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.
Which of the following instruments would be integral to Indonesian gamelan?
a. bulbul tarang
b. qinqin
c. gong
d. kora
C:
Gong. The gong is integral to Indonesian gamelan ensemble music, integral to Indonesian life and culture. Indeed, the word gamelan means “to hit” or “to hammer,” and while gamelan can include instruments as flutes and bowed or plucked strings, the gong is central to the form. All of the other choices are stringed instruments from around the Eastern Hemisphere. Answer A, the bulbul tarang, is an Indian stringed instrument similar to a banjo, and therefore is incorrect. Also incorrect is answer B, the qinqin, another stringed instrument from China. Finally, the kora, a 12-string harp lute from West Africa, is incorrect.
Bedřich Smetana’s “Vltava,” also named “The Moldau,” is a piece of music that describes
a. the Russian victory over invading French armies in 1812
b. an adventurer’s attempt to escape an evil king’s trolls
c. the course of a river as it winds through Central Europe
d. an audio tour of an orchestra, intended to encourage a young person’s interest in classical music
C:
The course of a river as it winds through Central Europe. The Vltava is the longest river running through the area now classified as the Czech Republic, and the suite by the same name about his native land is part of a larger work titled Má Vlast by Czech composer Bedřich Smetana . The defeat of invading French armies, answer A, is the subject of Pyotr Ilyich Tchaikovsky’s 1812 Overture. Answer B, concerning the king and his trolls, concerns Edvard Grieg’s In the Hall of
the Mountain King. Answer D, the audio tour of
a symphony, is The Young Person’s Guide to
the Orchestra by Benjamin Britten.
Which of the following pairs of composers would have lived and worked during the same time period?
a. Antonio Vivaldi and Friedrich Chopin
b. Gustav Holst and Johann Sebastian Bach
c. Johann Pachelbel and Franz Liszt
d. Pyotr Ilyich Tchaikovsky and Edvard Grieg
D:
Pyotr Ilyich Tchaikovsky and Edvard Grieg. Grieg and Tchaikovsky lived and composed during the same time period, the mid- to late 19th century, and, in the case of Grieg, into the early 20th. Indeed, they met in 1888. The rest of the composers that form the answers to this question did not live during the same eras and therefore never could have met. In the case of answer incorrect answer A, Vivaldi died in 1741, while Chopin was not born until 1810. Answer B is incorrect, since Holst was not born until 1874, 124 years after the death of Bach. Finally, Pachelbel died in 1706, 105 years before the birth of Liszt.
Of the commonly accepted and understood time periods into which Western classical music has been divided, which period is associated most strongly with musical nationalism?
a. Baroque
b. Classical
c. Romantic
d. Contemporary
C:
The Romantic period. Partly as a response to the widely perceived dominance of German music and composers during the Classical period that preceded it, the Romantic period is most strongly associated with musical nationalism; that is, composers from a given nation wrote music meant to invoke their native lands, peoples, and cultures. Noted examples include the music of Bedřich Smetana, Antonín Dvořák, and Jean Sibelius. While the other periods—Baroque, Classical, and Contemporary—would have seen selected composers and pieces which could be argued as nationalistic, the Romantic period most strongly is associated with musical nationalism and is therefore the correct answer.
Which of the following describes the best method for determining the proper-sized violin for a student musician?
a. Choosing a violin that is about a quarter as long as the student is tall
b. Allowing the student to choose an instrument based on what “feels right”
c. Choosing a violin whose scroll extends just to the base of the student’s hand
d. Choosing a violin that allows the student’s fingers to curl comfortably around the scroll and allows the elbows to bend slightly
D:
Choosing a violin that allows the student’s fingers to curl comfortably around the scroll, with the elbow slightly bent. While taller children and teens tend to have longer arms, arm lengths vary even among students of the same height, so the method described by answer A is ineffective. Answer B is also incorrect, since student musicians are still learning proper technique and may not yet have a feel for the best instrument. A violin that extends to the base of a student’s hand (Answer C) would be too small. This process of elimination leaves answer D, which would yield an instrument that allows the student to hold and play the violin comfortably.
Which are the best tuning pitches before a rehearsal or performance?
a. Concert C # and Concert A, with exception of French horns
b. Concert D and Concert B♭, with the exception of flutes
c. Concert B♭ and Concert F, with the exception of saxophones
d. Concert F and Concert A♭, with the exception of clarinets
C:
Concerts B ♭ and F, with the exception of saxophones. Concert B ♭ is a good tuning note for the majority of instruments, as it is well within their range. Concert F is excellent for horns, and in fact is better than B ♭, and also is excellent for clarinets. Nonetheless, these concert pitches are not suitable for tuning saxophones.
A music teacher found guilty of willful copyright infringement for personal financial gain faces maximum penalties of which of the following?
a. a warning from the company he or she has wronged and a complaint to his or her state’s licensing board
b. two years’ probation
c. unspecified statutory damages ranging from $750 to $30,000
d. criminal fines up to $250,000 and/or a five year jail sentence
D:
Criminal fines up to $250,000 and/or a five-year sentence. The penalties are extremely severe for educators who photocopy music or commit other copyright infringement for personal monetary gain. Copyright law is strict, even in an age music content and sheet music often appears free for the taking. While companies are given the discretion to warn teachers in writing, answer A, they do have the option of pursuing more severe penalties. So, answer A is incorrect for a maximum penalty. Both two years’ probation, answer B, and the unspecified statutory damages of $750 to $30,000 are incorrect, because they do not refer to the maximum penalty a teacher can face if he or she chooses to violate copyright protection for personal gain.
