Music EC-12 Mulitiple Choice Q&A Flashcards
Which of the following notes makes a C major chord triad?
a. C, E, and G
b. C, E♭, and G
c. C, E, G, and B
d. C, E♭, G, and B♭
A:
With the chord of C major being composed of the notes C, E, and G. C is the root of the chord, E forms the major third, and G forms the perfect fifth. Answer B, by flatting the major third of E to E♭, changes the chord to a C minor. Answer C includes the seventh note of B, creating a C major seventh. By flatting the third, to E ♭and adding the seventh note B, Answer D creates a C minor seventh.
There is a note between every natural note on a scale except
a. C and D, and G and A
b. B and C, and E and F
c. B and C, and D and E
d. A and B, and E and F
B:
There is a note between every natural note on the scale except B and C, and E and F. In Western music, sharps and flats lie between most of the notes on the scale. For example, between the notes C and D, one would find the note C # (or D♭); the sharps and flats on a piano keyboard are indicated by the black keys. The only place on the chromatic scale— which includes all notes—where one wouldn’t find sharps and flats would be between the notes B and C, and E and F. There is no “B #/C♭,” nor is there an “E #/ F♭.”
A musician playing a B♭ clarinet sees the written note c. How will that note actually sound?
a. C
b. B♭
c. A
d. C #
B:
B♭. clarinets come in different lengths, and to facilitate ease of playing in transposing instruments, the same fingering will produce a different tone on different lengths of instruments. Otherwise, players would have to learn different fingerings. Clarinets avoid this by transposing different notes. A clarinetist on a B♭ instrument would finger the note C, but would produce the note B♭. A B♭ clarinet transposes the note C into B♭, by definition.
In the first inversion for the chord C major, which note is transposed up an octave?
a. C
b. E
c. G
d. E ♭
A:
C in a first inversion, the lowest note in the chord’s root position—C, in this case—would be moved up a full octave, thereby inverting the chord. Moving up E—answer B—would create a second inversion, while moving up G in choice C—provided the other notes had been moved up as well—would create the same chord, only an octave higher.
In standard twelve-bar blues form, where would one expect to find the “turnaround”?
a. the first bar
b. the fourth bar
c. the eighth bar
d. the twelfth bar
D:
The twelfth bar. In the twelve-bar blues form (also jazz) the turnaround refers to the passage at the end of one section that leads to the next section. Twelve-bar compositions are typically arranged with the first four measures under the I chord. The next four measures are split typically between the IV chord and the I chord. The final set of four bars leads to some combination of the I, IV, and V chords, which compels the listener to “turnaround” to another set of twelve bars. Given that the turnaround would come at the end of the collection of measures, answers A through C would, by definition, be incorrect.
What is the difference between 3/4 time and 6/8 time, by definition?
a. There is no difference.
b. 3/4 time uses three beats per measure, while 6/8 time uses six beats per measure.
c. In 3/4 time the quarter note acts as the one beat unit, while in 6/8 time the eighth note acts as the one beat unit.
d. 3/4 time uses a quicker tempo.
C:
In 3/4 time, the quarter note is selected as the one beat unit, while in 6/8 time the eighth note is used. Essentially, 6/8 time is the same as the six-note form of 3/4. The only difference is that the eighth note is used as the one-beat unit.
Which of the following tempos is played between 120 and 168 beats per minute?
a. Presto
b. Moderato
c. Allegro
d. Largo
C:
Allegro, which uses a tempo between 120 and 168 beats per minute (bpm). While Allegro can be thought of as a “quick” tempo, it is not as fast as Presto, played between 168 and 200 bpm. Therefore, answer A is incorrect. Moderato and Largo—played between 108- 120 and 40-60, respectively—are slower tempos, proving answers B and D incorrect.
Which of the following is an example of leitmotif?
a. The distinctive, repetitive change from E to F in John Williams’ theme for Jaws
b. Pieces in which an orchestra accompanies a harpsichord, as composed by Bach
c. The challenging key changes in César Franck’s Symphony in D minor
d. The book containing the words to Giuseppe Verdi’s La Traviata
A:
The distinctive music used for the movie Jaws whenever the shark appears or is nearby. By definition, a leitmotif is a distinctive musical theme or melody associated with a particular story element such as a character or place. The shark’s theme in Jaws would be a classic example. Answers B through D describe the terms concerto, chromatic modulation, and libretto, respectively.
