Classroom Expectations

Classroom Expectations
Music Appreciation & History Music H101 3 credit Hours Tuesdays & Thursdays 5:30 to 6: 45 pm A-507 12 weeks plus final exam Music 101 surveys the major styles, composers, genres and selected works of the European art music education. The course will expand listening skills and knowledge of music terms, concepts, and vocabulary in order to discuss the art of music. The expected outcome would be that students will acquire the ability to identify period compositions and composers based upon recognition of general stylistic criteria and be able to discuss general technical and historical aspects of compositions and performances

Required Materials Music Appreciation & History Music H101
3 credit Hours Tuesdays & Thursdays 5:30 to 6: 50 pm A-507 12 weeks plus final exam Companion Website: Grove Dictionary of Music

Grading Criteria Music Appreciation & History Music H101
50% Attendance Classroom Participation 20% Midterm Test Writing Assignment(s) Final Exam 10% Concert Project* Music Appreciation & History Music H101 3 credit Hours Tuesdays & Thursdays 5:30 to 6: 50 pm A-507 12 weeks plus final exam *During the Semester each student is required to attend at least one concert that is recommended by the teacher. Other concerts are allowed but must be approved by the instructor

Attendence Music Appreciation & History Music H101
3 credit Hours Tuesdays & Thursdays 5:30 to 6: 50 pm A-507 12 weeks plus final exam Classroom attendance is an integral part of the college experience. The faculty of the college believes that regular class attendance is necessary for a student to derive the maximum benefit from the learning experience and the overall value of the class room instruction. College policy does not allow an instructor to issue, for academic reasons, an NC grade (No Credit) if a student has more absences per semester than the number of times the class meets each week. The grade of F (failure) is issued instead. For absences due to extenuating circumstances, it is the responsibility of the student to contact the instructor.

Academic Honesty Music Appreciation & History Music H101
3 credit Hours Tuesdays & Thursdays 5:30 to 6: 50 pm A-507 12 weeks plus final exam At NVCC we expect the highest standards of academic honesty. Academic dishonesty is prohibited in accordance with the Board of Trustee’s Proscribed Conduct Policy in section of the BOT Policy Manual. The policy prohibits cheating on examinations, unauthorized collaboration on assignments, unauthorized access to examinations or course materials, plagiarism, and other proscribed activities. Plagiarism is defined as the use of another’s ideas or phrases and representing them as your own either intentionally or unintentionally.

Use of cellular phones Music Appreciation & History Music H101
3 credit Hours Tuesdays & Thursdays 5:30 to 6: 50 pm A-507 12 weeks plus final exam Students are hereby notified that cellular phones and beepers are allowed in the class only if they are turned off or turned to a silent mode. Under no circumstances are telephones to be answered in class. Students who ignore this policy may be asked to leave class. When there are extenuating circumstances that require that a student be available by phone or beeper, the students should speak to the instructor prior to class, so that together they can arrive at an agreement concerning the device.

Class Cancellation Music Appreciation & History Music H101
3 credit Hours Tuesdays & Thursdays 5:30 to 6: 50 pm A-507 12 weeks plus final exam If Class is cancelled or delayed because of weather, the College website and certain radio and television stations will carry an announcement. If instructor is unable to attend class, the Arts and Humanities Division Office will advise students of alternative learning arrangements.

Unit 1 - Fundementals Music, Sound, & Time

Chapter 1 Music, Sound, and Time
We will listen to four different musical examples While listening please jot down the answers to the following questions: What mood does each piece create? How does it make you feel? What is the fabric of the piece (Instrumentation)?

