Listening to music 7th edition craig wright test bank

INSTRUCTOR’S MANUAL CHAPTER 2 RHYTHM, MELODY, HARMONY LECTURE IDEAS HARMONY BEAT In order to help students differentiate between rhythm and beat, ask them to try tapping a rhythm patt

INSTRUCTOR’S MANUAL

CHAPTER 2 RHYTHM, MELODY, HARMONY

LECTURE IDEAS

HARMONY

BEAT

In order to help students differentiate between rhythm and beat, ask them to try tapping a rhythm pattern with their foot They will immediately realize our natural perception of beat, and that it is different from shifting rhythmic patterns Have them practice finding the beat with the following examples

 Vivaldi, Concerto in E major, I “The Spring” (CD 1/25)1

 Mozart, Symphony No 40, I (CD 2/15)

 Musorgsky, Pictures at an Exhibition, “Promenade” (CD 3/22)

METER

This is a difficult concept for students without a musical background Teach them the conducting patterns for duple and triple meter and have the class practice with a few examples They should observe the following routine:

 Establish the beat before determining the metrical structure

 Listen for the accented note, which will identify the downbeat They should pay particular attention to the bass, since it often accentuates the downbeat

 Conduct the patterns (It is sometimes helpful, once the correct pattern has been established, to show how odd it feels to conduct a duple meter composition with a ternary pattern.)

When going over the examples below, make certain that students write down the

examples for review at a later point in time If they will be responsible for identifying the metrical structure of listening examples on an exam, it is best to let them know at this point in time

Duple examples

 Vivaldi, Concerto in E major, I “The Spring,” (CD 1/25)

 Mozart, Eine kleine Nachtmusik (A Little Night Music), I (CD 2/8)

 Copland, Appalachian Spring, VII (CD 5/21)

1 Unless otherwise specified, the CD tracks reference the 5-CD set for “Listening to Music” 7e

 Handel, “Hallelujah” Chorus from Messiah (Intro CD/18)

 Monteverdi, “Toccata from Orfeo” (CD 1/15)

Triple examples

 Handel, Water Music, Minuet and Trio (CD 2/3)

 Bach, Wachet auf, ruft uns die Stimme (Awake, A Voice is Calling), I (CD 1/30)

 Josquin, Ave Maria (CD 1/9; 2:26-3:00)

 Verdi, “Un di felice” from La Traviata (CD 4/7)

SYNCOPATION

There are numerous examples in the CD set, including the following:

 Machaut, “Kyrie” from Messe de Nostre Dame (CD 1/4; 0:18-0:20)

 Mozart, Eine kleine Nachtmusik (A Little Night Music), III (CD 2/11)

 Haydn, Symphony No 94, II (Intro CD/23; 4:22-5:11)

 Brahms, Wiegenlied ( Lullaby) (in accompaniment, Intro CD/20)

DISCUSSION QUESTIONS

1 Listen to the third movement of Haydn’s Symphony No 94, the “Surprise” (CD 2/12; 0:00-0:34)

 What is the meter of this example?

 Is it the melody, the bass line, or the two together that accent the downbeats?

 Compare it with Viderunt omnes (CD 1/1) Is there a metrical structure to this

latter composition or is it simply a succession of beats?

2 Listen while Alfredo sings the opening section of “Un di felice” from La traviata (CD

4/7) Is the meter regular while the tempo is treated with great flexibility or is the tempo regular while the number of beats per measure constantly change?

MELODY

For a comparison between major and minor, have students listen to the third and fourth ritornello sections in Vivaldi’s “Spring” Concerto (CD 1/25) While the third ritornello is

in B major and the fourth in C# minor, the violin line offers a pretty clear distinction in the mode

In addition to Beethoven’s Ode to Joy, antecedent and consequent phrases can also be

heard in the first theme of Mozart’s A Little Night Music (I; CD 2/8 0:00-0:30) Phrase a

and c are subdivided into antecedent and consequent phrases while phrase c also

functions as a consequent to the antecedent phrase b This is an interesting example of a phrase serving a dual purpose: the subdivided phrases balance the structure of phrase a while matching the weight of phrase b

Play the following passages and have students determine whether the melodies are

diatonic or chromatic They may not be able verbalize their reason but may nevertheless

be able to determine the correct answer

 Haydn, Concerto for Trumpet and Orchestra in E-flat major, III (CD 2/14)

 Bizet, Carmen, Habanera (CD 4/17)

 Debussy, Prelude to the Afternoon of a Faun (CD 5/6, 0:00-0:57)

 Copland, Appalachian Spring, VII, (CD 5/21 1:00-1:40)