A band director wants to record a student performance of a copyrighted work for educational or archival purposes. How many copies can the director make without paying a fee?
a. as many copies as he or she wants, as long as the purpose is educational
b. one copy
c. two copies, one for him or herself and one for the student
d. no more than ten copies
B:
One copy. Voluntary guidelines allow for one and exactly one recording of student work, as long as it is used for educational or archival purposes. Beyond that, a license is required. Obviously, answer A, which would permit anyone to make as many copies of performances as they wished, would be in violation of copyright law. For this reason, answers C and D would be incorrect as well, since one and only one copy is permitted without paying a licensing fee.
A choir director believes an arrangement of “People” would be perfect for her concert choir, except for one part near the end that she deems too difficult for her tenors. Can she modify the arrangement to make it easier to sing, provided she has obeyed all other copyright law?
a. Yes, as long as she retains the fundamental character of the piece and does not alter or add lyrics.
b. Yes, because paying the licensing fee permits gives her wide artistic latitude to arrange.
c. No, because the licensing fee covers only that particular arrangement.
d. Yes, because several appeals courts have wrangled over this kind of issue for decades and have not come to a clear conclusion.
A:
A choir director may rearrange, edit, or simplify copyrighted material, so long as he or she retains the fundamental character of the piece and neither adds nor changes lyrics. Copyright law is clear on this matter, spelling out exactly what educators’ rights are in this area, so answers C and D are incorrect. Licensing fees permit a choral or band director only limited arranging rather than fundamental changes, so answer B is incorrect.
A music history teacher desires to construct a lesson based upon the eccentric brilliance of keyboard master Glenn Gould. As part of the lesson, he would like to play a copyrighted CD recording of Gould’s harpsichord work. If he wanted to follow copyright law, the teacher would have to do which of the following?
a. Obtain permission from ASCAP, BMI, or another licensing group.
b. Pay a modest fee, equal to face value of the CD’s purchase price.
c. Do nothing, since his role as a teacher allows this type of presentation.
d. Recorded performances, even for classes, are not permitted under U.S. copyright law.
C:
Do nothing since his role as a teacher allows this type of presentation. Under Section 110 of the copyright code, a teacher is granted a “face-to-face” exemption from having to seek or pay for performance rights, provided the music is intended for an educational setting in the physical presence of students. Since this right is stated explicitly in the code, answer A is incorrect, since the teacher is not required to seek or pay for permission from a licensing group. He or she also is allowed to present the music to students without paying for the rights, which makes answer B incorrect. Since copyright code explicitly permits such use, answer D is incorrect in all cases like this one.
Which of the following techniques can help the beginning clarinetist “cross the break”?
a. have him/her play in the low register and then activate the register key
b. encourage her to blow with more force
c. require her to play it scale-wise
d. rely less on the throat registers
A:
Require the student to play in the low register and then activate the register key. Doing so should allow the student automatically to cross into the higher register, divided from the beginning, lower registers by “the break,” which can intimidate beginning clarinetists. Blowing with more force, answer B, merely will result in a louder, incorrect tone, and is an incorrect answer to this question. Answer C, requiring the student to play through “the break” scale wise, is an overly difficult and intimidating method, so answer C is incorrect. Answer D, relying less on the throat registers, is incorrect, since mastery of the throat registers is an important fundamental skill for any clarinetist before upper registers can be attained.
What is the proper use of the finger ring for trumpet players?
a. the place where the little finger should rest during performance
b. the place where the ring finger should rest during performances
c. It should be used only for keeping the horn steady while turning pages or inserting a mute.
d. Modern trumpets are not manufactured with a finger ring.
C:
It should only be used for keeping the horn steady while turning pages or inserting a mute. Trumpet players may be tempted to hook their little fingers in the ring while playing, but often the little finger is needed to support the weak ring finger in pressing valves. Therefore, answer A is incorrect. Because the ring finger is the primary finger used for depressing the third valve, answer B is incorrect. Also incorrect is answer D, since modern trumpets in fact are manufactured with a finger ring.
What is the normal compass of a timpani?
a. a minor third
b. a perfect fourth
c. a perfect fifth
d. a major seventh
C:
A timpani has a normal compass of a perfect fifth. Although a timpani can be stretched to a minor sixth, this would require the use of plastic heads. As such, all of the other answers would be incorrect. Answers A and B, a minor third and a perfect fourth, require a smaller compass than that permitted by a timpani; a major seventh is too large, even with an instrument fitted with plastic heads.
How often should brass players oil the valves of their instruments in order to prevent sticking?
a. once a day
b. about once a week
c. once a month
d. only when the valves begin to stick
A:
Brass valves should be oiled once a day. Doing so keeps the valves in good working order, and prevents sticking and damage to the valve mechanism. Once per week is incorrect, as the valves will need lubrication before a week has elapsed, so B is incorrect. Also incorrect is C, once
a month; it is doubtful that a brass instrument played with any regularity, could go a full month without some oiling. Waiting until the valves begin to stick, answer D, is incorrect, since sticking valves can disrupt a rehearsal, practice, or, worse, a performance, and should be oiled regularly to prevent this from occurring.