Overall objectives to developing effective listening skills
Listening is the primary tool for understanding and enjoying music. Repetition in listening to a single piece enables one to hear more and more; enhancing understanding and enjoyment. Concepts and terms aid the process of learning to listen attentively; they increase awareness as they pinpoint specific elements of the aural experience. Mu H 101

Overall objectives to developing effective listening skills
A musical experience (“Sonic event”) is the cumulative result of several factors: elements of music working together (rhythm, pitch, dynamics, tone color, and so on) the effect of these sounds and associated words and images on the listener the listener’s interpretation of this effect based on past experiences and understanding Mu H 101

Properties of Music Pitch Dynamics Tone color Duration
Music is part of this world of sound -- an art based on the organization of sounds in time. We distinguish music from other random sounds by recognizing the four main properties of musical sounds: Pitch Dynamics Tone color Duration Mu H 101 12

This Chapter covers the Fundamental Properties of Sounds and the vocabulary associated with each property Fundamental Properties Frequency Amplitude Overtones Duration Associated Vocabulary Pitch Dynamics Tone Color Rhythm Mu H 101

Four Principles of Music
Pitch (frequency) The highness or lowness of Sound Dynamics (Amplitude) Degrees of loudness or softness Tone Color (Overtones) The quality of sound that distinguishes one instrument from another Rhythm (Duration) The flow of music through time Mu H 101

As we listen to music, anyone of these elements can draw our attention: a memorable tune, a driving rhythm, unusual sound of an exotic instrument. More often we respond to the combination of two or more of these elements without methodically analyzing the names and proportions of each. Mu H 101

Understanding these building blocks of music enhances our listening and provides a vocabulary with which to discuss a piece in some detail. If we increase our capacity and awareness of these elements, the more we can enjoy listening to many types and kinds of music. Mu H 101

Sound Vibrations are measured by cycles per second
Pitch (Frequency) Sound Vibrations are measured by cycles per second The pitch we tune to is A=440 which means that the string vibrates back and forth 440 times per second The vibrating string pushes the air molecules around it back and forth 440 per second. They jostle each other at the same frequency, creating sound waves These sound waves radiate outwards, like waves in a pond, at a speed of about 1,000 feet (about 305 meters) per second Mu H 101

Pitch (Frequency) The ear, constructed like a satellite dish, intercepts these vibrating molecules The vibrating air molecules set the eardrum in motion at the same rate of vibration. This vibration in turn, finds its way to the corresponding auditory nerve in the cochlea, which sends an electrical impulse that is perceived by the brain of the listener as A440. The sound processing ability of the human ear is quite extraordinary. Even complex sound patterns such as noise, environmental sound, orchestral music, and so on are received by the ear as composite sound shapes that the brain interprets and translates into individual sounds Mu H 101

What do you hear? Evard Grieg John Williams
We will listen to two different musical examples While listening please jot down the answers to the following questions: Describe the shape of the composition. What is the dynamic framework of the piece? How is the instrumentation used to create the dynamic effect? Evard Grieg “Hall of the Mountain King” From Peer Gynt Suite John Williams “Jaws” Mu H 101 19

Definite & Indefinite pitches
In music and hearing, a sound or note of definite pitch is one of which it is possible or relatively easy to discern the pitch or frequency of the fundamental. Sounds with definite pitch have harmonic frequency spectra or close to harmonic spectra (overtones) A sound or note of indefinite pitch is one of which it is impossible or relatively difficult to discern the pitch or frequency of the fundamental. Sounds with indefinite pitch do not have harmonic spectra or have altered harmonic spectra. Note that it is still possible for two sounds of indefinite pitch to clearly be higher or lower than one another, for instance, a snare drum invariably sounds higher in pitch than a bass drum because its sound contains higher frequencies. In other words, it is possible and often easy to roughly discern the relative pitches of two sounds of indefinite pitch, but any given sound of indefinite pitch does not neatly correspond to a given definite pitch. Mu H 101

Pitch (Frequency) Pitch: Highness and lowness of tone
Pitch is the relative highness or lowness that we hear in a sound. The pitch of a sound is determined by the frequency of its vibration The faster the vibrations, the higher the pitch, the slower the vibrations the lower the pitch. As previously mentioned vibration frequency is measured in cycles per second. Music in America MU104 H & O Mu H 101 21