Students may also find it intriguing to determine the emotional mood of different

melodies and what the music does to establish that mood They need to consider aspects such as tempo, rhythm, timbre, etc Some of the following selections offer vivid

contrasts:

 Handel, “He shall feed his flock” from Messiah (CD 2/5)

 Bach, Brandenburg Concerto No 5, I (CD 1/27)

 Tchaikovsky, Romeo and Juliet, “Love Theme” (CD 3/20; 2:58-3:53)

 Musorgsky, Pictures at an Exhibition, “Great Gate of Kiev (CD 4/1)

 Bizet, Carmen, Habanera (CD 4/17)

 Wagner, Die Walküre, “Ride of the Valkyries” (CD 4/13)

HARMONY

This topic of harmony can quickly become needlessly complex Students should be familiar, however, with the basic concept of consonance and dissonance Emphasize that perceptions have changed over time and that many cultures have unique ideas of what sounds pleasing or harsh Some students confuse consonance and dissonance with good and bad sounds They need to realize that dissonance provides momentum while

consonance gives a sense of rest The manner in which a composer treats these two opposing sounds often provides a clue to his or her musical style

Schubert’s Erlkönig (The Elf King) (CD 3/14) offers a contrast between chordal and

arpeggiated accompaniment, although in this particular recording it is so rushed that students may have difficulty in perceiving the difference (This song also demonstrates the contrast between major and minor) For an example of a composition featuring nothing but arpeggiated chords, play Bach’s Prelude in C Major from WTC I

To illustrate different tonal centers, play the ritornello sections of Vivaldi’s “Spring” Concerto (CD 1/25) Note that for the first two ritornello statements, the key is the same The third statement is on the dominant, the fourth occurs on the sixth degree of the scale, while the last two return to the tonic The process of modulation occurs during the

intervening solo sections

TEST BANK

IDENTIFICATION

Select the term that fits the description Terms may be used more than once

melody

1 Term describing a type of score that combines the two

clefs and is used primarily by keyboard players

ANSWER: great staff

2 It is an even pulse that divides the passing of musical time

into equal segments

ANSWER: beat

3 A rhythm, melody, or harmony that repeats continually

ANSWER: ostinato

4 The element that adds depth and dimension to music

ANSWER: harmony

5 Term that defines the distance between the notes of a

chord

ANSWER: interval

6 This combination of pitches sounds harsh and jarring,

resulting in a harmonic tension that ultimately seeks resolution

ANSWER: dissonance

7 Scale generally associated with positive emotions

ANSWER: major scale

8 Term that describes changing from one key to another

within a composition

ANSWER: modulation

9 An arrangement of pitches that ascend and descend in a

fixed unvarying pattern

ANSWER: scale

10 _ Portion of a musical phrase that leads to its last chord

ANSWER: cadence

11 _ Term that describes placing an accent on a weak beat or

between the beats

ANSWER: syncopation

12 _ Derived from the Greek word for “color,” it describes a

scale that utilizes all twelve notes contained within the octave

ANSWER: chromatic scale

13 _ The clef indicating that melodies are to be sung or played

in the lower range

ANSWER: bass clef

14 _ A chord consisting of one third placed on top of another

third

ANSWER: triad

15 _ Metrical pattern consisting of three beats per bar

ANSWER: triple meter

16 _ Term that describes a tonal center built on a tonic note and

making use of a scale

ANSWER: tonality (key)

17 _ The basic unit of beat in most music

ANSWER: quarter note

18 _ Chord giving the greatest impetus toward the tonic

ANSWER: dominant

19 _ Sounds that provide support and accompaniment to the

melody

ANSWER: harmony

20 _ The distance between any two pitches on a musical scale

ANSWER: interval

21 _ A pattern of whole and half steps In Western musical

tradition these steps have been organized into two patterns, forming the basis for most classical and popular compositions

ANSWER: mode

22 _ Negative feelings such as sorrow, fear, and despair are

generally associated with this scale

ANSWER: minor scale

23 _ Symbol raising a note to the one immediately above it

ANSWER: sharp

24 _ A unit of two or more pitches that sound at the same time

ANSWER: chord

25 _ Which clef signifies that the melody is to be played or

sung in the upper range, either by a high instrument or a woman’s voice?