Which of the following would satisfy a young musical learner’s kinesthetic needs?
a. learning to read musical notation by listening to music
b. hitting notes on a xylophone with the correct rhythm
c. sitting and listening to a recording of “Peter and the Wolf”
d. evaluating a peer’s singing
B:
Hitting notes on a xylophone with the correct rhythm. The word kinesthetic pertains to physical activity or movement, and this kind of activity is especially valuable within the context of learning. Learning to read musical notation by listening to music might be valuable, but it would not involve the child moving around or connecting his or her body movements to rhythm. So, answer A is incorrect, as are answers C or D, which would, again, satisfy musical or interpersonal learning goals, but not kinesthetic learning goals.
Which of the following statements is true about the viola?
a. It is tuned the same as a violin.
b. It is a mainstay of the symphony but is rarely used in chamber music.
c. It uses alto or “viola” clef, a clef that is otherwise rarely used.
d. It is larger than the violin, but it uses a finer bow.
C:
The viola uses the alto or “viola” clef, which is rarely used for other instruments or compositions.
To the untrained eye, the viola is easily mistaken for its smaller cousin, the violin, but many differences exist between the instruments. The viola is tuned a perfect fifth below the violin, and whereas the violin’s four strings are tuned to GDAE, the viola’s tuning is CGDa. Therefore, answer A is incorrect. While the viola is indeed a mainstay of most symphony orchestras, it is also an integral part of most chamber pieces, rendering answer B incorrect. In addition, the viola is larger than the violin and it uses a correspondingly larger bow, which is also wider than that of the violin. Therefore, answer D is incorrect.
Although the pitch of “concert A” is accepted almost universally for tuning, musicians attempting to play Baroque instruments (or modern instruments in a more “authentic” style) will often tune to “Baroque pitch,” which is an A at what frequency?
a. 220 Hz
b. 415 Hz
c. 440 Hz
d. 880 Hz
B: 415 Hz. The frequency is a half step lower than 440A, the almost universally accepted pitch for modern performance. Baroque musicians are thought to have performed tuned to an A somewhere in the vicinity of 415, which is now called “Baroque pitch.” Answer A, 220 Hz, would correspond to an A3 tone, and would be almost an octave below Baroque pitch. Therefore, answer A is incorrect. Answer C is, of course, the modern 440A pitch, or A4. It is incorrect, as is 880 Hz, answer D, which corresponds to an A5.
Which of the following statements is true of tablature, or “tabs,” for guitar and other stringed instruments?
a. The courts have ruled that online providers of tabs are legally distributing music, despite challenges from the music industry.
b. It is an excellent way to teach mastery of an instrument to beginning musicians.
c. It clearly indicates important information about a piece of music, including key signature and tempo.
d. It indicates the fingering position of pieces, note for note, for stringed instruments.
D:
It indicates the fingering position, note for note, of pieces for stringed instruments. Tablatures are popular with beginning musicians, particularly those attempting to learn their favorite songs on the guitar. With a numbering system that bears some resemblance to a traditional staff, tablature indicates by number where the player should place his or her fingers on a fret and string, note for note. Because many online sharing networks of tabs offer them free of charge, music publishers have declared them illegal, and the courts are still undecided regarding whether tab providers are violating copyright laws. Therefore, answer A is incorrect. Also incorrect is answer b. While tab does show a beginning musician where to play his or her fingers to produce a given note or chord, using tab does not allow him or her to learn key signature, tempo, or other skills necessary to learn mastery of an instrument. For this reason, answer C also is incorrect.
Which portion of a daily class lesson would be the best for teaching concentrated, fundamental lessons in voice training?
a. at the beginning of class
b. between the periods designated for learning and rehearsing specific pieces
c. at the end of class
d. Such teaching is not appropriate, since instructional time is limited and the appropriate place for voice training would be private lessons
A: At the beginning of class. While all of a vocal performance class should be considered voice training, all classes should start with warm-ups. During this time, teachers should reinforce the fundamentals of singing, such as breath and posture, range, and intonation. Because the quality of student singing is likely to be poor without adequate preparation, answer B is incorrect, as is answer C, as an entire class period of poorly performed pieces would make the vocal training at the end of class largely moot. Since most students in a general classroom setting do not receive private voice training and are in classes, ostensibly, to obtain such training, answer D is incorrect. Indeed, all young singers can benefit from the fundamentals of voice training, regardless of whether or not they are taking private lessons.
Which of the following statements is true of vocal changes in developing adolescents?
a. It is largely a myth and can be kept in check by teaching proper technique.
b. Girls’ singing voices do not change, although boys’ singing voices do change.
c. Because their voices change in unpredictable ways, boys should stop singing during the middle school years and then resume in high school.
d. Girls’ singing voices change just as boys’ voices do.
D:
Girls’ singing voices change just as boys’ do. While the change may begin earlier—as is the case with most of a girl’s adolescent development—and is subtler, it does indeed take place. Girls who wish to sing through early adolescence and beyond will need the coaching of a good, patient instructor. Because girls’ voices change, answers A and B are incorrect. Also incorrect is answer c. Boys, like girls, can make good music in elementary and middle school, regardless of the changes taking place in their voices.
Which of the following statements is true of the oboe?
a. Young students should always begin playing an easier woodwind instrument prior to transitioning to oboe.
b. Typically, the oboe is held nearly 90 degrees from the body.
c. It uses a double reed.
d. It is assembled in three parts.