Pitch (Frequency) 1 On a piano the highest-frequency tone is 4,186 cycles per second And the lowest is about 27 cycles per second Standard of pitch is judged by A above middle C to be equal to 444 cycles per second. Mu H 101 22

Pitch (Frequency) Consequently, the smaller the vibrating object the faster its vibrations and the higher the pitch. All other things being equal, the plucking of a short string produces a higher pitch than plucking a long string. Mu H 101 Music in America MU104 H & O 23

Pitch (Frequency) In Music, a sound that has a definite pitch is called a tone. It has a specific frequency, such as A =440 cycles per second. The vibrations of a tone are regular and reach the ear at equal time intervals. On the other hand, noise-like sounds (squeaking breaks, or clashing cymbals) have an indefinite pitch because they are produced by irregular vibrations. Two tones will sound different when they have different pitches. The distance between any two tones is called an interval. Music in America MU104 H & O Mu H 101 24

Pitch (Frequency) When the tones are separated by the interval called an Octave, they sound very much alike. Their cycles are doubled. If the pitch was A=444 the octave higher would be A=888. A tone an octave lower would be A=222. When sounded at the same time, two tones an octave apart blend so well that they almost seem to emerge as one tone. The interval of an octave is important in music. It is the interval between the first and last tones of a major scale. DO–RE-MI-FA-SOL-LA-MI-RE-DO Mu H 101 25

Pitch (Frequency) The invention of solfege is ascribed to Guido of Arezzo. He used a series of six syllables to refer to the six degrees of the hexachord. These six syllables were drawn from the hymn to Saint John "Ut queant laxis", because each of the six phrases of that hymn began on each of the six degrees of the hexachord: Ut queant laxis resonare fibris Mira gestorum famuli tuorum, Solve polluti labii reatum, Sancte Ioannes. This hymn gave the six acrophonic syllables: Ut, Re, Mi, Fa, Sol, La. In the course of time, "Ut" was changed to "Do" on the grounds that it was easier to sing, and the syllable "Si" was added to indicate the leading tone of the modern scale. (The name "Si" may perhaps derive from the first letters of "sancte ioannes", although this is conjecture.) Music in America MU104 H & O

Pitch (Frequency) As time passed five pitches were added to the original seven. These five are produced by the black keys of the keyboard. All twelve tones like the original seven are duplicated in higher and lower octaves.

Pitch (Frequency)

Pitch (Frequency) Though most music we know is based on definite pitches, indefinite pitches made by such musical instruments as gongs, cowbells, and woodblocks, come in different sizes and therefore produce higher or lower indefinite pitches. Contrast between higher and lower indefinite pitches play a vital role in contemporary western music and in musical cultures around the world.

Dynamics (Volume) Dynamics are essentially degrees of loudness and softness in music. Loudness is related to the amplitude of the vibration that produces the sound. When instruments are played more loudly or more softly, or when there is a change in how many instruments are heard, a dynamic change results; such a change may be made either suddenly or gradually. A gradual increase in loudness often creates excitement, particularly when the pitch rises too. On the other hand, a gradual decrease in loudness can convey a sense of calm. A performer can emphasize a tone by playing it more loudly than the tones around it. We call an emphasis of these kind an accent.

Dynamics (Amplitude) In music, dynamics normally refers to the volume of a sound or note, but also to every aspect of the execution of a given piece, either stylistic (staccato, legato etc.) or functional (velocity). The term is also applied to the written or printed musical notation used to indicate dynamics. The two basic dynamic indications in music are: p or piano, meaning "soft." f or forte, meaning "loud" or "strong". More subtle degrees of loudness or softness are indicated by: mp, standing for mezzo-piano, and meaning "medium-quiet" or "moderately-quiet" and mf, standing for mezzo-forte, and meaning "medium-loud" or "moderately-loud". Beyond f and p, there are also ff, standing for "fortissimo", and meaning "very loud" and pp, standing for "pianissimo", and meaning "very quiet". Mu H 101

Dynamics (Volume)

Dynamics (Volume) Like many elements of music, a dynamic indication is not absolutely precise. A tone has a dynamic level – is soft or loud – in relation to other tones around it. The loudest sound of a single violin is tiny compared with the loudest sound of an entire orchestra, and even tinier compared with an amplified rock group. But it is considered fortissimo (very loud) within its own context.