The following musical staff represents which key signature?
a. D major
b. A major
c. G major
d. C major
B:
A major, in whose scale the notes C, F, and G are the sharps. Answer A, D major, would have a key signature featuring two sharps, F and C, so that answer is incorrect. Answer C, G major, has one sharp, the note F; therefore this answer is incorrect. Pieces composed in C have neither sharps nor flats indicated.
Note: The other key signature to display three sharp symbols would be F # minor. Each major key signature has a corresponding minor key.
The tempo of the preceding piece by Frédéric Chopin could best be described by which of the following statements?
a. Slower than largo but faster than largamente
b. Faster than andante but slower than moderato
c. Slower than andante but faster than adagietto
d. About 60 beats per minute
B:
Faster than Andante but slower than Moderato. The tempo of this piece is listed above and to the right in italics with the word Andantino, which means faster than Andante (76 to 108 beats per minute) but slower than Moderato, which is typically understood to mean 108 to 120 beats per minute.
This piece represents which style of folk dance?
a. polka
b. mazurka
c. an dro
d. kolo
B:
Mazurka. One clue to this correct answer would be the composer, Frédéric Chopin, who wrote fifty-eight of them. Another clue would be the fact that the mazurka is a Polish dance, and Chopin was Polish. Additionally, the music itself offers many clues. Mazurkas predominantly are written in 3/4 time and always are structured with a triplet, trill, dotted pair of eighth notes, or an ordinary eighth note pair, right before two quarter notes. While the polka is often associated with Poland, it is actually a Czech dance with a 2/4 time signature. Thus, answer A is incorrect. Also incorrect would be answer C, an dro, a Breton folk dance with also is played in 2/4 time. Rounding out the list of two-beat folk dances is incorrect answer D, the kolo, which originated in the Balkans.
Which of the following performance styles are denoted musically by thin, curved lines over most of the notes?
a. legato
b. staccato
c. fortissimo
d. mezzo piano
A:
Legato. The curved lines indicate that the notes on the upper staves should be played smoothly without silence in between; legato is Italian for “tied together.” Answer B, staccato, is incorrect, since staccato playing is the exact opposite of legato. Staccato is indicated by a dot either above or below each note. Answers C and D refer to terms indicating the relative loudness of how the piece is to be played. Fortissimo, indicated by ff, is a piece played extremely loudly; mezzo piano, mp, means a piece that is played moderately softly. The piece is indeed labeled mp, but this has nothing to do with the curved lines over the notes. Therefore, answer D is also incorrect.
Intervals larger than an octave are:
a. octave intervals
b. compound intervals
c. perfect fifths
d. intervals larger than an octave do not exist
B:
Compound intervals. An interval is the number of steps between two notes, and calling an interval a “compound interval” denotes the number of spaces greater than an octave, the point at which notes would begin recurring. For example, a “tenth” would be known as a “compound third.” Answer A, octave intervals, is not a term used in music composition. Answer C, perfect fifths, refers to an interval of 3:2, less than the span of an octave. Answer D is incorrect, as intervals larger than an octave are quite common in music.
Diminished chords are considered dissonant for which of the following reasons:
a. They sound “sad.”
b. They lack a tonal center.
c. They are barely audible.
d. They are viewed with universal disdain and
absent from most popular recordings.
B:
Because they lack a tonal center. For example, diminished triads consisting of a root, a minor third, and a diminished fifth symmetrically divide the octave. Answer A is incorrect, since diminished chords do not necessarily sound “sad” depending on their placement in the chord progression (minor chords typically are considered “sad,” anyway). Answer C, they are barely audible, is incorrect,
as the word “diminished” refers to the state of the fifth and not the volume of the chord, which can be played at any volume. Finally, Answer D is incorrect, as diminished chords have been used throughout musical history in many famous works.
Which of the following well-known classical music compositions features the preceding musical passage?
a. “The Blue Danube”
b. “Brandenburg Concerto, No. 5”
c. “Pictures at an Exhibition”
d. “Claire de Lune”
C:
“Pictures at an Exhibition” by Modest Mussorgsky. The answer cannot be A, since
“The Blue Danube,” one of history’s most famous waltzes, is in 3/4 time. Bach’s fifth Brandenburg Concerto is in 4/4 time, so answer B is incorrect,
as would Claude Debussy’s “Claire de Lune,” answer d. Only answer C, “Pictures at an Exhibition,” is in the asymmetrical meters of 5/4 and 6/4 time, or five beats and six per measure, respectively, in which the quarter note acts as the one-beat unit.