C:
The oboe uses a double reed. The oboe, along with the bassoon, uses a double reed system to produce its distinctive sound. While playing the instrument can present a challenge to younger, more inexperienced players, it is possible for a student in even in the elementary grades to begin playing the oboe with a little extra help from his or her teacher. Only if extra time is impossible should an aspiring oboist be guided toward the clarinet or saxophone first. Therefore, answer A is incorrect. Also incorrect is answer B, because an oboe properly played should be held between 30 and 45 degrees from the body. Finally, since the oboe is assembled in four parts, not three, answer D is incorrect.
Which of the following statements is true of program notes typically given to audience members during a performance?
a. They are optional, at best.
b. They only should include the names of the pieces and the composers.
c. They should include the lyrics of vocal pieces.
d. They should include the arrangers of the pieces rather than merely the composers.
D:
Program notes should include the names of the arrangers of instrumental and vocal pieces, not just the names of composers. In addition, more complete program notes could provide brief information about the music contained in the program in order to give the audience a greater understanding and appreciation for the musical selections they are about to hear. As such, answer A, that notes are optional, is incorrect. Answer B is also incorrect, since notes showing only the names and composers of the pieces are incomplete in almost all performances. While program notes certainly should engage the audience, excessively long notes containing pages of information or song lyrics would be too much for most audiences and not add anything to the performance.
Which of the following statements describes incorrect sitting posture for students singing in a choir?
a. Sitting toward the back of the seat, with the back just touching the backrest.
b. Feet slightly apart.
c. Hips, spine, and head in line.
d. Chest lifted to enhance breathing.
A:
Sitting toward the back of the seat with the back touching the backrest. Proper sitting posture dictates that the student’s back should be straight and away from the chair’s backrest. All of the rest of the answers, answers B, C, and D, respectively, with feet apart, body in line, and chest lifted, all constitute correct posture, and therefore are incorrect answers for this question.
Which of the following statements describes incorrect standing posture for students singing in a choir?
a. Knees slightly relaxed.
b. Body straight; hips, back, and head in line.
c. Feet together.
d. Chest lifted, shoulders back, and arms at the side, comfortably.
C:
Feet together. When standing for a choir rehearsal or performance, the feet should be shoulder width apart. Keeping the feet together as stated in the question will lead to improper balance. All of the rest of the elements, answers A, B, and D, respectively, with knees relaxed, body in line, and chest lifted, etc., all constitute correct standing posture, and therefore are incorrect answers for this question.
Which of the following statements is true regarding music teachers’ expected level of proficiency on their students’ instruments?
a. It is not necessary to be proficient on any instrument in order to be a competent band director.
b. It is customary for instrumental music teachers to be proficient only in the section where their instrument of choice is located; for example, a trumpeter should be expected only to have proficiency with brass instruments.
c. Teachers should have at least a passing familiarity with all of the instruments in the bands they are teaching.
d. Band directors should be proficient on every instrument their students are playing.
C:
Teachers should have at least a passing familiarity with all of the instruments in the bands they are teaching. While teachers cannot be expected to play every instrument with skill, finesse, and grace, they should have enough familiarity with each instrument at least to engage beginning students and help them through the early stages of playing. Fortunately, quality undergraduate music programs offer methods and or pedagogy courses in order to familiarize their students with a wide range of instruments, which will serve to help future music teachers. To fill in the gaps of their knowledge, band teachers should enlist the help of guest musicians or local music students whenever possible. Answer A is incorrect, since all band teachers obviously need to be proficient in at least one instrument and acquainted with the other instruments in order to be successful in the classroom. Answer B is for this reason, as successful band teachers need to be familiar with all instruments. While answer D would be ideal, this level of proficiency and skill simply is not realistic for all band directors.
A flute player taps her feet in order to keep time to music during performances and rehearsals. A young band director is unsure of what to do about this, as she knows that proper concert etiquette is important when performing for the public. What should she do with the flute player?
a. The director should do nothing; the flutist is tapping her foot in order to keep time.
b. Students should develop internal rhythm. Besides, foot tapping is distracting. It should stop immediately.
c. The flute player should be encouraged to tap her toe inside her shoe; a little foot motion is fine.
d. The flute player’s foot tapping is distracting when done alone; therefore, the entire flute section should be encouraged to tap their feet.
C:
The flute player should be encouraged to tap her
toe inside her shoe, because a little motion is fine. Indeed, some professional symphony players are known to tap their feet during performances, so some visible motion certainly acceptable. Still, overt motion, especially if such motion is excessive, can be distracting during a performance, so answer A, doing nothing, is incorrect. Obviously, having the entire section tap its feet to help the flute player blend in would be ineffective, so answer D is incorrect. At the same time, answer B, ordering the flue player to stop entirely, is unnecessary. Not all musicians have the ability to keep their feet still during their performances and practices, and asking one who needs some motion to keep time would be unnecessary and effective.
Which of the following statements is true about a band or choir director’s conducting style?
a. A band or choir director’s conducting style is mostly for show.
b. He or she should practice conducting in front of a mirror along with taped or recorded music in order to make sure his or her conducting style is rhythmic and appropriate.
c. Conducting styles should be forceful and dynamic, since they bring out the most in students. Furthermore, the audience’s attendance is due in part to see the conductor’s work.
d. Conducting style can help an ensemble keep time, but it rarely influences dynamics, and style.
B:
A conductor should practice his or her conducting style in front of a mirror along with taped or recorded music in order to make sure his or her conducting style is rhythmic and appropriate. As awkward as this practice may seem, conductors should practice their batons in much the same way their students practice their instruments: regularly, so their performance adds to the work of the group. Additionally, a conductor does add to the quality of the ensemble’s musical performance. A good conductor can signal information to musicians regarding a wide variety of musical output including the tempo, rhythm, and style, which means that answer D is incorrect. For the same reasons, answer A is incorrect, because conductors’ performances are not for show and help the ensemble to perform. Still, the conductor’s style is not the audience’s primary focus; therefore, answer D is incorrect.