Tone Color (Timbre) Timbre tells us the difference between a trumpet from a flute even when each of them is playing the same tone at the same dynamic level. Tone color is described by the words such as bright, dark, brilliant, mellow and rich. Like changes is dynamics, changes in tone color create variety and contrast. When the same melody is played by one instrument and then by another, it takes on different expressive effects because of each instrument’s tone color. On the other hand, a contrast in tone color may be used to highlight a new melody: after violins play a melody, an oboe may present a contrasting one. Tone colors also build a sense of continuity; it is easier to recognize the return of a melody when the same instruments play it each time. Specific instruments can reinforce a melody’s emotional impact: the brilliant sound of a trumpet is suited to heroic or military tunes; the soothing tone color of a flute fits the mood of a calm melody.

LISTENING EXERCISE 1 Pitch & Dynamics
“Unfinished” Symphony Quiet and mysterious (pp) Rustling sounds Wind Instruments Single sharp accent sf Gets louder (Long cresc. to f, then ff, More accents) Sudden collapse (pp followed by dim.) New tune (marked pp by Schubert) Cuts off sharply; big sound (ff, more accents) (Similar pitch and dynamics effects for the rest of the excerpt) Sinking Passage Ominous (pp) 0:00 0:15 0:22 0:35 0:47 1:07 1:15 1:52 3:07 3:43 Mu H 101

Tone Color (Overtones)
We can tell a trumpet from a flute even when each of them is playing the same tone at the same dynamic level The quality that distinguishes them – our third property of sound – is called Tone Color or timbre Tone Color is described by words such as bright, dark, brilliant, mellow and rich Changes in tone color create variety and contrast When the same melody is played by one instrument and then by another it takes on different expressive effects because of each instruments tone color On the other hand, a contrast in tone color can be used be used to highlight a new melody Mu H 101

Tone Colors also build a sense of continuity; it is easier to recognize the return of a melody when the same instrument plays it each time. Specific instruments can reinforce a melody’s emotional impact: the brilliant sound of a trumpet is suited to heroic and military tunes; the soothing Tone Color of a flute fits the mood of a calm melody. Composers , in fact, often create a melody with a particular instrument's Tone Color in mind A practically unlimited variety of tone colors is a available through the instruments of the orchestra. Mu H 101

Combining different instruments – violin, clarinet, and trombone for example – results in new colors that the instruments cannot produce themselves. Tone color can be changed by varying the number of instruments or voices that perform a melody. Finally, electronic techniques developed in recent years allow composers to create colors completely unlike those of traditional instruments Mu H 101

The human voice consists of sound made by a human being using the vocal folds for talking, singing, laughing, crying, screaming, etc. Human voice is specifically that part of human sound production in which the vocal folds (vocal cords) are the primary noise source. Generally speaking, the voice can be subdivided into three parts; the lungs, the vocal folds, and the articulators. The lung (the pump) must produce adequate airflow to vibrate vocal folds (air is the fuel of the voice). The vocal folds (vocal cords) are the vibrators, neuromuscular units that ‘fine tune’ pitch and tone. The articulators (vocal tract consisting of tongue, palate, cheek, lips, etc.) articulate and filter the sound. The vocal folds, in combination with the articulators, are capable of producing highly intricate arrays of sound. The tone of voice may be modulated to suggest emotions such as anger, surprise, or happiness. Singers use the human voice as an instrument for creating music. Mu H 101

WAGNER: Prelude to Die Walküre
Please read “Prelude” on Page 4 of your book and listen to Wagner’s Prelude This musical example is given to introduce you to the musical listening charts provided in your text. Please refer to the section TO THE STUDENT on page xvii for a clear explanation Mu H 101

