Instrumental Classroom Music (Grades K–12)

Subtest 1 Sample Items

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Question 1

1. This excerpt begins on tonic and ends in which of the following key areas?

(The examinee listens to a 20-second excerpt of an orchestral work from the Classical period. The excerpt is played twice.)

1. i
2. iii
3. iv
4. vi

Answer to question 1

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: D. (Objective 0001) The excerpt begins on tonic, which is then prolonged through a sequence based on descending fifths. The excerpt ends in the relative minor with a deceptive cadence in which a V resolves deceptively to vi. Correct Response: D. (Objective 0001) The excerpt begins on tonic, which is then prolonged through a sequence based on descending fifths. The excerpt ends in the relative minor with a deceptive cadence in which a V resolves deceptively to vi.

Question 2

2. Which of the following fugal elements is featured in this excerpt?

(The examinee listens to a 20-second excerpt from a four-voice fugue. The excerpt is played twice.)

1. coda
2. stretto
3. episode
4. exposition

Answer to question 2

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: B. (Objective 0001) The excerpt contains the entrances of all four voices of a fugue with the subject or main theme. The second entrance of the theme begins before the first statement is completed, the third entrance begins before the second statement is completed, and so on (i.e., each entrance begins before the previous entry is completed). This compositional technique in a fugue is called stretto. Correct Response: B. (Objective 0001) The excerpt contains the entrances of all four voices of a fugue with the subject or main theme. The second entrance of the theme begins before the first statement is completed, the third entrance begins before the second statement is completed, and so on (i.e., each entrance begins before the previous entry is completed). This compositional technique in a fugue is called stretto.

Question 3

3. This excerpt ends with which of the following cadences?

(The examinee listens to a 15-second excerpt of a chorale performed on a piano. The excerpt is played twice.)

1. authentic
2. deceptive
3. half
4. plagal

Answer to question 3

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: A. (Objective 0001) The excerpt is in the key of A minor, and the last three chords in the progression are i – V7 – i. The last two chords at the end of this phrase form what is known as an authentic cadence. Correct Response: A. (Objective 0001) The excerpt is in the key of A minor, and the last three chords in the progression are i – V 7 – i. The last two chords at the end of this phrase form what is known as an authentic cadence.

Question 4

4. Which of the following scales is featured in this excerpt?

(The examinee listens to a scale performed on a piano. The excerpt is played twice.)

1. Lydian mode
2. melodic minor
3. octatonic
4. whole tone

Answer to question 4

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: C. (Objective 0001) The scale in the excerpt alternates whole steps and half steps throughout, beginning with a whole step. This is a formula for the octatonic scale, which can begin with a whole step or a half step, followed by alternating intervals until the octave is reached. Correct Response: C. (Objective 0001) The scale in the excerpt alternates whole steps and half steps throughout, beginning with a whole step. This is a formula for the octatonic scale, which can begin with a whole step or a half step, followed by alternating intervals until the octave is reached.

Question 5

5. Which of the following melodic characteristics is featured in this excerpt?

(The examinee listens to a 10-second excerpt of a melody performed on a harp. The excerpt is played twice.)

1. glissando
2. scale
3. turn
4. arpeggio

Answer to question 5

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: D. (Objective 0001) In the excerpt, a harp plays the notes of the chords E major and B7 in succession rather than simultaneously. Sounding the notes of a chord one at a time, in succession, instead of simultaneously is a technique known as arpeggio. Correct Response: D. (Objective 0001) In the excerpt, a harp plays the notes of the chords E major and B 7 in succession rather than simultaneously. Sounding the notes of a chord one at a time, in succession, instead of simultaneously is a technique known as arpeggio.

Question 6

6. Which of the following time signatures best describes the meter of this excerpt?

(The examinee listens to a 20-second excerpt of a Baroque keyboard gigue.)

Answer to question 6

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: B. (Objective 0001) The rhythms and meter of the excerpt indicate an eighteenth-century gigue, which almost always has compound meter. The only compound meter is in response option B: . Correct Response: B. (Objective 0001) The rhythms and meter of the excerpt indicate an eighteenth-century gigue, which almost always has compound meter. The only compound meter is in response option B: six eight.

Question 7

7. This excerpt is representative of which of the following genres?

(The examinee listens to a 30-second excerpt of an opera overture from the Baroque period. The excerpt is played twice.)

1. Irish gigue
2. German fugue
3. Italian tarantella
4. French overture

Answer to question 7

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: D. (Objective 0002) The French overture, which was first developed by Jean-Baptiste Lully in the mid-1600s, has a standard two-part form. The first part is marked by easily identifiable dotted-eighth and sixteenth-note pairs, while the second part is characterized by imitative textures. Such dotted rhythms occur in the overture to George Frideric Handel's oratorio Messiah. Correct Response: D. (Objective 0002) The French overture, which was first developed by Jean-Baptiste Lully in the mid-1600s, has a standard two-part form. The first part is marked by easily identifiable dotted-eighth and sixteenth-note pairs, while the second part is characterized by imitative textures. Such dotted rhythms occur in the overture to George Frideric Handel's oratorio Messiah.

Question 8

8. Which of the following musical characteristics of the Baroque period is featured in this excerpt?

(The examinee listens to a 30-second excerpt from an early eighteenth-century concerto by Antonio Vivaldi. The excerpt is played twice.)

1. ornamented melody
2. homophonic texture
3. terraced dynamics
4. fugal counterpoint

Answer to question 8

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: B. (Objective 0002) An important characteristic of music in the Baroque period (1600–1750) was the final development of homophonic texture. New genres were made possible by this type of composition, in which the soloists or a small group of soloists could stand out above and against the backdrop of a large ensemble. The excerpt is from a concerto, which, along with opera and oratorio, was one of these genres. Correct Response: B. (Objective 0002) An important characteristic of music in the Baroque period (1600 to 1750) was the final development of homophonic texture. New genres were made possible by this type of composition, in which the soloists or a small group of soloists could stand out above and against the backdrop of a large ensemble. The excerpt is from a concerto, which, along with opera and oratorio, was one of these genres.