What is the key signature of the preceding piece?
a. B-flat major
b. C-sharp major
c. A-flat minor
d. C major
A:
B-flat major. The key of B-flat major is designated by two ♭symbols next to both the treble and bass clefs. The key of C-sharp major, answer B, has seven sharp symbols next to
the clefs, so that is incorrect. Also incorrect would be answer C, A-flat minor, has seven flat symbols next to the clefs. The key of C major, answer D, has no flat or sharp symbols next to the clefs, and therefore this answer also is correct.
The bass line in Michael Jackson’s “Billy Jean,” the three-note bass line in the Temptations’ “Papa Was a Rollin’ Stone,” and the “take a chance, take a chance” chant in the ABBA tune “Take a Chance on Me” are all examples of:
a. solfège
b. ostinato
c. tessitura
d. pizzicato
B:
Ostinato, an Italian term meaning “obstinate” or “stubborn.” This term refers to a musical phrase or theme that is repeated over and over throughout
a piece. All of the examples listed, either in their bass lines or in their melodies, repeat the same phrase for most or all of the song. The term solfège, answer B, refers to the practice of assigning a syllable to each musical note, and is incorrect. Also incorrect is answer C, tessitura, which most commonly refers to a singer’s most comfortable range; and answer D, pizzicato, which refers to the practice of plucking musical instruments, particularly those that are usually played with a bow.
What is the relative difference in frequency between these two notes?
a. 1:1
b. 2:1
c. 4:1
d. 8:1
B:
2:1. Both notes are G, separated by one octave. An octave is the interval between two notes, where the higher note’s frequency is exactly twice that of the lower. Answer A, 1:1, is incorrect, because obviously the notes are not the same. One is higher than the other and therefore has a higher frequency. Answers C and D are both incorrect, since a frequency ratio of 4:1 or 8:1 refers to differences of two and three octaves, respectively.
In what time signature is this piece written?
a. 2/2 time
b. 3/4 time
c. 4/4 time
d. 5/4 time
C:
4/4 time. Right before the first measure, the piece indicates a large “C” in place of a traditional fractional time signature. The C stands for “common time.” Common time indicates 4/4 time, the most common time signature in Western music, in which each measure contains 4 beats. Had the time signature been 2/2, or “cut time,” the symbol also would have been a large C, but with a vertical slash, similar to the monetary symbol for “cent.” Therefore, answer A is incorrect. Also incorrect is answer B, 3/4 time, indicated with a 3/4 symbol, as is answer D, 5/4 time, indicated by a 5/4 symbol.
The preceding musical passage can be described best as a: a. chorale b. fugue c. gigue d. cantata
B:
Fugue. A fugue is a piece of music opening with
an exposition or “subject,” and then answering in subsequent measures by the “countersubject.” In this piece, Bach’s “Little Fugue in G minor,” the subject plays for five measures and then in answered in measure six by the countersubject, a different melody built on the same theme. In this piece, when the countersubject begins, the notes on the bass part take over the role of the subject. Answers A and D, sonata and cantata, are incorrect choices for this answer. The cantata form generally features the vocals, while the sonata features instrumental performances. (The lack of lyrics would be a strong clue that this is not a choral piece.) A gigue, answer C, is a lively, Baroque-era dance. It is usually written in a 3/8 time signature. Gigues rarely were written in 4/4 time, and since this piece is in common, or 4/4 time, answer C is incorrect.
The “tr” written above the staff in measure indicates that the performer should:
a. trill
b. tie the notes together for the rest of the measure
c. tenuto
d. turn
A:
Trill. A trill is the rapid alternation between two notes, usually adjacent to each other. If the piece had called for a tie between all of the notes in the rest of the measure (unlikely, since different notes are seen) they would have been grouped together with an arcing line. Therefore, answer B is incorrect. Also incorrect is answer C, tenuto, which means either to play a given note slightly louder or slightly longer than is indicated, and usually is shown in musical notation with a short bar above the note in question. A turn, answer D, is incorrect, since it calls for short sequence consisting of the note above the one indicated, the original note, the note below, and the note itself again. It is shown with a horizontal “S” shape, not a “tr” symbol, and is also an incorrect answer.