WAGNER: Prelude to Die Walküre
Wagner: Prelude, Act I to The Valkyre A Scale theme in Low Strings; crescendo and rise in pitch B Preliminary Climax: Lightning theme in horns and woodwinds Scale theme; briefly subsiding; then crescendo B1 Main Climax : extended, in full brass Collapse: timpani roll; sporadic lightning strikes; diminuendo Scale Theme (piece never comes to a cadence) Mu H 101

Mu H 101

Voices and Instruments

String Instruments - terms
Pizzicato (plucked string): The musician plucks the strings, usually with a finger of the right hand. In Jazz, the double bass is played mainly as a plucked instrument, rather than being bowed. Double Stop (two notes at once): By drawing the bow across two strings, the string player can sound two notes at once. There can be triple stops and quadruple stops also. Vibrato: The string player can produce a throbbing, expressive tone by rocking the left hand while pressing the string down. This causes a small pitch fluctuations that make the tone warmer. Mute: The musician can veil or muffle the tone by fitting a clamp (mute) onto the bridge. Tremolo: The musician rapidly repeats tones by quick up-and –down strokes of the bow. This can create a sense of tension, when loud, or a simmering sound, when soft. Harmonics: Very high-pitched tones, like a whistle’s, are produced when the musician lightly touches certain points on a string. Voices and Instruments

Woodwind Instruments Voices and Instruments Bassoon

Brass Instruments

Percussion Instruments
Voices and Instruments Percussion Instruments

Percussion Instruments
Voices and Instruments Percussion Instruments Definite Pitch Timpani (kettledrum) Glockenspiel Xylophone Celesta chimes Indefinite Pitch Snare Drum (side drum) Bass Drum Tambourine Triangle Cymbals Gong (tam-tam) Music in America MU104 H& O

Electronic Instruments
Voices and Instruments

Young People’s Guide to the
Orchestra The Young Person's Guide to the Orchestra, opus 34, is a musical composition by Benjamin Britten in 1946 with a subtitle "Variations and Fugue on a Theme of Purcell". Benjamin Britten Mu H 101

Rhythm (Duration) 2 Fourth Principle of music

Duration (Rhythm) Of the four musical principles, Pitch, Dynamics, tone color and Duration, which is the most easy to understand and comprehend? Duration is the simplest to understand and hear. The first three stem from acoustical properties of sounds themselves – frequency, amplitude and overtones Duration pertains only to the distance in time between a sound’s beginning and it’s end. Rhythm is the only musical element that applies equally to sounds and silence. Mu H 101

RHYTHM (Duration) Rhythm in basic to life
Fourth Principle of music Rhythm in basic to life If you listen for it, you can find rhythm just about anywhere: in a basketball being dribbled, raindrops falling, or hands clapping. Rhythm is what makes music move and flow.

RHYTHM (Duration) Rhythm is made up of sounds and punctuated by silences These sounds and silences are put together to form patterns of sound, which are repeated to create rhythm. A rhythm has a steady beat but it may also have many different kinds of beats. Some beats may be stronger or longer or short or softer than others. In a single piece of music, a composer can use many different rhythms.

RHYTHM (Duration) What is the human metronomes & fundamental rhythm makers of life?

RHYTHM (Duration) Just as the rhythm is created as a result of the essential nature of the heart in lungs, it is easy to say that rhythm forms the life blood of music. In the widest sense, rhythm is the flow of music through time. In music a composer can control the passage of time by altering the rhythmic aspects of the composition. In life, such order is elusive

RHYTHM (Duration) There are several interrelated aspects of understanding rhythm. They are: Beat Meter Accent Syncopation tempo

RHYTHM (Duration) Music Example Beethoven – 5th symphony
One of the most famous openings using powerful rhythmic motifs in classical music history.