Question 9

9. Which of the following forms of vocal music is represented in this excerpt?

(The examinee listens to a 30-second excerpt from a madrigal by Thomas Morley. The excerpt is played twice.)

1. motet
2. chanson
3. madrigal
4. lied

Answer to question 9

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: C. (Objective 0002) The excerpt consists of a small vocal ensemble performing a light partsong, predominantly syllabic in its melodic structure. Its texture features both homophony and short imitative sections. It is sung to an English secular text characterized by both flowery poetic imagery and passages set to the syllables fa-la-la. Although all of these characteristics can be found to some degree in several types of compositions, together they typically represent the form of vocal music known as the English madrigal, which was popular from the late sixteenth to the early seventeenth century. Thomas Morley (c. 1557–1602), whose music is featured in the excerpt, was among the most important composers and promoters of English madrigals. Correct Response: C. (Objective 0002) The excerpt consists of a small vocal ensemble performing a light partsong, predominantly syllabic in its melodic structure. Its texture features both homophony and short imitative sections. It is sung to an English secular text characterized by both flowery poetic imagery and passages set to the syllables fa-la-la. Although all of these characteristics can be found to some degree in several types of compositions, together they typically represent the form of vocal music known as the English madrigal, which was popular from the late sixteenth to the early seventeenth century. Thomas Morley (circa 1557 to 1602), whose music is featured in the excerpt, was among the most important composers and promoters of English madrigals.

Question 10

10. Which of the following Baroque composers most likely wrote the music in this excerpt?

(The examinee listens to a 20-second excerpt of a chorale from the Baroque period. The excerpt is played twice.)

1. Johann Sebastian Bach
2. François Couperin
3. Giovanni Gabrieli
4. Henry Purcell

Answer to question 10

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: A. (Objective 0002) Johann Sebastian Bach was a composer, choir master, and organist who composed and/or harmonized many chorales for the German Protestant Church. The development of homophony during the late Renaissance and the Baroque period caused more attention to be focused on the use of nonharmonic tones in functional harmony. Bach was a master of the use of nonchord tones, as evidenced in the excerpt by the classic use of a 4-3 suspension and the neighboring tone that follows in the next-to-last measure. Correct Response: A. (Objective 0002) Johann Sebastian Bach was a composer, choir master, and organist who composed and/or harmonized many chorales for the German Protestant Church. The development of homophony during the late Renaissance and the Baroque period caused more attention to be focused on the use of nonharmonic tones in functional harmony. Bach was a master of the use of nonchord tones, as evidenced in the excerpt by the classic use of a 4-3 suspension and the neighboring tone that follows in the next-to-last measure.

Question 11

11. Which of the following compositions by J.S. Bach is featured in this excerpt?

(The examinee listens to a 45-second excerpt of a Baroque Mass.)

1. Mass in B Minor
2. Brandenburg Concerto No. 5
3. St. Matthew Passion
4. Toccata and Fugue in D Minor

Answer to question 11

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: A. (Objective 0002) Mass in B Minor by German composer Johann Sebastian Bach (1685–1750) is a vocal masterpiece that has Latin lyrics. The other response options do not have Latin words. Correct Response: A. (Objective 0002) Mass in B Minor by German composer Johann Sebastian Bach (1685 to 1750) is a vocal masterpiece that has Latin lyrics. The other response options do not have Latin words.

Question 12

12. The stylistic characteristics and instruments used in this excerpt indicate that it is most likely from which of the following works?

(The examinee listens to a 25-second excerpt of a string quartet from the Classical period. The excerpt is played twice.)

1. a string quintet by Wolfgang Amadeus Mozart
2. a string quartet by Ludwig van Beethoven
3. a string quartet by Franz Joseph Haydn
4. a string quintet by Luigi Boccherini

Answer to question 12

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: C. (Objective 0003) The excerpt begins with a single violin playing a melody. It is quickly joined by a second violin playing an accompaniment figure. A lower string instrument (a cello) enters, taking over the melody, while a fourth string instrument (a viola) joins the two upper strings in the accompaniment. The first violin briefly takes back the melody before handing it once again to the cello. The style, in which a predominant melody is supported by an independent accompaniment figure (in this case a distinct, lightly articulated rhythmic motif); the airy texture; and the playful dialogue between the violin and cello are typical of the late eighteenth-century classical style of Franz Joseph Haydn. Correct Response: C. (Objective 0003) The excerpt begins with a single violin playing a melody. It is quickly joined by a second violin playing an accompaniment figure. A lower string instrument (a cello) enters, taking over the melody, while a fourth string instrument (a viola) joins the two upper strings in the accompaniment. The first violin briefly takes back the melody before handing it once again to the cello. The style, in which a predominant melody is supported by an independent accompaniment figure (in this case a distinct, lightly articulated rhythmic motif); the airy texture; and the playful dialogue between the violin and cello are typical of the late eighteenth-century classical style of Franz Joseph Haydn.

Question 13

13. This excerpt is most likely from which of the following compositions?

(The examinee listens to a 30-second excerpt from a nineteenth-century orchestral work. The excerpt is played twice.)