ANSWER: treble clef

26 One of two terms that informs the performer how many

beats will occur in each measure

ANSWER: meter signature or time signature

27 _ Organization of time in music

ANSWER: rhythm

28 _ The triad built on the fifth degree of the scale

ANSWER: dominant

29 _ A group of beats, usually between two and four, is called

a:

ANSWER: measure or bar

30 _ The relative position, either high or low, of a musical

sound

ANSWER: pitch

31 _ The basic chord in music; it consists of a specific

arrangement of three pitches

ANSWER: triad

32 _ The first beat of a measure

ANSWER: downbeat

33 _ Term for the gathering of beats into groups, usually

between two and four

ANSWER: meter

34 _ _ is a style of music that emerged during the

mid-twentieth century that featured a cappella singing, repeating phrases, and brief chord progressions

ANSWER: doo-wop

35 _ A group of beats providing metrical organization

ANSWER: measure or bar

36 _ The speed at which beats occur

ANSWER: tempo

37 _ Beat which normally receives the strongest accent

ANSWER: downbeat

38 _ The grid of lines and spaces facilitating the precise

notation of pitch

ANSWER: staff

39 _ The extra five notes of this scale provide greater melodic

intensity

ANSWER: chromatic scale

40 _ Symbol signifying that the pitch is to be lowered to the

one immediately below it

ANSWER: flat

41 _ The movement of chords in a purposeful manner

ANSWER: chord progression

42 _ Melodies revolve around this central tone

ANSWER: tonic

43 _ A gradual slowing of the tempo

ANSWER: ritard

44 _ A recognizable and memorable series of notes

ANSWER: melody

45 _ Combination of pitches that sound agreeable and stable,

producing a sense of rest

ANSWER: consonance

46 _ Metrical pattern consisting of two beats per bar

ANSWER: duple meter

47 _ Term that means to emphasize a particular beat

ANSWER: accent

48 _ General term for the designation appearing on the staff

that indicates the range in which the melody is to be sung ANSWER: clef

49 _ The interval that results when a pitch is duplicated at a

higher or lower level

ANSWER: octave

50 _ The musical element that provides a shape or profile to the

melody

ANSWER: rhythm

51 _ A silence in music of a specific duration

ANSWER: rest

52 _ A contrapuntal form in which the individual voices enter

and each in turn duplicates exactly the melody that the first voice played or sang

ANSWER: canon

MULTIPLE CHOICE

1 The term, referring to the organization of time in music, gives shape to the

pitches of the melody

a accent

b rhythm

c meter

d harmony

e syncopation

ANSWER: b

2 What is the term for the even pulse that divides the passing of musical time into

equal segments?

a measure

b tempo

c phrase

d beat

e ritard

ANSWER: d

3 Which term means the speed at which beats progress?

a tempo

b syncopation

c accent

d dissonance

e homophony

ANSWER: a

4 What is the English word that means to slow the tempo of the music?

a syncopation

b pickup

c downbeat

d ritard

e score

ANSWER: d

5 Which term best describes what is happening in the music example

a ritard

b tempo

c syncopation

d mode

e modulation

ANSWER: a [Handel Water Music, Minuet, CD 2/3 0:19-0:27]

6 The downbeat is:

a the strongest beat in any given measure

b the first beat in a measure

c more accented than other beats

d indicated by a downward movement of the conductor’s hand

e all of the above

ANSWER: e

7 What is the term for the emphasis or stress placed on a musical tone or chord?

a allegro

b tempo

c beat

d accent

e all of the above

ANSWER: d

8 When beats are gathered into regular groups, what is the result?

a meter

b rhythm

c ritard

d upbeats

e tempo

ANSWER: a

9 Which term is synonymous with “measure”?

a meter signature

b bar

c syncopation

d downbeat

e phrase

ANSWER: b

10 What is the term for a group of beats?

a rhythm

b tempo

c consonance

d meter signature

e measure

ANSWER: e

11 In a meter signature (or time signature), what does the top number tell the

performer?

a how fast the beats should go

b how many lines there are in the texture

c what note value receives the beat

d how many beats there are per measure

e how many measures there are in the composition

ANSWER: d

12 Identify the meter of the listening example

a duple

b triple

ANSWER: b [Corelli, Trio Sonata in C minor, CD 1/22 0:00-0:28]

13 Identify the meter of the listening example (it begins with an upbeat)

a duple

b triple

ANSWER: a [Monteverdi, Orfeo, Toccata, CD 1/15, 0:00-0:31]

14 Identify the meter of the listening example

a duple

b triple

ANSWER: a [Corelli, Trio Sonata in C minor, CD 1/22, 0:00-0:44]

15 Identify the meter of the listening example

a duple

b triple

ANSWER: b [Haydn, “Surprise” Symphony, third movement; CD 2/10, 0:00-0:34]

16 Identify the term that indicates the absence of sound

a accent

b ostinato

c rest

d dissonance

e style

ANSWER: c

17 Term for the note or two that occurs at the very beginning of a piece that

provides a little extra momentum into the first downbeat

a pickup

b hook

c syncopation

d phrase

e cadence

ANSWER: a