There are no alto notes until the sixth measure. When they do appear, the alto notes form the:
a. coda
b. middle entry
c. subject
d. countersubject
C:
Subject. It may be tempting, if one recognizes this piece as a fugue, to label the appearance of the alto notes as the piece’s countersubject, since in this piece the subject is introduced at the very beginning. Yet, the countersubject introduced in measure six is being played by the higher notes, while the subject is now being replayed by the lower ones. Therefore, answer D, countersubject, would be incorrect. Also incorrect is answer A, coda, since a coda refers to the section of a musical composition that brings the piece to a close; even if the excerpt above were the entire piece, measure six is near the center. The featured excerpt is the introduction to a longer piece of music (Bach’s Little Fugue in G minor), so the middle entry, answer B, is also incorrect.
Which of the following composers is most strongly associated with the Romantic Period?
a. Johann Sebastian Bach
b. Maurice Ravel
c. Aaron Copeland
d. Johannes Brahms
D:
Johannes Brahms, who composed music in the middle to late 19th century. Therefore, Brahms is most strongly associated with the Romantic Period in classical music, which ran from about 1815 to about 1910. Bach is most strongly associated with the Baroque Period (1600-1760), and Ravel is most closely associated with the Impressionist Period (1890-1940). Choice D, Aaron Copland, often is considered “the dean of American composers” and composed music in the mid to late 20th century; he would not fit into any of the above listed periods.
What was the goal of The Five—Mily Balakirev, César Cui, Modest Mussorgsky, Nikolai Rimsky-Korsakov, and Alexander Borodin—the group of composers who met periodically in Saint Petersburg, Russia, between 1856 and 1870?
a. To study other styles of music, specifically those in Western Europe, so that Russian music might properly develop and be taken seriously by composers and audiences there
b. To create a style of art music that was uniquely and characteristically Russian
c. To bring music education to the poor people living in underdeveloped areas
d. To use music as a way of challenging the rule of the Tsars
B:
To create a style of art music that was uniquely and characteristically Russian. The group aimed to produce a specifically Russian kind of art music, rather than a style imitating older European music or relying upon European-style conservatory training. As such, these composers would have eschewed excessive imitation of Western European forms, so answer A is incorrect. The musicians listed were not particularly famous for bringing music to the poor, nor were they known for challenging the ruling royal families of Russia. Accordingly, answers C and D are also incorrect.
What style of music traditionally is played by a sextet—a group consisting of two violins, a piano, a double bass, and two bandoneóns?
a. Tango
b. Salsa
c. Flamenco
d. Tejano
A:
Tango, traditionally played to accompany its distinctive style of dance. Salsa, Flamenco, and Tejano music have varying influences and, as such, use a wide variety of instruments in their performance. Only Tango music is strongly associated with the specific combination of two violins, a piano, double bass, and two bandoneóns.
Bebop was a dramatic shift from the traditional jazz of the middle 20th century because it
a. was performed by integrated groups of musicians
b. employed a strict 4/4 time signature
c. deemphasized the role of the trumpet and other brass instruments
d. used asymmetrical phrasing and an expanded role for the rhythm section
D:
Bebop’s use of asymmetrical phrasing and an expanded role for the rhythm section. Benny Goodman and Glenn Miller typified traditional jazz of the “Swing” era. While traditional jazz was easy to follow for the casual listener and often danceable, bebop was instead characterized by quicker tempos, intricate if not chaotic melodies, and rhythm sections that were called upon to do more than keep the beat for the ensemble’s other musicians. Many jazz bands—even traditional jazz bands—were integrated by the 1940s, when Bebop had its genesis, so answer A is incorrect. Also, answer C is incorrect, since bebop produced many famous horn players. The complicated and unexpected rhythms associated with this style of jazz make answer B—strict adherence to a 4/4 time signature—obviously incorrect.
The folk music of which of the following cultures or countries is primarily percussive in nature?
a. Finnish
b. Peruvian
c. Mongolian
d. Ewe
D:
Ewe. The Ewe culture is West African and has a folk musical form based primarily on drums played with complex rhythms and meter. All of the other answers, A, B, and C, are incorrect, since they use many musical instruments in addition to percussion instruments. Finnish music, for example, uses instruments such as the harmonium, flute, and fiddle. Peruvian music predominantly features its iconic flutes and the charango, a type of mandolin. Mongolian folk music is famous for its use of the morin khuur, or horse-head fiddle. Therefore, of forms listed above, only Ewe is an appropriate answer.