1. Symphony no. 4 in E minor by Johannes Brahms
2. Symphonie fantastique by Hector Berlioz
3. The Moldau by Bedřich Smetana
4. Tales from the Vienna Woods by Johann Strauss II

Answer to question 13

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: C. (Objective 0003) Bedřich Smetana (1824–1884) was a Czech national composer who lived when the historical Czech lands of Bohemia, Moravia, and Czech Silesia belonged to the Austrian Hapsburg Empire. During Smetana's lifetime, Slavic peoples became increasingly interested in achieving political autonomy and expressing their national heritage linguistically and musically. Within that context, Smetana, who grew up speaking German but as an adult learned Czech, composed a set of six symphonic poems called Má Vlast (My Homeland). Each tone poem depicts scenes from Czech legends or nature, the most famous being "Die Moldau" (German) or "Vltava" (Czech), written in 1874. The piece depicts programmatically the flow of the Moldau/Vlata River from its source in the confluence of two bubbly streams (depicted by a stepwise flute duet joining a clarinet duet) as it flows past a peasant wedding (depicted by a polka), water nymphs, or Rusalki in Slavic mythology, dancing under the moonlight (depicted by muted violins and harp), and the mighty Vyšehrad Castle (depicted by a four-note motive) in Prague before flowing into the Elbe River. Correct Response: C. (Objective 0003) Bedřich Smetana (1824 to 1884) was a Czech national composer who lived when the historical Czech lands of Bohemia, Moravia, and Czech Silesia belonged to the Austrian Hapsburg Empire. During Smetana's lifetime, Slavic peoples became increasingly interested in achieving political autonomy and expressing their national heritage linguistically and musically. Within that context, Smetana, who grew up speaking German but as an adult learned Czech, composed a set of six symphonic poems called Má Vlast (My Homeland). Each tone poem depicts scenes from Czech legends or nature, the most famous being "Die Moldau" (German) or "Vltava" (Czech), written in 1874. The piece depicts programmatically the flow of the Moldau/Vlata River from its source in the confluence of two bubbly streams (depicted by a stepwise flute duet joining a clarinet duet) as it flows past a peasant wedding (depicted by a polka), water nymphs, or Rusalki in Slavic mythology, dancing under the moonlight (depicted by muted violins and harp), and the mighty Vyšehrad Castle (depicted by a four-note motive) in Prague before flowing into the Elbe River.

Question 14

14. This excerpt is most likely from which of the following compositions?

(The examinee listens to a one-minute excerpt from Shaker Loops by John Adams. The excerpt is played twice.)

1. Shaker Loops by John Adams
2. The Circus Band by Charles Ives
3. Rodeo by Aaron Copland
4. Kaddish by Leonard Bernstein

Answer to question 14

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: A. (Objective 0003) The excerpt begins with a simple rhythmic ostinato—fast, repeated notes on the interval of a fourth—that continues without pause. Slight, momentary changes occur from time to time when a new pitch or new rhythmic pattern is added to the ostinato; sometimes several new pitches are added, but always within the framework of a single major chord. There is no melody or harmonic development. These characteristics are typical of the twentieth-century style known as "minimalism," and U.S. composer John Adams, whose piece Shaker Loops is featured in the excerpt, is among the most famous and important in the group of minimalist composers that includes Terry Riley, Steve Reich, and Philip Glass. Correct Response: A. (Objective 0003) The excerpt begins with a simple rhythmic ostinato—fast, repeated notes on the interval of a fourth—that continues without pause. Slight, momentary changes occur from time to time when a new pitch or new rhythmic pattern is added to the ostinato; sometimes several new pitches are added, but always within the framework of a single major chord. There is no melody or harmonic development. These characteristics are typical of the twentieth-century style known as "minimalism," and U.S. composer John Adams, whose piece Shaker Loops is featured in the excerpt, is among the most famous and important in the group of minimalist composers that includes Terry Riley, Steve Reich, and Philip Glass.

Question 15

15. The motif demonstrated in this excerpt is from which of the following nineteenth-century compositions?

(The examinee listens to a 25-second excerpt of an orchestral work from the Romantic period. The excerpt is played twice.)

1. Symphony no.number 5 in C minor by Ludwig van Beethoven
2. Symphony no.number 4 in E minor by Johannes Brahms
3. Symphony no.number 3 in D minor by Josef Anton Bruckner
4. Symphony no.number 3 in A minor by Felix Mendelssohn

Answer to question 15

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: A. (Objective 0003) A motif, or motive, is the smallest identifiable musical idea that is further developed in a musical composition. It can consist of a pitch pattern, a rhythmic pattern, or in this excerpt, both. The music in the excerpt is the opening motif from Beethoven's Symphony no. 5 in C minor, and it is frequently used throughout the entire first movement. Correct Response: A. (Objective 0003) A motif, or motive, is the smallest identifiable musical idea that is further developed in a musical composition. It can consist of a pitch pattern, a rhythmic pattern, or in this excerpt, both. The music in the excerpt is the opening motif from Beethoven's Symphony number 5 in C minor, and it is frequently used throughout the entire first movement.

Question 16

16. The rhythms in this excerpt are most characteristic of which of the following dances?

(The examinee listens to a 20-second excerpt of a nineteenth-century dance.)

1. tarantella
2. polonaise
3. gigue
4. march

Answer to question 16

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: B. (Objective 0003) The polonaise is a Polish dance popular throughout Europe in the eighteenth- and nineteenth-centuries. The nineteenth-century polonaise is characterized by triple meter, an accompanimental rhythm consisting of an eighth note followed by two sixteenth notes, and a polonaise cadence consisting of four sixteenth notes followed by two quarter notes. The only dance with these characteristics is the polonaise. Correct Response: B. (Objective 0003) The polonaise is a Polish dance popular throughout Europe in the eighteenth- and nineteenth-centuries. The nineteenth-century polonaise is characterized by triple meter, an accompanimental rhythm consisting of an eighth note followed by two sixteenth notes, and a polonaise cadence consisting of four sixteenth notes followed by two quarter notes. The only dance with these characteristics is the polonaise.

Question 17

17. Which of the following characteristics of twentieth-century music is most prominent in this excerpt by Claude Debussy?

(The examinee listens to a 30-second excerpt of a twentieth-century piano piece.)