RHYTHM (Duration) Beat
Beat is a steady measurement of time, marked off by movements of a conductors baton, by tapping, by a metronome, or by counting audibly or inaudibly.

RHYTHM (Duration) Beat
To distinguish beats in music we use symbols to recognize different measures of time

RHYTHM (Duration) Meter
In music we find a repeated pattern of strong beat plus one or more weaker beats. The organization of beats into regular groups is called meter. A group containing, a fixed number of beats is called a measure.

RHYTHM (Duration) (Overtones)

Meter Meter is a result of the periodic effect of pulse (or beat) in music. Music does not require a pulse (or beat) to be music. Much music has no pulse. Music that does have pulse (or beat) always has beats that receive emphasis by being louder or longer than other surrounding beats.

Meter

Meter Meter is counted with Arabic numbers. Count one is known as the downbeat. Two patterns of two-beat meter (duple meter) are counted 1-2 | 1-2 (the "|" mark separates one group of two and the "_" mark represents an accent of loudness or length). Three patterns of three-beat meter (triple meter) are counted | | | Four patterns of four-beat meter (quadruple meter) are counted | | | Five patterns of five-beat meter (quintuple meter) are counted | | | | Patterns may be created in this manner with any number of numbers limited only by practical considerations. An accent of length is called an agogic accent. An accent of loudness is called a dynamic accent.

Syncopation and Accent Syncopation is the wonderful effect which is created when notes which are supposed to fall in a certain place surprise the ear and fall somewhere else. In other words, it is a displacement of rhythmic accents. You see, once a beat is established, the ear expects to hear accents on that beat. When the accent falls off the beat, or if there is silence on the beat, then syncopation occurs. An important aspect of rhythm is the way individual notes are stressed – how they get special emphasis. Below are several typical accent markings in music.

Accent types In music, an accent is an emphasis placed on a particular note, either as a result of its context or specifically indicated by an accent mark. A tonic accent is an emphasis on a note by virtue of being higher in pitch than surrounding notes. As stated earlier an agogic accent is an emphasis by virtue of being longer in duration than surrounding notes, in a way that shifts their time of onset. Dynamic accents are created when one note is louder than another.

Accent types In music notation, an accent mark indicates a louder dynamic to apply to a single note, or an articulation mark. The most common is the horizontal accent, the fourth symbol in the diagram above; this is the symbol that most musicians mean when they say accent mark. The vertical accent, third in the diagram, may be stronger or weaker than the horizontal accent; composers have never been consistent in using these markings. The vertical accent has many informal names such as a "housetop". In most musical works this type of accent is meant to be played more forcefully and usually shorter.

Accent types The remaining marks typically shorten a note. Staccato, the first symbol shown above, indicates that the last part of a note should be silenced to create separation between it and the following note. The duration of a staccato note may be about half as long as the note value would indicate, although the tempo and performers' taste varies this quite a bit. The staccatissimo, shown second, is usually interpreted as shorter than the staccato, but composers up to the time of Mozart used these symbols interchangeably. The tenuto mark, shown fifth above, indicates that a note is to be separated with a little space from surrounding notes. This separation may be enough to emphasize the note, or it may have to be played a little louder, at the discretion of the player. The tenuto mark also indicates that the note should be played for its full value - not cut off earlier. Sometimes these symbols are used in combination.

Tempo Tempo is the speed of music. It’s a steady constant pulse like a clock ticking. Tempo can be slow or fast or in-between, and it can change during a song. Tempo influences how music sounds and feels. The same piece of music will sound different if you play it slower or faster. Musicians and composers often use Italian names to describe different tempos. These names say how fast or slow to play a song. When musicians want to practice at a specific tempo, they use a metronome, a machine that plays many different tempos.