Other than early drums formed from hitting logs with a blunt tool, the precursors to which of the following musical instruments generally are considered the oldest?
a. trumpets
b. violins
c. flutes
d. xylophones
C:
Flutes. The earliest flutes are thought to have been made from hollowed bones with drilled finger holes. Archaeologists have found many examples, many of which are still playable. While the age of the oldest flutes is a topic of debate, the oldest flute upon which historians can agree may be as much as 37,000 years old. By contrast, trumpets, answer A, require the ability to smith metal such as bronze or brass; the oldest specimens date to about 1500 Bc. Therefore, answer A is incorrect. Also incorrect is answer B; violins’ ancient, plucked ancestors (such as the lyre) go back at most a few thousand years, and did not emerge in their modern form until the 16th century in Italy. Answer D, xylophones, is also incorrect, since the earliest documented instruments resembling their modern form did not appear in China until about 2000 Bc.
The Hammond organ originally was used by
a. U.S. churches in the 1930s
b. blues, rock, and jazz musicians in the 1960s
c. Baroque composers in the 1640s
d. English composers in the 1890s
A:
U.S. churches in the 1930s. Laurens Hammond developed this instrument in 1934 and marketed it to churches as a low-cost alternative to the large and expensive pipe organs then used for religious services. The Hammond organ emerged after
the Baroque period; therefore, answer C is incorrect. Answer D is incorrect for the same reason. Finally, while the Hammond did in fact see widespread use with popular musicians starting in the 1960s, jazz, blues, and other performers were not the instrument’s original market. Widespread Hammond use among jazz, blues, and other performers did not emerge until the instrument had been on the market for almost thirty years.
Which of the following types of music is not constructed monophonically?
a. Gregorian chants
b. Indian classical music
c. a Bach fugue
d. most troubadour songs
C:
A Bach fugue, which would not be described as monophonic, or using one and only one melodic voice at a time. Gregorian chants, therapeutic songs of Indian classical music, and most of the songs sung by troubadours in the Middle Ages, were all constructed monophonically. Because a fugue necessarily has two or more “voices” being performed at once, it is described as polyphonic, and thus the only correct answer from this list.
Which of the following keyboard instruments that evolved in late Medieval times produces sound from a series of strings that is plucked?
a. clavichord
b. harpsichord
c. piano
d. hurdy gurdy
B:
Harpsichord. The harpsichord is a piano-like instrument, which, unlike a piano, produces sound when the keys activate a plectrum, which, in turn, plucks a string. The clavichord produces sound when a similar mechanism strikes iron or brass strings with a small metal blade, so answer A is incorrect. Also incorrect is answer C, the piano. A piano produces sounds when its strings are struck by a hammer. The final answer, D, hurdy gurdy, would be incorrect because a hurdy gurdy produces its sounds through a complex combination of wheel, strings, and keyboard.
Which composer wrote the famous guitar concerto Concerto de Aranjuez in 1939?
a. Fernando Sor
b. Manuel Barrueco
c. Joaquín Rodrigo
d. Francisco Tárrega
C:
Joaquin Rodrigo. Unusual in its placement of
the guitar as a stand-alone against the full force of an orchestra, Concerto de Aranjuez is one of the most recognizable pieces written for the instrument. Although Fernando Sor is known in Spain as “the Beethoven of the classical guitar” for his important contribution to the instrument, he died in 1839, one hundred years before Rodrigo wrote Concerto de Aranjuez. That would make answer A incorrect. While master guitarist Manuel Barrueco has performed arguably the most celebrated recording of the concerto, he did not write it.
Therefore, answer B is incorrect. Finally, answer D, famed composer and guitarist Francisco Tárrega, is incorrect as well, since he died in 1909.
Kan ha diskan, the most widely known music of Brittany, is characterized by which musical form?
a. call and response
b. chamber music
c. microtonal music
d. percussion only
A:
Call and response. Indeed, the phrase kan ha diskan can be translated from the Breton language
as “call and response,” and is performed unaccompanied by a lead singer (a kaner) and
a secondary singer (a diskaner). The correct answer to this question is necessarily very specific, so an instrumental, non vocal form such as chamber music, answer C, is incorrect. Kan ha diskan generally is not considered microtonal, or moving freely between Western music’s established notes, so answer C is incorrect. Again, because kan ha diskan is unaccompanied by any instrument outside the human voice, answer D, percussion only, is incorrect.
In which of the following musicals would one expect to hear klezmer music?
a. Fiddler on the Roof
b. The Sound of Music
c. Oklahoma!
d. A Chorus Line
A:
Fiddler on the Roof, a musical that follows the struggles of a Jewish father trying to keep his faith and traditions alive. Klezmer, a Jewish musical tradition and form often performed with instruments such as the clarinet, accordion, and piano, is featured predominantly in the musical. As none of
the other answers—B, The Sound of Music, C, Oklahoma!, or D, A Chorus Line—is necessarily a celebration of Jewish culture, heritage, or music, none of these are correct.
Which of the following composers was known best for creating operettas?
a. Wolfgang Amadeus Mozart
b. Giacomo Puccini
c. Sir Arthur Sullivan
d. Giuseppe Verdi
C:
Sir Arthur Sullivan. While both operas and operettas involve actors on a stage singing their lines to a musical score, operetta generally is lighter in tone and substance than its weightier cousin. One of the most well-known composers of operettas is Sir Arthur Sullivan, who, with his collaborator, Sir William Gilbert, wrote fourteen operettas, including The Pirates of Penzance and H.M.S. Pinafore. Answer A, Wolfgang Amadeus Mozart; B, Giacomo Puccini; and D, Giuseppe Verdi; were all composers of opera rather than operetta and therefore incorrect answers.
Which of the following is generally considered the first widely popular hip hop single in the United States?
a. “Walk This Way” by Run-d.M.c. and Aerosmith
b. “Rapper’s Delight” by The Sugarhill Gang
c. “Hit ’Em Up” by Tupac Shakur
d. “Don’t Believe the Hype” by Public Enemy
B:
“Rapper’s Delight” by The Sugarhill Gang. While not the first rap single, “Rapper’s Delight” was the first hip hop song to enjoy widespread airplay across the United States. Rap went on to become one of the most important—if not the most important—urban and youth musical genres starting in the 1980s and continuing to the present day. “Rapper’s Delight” was released in 1979, predating all of the other examples in this list. “Walk This Way,” recorded jointly by Run-d.M.c. and Aerosmith in 1986, was immensely popular and vaulted Run-d.M.c. into rap music’s pantheon, but is incorrect because of its later release date. Also debuting after 1979—“Hit ’Em Up” in 1996 and “Don’t Believe the Hype” in 1988—answers C and D, respectively, are incorrect.
Castrati were employed to sing in choirs because which of the following groups was banned from performing in churches?
a. Protestants
b. women
c. commoners
d. boys
B:
Women. Castrati were male singers castrated before the onset of puberty could deepen their voices. A few castrati went on to fame and fortune as soloists, but most sang the higher parts in religious ensembles, as women had been forbidden from performing by papal edict. Protestants obviously were not banned from performing religious music, so answer A is incorrect, as is answer C, commoners, as they filled many musical performing roles throughout the history of Western classical music, both religious and secular. Finally, as boys were also valued for their high voices and often sang in church choirs, answer D is incorrect.
Which of the following musical genres was one of the influences in the development of Tejano music?
a. Incan music
b. African music
c. Peruvian music
d. German music
D:
German music. The word Tejano refers to someone from Texas of Latino and/or Hispanic descent. While Tejano music has strong cultural ties to neighboring Mexico, it also draws a heavy influence from the music of German and Czech settlers in the region. Europeans brought with them musical elements such as the polka, accordion, and waltz. Fusing these with styles such as mariachi gradually resulted in Tejano music. While it might be tempting to choose Peruvian music, answer A, for this question, Peru’s distinctive Incan roots have nothing to do with influencing Tejano music, nor does African or Celtic music. For this reason, answers A, B, and C are incorrect.
The MP3 format allows a CD track to be stored at a fraction of its original size because the process
a. copies the original file at a lower sound volume
b. removes selected vocal or instrument tracks
c. removes selected information, including frequencies that are too high or too low for humans to hear
d. converts the digital information to analog information
C:
MP3 removes selected information, including frequencies from the original file too low or too high for humans to hear. This process results in a lower-quality recording small enough for storage en masse on computers and/or MP3 players. Shrinking the file size is key to converting a file to MP3, but this shrinking cannot be achieved by recording at a lower volume, so answer A is incorrect. Copying a file with selected vocal or instrumental tracks removed is not the idea of MP3, so converting the digital information to analog, would be incorrect.
Music of the Renaissance began relying on what interval as a consonance, which previously had been regarded as dissonant?
a. second
b. third
c. fifth
d. None of these, because intervals were not used until the Baroque period.
B:
The use of the third. Prior to the Renaissance, the use of the third was regarded as dissonant, but with increased vocal range gradually began to be used as consonance. The use of the second always has been considered dissonant in Western music, so answer A is incorrect. Also incorrect is answer C, the fifth, which was used as consonance more toward the end of the Renaissance and the beginning of the Baroque. Finally, because intervals had been used long before the Renaissance, answer D is incorrect.