1. ecclesiastic mode
2. quartal harmony
3. abundant repetition
4. whole-tone scale

Answer to question 17

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: D. (Objective 0003) French composer Claude Debussy's search for alternatives to functional harmony led him to use pitch collections that lack forward-driving half-steps. One such pitch collection is the whole-tone scale, which contains six pitches one whole step apart from each other. Whole-tone scales occur at the beginning of Debussy's Voiles. Correct Response: D. (Objective 0003) French composer Claude Debussy's search for alternatives to functional harmony led him to use pitch collections that lack forward-driving half-steps. One such pitch collection is the whole-tone scale, which contains six pitches one whole step apart from each other. Whole-tone scales occur at the beginning of Debussy's Voiles.

Question 18

18. This excerpt is representative of which of the following musical styles?

(The examinee listens to a 20-second excerpt of bluegrass music. The excerpt is played twice.)

1. folk
2. country
3. bluegrass
4. zydeco

Answer to question 18

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: C. (Objective 0004) Bluegrass music, developed in the Appalachian region of the United States, often has duple meter, quick tempo, and accented backbeats. In a bluegrass band, singers accompany themselves with nonelectrified string instruments. Characteristic melodic instruments include mandolin, fiddle, banjo, and guitar, while rhythm instruments include the upright bass and occasionally the guitar. Correct Response: C. (Objective 0004) Bluegrass music, developed in the Appalachian region of the United States, often has duple meter, quick tempo, and accented backbeats. In a bluegrass band, singers accompany themselves with nonelectrified string instruments. Characteristic melodic instruments include mandolin, fiddle, banjo, and guitar, while rhythm instruments include the upright bass and occasionally the guitar.

Question 19

19. Which of the following vocal genres from the United States is featured in this excerpt?

(The examinee listens to a 15-second excerpt of a spiritual. The excerpt is played twice.)

1. work song
2. chorale
3. sorrow song
4. spiritual

Answer to question 19

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: D. (Objective 0004) The excerpt features a spiritual, which was a traditional sacred song of African Americans in slavery. The music was strongly influenced by African styles as well as the traditions of Protestant hymn singing. These songs are now available in a wide variety of arrangements for vocal soloists and choruses. Correct Response: D. (Objective 0004) The excerpt features a spiritual, which was a traditional sacred song of African Americans in slavery. The music was strongly influenced by African styles as well as the traditions of Protestant hymn singing. These songs are now available in a wide variety of arrangements for vocal soloists and choruses.

Question 20

20. Which of the following U.S. composers most likely wrote this excerpt?

(The examinee listens to a 15-second excerpt of an American song from the nineteenth century. The excerpt is played twice.)

1. James Hewitt
2. Dan Emmett
3. Stephen Foster
4. George Frederick Root

Answer to question 20

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: C. (Objective 0004) The song in the excerpt is "Old Folks at Home," composed in 1851 by Stephen Foster. Foster wrote more songs that achieved significant popularity than any other nineteenth-century composer in the United States. Many of his songs, like this one, were written for the very successful minstrel troupe the Christy Minstrels. Correct Response: C. (Objective 0004) The song in the excerpt is "Old Folks at Home," composed in 1851 by Stephen Foster. Foster wrote more songs that achieved significant popularity than any other nineteenth-century composer in the United States. Many of his songs, like this one, were written for the very successful minstrel troupe the Christy Minstrels.

Question 21

21. Which of the following musical instruments is featured in this excerpt?

(The examinee listens to a 20-second excerpt of a folk song played on a traditional Japanese instrument. The excerpt is played twice.)

1. erhu
2. koto
3. pipa
4. shamisen

Answer to question 21

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: B. (Objective 0004) The instrument in the excerpt is a Japanese koto playing the popular folk song "Sakura" (Cherry Blossom). The koto is a plucked zither with 13 strings stretched over a wooden board. Correct Response: B. (Objective 0004) The instrument in the excerpt is a Japanese koto playing the popular folk song "Sakura" (Cherry Blossom). The koto is a plucked zither with 13 strings stretched over a wooden board.

Question 22

22. Which of the following terms most closely describes the music in this excerpt?

(The examinee listens to a 30-second excerpt from Indeterminacy by U.S. composer John Cage. The excerpt is played twice.)

1. aleatoric
2. atonal
3. expressionist
4. minimalist

Answer to question 22

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: A. (Objective 0004) Indeterminacy is the title of a piece of music in which many basic elements are left to chance. In this performance, someone reads a text while a pianist spontaneously creates an accompaniment. The pianist is in a separate room, far enough away so as not to hear what the reader is saying. Music like this, in which chance plays a prominent role, is called aleatoric. Correct Response: A. (Objective 0004) Indeterminacy is the title of a piece of music in which many basic elements are left to chance. In this performance, someone reads a text while a pianist spontaneously creates an accompaniment. The pianist is in a separate room, far enough away so as not to hear what the reader is saying. Music like this, in which chance plays a prominent role, is called aleatoric.

Question 23

23. Which of the following characteristics of Native American music is most prominent in this excerpt?

(The examinee listens to a 20-second excerpt of an Ojibwe song.)

1. syncopated rhythm
2. falsetto singing
3. pentatonic melody
4. end-blown fipple flute

Answer to question 23

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: C. (Objective 0004) This excerpt features a song of the Ojibwe or Chippewa, who are the indigenous people of northern Minnesota. Although the song contains one brief syncopation, the most prominent feature of the excerpt is its pentatonic melody. Correct Response: C. (Objective 0004) This excerpt features a song of the Ojibwe or Chippewa, who are the indigenous people of northern Minnesota. Although the song contains one brief syncopation, the most prominent feature of the excerpt is its pentatonic melody.

Question 24

24. The asymmetrical meter in this excerpt is most characteristic of traditional music from which of the following countries?