Tempo - Common Markings Grave - very slow and solemn Largo - slow and broad Larghetto - not quite as slow as largo Adagio - slow Lento - slow Andante - literally "walking", a medium slow tempo Moderato - moderate, or medium Allegretto - Not as fast as allegro Allegro - fast Vivo, or Vivace - lively and brisk Presto - very fast Prestissimo - very, very fast

Tempo - Markings Tempo markings are usually indicated at the beginning of a piece and remain throughout unless the tempo should change. Then the marking would be placed above the new section. An indication of accelerando (growing faster) or ritardando (growing slower) are also used at climactic periods in a piece. Since 1816, composers have been able to indicate a prescribed tempo marking by means of a metronome, an apparatus that produces ticking sound flashes of light at any desired musical speed.

Tempo - Metric Markings

RYTHMN EXAMPLES I got rhythm (1930) by George Gershwin
Unsquare Dance (1961) by David Brubeck Danse du Sabre by Aram Katchaturian

Which one of the following instruments is not a woodwind.
Flute Bassoon English Horn Oboe French Horn Clarinet

2.Which one of the following instruments is not a brass instrument.
Coronet Trombone English Horn Tuba French Horn Euphoniam

3.Which one of the following instruments is not a string instrument.
Banjo Violin Harp Piano Cello Viola

4.Which one of the following instruments is not a percussion instrument.
Snare drum Clavé Maracas Cymbals Timpani Triangle piano

5. The only string instrument in the orchestra that is plucked instead of bowed is:
Snare drum Celesté Violin Harp Trumpet Clarinet piano

6. Instruments that are played by the use of double reeds in the orchestra are:
Clarinets and Saxophones Saxophones and Bassoons Oboes and Flutes Oboes and Bassoons Trumpet and Piccolos Clarinets and French Horns Harp and Piano

7. The loudest section of the orchestra is:
Woodwind Brass Percussion Strings Keyboard

8. The section of the orchestra that has instruments that play both definite and indefinite pitches is: Woodwind Brass Percussion Strings Keyboard

9. The section of the orchestra that incorporates pizzicato, tremolo and double stops as ways of expression and articulation is: Woodwind Brass Percussion Strings Keyboard

10. Which section of the orchestra is not included in a military band:

11. The highest instrument of the woodwind family is:
trumpet Oboe Clarinet flute piccolo

12. The lowest instrument of the brass family is:
trumpet Saxophone Trombone Tuba Bassoon

13. The “tenor” instrument of the string family is:
Cello Violin Double Bass Viola Harp

14. The organization of beats into regular groups is:
timbre volume meter measure syncopation

15. Rhythm is: An arrangement of notes through a continuum of time Duration an individual note has set apart in the measure Organization of beats in to groups A fixed number of beats

16. A measure is: Particular arrangement of note lengths in a piece of music. Duration an individual note has set apart in the measure Organization of beats in to groups A fixed number of beats

17. An example of a tenuto or the longest stressed note would be:
First marking on the left Second marking Center First Right to center Far right

18. Of the following Italian tempo markings which one is slowest:
Moderato Allegro Presto Adagio largo

19. Of the following Italian tempo markings which one is fastest:

20. Syncopation is: When an accented note comes exactly where we expect it A note precisely landing on the third beat of a measure When an accent note comes where we don’t normally expect it. Always a displaced 4th beat.

Which one of the following instruments is not a woodwind.
Flute Bassoon English Horn Oboe French Horn Clarinet

2.Which one of the following instruments is not a brass instrument.
Coronet Trombone English Horn Tuba French Horn Euphonium

3.Which one of the following instruments is not a string instrument.
Banjo Violin Harp Piano Cello Viola

4.Which one of the following instruments is not a percussion instrument.
Snare drum Clavé Maracas Cymbals Timpani Triangle piano

5. The only string instrument in the orchestra that is plucked instead of bowed is:
Snare drum Celesté Violin Harp Trumpet Clarinet piano

6. Instruments that are played by the use of double reeds in the orchestra are:
Clarinets and Saxophones Saxophones and Bassoons Oboes and Flutes Oboes and Bassoons Trumpet and Piccolos Clarinets and French Horns Harp and Piano

7. The loudest section of the orchestra is: