiber art

D. ceramics


A. architecture

B. sculpture

C. textiles and fiber art

D. ceramics




A. architecture

B. textiles and fiber art

C. ceramics

D. sculpture




A. architecture

B. sculpture

C. ceramics

D. textiles and fiber art

453. Match each term with the appropriate definition.

1. nonrepresentational

2. representational

A. deal with things which are not easily identifiable

B. based on things we can easily identify

454. Match the term with the appropriate defintion.

1. abstract

2. portrait

3. landscape

4. still life

5. non-objective

A. an image that is not based anything recognizable; line, color and shape are often the emphasis

B. an image which is based on a recognizable object that is altered or changed in some way; usually



the object is simplified into basic shapes

C. an image of an inanimate (not human or animal) object or group of objects

D. an image of a person or group of people

E. an image of a rural or urban environment

455. Identify the subject matter of Giuseppe Arcimboldo's paint, Rudolph II as "Vertumnus" (1590).

A. landscape

B. portrait

C. still life

D. abstract

E. non-objective

456. Identify the subject matter of Giovanni Bellini's Doge Leonardo Loredan (1501-1505).



A. landscape

B. non-objective

C. portrait

D. abstract

E. still life

457. Identify the subject matter of Jan van Eyck's Arnolfini Wedding (1434).



A. still life

B. portrait

C. non-objective

D. abstract

E. landscape

458. Identify the subject matter of Mlle. Irène Cahen d'Anvers (1880) by Pierre-Auguste Renoir, below.



A. non-objective

B. abstract

C. portrait

D. still life

E. landscape

459. Identify the subject matter of Albert Bierstadt's Yosemite Valley, below.



A. landscape

B. non-objective

C. abstract

D. still life

E. portrait

460. Identify the subject matter of Ambrosius Bosschaert's Bouquet of Flowers on a Ledge (1620), below.



A. still life

B. abstract

C. landscape

D. portrait

E. non-objective

461. Identify the subject matter of Hans Hofmann's The Gate (1960), below.



A. non-objective

B. abstract

C. portrait

D. still life

E. landscape

462. Identify the subject matter of Jackson Pollock's Autumn Rhythm, below.



A. non-objective

B. abstract

C. still life

D. portrait

E. landscape

463. Identify the subject matter of Les Demoiselles d'Avignon (1907) by Pablo Picasso, below.

A. still life

B. abstract

C. non-objective



D. portrait

E. landscape

464. Place these time periods in order, with the oldest being 1 and the most recent being 12.

A. Baroque

B. Realism

C. Ancient Roman

D. Neo-Classicism

E. Prehistoric

F. Modern

G. Romanticism

H. Renaissance

I. Impressionism

J. Classical Greek

K. Contemporary

L. Medieval

465. How do we know that Egyptians had music if no notation survived?

A. The Sumerians recorded it in the tax records.

B. There were no notes, because the music was all impromptu.

C. There are pictures (hieroglyphics) of people using various musical instruments.

466. Name three examples of Hebrew music.

A. Song of Solomon

B. Psalms

C. Noah

D. Levi priests

E. Gilgamesh

467. What are the earliest known examples of written records that mention music?

A. ancient Chinese papyrus made by Buddah

B. clay tablets written in cuneiform from Mesopotamia

C. two stone tablets brought down from Mt. Sinai by Moses

D. a stone fragment translating three languages called the Rosetta Stone

468. What is the oldest known instrument from Mesopotamia?

A. Brass Trumpet of Caesar, c. 5 B.C.

B. Eye of Sauron, c. 1345 B.C.

C. The Loc Nar, O-La-Tec Museum, c. 1981 B.C.

D. Gold Lyre of Ur, c. 2650 B.C.



469. What is the oldest (prehistoric) musical instrument?

A. a bagpipe from deer skin, c. 39,000 B.C.

B. a drum made of animal skins and sticks, c. 56,000 B.C.

C. a flute made of bear bone, c. 41,000 B.C.

D. a xylophone made form bison ribs, c. 4,500 B.C.

470. Why was music first used?

A. to raise taxes to pay for new roads and burial chambers for the tribal chief

B. to drive herds of animals over cliffs

C. for music were rituals, worship, and oral transmission of culture and traditions

D. to summon Oo-La-Tec, the Spirit of the Loc Nar

471. Define animism.

A. placing film cells in order of progressively altered picture to simulate movement

B. music that imitates sounds in nature such as animal and bird calls, wind, running water, and weather

C. belief that animals and inanimate objects in nature have souls and spirits

D. a tiny single-celled organism that has no definite shape

472. What types of instruments have archaeologists recovered from ancient Egyptian burial sites and ruins? SELECT FOUR.

A. harps

B. guitars

C. drums

D. cymbals

E. horns

473. How did Egyptian hymns affect early Christian music?

A. They discovered that God liked music.

B. They learned that only men should perform ritual music.

C. They are believed to be based on the melodies of the ancient hymns to the Egyptian gods.

D. They taught early Christians to use musical instruments in a ritual-based compositions.

474. What are the first five books of the Bible's Old Testament called?

A. Pentigram

B. Matthew, Mark, Luke, John, and Acts

C. Torah

D. Levi, Psalms, Song of Solomon, Song of Songs, and Book of Songs

475. What musical instruments are mentioned in the Bible? SELECT ALL THAT APPLY.

A. timbrel



B. balafons

C. xylophones

D. trumpet

E. cymbals

F. psaltery

G. organs

H. harp

476. Identify this instrument:

A. xylophone

B. psaltery

C. balafon

D. lyre

477. Identify this musical instrument:



A. xylophone

B. lyre

C. balaphone

D. psaltery


A. xylophone



B. balaphone

C. Hebrew trumpet

D. psaltery


A. Hebrew trumpet

B. lyre

C. balaphone

D. psastery

480. Name the Greek mathematician who discoved that musical notes are mathematical in nature.

A. Socrates

B. Plato

C. Pythagoras

D. Aristotle

481. What is the name of Plato's idea that certain planets had specific pitches?

A. Music of the Spheres

B. Perfect 4th

C. Perfect 5th

D. modes

482. Who invented music, according to Greek mythology?

A. nature

B. The Spheres

C. Plato

D. the gods

483. Define monophonic.

A. speaking without inflection

B. sounding one voice or note at a time

the same note all the time



C.

D. before stereo

484. Why should people listen to and study music, according to Aristotle?

A. to drive away the vapors

B. to have noble thoughts

C. it stop headaches

D. to support the musicians

485. What were the three purposes of music, according to the Greeks? (SELECT THREE.)

A. to increase fertility

B. to improve crop yield

C. to inspire

D. to instruct

E. to alter mood

486. Name two ideas associated with the Greek Doctrine of Ethos. (SELECT TWO.)

A. evil desires cause sickness

B. balancing emotion and reason

C. nothing in excess

D. illness is caused by vapors

487. What is an aulos?

A. poetry used to worship Dionysus

B. a small handheld harp

C. a wind instrument that is a cross between the oboe and bagpipes

D. a dithyramb

488. Describe a kithara.

A. consisted of two double-reed (like an oboe) pipes, not joined but generally played with a mouth-band to hold both pipes steadily between the player's lips

B. based on the principle of the stopped pipe, consisting of a series of pipes of gradually increasing length, tuned (by cutting) to a desired scale

C. an instrument of the lyre family, is generally with seven or more strings tuned to the notes of one of the modes

D. a keyboard instrument that used water to supply a constant flow of pressure to the pipes

489. Describe an aulos.

A. a keyboard instrument that used water to supply a constant flow of pressure to the pipes

B. an instrument of the lyre family, is generally with seven or more strings tuned to the notes of one of the modes

C. consisted of two double-reed (like an oboe) pipes, not joined but generally played with a mouth-



band to hold both pipes steadily between the player's lips

D. based on the principle of the stopped pipe, consisting of a series of pipes of gradually increasing length, tuned (by cutting) to a desired scale

490. Describe pan pipes.

A. a keyboard instrument that used water to supply a constant flow of pressure to the pipes

B. an instrument of the lyre family, is generally with seven or more strings tuned to the notes of one of the modes

C. based on the principle of the stopped pipe, consisting of a series of pipes of gradually increasing length, tuned (by cutting) to a desired scale

D. consisted of two double-reed (like an oboe) pipes, not joined but generally played with a mouth-band to hold both pipes steadily between the player's lips

491. Describe a hydraulis.

A. consisted of two double-reed (like an oboe) pipes, not joined but generally played with a mouth-band to hold both pipes steadily between the player's lips

B. based on the principle of the stopped pipe, consisting of a series of pipes of gradually increasing length, tuned (by cutting) to a desired scale

C. a keyboard instrument that used water to supply a constant flow of pressure to the pipes

D. an instrument of the lyre family, is generally with seven or more strings tuned to the notes of one of the modes

492. Name this musical instrument:

A. pan pipes

B. kithara

C. hydraulis

D. aulos




A. hydraulis

B. kithara

C. pan pipes

D. aulos


A. hydraulis

B. pan pipes

C. aulos

D. kithara




A. hydraulis

B. kithara

C. pan pipes

D. aulos

496. Why are there many examples of chants, masses, and motet from the Catholic church, but few examples of secular music from the Medieval period?

A. secular persons did not care if their music was preserved

B. secular music was not popular

C. the only formal educational opportunities were in the monasteries

D. there were laws against recording non-sacred music

497. What are two other names for Gregorian Chant? (SELECT TWO.)

A. plainchant

B. Hymns

C. Byzantive Chant

D. plainsong

498. Gregorian Chants were based on what?

A. secular tunes familiar to the common folk

B. ancient oriental compositions created and performed by priets of Buddha

C. primitive tribal dances used to increase fertility and appease angry gods

D. on chants used in Jewish synagogues and temples and on pagan chants that were sung in the largest cities of the time

499. What form of chant was common in the eastern section of the former Roman Empire, was older that Gregorian Chant, and used eight scales?

A. Plain Chant

B. Plainsong



C. Byzantine Chant

D. Southern Hymns

500. Define monophonic music.

A. sung in one single note from start to finish

B. played on musical instruments that produced flat tones only

C. performed by a solo cantor or in unison by a group of singers

D. music written before the invention of stereo technology

501. Describe the melodies used in Gregorian Chants.

A. sung in a single note from start to finish

B. hummed in a monotone in Latin

C. compositions used all eight notes in a scale to symbolize the complete knowledge of God the Father

D. limited in range, using steps, skips, and repeated notes, not leaps

502. Describe the meter used in Gregorian Chants.

A. It was always performed in duple meter.

B. 4/4 meter was used to represent the four seasons.

C. There was no meter except for the pattern of the words in the texts.

D. It was sung in triple meter to symbolize the Holy Trinity.

503. Describe the timbre of Gregorian Chants.

A. They are sung a cappella, since musical instruments were forbidden in Medieval churches.

B. They used organs to symbolize God's mighty voice.

C. They used trumpets, harps, and psaltries, since those instruments are mentioned in the Bible.

504. What is the part of the mass that does not change?

A. Agnus Dei

B. Ordinary

C. Gloria in Excelsis Deo

D. Proper

E. Pater Noster

F. Credo

G. Kyrie Eleison

H. Sanctus and Benedictus

505. What is the part of the mass that does change?

A. Credo

B. Pater Noster

C. Gloria in Excelsis Deo



D. Ordinary

E. Proper

F. Agnus Dei

G. Sanctus and Benedictus

H. Kyrie Eleison

506. What is the part of the mass that is written in Greek instead of Latin?

A. Credo

B. Sanctus and Benedictus

C. Pater Noster

D. Proper

E. Agnus Dei

F. Gloria in Excelsis Deo

G. Ordinary

H. Kyrie Eleison

507. What is the form of most of the "proper" in a Mass?

A. verse and chorus

B. call and response

C. rondo

508. What is a chant that has a second vocal part (and sometimes a third) was added, starting on a pitch at a specific interval from the melody (usually an octave, 3rd, 4th, or 5th) and moving in parallel motion to the chant melody?

A. Motet

B. Organum

509. What chants have a single tone that would be held (a drone or pedal tone) while the chant melody was sung. Later, harmony parts were created that moved independently in pitch direction from the chant, and the tenor would always have the melody while other parts, higher or lower, would sing descant parts?

A. Organum

B. Motets




A. lyre

B. lute

C. hydrolus

D. aulos

511. What were Medieval singers from Sothern France called?

A. Trouvères

B. Minnesingers

C. Troubadours

512. What were Medieval singers from Northern France called?

A. Trouvères

B. Troubadours

C. Minnesingers

513. What were Medieval singers from Germany called?

A. Minnesingers

B. Troubadours

C. Trouvères

514. Most secular Medieval songs were strophic in form. What does strophic mean?

A. rondo format

B. call and response format

C. verse format

515. Pentatonic scale

A. Asian string instrument(s)

Aboriginal instrument(s)



B.

C. contains five tones, giving a very exotic sound

D. Asian wind instrument(s)

E. Asian percussion instrument(s)

516. Gong, Taiko drums, xylophones

A. Asian percussion instrument(s)

B. Asian wind instrument(s)

C. contains five tones, giving a very exotic sound

D. Asian string instrument(s)

E. Aboriginal instrument(s)

517. Define sheng.

A. contains five tones, giving a very exotic sound

B. Asian percussion instrument

C. Asian string instrument

D. Asian wind instrument

E. Aboriginal instrument

518. Didgeridoo

A. Asian percussion instrument(s)

B. contains five tones, giving a very exotic sound

C. Aboriginal instrument(s)

D. Asian string instrument(s)

E. Asian wind instrument(s)

519. What is a Chinese musical instrument which was mentioned in Chinese writings dating back nearly 3,000 years, and related instruments have been found in tombs from about 2,500 years ago, and which Chinese legend says originally had five strings, but then two were added around 1000 B.C.?

A. lyre

B. gamelan

C. guqin

D. sheng



520. What is a seven-holed flute from Ancient India called?

A. Didgeridoo

B. Guqin

C. Bansuri

D. Sheng

521. What is this stringed instrument from ancient India called?

A. Didgeridoo

B. Rebab



C. Sheng

D. Bansuri

522. Describe Indian classical music.

A. polyphonic in nature and based around several complex melodies which are united by a strong rhythm from a taiko drum

B. monophonic in nature and based around a single melody line which is played over a fixed drone

523. What are a series of five or more musical notes upon which an classical Indian melody is made which, in the Indian musical tradition, are associated with different times of the day, or with seasons?

A. guqins

B. ragas

C. shengs

D. rehabs

524. Define shomyo.

A. traditional Japanese orchestral court music

B. a Chinese musical instrument which was mentioned in Chinese writings dating back nearly 3,000 years

C. Buddhist chanting

D. a Japanese drum that comes in various sizes and is used to play a variety of musical genres

525. Define gagaku.

A. traditional Japanese orchestral court music




526. Define kabuki.

A. traditional Japanese musical theater




527. Define taiko.


B. a Japanese drum that comes in various sizes and is used to play a variety of musical genres


D. a Chinese musical instrument which was mentioned in Chinese writings dating back nearly 3,000 years



528. Define kumi-daiko.


B. a large percussion ensemble where a Japanese drum is used as the central instrument


D. a Chinese musical instrument which was mentioned in Chinese writings dating back nearly 3,000 years

529. Counterpoint involves __________.

A. making arguments on two sides of a debate

B. a bad type of cavity to fill

C. the main melody is sung at different times by each vocal part, making each of those parts equally important

D. instruments and voices blending to make harmony

530. Who was a famous Renaissance composer who wrote many pieces for the Mass, especially smooth sounding music that combined elements of several earlier composers?

A. Giovanni Pierluigi da Palestrina

B. Barry Manitou

C. Count Alucard

D. Mario y Luigi

531. With this technique, higher pitches and ascending lines were used when the text mentioned God, heaven, or angels, while lower pitches and descending lines were used to express texts based on evil, sin, or death.

A. antiphonal

B. counterpoint

C. polyphonic

D. text painting

532. This technique uses one choir singing and then another choir or group of instruments echoing or responding to the first (call and response).

A. monophonic

B. antiphonal

C. text painting

D. counterpoint

533. Is this sample MONOPHONIC or POLYPHONIC?Click here

A. monophonic

B. polyphonic

534. Is this sample MONOPHONIC or POLYPHONIC?Click here.

A. polyphonic



B. monophonic

535. What are secular songs from the Renaissance, usually in four parts, about courtly love, which became the songs of Renaissance Europe, with composers who included Thomas Morley, Orlando di Lassus, Thomas Weelkes, and countless others?

A. polychorals

B. cantus firmus

C. glorias

D. madrigals

536. Why do historians believe that early people used dance both as a religious ritual and for social expression?

A. ancient tax records

B. animal fossils

C. archeological evidence

537. Why did primitive cultures want to communicate with unseen or supernatural forces? SELECT ALL THAT APPLY.

A. fertility

B. education

C. war

D. food

E. weather

538. What effect does dance have on groups?

A. causes release of tension and anxiety

B. brings the group outcasts to the front so they can be stoned by the others

C. stresses belonging through communal movement with a group or with one other person

D. builds a strong appetite so the group can eat a larger portion

539. According to American Plains Indians, dance and the directions of the compass (East, South, West, and North) correspond with what concepts? SELECT ALL THAT APPLY.

A. life cycle

B. hunting

C. time of day

D. seasons

E. colors

540. How did animals affect dancing in some Native American cultures?

A. Since many animals were highly regarded for their courage, beauty, hunting skill, and courtship expression, animals in nature often inspired dance movements.

B. Birds, fish, and animals in nature often entered the bodies of the dancers and taught the other members of the group the proper dance steps to summon their dead ancestors.



541. What movements inspired many African dance moves?

A. ballet

B. jazz

C. rhythmic work

D. tap dance

542. Ancient Greeks believed danced was inspired by the gods.

543. Ancient Greeks believed that dance was neccessary for the integrity of the mind, body, and spirit.

544. Name the Greek Muse of Dancing.

A. Perseus

B. Pluto

C. Terpsicore

D. Orion

545. What did the word orchestra originally mean?

A. the first vaccuum cleaner

B. the circular dancing place of the Greek theater

C. the flowers that would decorate the theater

D. the musicians who performed during plays

546. Which group considered dance more important, the Greeks or the Romans?

A. Greeks

B. Romans

547. To the Romans, dance was commercialized; then, they considered dance a cause of _____.

A. religious freedom

B. corruption

C. joy

D. taxes

548. Define pantomimic dance.

A. a dance that requires the dancer to perform rigorous movements, leading to panting, and finally death

B. five dancers, the penta dancae, would perform a dance to cure the ill patient, epi dimic.

C. a dance brought on by a quickly spreading infection called a panto-demic

D. the telling of a story without words, by means of bodily movements, gestures, and facial expressions

549. Why did Medieval people dance after a funeral in the cemetery?



A. to celebrate the inheritance of wealth

B. to force the dead to accept their graves, thus preventing their return

C. to help settle the dirt around the coffin

D. because they were happy the evil ones had finally died

550. Define dance macabre.

A. the dance of the dead

B. the dance of the peasants

C. the dance of the hatless people

D. the dance of the pasta

551. Define Tarantella.

A. a scary dance caused by terror

B. a seizure-like dance at first believed to be caused by a spider bite, characterized by quick and physically demanding movements, and banned by the church because it was inspired by the devil

C. a four-sided dance floor

D. a dance seen in Pulp Fiction

552. Named after the patron saint who was supposed to protect the afflicted, this dance involved men, women, and children dancing in wild delirium; they performed frenzied leaps and turns, writhing as if suffering from epileptic seizures, screaming uncontrollably, and foaming at the mouth.

A. Tiny Tim Cratchett Dance

B. Dance Macabre

C. Saint Vitus Dance

D. Seizuka

553. Who is the Hindu deity Shiva, shown as lord of the dance?

A. Gruba

B. Nataraja

C. Chandu

D. Bharatanatyam

554. Name the national dance of India.

A. Nataraja

B. Manipuri

C. Odissi

D. Bharatanatyam

555. What does Bharatanatyam mean?

A. emotion melody rhythm dance

B. silk shirt jeweled skirt



C. exercise diet better health

D. He who walks behind the corn

556. What are Hindu dance hand gestures called?

A. Nataraja

B. Mudras

C. Indian Sign Language

D. Kathakali

557. What is Classical Japanese Dance called?

A. Zhou Tang Song

B. Kathakali

C. Bharatanatyam

D. Nihon Buyo

558. What was a major influence on Classical Japanese dance?

A. Hinduism

B. Kabuki, Japanese theatre

C. Arthur Dent of England

D. Bharatanatyam, the dress worn by the performers

559. How old is classical Chinese dance?

A. over 5,000 years

B. 1,200 years

C. 3,000 years

D. 752 years

560. What does classical Chinese dance express?

A. Zaphod Beetlebrox, the galactic president

B. fear of invading peoples

C. the Hindu concept of Ragu, the idea that life is a form of tomato paste

D. respect for morality, compassion, loyalty, wisdom and trust

561. Why were Renaissance court dances composed of slides and glides, small, slow steps, poses, and curtsies?

A. because the peasants who danced them preferred jumps, leaps, kicks and turns

B. the people who danced them, the nobility and upper classes, dressed in heavy gowns, large headdresses, and long, lacy sleeves, thus requiring restrained and refined movements

C. because they were performed low to the ground

562. Why were the first court dances were known as basse dances?

A. they were performed at military bases



B. performers ate fresh fish

C. they were danced with loud music

D. they were done low to the ground

563. Nobility “borrowed” the peasant dances, refined them, and called them _____, meaning that they contained jumps, leaps, kicks and turns.

A. peasant dances

B. leaprocy

C. haute dances

D. jumps

564. This was a basse dance performed at ceremonies where Kings and Queens, Princes and Princesses, and Lords and Ladies could present themselves in their finest ceremonial clothing. The movements were done in a 4/4 time and consisted of slow, walking steps, which traveled forward and backward.

A. Allemande

B. Galliard

C. Gigue

D. Pavane

565. What was a lively haute dance incorporating a number of hops and kicking steps, looking somewhat like an Irish Jig, done in a 3/4 time?

A. Pavane

B. Gigue

C. Galliard

D. Allemande

566. What was a brisk, exciting dance incorporating running, hopping, skipping, and turning steps done in 6/8 time. The name became “jig” in English?

A. Allemande

B. Galliard

C. Gigue

D. Pavane

567. Hands were held at all times during this dance performed in 4/4 meter and movements were made that kept partners joined together throughout the dance. This term is now used for a step in square dancing.

A. Pavane

B. Galliard

C. Allemande

D. Gigue

568. This 3/4 meter dance displayed gestures of courtship and flirtation. The steps included walks, tiny runs, and glides.



A. Allemande

B. Galliard

C. Courante

D. Pavane

569. This dance resembled a procession in that there were two lines which traveled forward and backward. It wassimilar to the Pavane in its proud movements danced in a 4/4 time.

A. Sarabande

B. Pavane

C. Gigue

D. Galliard

570. Select three (3) of the earliest forms of drama.

A. religious ceremonies

B. dietary contemplations

C. ritual dances

D. storytelling

E. trial by chorus

F. gambling dances

571. What did the masks represent in these early dramas? (Select three)

A. Spirits of ancestors

B. They never wore masks.

C. Deities

D. Animal spirits

572. The telling of legends and stories existed in all primitive societies and is often referred to as oral tradition. Why did individuals often include hand gestures, costumes, and other dramatic acts?

A. It was a religious requirement created by elders to call the dead from Hades.

B. To illustrate the actions and increase understanding.

573. What materials were used to make early costumes? (Pick three.)

A. Skins

B. Skulls

C. Crushed berries

D. Bark

574. Select three (3) reasons why primitive drama was performed.

A. to perpetuate the seasons

B. to preserve history and heritage



C. to ensure the crop?s fertility

D. to call warriors from other tribes to battle

575. Egyptian hieroglyphs depict plays involving the death and resurrection of which god‐king?

A. Tut

B. Ramses

C. Osiris

D. Ra

576. the Greek god of wine and fertility

A. Sophocles

B. Dionysus

C. Euripides

D. Aeschylus

577. a three-day tragedy competition in Athens in 534 B.C.

A. Sophocles

B. Great Dionysia

C. Aeschylus

D. Thespis

578. Who was the first person ever to be an actor?

A. Sophocles

B. Great Dionysia

C. Thespis

D. Aeschylus

579. How many people could an average Greek theater hold?

A. hundreds

B. dozens

C. thousands

D. millions

580. Why did performers of Greek plays wear masks?

A. their religion required masks for plays

B. to hide their identity

C. to be easily identifiable to the audience

D. it was illegal to show your face on stage

581. Name the large circular floor where Greek plays were performed.



A. Parodos

B. Orkestron

C. Skene

D. Proskenion

582. Name the building used by the main actors in a Greek play for entrances and costume changes.

A. Orkestron

B. Parodos

C. Proskenion

D. Skene

583. Name the primary performance area for the main characters in a Greek play.

A. Parodos

B. Orkestron

C. Proskenion

D. Skene

584. Name the entry path used by minor characters and the chorus in Greek plays.

A. Proskenion

B. Skene

C. Orkestron

D. Parodos

585. Name the main seating area for the audience of a Greek play.

A. Skene

B. Theatron

C. Orkestron

D. Parodos

586. Who is credited with describing the proper form for Greek tragedy?

A. Plato

B. Aristotle

C. Socrates

D. Sophocles

587. Who dominated the early Greek comedy, Old Comedy?

A. Aristotle

B. Sophocles

C. Aristophanes

D. Socrates



588. Name one Greek writer of New Comedy.

A. Aristotle

B. Aristophanes

C. Menander

D. Socrates

589. Aeschylus

A. Oresteia

B. Oedipus

C. Electra

590. Sophocles

A. Oresteia

B. Oedipus

C. Electra

591. Euripides

A. Oresteia

B. Oedipus

C. Electra

592. several forms of entertainment combined by Romans to create an extravagant public spectacle

A. Mimes

B. Pantomimes

C. Ludi

D. Scaena

593. performances by a single dancer either silently or with instrumental and/or choral accompaniment

A. Mimes

B. Pantomimes

C. Ludi

D. Scaena

594. short skits or scenes performed in verse dialogue by two or three actors

A. Scaena

B. Ludi

C. Pantomimes

D. Mimes

595. Roman theater seating area



A. Scaena frons

B. Scaena

C. Platea

D. Cavea

596. Roman theater stage-house

A. Scaena frons

B. Cavea

C. Platea

D. Scaena

597. Roman theater raised stage platform

A. Scaena frons

B. Platea

C. Cavea

D. Scaena

598. Roman theater building coverings, including façade of columns, masonry, and scupture

A. Cavea

B. Scaena

C. Platea

D. Scaena frons

599. Name the Roman playwright who combined several Greek comedies with multiple plot lines; he was appreciated by the elite of Rome, but not by the common citizens.

A. Aristotle

B. Terence

C. Seneca

D. Plautus

600. Name the Roman playwright who was very popular with the Roman citizens and adapted Menander?s Greek New Comedies.

A. Seneca

B. Aristotle

C. Plautus

D. Terence

601. Name the famous Roman playwright of tragedies.

A. Aristotle

B. Plautus



C. Terence

D. Seneca

602. Name the first known female playwright.

A. Vernacular

B. Allegory

C. Tropes

D. Hrosvitha

603. Chants that supplemented Gregorian chants

A. Allegory

B. Hrosvitha

C. Tropes

D. Vernacular

604. a narrative, dramatic, or pictorial work whose characters, figures, or events represent abstract ideas or principles

A. Allegory

B. Hrosvitha

C. Tropes

D. Vernacular

605. everyday language of the people

A. Allegory

B. Hrosvitha

C. Vernacular

D. Tropes

606. What were plays that represented the battles for man?s souls?

A. Mystery plays

B. Passion plays

C. Miracle plays

D. Morality Plays

607. What were plays based on the lives of Christian saint?

A. Mystery plays

B. Morality Plays

C. Miracle plays

D. Passion plays

608. What were plays that dramatized stories from the Bible?



A. Passion plays

B. Miracle plays

C. Morality Plays

D. Mystery plays

609. What were plays that dramatized the last week of Christ?s life?

A. Mystery plays

B. Passion plays

C. Miracle plays

D. Morality Plays

610. What were dramatizations of the adventures of heros?

A. Interludes

B. Mansions

C. Folk plays

D. Farces

611. What were comic plays of human frailties?

A. Interludes

B. Mansions

C. Farces

D. Folk plays

612. What where entertainments between courses at a banquet?

A. Mansions

B. Farces

C. Folk plays

D. Interludes

613. Noh drama

A. popular

B. puppet

C. classical

614. Kabuki theatre

A. puppet

B. classical

C. popular

615. Bunraku theatre



A. puppet

B. classical

C. popular

616. Where did kabuki begin?

A. Tokyo

B. Nagasaki

C. Yamaguchi

D. Kyoto

617. What is a highly skilled female impersonator in kabuki theatre?

A. samurai

B. hanamichi

C. onnagata

D. mie

618. Kabuki plays focused on which of the following topics?

A. moral conflicts

B. all of the above

C. romances

D. history

619. At the climax of a scene, all action on stage is frozen for a moment to fix the image in the audience's mind and memory. This is called what?

A. hanamichi

B. onnagata

C. samurai

D. mie

620. What type of acts would be in a kabuki play today?

A. all of the above

B. light-hearted dance

C. romantic

D. comic

E. tragic

621. What are the characteristics of kabuki costumes? (Select three.)

A. used to transform a character from a human into an animal

B. richly colored

C. made of pure silk



D. can be turned inside out

622. What fashion accessory did men use in kabuki plays?

A. pipe

B. pistol

C. silk scarf

D. fan

623. Kabuki makeup colors each have special meanings. What did red makeup represent?

A. treachery

B. wealth

C. passion

D. divinity

624. Kabuki makeup colors each have special meanings. What did green makeup represent?

A. wealth

B. passion

C. divinity

D. treachery

625. Kabuki makeup colors each have special meanings. What did black makeup represent?

A. treachery

B. divinity

C. passion

D. wealth

626. What are the characteristics of the kabuki stage?

A. all of the above

B. revolving stage

C. elevated walkway

D. multiple painted backdrops

E. elaborate props

F. traps

G. elevators

627. In kabuki theater, what is the elevated walkway called?

A. onnagata

B. samurai

C. hanamichi

D. mie



628. Name the form of theater in which traveling actors played stock characters who were immediately identifiable to the audiences by their distinctive masks, and the plot were not scripted, being based on a plot scenario as a starting point and then improvised.

A. lazzi

B. harlequin

C. commedia dell' arté

D. zanni

629. Define stock characters.

A. cheap actors who could fill in for sick or missing professional actors without breaking guild laws

B. characters who owned stock in the play; it was their only means of financial support

C. characters with fixed traits, costumes, and masks who were immediately recognizable to the audience

D. charaters who would act without thought, rushing into a play without rehearsing their lines, like a stock car driver in a race with his eyes shut

630. Select the THREE types of commedia dell arté stock characters.

A. zanni

B. wacky

C. professionals

D. flappers

E. inamorati

631. Select the ONE type of commedia dell arté stock characters who did NOT wear masks.

A. flappers

B. inamorati

C. zanni

D. professionals

E. wacky

632. Match each of these stock characters with the correct description.

1. il Dottore

2. Pantalone

3. il Capitano

A. swaffersin soldier, domineering, loud, insolent, coward, boastful

B. miserly old merchant, self-important, wants to control others, sudden outbreaks of senile lust

C. pedantic doctor, pompous, fraudulent

633. Select the correct description for each of these stock characters.



1. Columbina

2. Pulcinella

3. Brighella

4. Arleccino (Harlequin)

5. Ruffiana

A. loud, brash clown, physical and often violent, seducer of women, hook-nosed and hump-backed

B. unsavory character, carries a dagger and leather pouch

C. cocky, ignorant, shrewd, acrobatic, athletic, sometime childlike and amorous, hungry, carries a slapstick

D. lady's maid, confident and spunky, earthy, often ensures lover's success

E. old, gossips, matchmater, opinionated, thinks she is still pretty

634. Define lazzi.

A. actors who would not help much in the plot; origin of the word lazy

B. special effects, such as lightning (lamps and mirrors) or thunder (banging on a large drum)

C. a set of skits perfected by an actor, including stunts, gags, speeches, or songs

D. collective term for all the costumes of the actors

635. Who collected commedia scenarios which were published in 1611?

A. Isabella Andreini

B. Flamino Scala

C. Francesco Andreini

636. Identify this character.



A. Brighella

B. Columbina

C. Pulcinella

D. Pantalone

E. Capitano

F. Dottore

G. Arlecchino


A. Brighella

B. Pulcinella

C. Arlecchino

D. Columbina

E. Pantalone

F. Capitano



G. Dottore


A. Arlecchino

B. Pantalone

C. Brighella

D. Pulcinella

E. Columbina

F. Capitano

G. Dottore




A. Capitano

B. Brighella

C. Arlecchino

D. Pulcinella

E. Dottore

F. Columbina

G. Pantalone




A. Capitano

B. Pulcinella

C. Brighella

D. Dottore

E. Arlecchino

F. Pantalone

G. Columbina




A. Brighella

B. Columbina

C. Pantalone

D. Dottore

E. Capitano

F. Pulcinella

G. Arlecchino




A. Brighella

B. Pulcinella

C. Columbina

D. Capitano

E. Pantalone

F. Dottore

G. Arlecchino

643. SELECT ALL of the following that William Shakespeare wrote.

A. science fiction

B. tragedy plays

C. comedy plays

D. history plays

E. television scripts

644. Plays that occur over long periods of time, in many locations, and involve multiple subplots in addition to the main plot do not observe THESE rules of drama.



A. flashbacks

B. bonfires of the vanities

C. temporal paradoxes

D. unities of time, place, and action

645. Who used the soliloquy and mixed characters of different social classes in the same play?

A. Renaissance Italian writers

B. Shakespeare

C. Renaissance French writers

646. What kind of stage did Shakespeare use?

A. amphitheater

B. apron

C. thrust

D. arena

E. platform

F. box

647. During Shakespeare's day, who played the roles of women?

A. men

B. women

C. They were imaginary.

D. boys

648. What kind of theaters were most common during Shakespeare's time?

A. outdoor theaters

B. indoor theaters

649. Classify these plays: Romeo & Juliet, Macbeth, Hamlet, Julius Caesar, Othello.

A. comedy

B. tragedy

650. Classify these plays: A Midsummer Night's Dream, Twelfth Night, Much Ado About Nothing

A. tragedy

B. comedy

651. Which ONE of the following statements is TRUE about Shakespeare?

A. He wrote plays only for himself.

B. He died poor.

C. He never acted; he only wrote material.



D. He died happy.

E. He went to a free grammar school.

652. Match the classical unities with their appropriate definition.

1. Unity of Place

2. Unity of Time

3. Unity of Action

A. a play should have one main plot with few or no subplots

B. the dramatic action in a play should span no more than 24 hours

C. the action should remain in one general location

653. What is unrhymed iambic pentameter?

A. comedy

B. blank verse

C. tragedy

D. history

E. soliloquy

654. What is it called when an actor speaks his thoughts outloud, away from the other actors?

A. unrhymed iambic pentameter

B. soliloquy

C. rhymed spondaic tetrameter

D. blank verse

655. Name the group of actors with whom Shakespeare performed and for whom he wrote his plays.

A. Shakespeare's Jolly Gents

B. Lord Chamberlain's Men

C. The King's Men

D. The Globe Trotters

656. Match these parts of a Renaissance theater with the appropriate definition.

1. discovery space

2. tiring house

3. groundlings

4. musicians' gallery

5. boxes

6. scenic hut

7. heavens

8. galleries

9. pit

A. public viewing areas

B. third floor reserved for musicians

C. private viewing areas

D.



provided storage for properties and costumes, dressing rooms, and offices

E. large canopy over the stage

F. audience members standing in the pit

G. an open yard around the stage

H. penthouse

I. a space on stage that could be blocked from the audience's view

657. The artifacts from Blombos date back to as far as _____ years ago.

A. 100,000

B. 50,000

C. 75,000

D. 25,000

658. What are some of the examples of Paleolithic Age art? SELECT ALL THAT APPLY

A. hand prints

B. painting images of people on cave walls

C. painting images of deer, bison, antelope, and mammoths on cave walls

D. small figures from ivory and stone

659. In 1940, four boys in _____, discovered a deep hole. Upon entering the hole, they found that the walls expanded to form a huge system of caves. Inside, they discovered 200 paintings and 1,500 engravings of animals and symbols. Scientists estimate the dates of the paintings to be about 15,000 B.C. That makes them 170 centuries old. Holes in the floor of the cave indicate that the cavemen used wooden scaffolds to reach the ceilings.

A. London, England

B. Altamira, Spain

C. Lascaux, France

D. Avignon, France

660. In 1995, the French discovered an older and more varied collection of Paleolithic cave art near _____. These paintings and etchings depict a wider variety of animals than those found in other caves. Included are bison, cave bears, hyenas, mammoths, owls, panthers, and woolly rhinos. Each of the animals appears to be more predator than prey, unlike the peaceful animals of other caves. Aside from the variety of species, another important difference between these paintings and those discovered earlier is that the artist used an oral technique to spray the paint. First, the various dyes were chewed together, forming a mixture with saliva. Then, once the proper color was attained, the Cro-Magnon caveman spat out "paint" onto the walls. This primitive "spray-painting" technique seems to be unique to this cave, producing the brightest and sharpest prehistoric images discovered to this date.

A. London, England

B. Lascaux, France

C. Avignon, France

D. Altamira, Spain

661. A large number of prehistoric statues found throughout Europe have been of women and share common



features (many are shown as obese or pregnant). These "Venus" figures are believed to have been used in rituals and fertility rites. They were carved from soft stone, bone, ivory, or formed from clay and fired. Most range from 1 ½ to 10 inches in height. In 2008, a "Venus" figure was found in a cave near Schelklingen, Germany. The Venus of Schelklingen may be the oldest sculpture every found, with an estimated age of at least _____ years!

A. 45,000

B. 15,000

C. 35,000

D. 25,000

662. By the end of the late Stone Age, people built megalithic structures such as Stonehenge. The position of the pillars indicates that the primitive builders understood astronomical basics such as the summer solstice. The date of construction of Stonehenge remains in question. . It is widely believed that construction began some _____ years ago and was worked on in three phases over a long period of time. In any case, the stones came from a quarry miles away, which is a mystery in itself, for no one knows for sure how these primitive people moved the massive stones without the aid of mechanical devices. The exact purpose of Stonehenge remains a topic of debate.

A. 20,000

B. 15,000

C. 5,000

D. 10,000

663. What did the Egyptians believe?

A. there was a life after death

B. ALL OF THE ABOVE

C. that the ruler (Pharaoh) was god on Earth

D. the pharaoh became king of the dead in the afterworld

664. The pyramids were built as tombs for the pharaohs.

665. According to the Egyptian _____, the pharaohs’ spirit stayed with his body, so he needed proper care in order to be able to rule in this world. His body needed to be preserved as well as possible. Special spices, ointments, bandages, and surgery were used to preserve the body. Organs were kept in airtight jars (canopic jars) to seal in life-giving fluids, while the shell of the body dried to a tough, leathery texture that resisted decay.

A. Prophets

B. Book of the Dead

C. High Priest

D. Tomb inscriptions

666. mastabas What is a flat-roofed, rectangular buildings with sloping sides?

A. idahnoe

B. mastabas

loco-poco-mocho



C.

D. sha-na-nah

667. Several mastabas built one on top of the other, decreasing in size as they go up, are called a _____.

A. guppa gippa

B. stair master

C. step pyramid

D. tetrahedron

668. The Sphinx is believed to be from the New Kingdom.

669. The Sphinx was built about _____.

A. 5000 B.C.

B. 1230 B.C.

C. 699 B.C.

D. 2540 B.C.

670. The largest pyramid was completed in _____.

A. 699 B.C.

B. 2680 B.C.

C. 1976 B.C.

D. 2540 B.C.

671. What are carvings made into tablets or on the walls of buildings?

A. relief sculptures

B. statues

C. zaphod beeblebrox

D. mastabas

672. Egyptian statues were carved seated or standing with few projecting parts. The pose is always _____ and _____ with arms close to the torso. SELECT TWO.

A. symmetrical

B. twisted

C. frontal

D. curved

673. King Tutankhamen died _____.

A. 4530 B.C.

B. 1300 B.C.



674. The art of this region was a central part of the _____ life of the people.

A. political

B. economical

C. educational

D. spiritual

675. Identify this object.

A. Chokwe headpiece

B. Benin portrait

C. Ibo mask

D. Animal mask




A. Benin portrait

B. Ibo mask

C. Chokwe headpiece



D. Animal mask




A. Animal mask

B. Chokwe headpiece

C. Ibo mask

D. Benin portrait


A. Animal mask

B. Ibo mask

C. Benin portrait

D. Chokwe headpiece

679. Animal masks were often _____.

A. stylized

B. the skulls of dead ancestors

C. made of mud

D. made from plastic

680. The first stage of Greek sculpture was called _____ and it appeared around 600 B.C. E. The figures were stiff, lacked movement, and had stylized features.

A. Classical

B. Archaic

C. Kouros

D. Old Kingdom



681. What is the word for Greek statues of young male nudes?

A. Archaic

B. Contrapposto

C. Kouros

D. Classical

682. Is this statue ARCHAIC or CLASSICAL or HELLENISTIC?

A. Classical

B. Archaic

C. Hellenistic


A. Classical

B. Hellenistic

C. Archaic




A. Classical

B. Hellenistic

C. Archaic


A. Classical

B. Archaic

C. Hellenistic




A. Hellenistic

B. Archaic

C. Classical


A. Classical

B. Hellenistic

C. Archaic


A. Classical

B. Hellenistic

C. Archaic

689. Identify this building.



A. Pont du Gard

B. Parthenon

C. Pantheon

D. Colosseum

E. Arch of Constantine

690. What is the name of this hill?

A. Memphis

B. Acropolis

C. Annapolis

D. Metropolis

691. What was stored inside the Parthenon?

A. Statue of Liberty

B. Statue of Kouros

C. Statue of Discus Thrower

D. Statue of Athena

692. What is the decorative band around a building called?

A. bas reliefs

B. portico

C. basso relievo

D. frieze

693. The triangular shape at each end of a sloping roof is called what?

A. architrave



B. cornice

C. pediment

D. colonnade

694. Identify this example of Roman architecture.

A. Arch of Constantine

B. Pantheon

C. Colosseum

D. Pont du Gard



B. Pantheon

C. Pont du Gard

D. Colosseum



B. Pantheon

C. Pont du Gard



D. Colosseum


A. Colosseum

B. Pont du Gard

C. Pantheon

D. Arch of Constantine

698. What is a rectangular meeting hall with semi-circular apses usually at only one end, interior colonnades, and high clerestory windows?

A. architrave

B. entablature

C. basilica

D. entasis

699. Greek and Roman architecture uses vertical posts supporting a horizontal weight. This is called what?

A. post & entablature construction

B. colonnade & architrave construction

C. post & lintel construction

D. column & pediment construction

700. Name the Roman Emperor who allowed Christians to worship openly.

A. Benedict

B. Constantine

C. Augustus

D. Caesar

701. Early Christian architecture used the Roman _____, a public meeting hall, as a model since it had not been used for pagan religious practices. The rectangular plan with side aisles created by a row of colonnades suited the purposes of early churchgoers well.

A. Parthenon

B. Pantheon

C. basilica

D. Colosseum



702. In the eastern Roman empire, the _____ style of church design was used.

A. Constantine

B. Byzantium

C. Centurion

D. Catholic

703. What did Roman architects use to solve the problem of creating wider, more open spaces over squared areas?

A. cement

B. groin vaults

C. glass tiles

D. mosaics

704. Name an example of Byzantine church architecture.

A. Notre-Dame

B. Saint-Sernin

C. Hagia Sophia

D. Canterbury

705. How did Anthemius of Tralles and Isidorus of Miletus designed a dome that would be 200 feet across and 31 feet higher than the biggest dome existing at that time?

A. pointed arches

B. pendentives

C. flying buttresses

D. ribbed vaults

706. Typical Byzantine design includes which of the following? (SELECT UP TO FOUR.)

A. dome-on-pendentives structural support system

B. squared-cross floor plan with a centered dome

C. exterior plain, little or no decoration

D. interior lavishly decorated with mosaics (small pieces of colored glass or stone.)

E. an ambulatory, a walkway, for pilgrims to use around the apse

707. What are images of stories from the Bible made from pieces of glass and stone?

A. transepts

B. mosaics

C. groin vaults

D. pendentives

708. During the medieval period, people gave what portion of their income to the church?



A. one-twentieth

B. one-third

C. one-tenth

D. one-half

709. A Romanesque church is a rectangular-cross based on what floor plan?

A. Roman basilica

B. Parthenon

C. Colosseum

D. Pantheon

710. What material provided the opportunity to add color to the building and to tell stories from the Bible?

A. ceramic roof tiles

B. stained glass

C. marble

D. concrete

711. Which style is described below? Massive pillars, acting as column and buttress in one, and thick walls support the weight above as pressure travels down from the heavy roof. Few windows could be put in the walls because of the support needed, so interiors look dark. Exteriors are plain, with decoration limited to the arched openings. Relief sculptures were often carved into the tympanum, the half-circle area above the doorway of the church. Towers were often built either over the crossing, at each side of the front of the church, or even separated from the main building.

A. Islamic

B. Byzantine

C. Gothic

D. Romanesque

712. Name an example of Romanesque church architecture.

A. Dome of the Rock

B. Hagia Sophia

C. Notre-Dame

D. Saint-Sernin

713. Name an example of Gothic church architecture.

A. Dome of the Rock

B. Hagia Sophia

C. Notre-Dame

D. Saint-Sernin



714. The taller, less heavy-looking churches symbolized the idea of reaching for a spiritual goal during which period?

A. Romanesque

B. Gothic

C. Byzantine

D. Islamic

715. What architectual techniques were developed to solve the problems of building taller churches without thicker walls and buttresses, and of adding more windows for better light? (SELECT THREE.)

A. wooden roof materials

B. pointed arches


D. ribbed vaults

E. concrete joints

716. What are rounded stained windows divided into sections like flower petals called?

A. flam trabeau

B. rose windows

C. petal del' fleur

D. porticoes

717. Ceilings which use the pointed arch instead of the rounded arch are called what?

A. Holy lofts

B. flying buttresses

C. height boosters

D. ribbed vaults

718. With pointed arches and the ribbed vault, builders could construct even taller churches called what?

A. pointed arch

B. ribbed vaults

C. cathedrals

D. flying buttresses

719. What did architects add to Gothic churches to scare evil spirits away and remind people that evil was all around them?

A. groin vaults

B. gargoyles


D. pointed arches

720. Match the name of the parts of a Romanesque church with the appropriate definition.



1. crossing

2. transept

3. nave

4. side aisles

5. ambulatory

6. apse

A. rounded end at the head of the cross plan

B. center of the short arm of the cross

C. area at each end of the cross's shorter arm

D. a walkway, for pilgrims to use around the apse

E. walkways on either side of the nave

F. center of the long arm of the cross leading to the crossing

721. Select the THREE earliest monotheistic religions.

A. Judaism

B. Native American beliefs

C. Christianity

D. Hinduism

E. Islam

722. Name the Holy Book of Islam.

A. Book of Morman

B. Koran

C. Tanakh

D. Bible

723. What does the law forbidding graven images mean to Muslims?

A. They cannot carve a likeness of God.

B. Muhammad is the only image they may draw.

C. They cannot make the image of any person or living creature.

D. Animals are unclean creatures, unfit for an artist to depict.

724. What do Muslim artists draw?

A. nothing: all art is forbidden as being evil

B. famous saints and angels

C. elephants and people

D. ornate, symmetrical patterns (geometric shapes or stylized vines and flowers) to decorate surfaces

725. Define arabesques.

A. cathedrals with stained-glass windows

B. Muslim's ornate, symmetrical patterns (geometric shapes or stylized vines and flowers) to decorate



surfaces

C. tribal nomads living in the desert

D. Muslim's beautiful style of writing

726. Define calligraphy.

A. cathedrals with stained-glass windows

B. Muslim's ornate, symmetrical patterns (geometric shapes or stylized vines and flowers) to decorate surfaces

C. tribal nomads living in the desert


727. Define mosque.

A. a Muslim-designed building for religious worship

B. Muslim's ornate, symmetrical patterns (geometric shapes or stylized vines and flowers) to decorate surfaces

C. a tribal nomad living in the desert


728. Define mosque.

A. a decorated niche inside the mosque facing the direction of Mecca, the birthplace of Muhammad

B. towers used to call Muslims to prayer five times a day

C. long, narrow Roman buildings used for public meetings

D. building designed by Muslims for the practice of their religious beliefs

729. Define basilica.

A. towers used to call Muslims to prayer five times a day

B. a decorated niche inside the mosque facing the direction of Mecca, the birthplace of Muhammad

C. a building designed by Muslims for practicing their religious beliefs.

D. narrow Roman buildings used for public meetings

730. Define minaret.

A. a large courtyard connected to the entrance of the mosque for crowds that can't fit inside

B. towers used to call Muslims to prayer five times a day

C. a decorated niche inside the mosque facing the direction of Mecca, the birthplace of Muhammad

D. a pulpit to the right of the mihrab for the Friday sermon

731. Define mihrab.

A. a pulpit to the right of the mihrab for the Friday sermon


C. a large courtyard connected to the entrance of the mosque for crowds that can't fit inside

D. towers used to call Muslims to prayer five times a day



732. Define minbar.

A. a large courtyard connected to the entrance of the mosque for crowds that can't fit inside the prayer hall.

B. a pulpit to the right of the mihrab for the Friday sermon

C. towers used to call Muslims to prayer five times a day

D. a decorated niche inside the mosque facing the direction of Mecca, the birthplace of Muhammad

733. Define sahn.

A. a decorated niche inside the mosque facing the direction of Mecca, the birthplace of Muhammad

B. a large courtyard connected to the entrance of the mosque for crowds that can't fit inside the prayer hall

C. a pulpit to the right of the mihrab for the Friday sermon

D. towers used to call Muslims to prayer five times a day

734. Define fountain (in front of a mosque).

A. a pulpit to the right of the mihrab for the Friday sermon


C. place in the courtyard to perform ritual washing before prayer

D. tower used to call Muslims to prayer five times a day

735. Define riwaqs.

A. towers used to call Muslims to prayer five times a day

B. colonnaded pathways around the courtyard and interior prayer hall

C. a large courtyard connected to the entrance of the mosque for crowds that can't fit inside the prayer hall

D. a pulpit to the right of the mihrab for the Friday sermon

736. Define gopuras.

A. gateways to the Buddhist temple's complex

B. a front porch which houses a large bell to be rung when entering and leaving the temple

C. a central chamber designed to hold the idol of the god or goddess

D. a temple hall which was used to hold a large group of worshippers

737. Define stupa.

A. a half-spherical (half-sphere) mound used to house the relics of Buddha's body

B. sacred food of the gods; pita bread, ham, chopped beef, goat's cheese, and hot peppers

C. an inner chamber below the garba-griba used to conceal the restrooms

D. Italian word for unintelligent person

738. According to Buddhism, there is no single god, but a series of gods and goddesses that are ranked in importance.

A. False



B. True

739. What philosophy of life emerged in the 6th century B.C.E. in India as a reform to Hinduism?

A. Protestantism

B. Catholicism

C. Islam

D. Buddhism

740. A complete separatioin from nature is an important aspect of Buddhism

A. False

B. True

741. Describe the architecture over the garba-griba.

A. tiers, one on top of the other, all of the same size

B. tiers, one on top of the other, getting larger as they go up

C. tiers, one on top of the other, smallest ones on top, largest at the bottom

D. a solid block of stone, shaped like an onion with the tip pointing up

742. Gautama Buddha preached what THREE concepts?

A. gaining enlightenment or spiritual fulfillment through meditation

B. equality of all beings

C. living in moderation

D. remission of guilt through confession

743. Match the parts of the Buddhist temple with the appropriate description.

1. dome and steeple

2. inner chamber, called a garba-griba

3. temple hall

4. front porch

5. reservoir

6. walkway

A. goes around the walls of the inner chambers

B. used to hold a large group of worshippers; decorated with paintings of the gods and goddesses

C. represents mountain peaks and the trident of Shiva

D. holds water used in rituals

E. a central space designed to hold the idol of the god or goddess; only priests are allowed inside

F. houses a large bell to be rung when entering and leaving the temple

744. Chinese temples originated in caves. What were they called?

A. stupa

B. pagodas

C. Bodhisattva



D. grottos

745. The layout and design of structures within the Chinese temple complex were based on Imperial palaces. The layout is strictly symmetrical, with a main gate and hall in the center, and the remaining structures lined up on either side. What was in front hall?

A. statues of Buddha

B. nuns

C. monks

D. the statue of a Bodhisattva

746. What supports the roof of a pagoda?

A. arches

B. columns

C. walls

D. windows of stained glass

747. Pagoda builders placed significance on what concepts in architectual design?

A. astrophysics, psychoanalysis, and pyrotechnics

B. political parties and debates

C. colors, numbers, and cardinal directions

D. animals and water gardens

748. What is a Chinese stupa called?

A. pagoda

B. minbar

C. mecca

D. minaret

749. Which best describes the roof of a pagoda?

A. cut stones interlocked into pointed arches, barrel vaults, and groin vaults, with ribbed vaults beneath and flying buttresses for lateral support

B. large, hipped, and low-pitched with curves down to the eaves, which overhang widely; wood is the most common building material, but colored, glazed tiles were used on the roofs

750. With the exception of the pagodas, what orientation was emphasized in a Chinese temple complex?

A. horizontal

B. vertical

751. The layout and design of structures within the Chinese temple complex were based on Imperial palaces. The layout is strictly symmetrical, with a main gate and hall in the center, and the remaining structures lined up on either side. What was in great hall?

A. nuns

B. statue of a Bodhisattva



C. statues of Buddha

D. monks

752. The main hall (Kondo or Golden Hall) and a pagoda (Goju-no-to or Five-story Pagoda) are the two oldest surviving wooden structures in the world.

A. True

B. False

753. What was the purpose of a bell tower in Japanese Buddhist temples?

A. to sound an alarm when under attack

B. to call the monks and nuns to dinner

C. to signal a fire

D. to announce the time of religious observance each day

754. Where are the first Buddhist structures that can be found in Japan?

A. Shore Temple in Mamallapuram

B. Horyu-ji temple at Asuka

C. Sanchi Stupa

D. Meenakshi Temple in Madurai

755. Japan can trace its cultural roots as far back as _____.

A. 50 B.C.E.

B. 500 B.C.E.

C. 5,000 B.C.E.

D. 5 B.C.E.

756. What structures are inside the oldest Buddhist temple in Japan? SELECT ALL THAT APPLY.

A. a lecture hall

B. two pagodas

C. a bell tower

D. the main hall (Kondo or Golden Hall)

E. a library

757. The word Renaissance means "rebirth."

A. True

B. False

758. This new view of life, combined with a renewed interest in the arts and learning of Classical Greece and Rome, came to be known as _____. It united Christian faith and human reason.

A. humanism

B. sadism



C. communism

D. hedonism

759. The Renaissance was a time of economic poverty as trade routes closed and established towns were lost.

A. True

B. False

760. What media was developed in the Renaissance?

A. granite

B. oil paint

C. pencils

D. marble

761. What did artists study during the Renaissance to create more life-like figures? SELECT ALL THAT APPLY.

A. photography

B. Classical Greek sculptures

C. anatomy

D. Classical Roman sculptures

762. During the Middle Ages, the Catholic Church supported artists, but during the Renaissance, three new sources of support for artists developeD. SELECT ALL THREE MEANS OF FINANCIAL SUPPORT Renaissance artiests received.

A. personal portraits

B. painting houses for maintenance

C. nudes

D. landscapes

763. What two perspective techniques were developed during the Renaissance?

A. anatomy perspective

B. linear perspective

C. value perspective

D. atmospheric perspective

764. In the Middle Ages, people considered themselves naturally sinful.

A. True

B. False

765. Men who become highly skilled in more than one field are often called what?

A. know-it-alls

B. global thinkers

C. Renaissance Man



D. Jack-of-all-trades

766. Da Vinci mixed oil with tempera on wet plaster. The resulting image is very strong and is as bright today as it was when he first painted it.

A. True

B. False

767. In Da Vinci's Last Supper, who is the center of attention?

A. Paul

B. Mary

C. Jesus

D. Judas

768. Using _____, Da Vinci makes the head of Christ the center of attention.

A. atmospheric perspective

B. bright colors


D. symbolism of the Holy Chalice

769. Which skills did Da Vinci study? SELECT ALL THAT APPLY.

A. scientist

B. philosopher

C. engineer

D. artist (painter and sculptor)

E. inventor

770. Leonardo worked for the Catholic Church only; no one else could afford his talents.

A. True

B. False

771. Which of the following did Da Vinci create? SELECT ALL THAT APPLY.

A. The Pieta

B. Mona Lisa

C. Last Supper

D. Sketchbooks

772. What famous church ceiling did Michelangelo paint?

A. Saint Peter's tomb

B. Sistine Chapel

C. Pantheon



D. Parthenon

773. What technique did Michelangelo use to give his paintings great depth?

A. layers of paint

B. layers of cement under the paint

C. shading with different paints

D. rough texture to create shadows

774. Although he was a sculptor, paintor, poet, and architect, what did Michelangelo consider himself?

A. painter

B. architect

C. poet

D. sculptor

775. A recent restoration of Michelangelo's most famous work revealed that many figures were originally painted as being nude.

A. True

B. False

776. Which statue did Michelangelo NOT create?

A. The Pieta

B. Ecstasy of Saint Theresa

C. Moses

D. David

777. What job did Michelangelo take four years to complete?

A. carving the statue of Moses

B. Carving the statue of David.

C. painting the Sistine Chapel

D. Carving the statue The Pieta.

778. Palladian windows, a set of three windows with the largest in the middle and arched, were invented by Palladio, the Renaissance architect.

A. True

B. False

779. Name the Renaissance architect who wrote the Four Books of Architecture.

A. Bernini

B. Michelangelo

C. Andrea Palladio

D. Leonardo da Vinci



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780. Select the characteristics of the Palladian style. SELECT ALL THAT APPLY.

A. porticos

B. pediments

C. rounded arches

D. classical columns (Doric, Ionic and Corinthian)

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