(The examinee listens to a 20-second excerpt of a Balkan folk song accompanied by flute, accordion, and tambura.)

1. Austria
2. Bulgaria
3. Ireland
4. Poland

Answer to question 24

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: B. (Objective 0004) Traditional Bulgarian music often features asymmetrical or irregular meter such as . These types of meters reflect the musical influence of neighboring Greece and Turkey, whose traditional music also features such meters. Correct Response: B. (Objective 0004) Traditional Bulgarian music often features asymmetrical or irregular meter such as seven four, seven eight, or nine eight. These types of meters reflect the musical influence of neighboring Greece and Turkey, whose traditional music also features such meters.

Question 25

25. Read the score below and listen to the excerpt to answer the question that follows.

(The examinee listens to a performance of the following music sung by a vocal duet. The excerpt is played twice.)

Grand staff consists of eight measures and a four over two time signature. Treble clef is soprano, bass clef is bass.
Measure one. Treble clef. Dotted half note on A. Two beamed eighth notes, G and F. Half note on E. Half note on C. Bass clef. Whole note on A. Whole note on A. Measure two. Treble clef. Half note on C.
A tie connects this half note to the half note on C in the previous measure. Quarter note on B. Quarter note on A. Whole note on G sharp. Bass clef. Dotted half note on F. Quarter note on F. Dotted half note on E. Quarter note on E. Measure three. Treble clef. Half note on A. Dotted half note on E.
Quarter note on E. Quarter note on G. Quarter note on G. Bass clef. Dotted half note on A. Quarter note on A. Dotted half note on C. Quarter note on C. Measure four. Treble clef. Half note on F. Half note on the D above middle C. Dotted half note on E. Quarter note on B. Bass clef. Half note on D. Half note on F. Dotted half note on E. Quarter note on E. Measure five. Treble clef. Half note on C. Half note on A. Half note on B. Half note on G sharp.
Bass clef. Dotted half note on A. Quarter note on A. Half note on G. Half note on E. Measure six. Treble clef. Quarter note on A. Dotted quarter note on C. Eighth note on B. Quarter note on A. Half note on G sharp. Half note on C. Bass clef. Dotted half note on F. Quarter note on F. Half note on E. Half note on C.
Measure seven. Treble clef. Quarter note on B. Quarter note on A. Dotted half note on A. Two beamed eighth notes, G sharp and F sharp. Half note on G. Bass clef. Half note on D. Half note on F. Dotted half note on E. Quarter note on E. Measure eight. Treble clef. Double whole note. Bass clef. Double whole note.

Which of the following performance errors is evident in the excerpt?

1. The soprano makes a pitch error in measure 2.
2. The bass makes a rhythm error in measure 3.
3. The soprano makes a rhythm error in measure 6.
4. The bass makes a pitch error in measure 7.

Answer to question 25

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: D. (Objective 0005) A comparison of the performance in the excerpt to the score shows that in measure 7, the bass moves from the second note, F, up one step to a G instead of moving down one step to an E as written. Correct Response: D. (Objective 0005) A comparison of the performance in the excerpt to the score shows that in measure 7, the bass moves from the second note, F, up one step to a G instead of moving down one step to an E as written.

Question 26

26. Read the score below and listen to the excerpt to answer the question that follows.

(The examinee listens to a performance of the following music played by a French horn and piano. The excerpt is played twice.)

Single treble clef staff and a grand staff joined with a brace. Single staff is for horn in F, grand staff is for piano. The horn in F is played in the key of E major, and the piano is played in the key of A major. Both staves consist of eight measures and are played with a two over four time signature. Horn in F. Measure one. Quarter note on G. Two beamed eighth notes, A and B.
Measure two. Quarter note on B. Two beamed eighth notes, F and G. A tie connects B and F in this measure. Measure three. Two beamed notes, first is a dotted eighth note on E, second is a sixteenth note on E. Two beamed notes, first is a dotted eighth note on B, second is a sixteenth note on A. Measure four. Quarter note on F. Eighth rest. Quarter note on the B just below middle C. Measure five. Two beamed notes, first is a dotted eighth note on G, second is a sixteenth note on G. Two beamed eighth notes, A and B. Measure six. Quarter note on B. Two beamed eighth notes, F and G natural. A slur connects B and F in this measure. Measure seven. Eighth note on A. Quarter note on C natural. Eighth note on F. Measure eight. Quarter note on G natural. Quarter rest. Piano. Measure one. Treble clef. Two quarter notes played simultaneously, A and C. Two pairs of beamed eighth notes; each pair is played simultaneously. First pair is A and D. Second pair is and E. Bass clef. Quarter note on A. Two beamed eighth notes, the B just below middle C and middle C.
Measure two. Treble clef. Two quarter notes played simultaneously, G and E. Two pairs of beamed eighth notes; each pair is played simultaneously. First pair is G and E, second pair is middle C and C. Bass clef. Dotted quarter note on the E above middle C. Two eighth notes played simultaneously, C sharp and E. Measure three. Treble clef. Two quarter notes played simultaneously, middle C and A. Two quarter notes played simultaneously, F and D. Bass clef. Two quarter notes played simultaneously, F and A. Two quarter notes played simultaneously, B and the B just below middle C. Measure four. Treble clef. Three beamed notes. The first two are dotted quarter notes on E and B, and are played simultaneously. The third is a sixteenth note on E. Three beamed sixteenth notes. D sharp, E, and F. Three beamed sixteenth notes. G, A, and B. Bass clef. Two quarter notes played simultaneously, E and G. Eighth rest. Eighth note on E. Measure five. Treble clef. Two quarter notes played simultaneously, A and C. Two pairs of beamed eighth notes; each pair is played simultaneously. First pair is A and D. Second pair is A and E. Bass clef. Quarter note on A. Two beamed eighth notes, B and middle C.
Measure six. Treble clef. Two quarter notes played simultaneously, G and E. Two pairs of beamed eighth notes; each pair is played simultaneously. First pair is G and B. Second pair is G natural and C natural. Bass clef. Dotted quarter note on E. Two eighth notes played simultaneously, E and middle C natural. Measure seven. Treble clef. Two notes played simultaneously, quarter note on A and half note on F. Two beamed eighth notes, G natural and F natural. Bass clef. Two quarter notes played simultaneously, F natural and middle C natural. Two quarter notes played simultaneously, G natural and B. Measure eight. Treble clef. Quarter note on E. Quarter rest. Bass clef. Two quarter notes played simultaneously, C natural and middle C

Which of the following performance errors is evident in the excerpt?

1. The horn plays an incorrect note in measure 3.
2. The horn plays an incorrect rhythm in measure 5.
3. The horn plays an incorrect note in measure 6.
4. The horn plays an incorrect rhythm in measure 7.

Answer to question 26

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: B. (Objective 0005) The excerpt is a two-part piece for French horn and piano that includes either a rhythm or a pitch error in the horn part. In measure 5, the horn player reverses the written rhythm, which consists of a dotted eighth and sixteenth note followed by two eighth notes. Instead, the horn plays the rhythm as two eighth notes followed by a dotted eighth and sixteenth note. Correct Response: B. (Objective 0005) The excerpt is a two-part piece for French horn and piano that includes either a rhythm or a pitch error in the horn part. In measure 5, the horn player reverses the written rhythm, which consists of a dotted eighth and sixteenth note followed by two eighth notes. Instead, the horn plays the rhythm as two eighth notes followed by a dotted eighth and sixteenth note.

Question 27

27. Which of the following bowing techniques is used by the strings in this excerpt?

(The examinee listens to a 20-second excerpt of a soft passage in an orchestral piece. The excerpt is played twice.)

1. col legno
2. portato
3. ricochet
4. spiccato

Answer to question 27

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: A. (Objective 0005) In this passage, the strings are playing a series of rhythmic, repeated, ostinato-like figures as an accompaniment to the woodwinds. The sound of the strings is brittle, lacking in pitch definition, and evokes a rather intense, ominous feeling. It is produced by striking the strings with the stick of the bow rather than the hair, a special bowing technique indicated by the term col legno ("with the wood"). Correct Response: A. (Objective 0005) In this passage, the strings are playing a series of rhythmic, repeated, ostinato-like figures as an accompaniment to the woodwinds. The sound of the strings is brittle, lacking in pitch definition, and evokes a rather intense, ominous feeling. It is produced by striking the strings with the stick of the bow rather than the hair, a special bowing technique indicated by the term col legno ("with the wood").

Question 28

28. Which of the following tempo-related techniques is featured in this excerpt?

(The examinee listens to a 30-second piano excerpt from the Romantic period. The excerpt is played twice.)

1. l'istesso
2. poco a poco
3. allargando
4. rubato

Answer to question 28

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: D. (Objective 0005) The term rubato implies an elastic, flexible tempo allowing slight accelerandos and ritardandos according to the needs of musical expression. A beat may be stretched slightly and the time made up later by a subtle pulling ahead. In this excerpt, these changes occur within a measure, with the later adjustment keeping the length of that measure intact. This allows the overall tempo of the entire section to remain the same. Correct Response: D. (Objective 0005) The term rubato implies an elastic, flexible tempo allowing slight accelerandos and ritardandos according to the needs of musical expression. A beat may be stretched slightly and the time made up later by a subtle pulling ahead. In this excerpt, these changes occur within a measure, with the later adjustment keeping the length of that measure intact. This allows the overall tempo of the entire section to remain the same.

Question 29

29. In which of the following measures does a pitch error occur?

(The candidate listens to a 20-second excerpt of the following song.)

The item contains an excerpt from a song entitled "O, Minnesota, Land of Lakes" written expressly for this study guide. The four-measure song uses common time and is in E major. Each measure contains an eighth-note pickup. The pickup to measure 1 and measure 1 contain the pitches B, E. The pickup to measure 2 and measure 2 contain the pitches F-sharp G-sharp, A, F-sharp, G-sharp, E. The pickup to measure 3 and measure 3 contain the pitches D-sharp, C-sharp, E, A, G-sharp, F-sharp. The pickup to measure 4 and measure 4 contain the pitches G-sharp, A, F-sharp, E, D-sharp, E.

1. m.measure 1
2. m.measure 2
3. m.measure 3
4. m.measure 4

Answer to question 29

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: C. (Objective 0005) The melody outlines a subdominant triad at the beginning of measure 3. In this recording, the performer sings an F-sharp instead of an E, thus outlining a supertonic triad instead. Correct Response: C. (Objective 0005) The melody outlines a subdominant triad at the beginning of measure 3. In this recording, the performer sings an F-sharp instead of an E, thus outlining a supertonic triad instead.

Question 30

30. A seventh-grade student with a mild-moderate developmental cognitive disability would like to join the middle school handbell choir. Which of the following adaptations would be most appropriate for the teacher to make in accommodating this student's needs?

1. providing the student with simplified handbell parts and ample opportunities to practice as part of the choir
2. having the student practice with handbells that have had the clappers removed until the student learns the proper technique
3. arranging for the student to practice playing the handbells separately with a peer volunteer rather than with the entire choir
4. assigning the student to play the lightest-weight handbells available to minimize the fine motor skills required

Answer to question 30

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: A. (Objective 0006) When adapting music to accommodate student needs, the music teacher should make it easier to play while still providing appropriate musical challenges. The music teacher should also provide students with chances to improve their performances through practice. Correct Response: A. (Objective 0006) When adapting music to accommodate student needs, the music teacher should make it easier to play while still providing appropriate musical challenges. The music teacher should also provide students with chances to improve their performances through practice.

Question 31

31. Which of the following musical terms that originally applied to a style of art and architecture aimed to impress the senses with a formal unity derived from effects of light and shade, expanded use of color, and extravagant ornamentation?

1. Impressionism
2. Baroque
3. Mannerism
4. Classical

Answer to question 31

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: B. (Objective 0006) In the early twentieth century, the term baroque was taken from its eighteenth-century association with European styles of art and architecture and applied to particular forms and styles of music written between the late sixteenth and mid-eighteenth centuries. Baroque works of art and architecture were characterized by ornate detail and juxtaposition of contrasting elements brought together in complex, unified forms, designed to create a dynamic, dramatic effect. Among the defining characteristics of Baroque music were emphasis on contrast, frequent use of elaborate ornamentation, and the objective expression of common emotions. Correct Response: B. (Objective 0006) In the early twentieth century, the term baroque was taken from its eighteenth-century association with European styles of art and architecture and applied to particular forms and styles of music written between the late sixteenth and mid-eighteenth centuries. Baroque works of art and architecture were characterized by ornate detail and juxtaposition of contrasting elements brought together in complex, unified forms, designed to create a dynamic, dramatic effect. Among the defining characteristics of Baroque music were emphasis on contrast, frequent use of elaborate ornamentation, and the objective expression of common emotions.

Question 32

32. According to the Kodály method, which of the following sets of intervals in sol-fa terminology would be most developmentally appropriate to teach first to young children?

1. do-re-mi
2. do-mi-fa
3. sol-mi-do
4. sol-mi-la

Answer to question 32

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: D. (Objective 0006) Melodically, the first recognizable tunes sung by most young children are made up primarily of minor thirds, major seconds, and perfect fourths (sol, mi, and la). Young children are usually able to sing songs comfortably and correctly in a range of only five or six notes, and descending tones in small skips are easier for them to learn and reproduce accurately than ascending ones. The Kodály method requires the arrangement of the subject matter into patterns that follow a child's typical developmental stages. Sol, mi, and la are the tones used in many children's sing-song chants. Correct Response: D. (Objective 0006) Melodically, the first recognizable tunes sung by most young children are made up primarily of minor thirds, major seconds, and perfect fourths (sol, mi, and la). Young children are usually able to sing songs comfortably and correctly in a range of only five or six notes, and descending tones in small skips are easier for them to learn and reproduce accurately than ascending ones. The Kodály method requires the arrangement of the subject matter into patterns that follow a child's typical developmental stages. Sol, mi, and la are the tones used in many children's sing-song chants.

Question 33

33. Which of the following syllables would be most appropriate to imitate when using the tongue to initiate a sound on the recorder?

1. dah
2. du
3. tah
4. too

Answer to question 33

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: B. (Objective 0006) It is necessary to learn to blow gently into the recorder in order to produce a pleasing, controllable sound. Blowing hard will often produce a squeal, or at best a very shrill, unpleasant sound. Using the syllable du as a model helps draw the lips in and around the mouthpiece to form a proper embouchure. Correct Response: B. (Objective 0006) It is necessary to learn to blow gently into the recorder in order to produce a pleasing, controllable sound. Blowing hard will often produce a squeal, or at best a very shrill, unpleasant sound. Using the syllable du as a model helps draw the lips in and around the mouthpiece to form a proper embouchure.

Question 34

34. Which of the following is the most appropriate rationale for using intuitive sequencing software for music composition activities in kindergarten through grade 12 general music classrooms?

1. Students can work with loop-based composition, which makes creative music projects easier and quicker to complete.
2. Students can improve their music literacy as they work on creative music projects with computer-based composition programs.
3. Students can be successful with creative music projects because they do not need to be able to read music.
4. Students can take turns working on creative projects while the rest of the class is involved with other activities.

Answer to question 34

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: C. (Objective 0006) Music sequencing software provides an alternative to notation-based composition. Many of these programs are intuitive and are meant to capture musical ideas and events for playback on a computer or media player. It is possible to sequence almost anything over time, including recorded audio, video, loops, MIDI files, and virtual instruments. Most importantly, these programs do not require knowledge of music notation to produce a successful project, making music composition accessible to all general music students. Correct Response: C. (Objective 0006) Music sequencing software provides an alternative to notation-based composition. Many of these programs are intuitive and are meant to capture musical ideas and events for playback on a computer or media player. It is possible to sequence almost anything over time, including recorded audio, video, loops, M I D I files, and virtual instruments. Most importantly, these programs do not require knowledge of music notation to produce a successful project, making music composition accessible to all general music students.

Question 35

35. Which of the following instructional techniques would likely be most effective in helping high school students learn to sight-read a very chromatic piece successfully?

1. slowing the music down and subdividing the beat, giving students more time to hear the intervals in the piece
2. teaching each part by rote, one at a time, in separate sectional rehearsals
3. having students practice singing separate parts in canon to teach independent listening and reading
4. creating unison exercises that progressively lead to more difficult intervals taken from the piece

Answer to question 35

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: D. (Objective 0006) Most high school singers (and players) need a series of brief exercises that illustrate interval relationships, rhythm, and diatonic melody. The director knows the level of his or her students better than anyone else, so it is best for him or her to prepare the sight-reading material. A large amount of material for extensive practice is not needed, because the pieces to be prepared and performed will constitute the extension of the sight-reading exercises. Some simple exercises that use many interval or rhythmic combinations and progress to more difficult examples found in chromatic harmony will suffice. After students complete the exercises in brief five- or ten-minute warm-ups, separate sections of the music for performance can be used to help teach the piece while the students are learning to hear and perform some of the difficult chromatic intervals and complex rhythms. Correct Response: D. (Objective 0006) Most high school singers (and players) need a series of brief exercises that illustrate interval relationships, rhythm, and diatonic melody. The director knows the level of his or her students better than anyone else, so it is best for him or her to prepare the sight-reading material. A large amount of material for extensive practice is not needed, because the pieces to be prepared and performed will constitute the extension of the sight-reading exercises. Some simple exercises that use many interval or rhythmic combinations and progress to more difficult examples found in chromatic harmony will suffice. After students complete the exercises in brief five- or ten-minute warm-ups, separate sections of the music for performance can be used to help teach the piece while the students are learning to hear and perform some of the difficult chromatic intervals and complex rhythms.

Question 36

36. Edvard Grieg's Peer Gynt most strongly reflects which of the following extramusical influences?

1. a play by Henrik Ibsen
2. a fairy tale by Hans Christian Andersen
3. a portrait by Edvard Munch
4. a landscape painting by Peder Severin Krøyer

Answer to question 36

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: A. (Objective 0006) Edvard Grieg (1843–1907) was a Norwegian composer. His most famous compositions include two four-movement suites extracted from incidental music that accompanies Henrik Ibsen's play Peer Gynt. Correct Response: A. (Objective 0006) Edvard Grieg (1843 to 1907) was a Norwegian composer. His most famous compositions include two four-movement suites extracted from incidental music that accompanies Henrik Ibsen's play Peer Gynt.

Question 37

37. A music teacher would like to play for the class a recorded audio file stored on a personal laptop. Which of the following objects is most essential to achieve this goal?

1. slide show software
2. headphones
3. Internet connection
4. speakers

Answer to question 37

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: D. (Objective 0006) In this scenario, the teacher has an audio file stored in an MP3 format, which requires neither slide show software nor an Internet connection. In order for the teacher to play the music loudly enough so that all students can hear it, the teacher should use speakers. Correct Response: D. (Objective 0006) In this scenario, the teacher has an audio file stored in an MP3 format, which requires neither slide show software nor an Internet connection. In order for the teacher to play the music loudly enough so that all students can hear it, the teacher should use speakers.

Question 38

38. A music teacher plans the student activities listed below as part of a new unit of study on traditional music of China.

• comparing new terminology with related terminology from previous units
• reviewing and/or developing nonverbal representations (e.g., recorded excerpts, pictures) of new terminology
• classifying new terminology according to specific criteria
• generating analogies with new terminology

These activities are likely to promote students' reading comprehension related to this unit primarily in which of the following ways?

1. by providing the students with strategies for determining the meaning of unfamiliar vocabulary as they read
2. by broadening the students' understanding of new vocabulary words and their associated concepts
3. by teaching the students how to use structural analysis as a strategy for building domain-specific vocabulary
4. by promoting the students' ability to decode and spell new vocabulary words accurately

Answer to question 38

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: B. (Objective 0007) Some ways of improving reading comprehension and expanding vocabulary include linking new terms with previously learned words, learning a new term through additional modalities such as pictures, and learning new terms through analogies and similes. Correct Response: B. (Objective 0007) Some ways of improving reading comprehension and expanding vocabulary include linking new terms with previously learned words, learning a new term through additional modalities such as pictures, and learning new terms through analogies and similes.

Question 39

39. Which of the following strategies would be most effective for a high school general music teacher to use to scaffold students' reading comprehension of a music history text by promoting their awareness of the text's organizational structure?

1. providing the students with explicit instruction in morphemic analysis skills using key words from the text
2. showing the students how to use a semantic web to compare and classify content words used in the text
3. encouraging the students to scan the text for unfamiliar vocabulary words prior to reading
4. helping the students identify and analyze the transition words or phrases used to connect ideas in the text

Answer to question 39

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: D. (Objective 0007) Writers use various organizational structures to help clarify the relationships between ideas in a text and to support the reader's recognition of the writer's argument or purpose. Common organizational structures for informational and expository texts include sequential or chronological order, comparison and contrast, and definition and example. A key element that helps signal the structure of most texts is the use of transition words and phrases that are associated with a particular organizational structure. For example, a sequential or chronological text structure might use transitions such as first, meanwhile, and next, while a comparison and contrast text structure might use transitions such as although, on the other hand, and instead of. Correct Response: D. (Objective 0007) Writers use various organizational structures to help clarify the relationships between ideas in a text and to support the reader's recognition of the writer's argument or purpose. Common organizational structures for informational and expository texts include sequential or chronological order, comparison and contrast, and definition and example. A key element that helps signal the structure of most texts is the use of transition words and phrases that are associated with a particular organizational structure. For example, a sequential or chronological text structure might use transitions such as first, meanwhile, and next, while a comparison and contrast text structure might use transitions such as although, on the other hand, and instead of.

Question 40

40. Which of the following strategies would be most appropriate for students to use after reading a composer biography text to promote their comprehension of the text?

1. setting a goal or goals for reading the text
2. making predictions about the text's content
3. summarizing the text's key ideas and details
4. looking for clues about the text's structure

Answer to question 40

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: C. (Objective 0007) Summarizing requires students to reflect on the information in a text and restate it concisely in their own words. In order to distill the information in a text in a concise form that uses synonyms and/or explanations for key concepts that differ from those used in the text (while still conveying the same ideas), students need to think about the text at a fairly deep level. Such thinking promotes both understanding and retention of the information in the text. Unlike other comprehension strategies that can be used before, during, and/or after reading, summarizing is best completed after reading a text. Correct Response: C. (Objective 0007) Summarizing requires students to reflect on the information in a text and restate it concisely in their own words. In order to distill the information in a text in a concise form that uses synonyms and/or explanations for key concepts that differ from those used in the text (while still conveying the same ideas), students need to think about the text at a fairly deep level. Such thinking promotes both understanding and retention of the information in the text. Unlike other comprehension strategies that can be used before, during, and/or after reading, summarizing is best completed after reading a text.