Which of the following statements is not true about a school’s musical instrumental practice rooms?
a. Practice rooms are relatively expensive to build and maintain.
b. Practice rooms should include indirect lighting or lighting projected from the rear.
c. Practice rooms should include an electronic tuner.
d. Practice rooms are among the most frequently used rooms after classrooms.
D:
Practice rooms are rarely used, except for before and after school and, as such, run the risk of being used for storage or becoming eyesores. They have value, however, and should be used, despite their considerable cost to build and maintain. Answer B is incorrect, because practice rooms should use indirect lighting, or lighting projected from the rear, to aid the reading of music without eyestrain. Answer C is incorrect because practice rooms should always include an electronic tuner.
Which of the following statements is true regarding the piccolo?
a. Even skilled flutists cannot play the piccolo without relearning another instrument.
b. The D-flat piccolo is today’s standard instrument.
c. The piccolo uses less air, but the musician must blow that air more rapidly.
d. The piccolo has the same flexibility in pitch as the flute.
C:
The piccolo uses less air, but the musician must blow that air more rapidly. The piccolo is smaller than its lower-pitch cousin, the flute; therefore, the piccolo requires less air to work. Nonetheless, since that air is going to be generating notes that are higher in pitch, the air must move with greater speed. Although the piccolo is different from the flute in many ways both subtle and overt, it is similar enough that a flutist with sufficient skill should be able to play it. Therefore, answer A is incorrect. Also incorrect is answer B, because the instrument widely in use today is the C piccolo; the D-flat instrument was used long ago. Finally, the piccolo is known for having less pitch flexibility than its larger cousin, so answer D is incorrect.
Which of the following characteristics do the baritone and the euphonium have in common?
a. The music for both instruments requires beginning players to read treble and bass clef equally.
b. Both instruments are pitched to B-flat.
c. Most models of both instruments sold and used in the United States come with four valves.
d. Both instruments have the same size mouthpiece and bore.
B:
Both instruments are pitched to B-flat. While the euphonium and baritone have many features in common, they are different instruments, making the other three possible answers to this question incorrect. First, answer A is incorrect on its face, as both the euphonium and baritone use bass clef, not treble. Secondly, most euphoniums come with four valves, and while four-valve baritone models are made, most baritones in this country come with three valves. Therefore, answer C is incorrect, as is answer D, because the euphonium requires a larger mouthpiece than the baritone.
Which of the following statements is true of the tuba?
a. The number of tuba players in a band is entirely up to the number of players who want to play it and the desires of the band director.
b. A tuba is the perfect instrument for a player who doesn’t have a good ear.
c. The best tuba players are the largest students.
d. The tuba is made only in one key, F.
A:
The number of tuba players in a band is entirely up to the number of players who want to play it and the desires of the band director. While there are disagreements, as always, regarding the “ideal” number of tubas in an ensemble, the number should depend entirely on the type of sound for which the band director is looking, plus the number of students willing to play this instrument. Anyone who is interested can play the tuba, regardless of size, so answer C is incorrect. Also incorrect is answer B, because while size is unimportant in deciding which students should play the tuba, its sound demands a player who can discern the differences between the lower tones. Finally, modern tubas are made in several keys including F, E-flat, CC, and BB-flat. So, answer D is incorrect.
Which of the following is true about the needs of middle school vs. high school percussion inventories, with regard to size and number of instruments?
a. They are the same or close to it.
b. Middle school percussionists need drums only and probably do not need other instruments such as xylophones.
c. A middle school percussion ensemble needs about half the instruments of a high school section.
d. Middle school percussionists need snare drums only, and can move to the other drums later.
C:
A middle school percussion ensemble needs about half the instruments of a high school section. A middle school is probably smaller than the high school into which it feeds, and has fewer band musicians, so a smaller section with fewer instruments is probably fine. Nonetheless, at the same time younger percussionists need experience on the more “tonal” instruments such as marimbas and xylophones, so answer B is incorrect. Also incorrect is answer A, as the needs of the middle school section are smaller in size and scope. Finally, answer D is incorrect, since a middle school section should include instruments such as timpani and bass drums.
What sizes of violins are available for student musicians?
a. full size only
b. full and ½ sizes only
c. full, ¼, ½, and 1/8 sizes
d. full, 1/32, 1/16, 1/8, ¼, ½, and 3/4 sizes
D:
Violins come in full, 1/32, 1/16, 1/8, ¼, ½, and 3/4 sizes, in order to accommodate the wide range of hand and student sizes. As such, all other answers, A, B, and C, are incorrect.
Which of the following is true of extrinsic motivation in a music classroom?
a. There are no uses for extrinsic motivation; all motivation from student musicians should come from within.
b. Should be limited to routine, well-earned behaviors.
c. Should be given for solving complex tasks related to music.
d. Extrinsic motivation is banned by most school districts.
B: Extrinsic rewards (such as prizes and certificates) should be awarded only to routine tasks, such as cleaning a rehearsal space or learning more scales than were assigned. Rewards for accomplishing more complex, musically related tasks should be more intrinsic, which is to say, from within. Praise, especially in front of a student’s peers, would count as intrinsic motivation, as would the sense of satisfaction a student should feel upon solving a complex task. Yet, extrinsic motivation does have a place in most classrooms, so answer A is incorrect. Answer C also is incorrect, as previously stated. Finally, answer D is incorrect, since systems of rewards generally are left to the teacher’s discernment and are rarely banned if they do not detract from the learning environment.
Which of the following is generally not true of a march?
a. It has a lively, “up-beat” accompaniment.
b. It is written in 2/4 time.
c. It should feature slowed-down tempos when playing piano dynamics.
d. It has an independent bass line.
C:
Because a march should not feature slowed down tempos when playing softer dynamics. The rest of the answers—up beat accompaniment, 2/4 time, independent bass line—are all characteristics of a march that band directors should know.
Which is true of the amount of practice a student instrumentalist or singer should do every day?
a. From the beginning, student musicians should practice at least an hour a day.
b. Student musicians should not be expected to practice at first, especially if they are younger. There will be plenty of time to practice once they have more mastery.
c. Students should practice a half-hour or so each day, then ideally work up to more than an hour every day.
d. Practice time should vary, according to the difficulty of the class’ repertoire and the student’s mood.
C:
Students should practice a half-hour a so a day, then ideally work up to more than an hour every day. All students, regardless of age and experience, should learn the value and importance of daily practice; a shorter time period, such as a half hour, can start good habits without being overwhelming. By the time the student has gotten older and gained more experience, an hour or more a day of practice would be ideal. Nonetheless, because an hour a day from the beginning will seem overwhelming to a beginner, answer A is incorrect. Also incorrect is answer B, because practice from the beginning of a musical career will help ensure that the career in question will continue to grow, regardless of age or experience. Finally, answer D is incorrect, as inconsistent amounts and qualities of practice will quickly break down. The amount of practice every day should be roughly the same, regardless of the student’s mood or repertoire.
A choir teacher composes a suite of music with her class and feels the music is of sufficient quality to copyright. What must she do to protect it?
a. Record it.
b. Have it published.
c. Have it registered with the Copyright Office.
d. Perform it publicly.
A:
Record the work. Once a piece is recorded, it is considered copyright protected. This is automatic without any of the other steps listed as possible answers. While having a piece of music published, answer B, or registered with the Copyright Office, answer C, gives the composer the advantage of having his or her work registered, these steps are not necessary for the work to be considered protected. Answer D, performing the work, is not a guarantee of copyright, so answer D is incorrect.
Which of the following is true of crescendo and decrescendo?
a. Percussion and upper voices should decrescendo more quickly than lower voices.
b. Percussion should play the entire crescendo at an even, proportionally louder rate.
c. Ensembles should play crescendos at an even, proportionally louder rate.
d. Lower voices should crescendo more slowly than upper voices.
A:
Upper voices and percussion should decrescendo more quickly than lower voices. This allows the lower voices to retain some sense of balance during the decrescendo. Lower voices should crescendo more quickly than upper voices, so answer D is incorrect. Also incorrect is answer B, since percussion should start a crescendo more slowly, then rapidly get louder about a third of the way from the end. Answer C is incorrect, because ensembles should actually drop their volume slightly before the beginning of the crescendo to capture its full power.
Which of the following is true of the manner in which instrumental ensembles should be organized?
a. First chair players should be kept far from each other so that they may better hear themselves play.
b. Cornet I and Trumpet I should sit far from each other so that they may better hear themselves play.
c. Tenor saxophones should sit near the euphoniums, as they often play the same tenor line.
d. Students should maximize limited music stand resources by sitting three or more to a stand.
C:
Tenor saxophones should sit near the euphoniums since they often play the same tenor line. The guiding principle in setting up an ensemble’s seating is that various instruments should be able to hear what their fellow musicians are playing. As such, first chairs should be seated close to each other or at least on the same side of an orchestra to hear what they are doing with their portion of the piece, in order to better play off of each other. Therefore, answer A is incorrect, as is answer B, because Cornet I and Trumpet I should hear each other above the music of the other horns. Finally, three students per music stand is too many; the number of students per stand should be two or one. As a result, answer D is incorrect.
A high school choir travels via school bus to a neighboring town for a festival. After the performance, one of the student musicians asks the band director if she can ride home in a car driven by her brother, who is a freshman in college. A second student asks if he can drive home with friends from school. A third asks if she can ride home with her parents. Following best practices, students should be allowed to travel home by which of the following means other than the school bus?
a. None of the students should be allowed to ride home by any means other than the school bus.
b. All three students should be allowed to travel home on their own if they have arranged it ahead of time with the band director and parents approve in writing and sign a waiver.
c. Only the student traveling home with her parents; the other two students should take the bus back to their school.
d. All family members should be considered safe transport, as the student is covered under the family’s insurance; traveling home with friends is unacceptable.
A:
No exceptions should be made, even to parents. No student should ever ride home from a school-sponsored event in a car driven by any teen-ager, even if the driver is a relative. While parents theoretically could be considered safe transport even in this litigious era, a consistent policy is best. Parents should know ahead of time that because the student is at a school-sponsored event, the school is responsible for that student’s safety from the time the bus leaves the school to the time it returns home. An unbreakable, bus-only policy is not only the easiest to apply in all cases, it is the safest for all persons involved.
What is the role of a standard written exam for student musicians? (That is, a written exam that includes true-false, multiple choice, and essay questions?)
a. There is no role for the standard written exam in musical education.
b. To test only beginning students; more advanced and older students should be free to rehearse and perform only.
c. To test concepts such as time and key signatures, music symbols, and musical history.
d. Only to satisfy the school’s requirement that all students receive a letter grade for all classes.
C:
To test concepts such as time and key signatures, music symbols, and musical history. While many music teachers no doubt would prefer to devote their limited time and energy resources to student rehearsal and performance, some assessment of basic student knowledge is necessary. This is especially true if that knowledge can be placed in the context of rehearsal, practice, and performance. The goal of any educational experience should be greater understanding, and written exams provide one more tool a music instructor can use to that end. Since there is a place for written exams in musical education, answer A is incorrect. More advanced students also need to have their more advanced music put into context, so they also can benefit from written work. Therefore, answer B is incorrect, as well, as is answer d. Letter grades and other rubrics should be based on a number of factors such as performance, improvement, and participation, not just written work.
Competitions for chair positions in a student band or orchestra:
a. should be held daily
b. have no place in a the rehearsal space of an enlightened music educator in charge of developing musicians’ self-esteem
c. should be held at the beginning and end of the semester only
d. should be held both unannounced and on a scheduled basis, at the instructor’s discretion
D:
Competitions for chair placement should be held both with advance notice and at unannounced times. Periodic competitions for first chair and so on keep more advanced students playing at their best level; many students further down the row will strive to improve their play in order to catch up. The result is a better orchestra. Therefore, answer B is incorrect; while a student’s self-esteem is important, all musicians should be able to withstand the pressure of demonstrating their skills to their peers and their instructor. Accordingly, both announced and unannounced competitions have their place in this process. Daily competitions, answer A, would obviously be excessive in a student orchestra’s busy schedule. Answer C, conversely, would not put enough motivation or pressure on the students to improve.
The most common method of vibrato for trumpet— and the easiest to develop—is a. voice vibrato b. hand vibrato c.jaw vibrato d. embouchure vibrato
B:
Hand vibrato. Beginning trumpet players can be taught easily to add vibrato to the tone their instruments make. All they need to do is move their thumb back and forth as they use their hand to brace their fingers on the valves. Answer A, voice vibrato, is incorrect, as one does not use the vocal cords when playing the trumpet. Answer C, jaw vibrato also is incorrect, because moving the jaw is not used commonly as a technique for achieving vibrato with the trumpet. Moving the lips, or embouchure, is an accepted technique for achieving vibrato, but it takes more practice and skill than using the hand. As a result, answer D is not the best method for a beginning trumpet player to use in order to achieve vibrato in his or her tone.
The average school concert band should be
comprised of approximately
a. half woodwinds and half brass, balanced equally
b. one third woodwind and two thirds brass
c. two thirds woodwinds and one third brass
d. mostly brass; as long as it’s fifty percent or more, the sound will be fine for a student ensemble
C:
Two-thirds woodwinds and one-third brass. It is generally accepted that clarinets form the backbone of any concert band’s sound. Therefore, they should provide most of that sound; a two-thirds-to-one-thirds ratio of clarinets and their woodwind cousins should therefore outnumber the brass instruments by this amount. Therefore, answers A, B, and C—which alter the balance to an unacceptable degree—are all incorrect.
A band director is blessed with a group of eager, committed beginning musicians, all of whom have their hearts set on their instruments of choice.
In fact, most of the students have already rented or purchased these instruments, and few, if any, can be persuaded to switch to other instruments in order to allow the band to have the proper brass-to-woodwinds balance. The band director then should
a. call a parents’ meeting and explain the situation, in the hopes that the parents can persuade their children to change
b. establish a “cut” list, the way sports teams do, in order to achieve the proper ratio
c. use peer pressure to get students to persuade their band mates to switch instruments
d. make changes to the music, moving some instruments to other instruments’ parts, as long as the central integrity of the music is preserved
D:
Make changes to the music, moving some instruments to other instruments’ parts, as long as the central integrity of the music is preserved. Enough excess instruments can play the parts of their missing fellows while retaining the essential sound of a piece. Parents should not be coerced into pressuring their children to change something so personal as a musical instrument choice, as this act could turn the students off to music for good. As a result, answer A is incorrect. Student orchestras should welcome all participants, especially when so many students lose interest in music and the arts as they get older, so a “cut” list, answer B, should be regarded as an absolute last resort. As for answer C, a band director will encounter much peer pressure among his or her students already, so avoiding any unnecessary or added peer pressure is preferred.
Which of the following would be an appropriate adaptation for a student musician identified as a gifted and talented learner?
a. Allowing them to learn music by ear, as gifted students tend to be more intuitive.
b. Separating them into classes apart from their more “average” peers.
c. Independent projects, such as composition and improvisation.
d. There should be no adaptations, as gifted learners adapt well to any classroom.
C:
Independent projects. Students who have a high innate ability for music should be tasked with independent study and other challenges outside of the regular curriculum, including composition and improvisation. Such instruction offers the best way for such students to develop their skills and possibly become lifelong musicians. Ear training is important, but all musicians also should learn at least the basics of reading music, so answer A is incorrect. Also incorrect is answer B, separating gifted musicians from their more average peers. Keeping gifted musicians involved in regular ensembles challenges their classmates to perform better and develops vital leadership and cooperative qualities in the more adept performers. Finally, answer D is incorrect, as all learners situated far from “the norm” are required by law to have adaptations in all classroom environments.
Which of the following is true for hearing-impaired music students?
a. They are required by federal law to have an aide with them at all times, especially in music classes.
b. Their disability precludes them from taking music classes, especially if that disability is severe.
c. It is best if they are limited to kinesthetic instruments, such as percussion.
d. A music teacher is permitted to make other accommodations, even beyond those outlined in the student’s Individualized Education Plan (IEP).
D:
A music teacher is permitted to make other accommodations beyond those outlined in a student’s IEP. Possible accommodations for hearing impaired student musicians might include allowing them to play instruments that permit the feeling of vibrations, or demonstrating music through performance rather than recorded samples. These excellent strategies for engaging hearing impaired students may not be listed on the students’ IEPs. While aides sometimes are provided to students with profound disabilities, such a provision is not a guarantee. Therefore, answer A is incorrect. Also incorrect—and unethical—is answer B, which implies that hearing impaired students can neither perform nor appreciate music. Many fine hearing-impaired musicians, up to and including Ludwig van Beethoven, have proved this theory false. Finally, answer C, limiting hearing impaired students to kinesthetic instruments such as percussion, would be limiting, discriminatory—and incorrect as an answer to this question.
Which of the following is true about the Suzuki method of musical instruction?
a. It places a primary emphasis on teaching sight-reading and musical notation.
b. It is used only for students studying guitar and piano.
c. It was developed in the United States by a Japanese immigrant.
d. It deliberately avoids auditions as a means of judging suitability for instruction.
D:
The Suzuki method deliberately avoids auditions as a means for judging suitability for instruction. The method’s founder, Shin’ichi Suzuki, believed that all children had the ability to learn music the way they learn languages. As such, he felt it would be limiting both to students and to prospective teachers to allow only more capable students to learn music. The method introduces students to music and concepts by ear, introducing notation later. As a result, answer A is incorrect. Since the method has spread from violin and piano to instruments such as the guitar, answer B is incorrect also. Answer C is incorrect, since Suzuki was born in Japan and lived there for most of his life.
Which of the following musical instruction methods holds that all aspiring musicians, even instrumentalists, should begin their instruction through singing?
a. Dalcroze
b. Kodály
c. Orff Schulwerk
d. Suzuki
B:
The Kodály Method. Zoltán Kodály, who believed that singing was the most effective way to teach music outside the confines offered by an instrument, founded the Kodály Method. While the other three methods listed might place different amounts of value in singing, only in the Kodály Method does it have such a high initial importance. The Dalcroze method emphasizes teaching music primarily through movement, and the Orff Schulwerk is devoted to a child-centered approach, building the teaching of music by connecting it to a child’s world and rituals of play. For this reason, answers A, C, and D, are incorrect.
A middle school choir teacher becomes alarmed at the emaciated condition and lack of focus in one of her students. Under Texas’ mandatory reporting law, how long does she have to report her suspicions to the appropriate agencies?
a. By the end of the school day
b. Within 48 hours
c. Within one week
d. Texas does not have a mandatory reporting law, leaving the timeframe up to the teacher’s discretion.
B:
Within 48 hours. Texas law is clear: Licensed professionals whose duties bring them into direct contact with children are required to report suspected abuse to any local or state law enforcement agency, the Department of Family and Protective Services, or through https://www.txabusehotline.org, the state agency that operates, licenses, certifies or registers the facility in which the alleged abuse or neglect occurred, or the agency designated by the court to be responsible for the protection of children. Because Texas does have a mandatory reporting law, answer D is incorrect. There is no room for interpretation regarding when abuse should be reported, as stated by the law. While it would be preferable to report abuse as soon as possible, the law is clear in requiring a 48 hour window, so answers A and C are incorrect.
According to state music safety guidelines, what is required of instrument mouthpieces that are shared
between students?
a. Mouthpieces should be sterilized before being shared.
b. Mouthpieces should never be shared under any circumstances.
c. There are no guidelines for sharing mouthpieces.
d. Most mouthpieces are self-sterilizing; there has never been a documented case off disease transmission through shared mouthpieces.
A:
Shared mouthpieces should be sterilized before being shared. Some mouthpieces can be sterilized, which is important to prevent the spread of disease between students. Because sterilization in some cases is possible, answer B would be incorrect. Answer C is incorrect because these guidelines do state clearly that mouthpieces should be sterilized. Answer D is incorrect because mouthpieces are not self-sterilizing, and sharing mouthpieces can transmit infection.
Which of the following is not a stage of the Americanized version of the Orff-Schulwerk process?
a. imitation
b. exploration
c. composition
d. improvisation
C:
Composition. The Orff-Schulwerk process, which grew out of the observations of German composer Carl Orff (1895-1982), attempts to teach music by capitalizing on children’s innate abilities to speak, play, dance, and move. Since answer A, imitation, is the cornerstone of the method, it is incorrect. Answer B, a stage in the process, is also incorrect. Answer D, improvisation, is the final stage of the process by which students spontaneously arrange and perform melodies based on what they are hearing. The third stage, literacy, was not listed, and instead was replaced by answer C, composition. Because composition is not featured in the Orff-Schulwerk process per se, C is the correct answer.
Which of the following statements is true of teaching gospel music in public schools?
a. As long as songs that avoid outright Biblical passages and themes are avoided or minimized, gospel music emphasizing broader themes (love, freedom, etc.) can be a included as part of a public school’s music curriculum.
b. The U.S. Supreme Court has ruled that singing gospel music of any kind in music classes violates separation of church and state.
c. Because it is “culturally significant,” gospel music can be taught by specialists who do not hold a current teaching license.
d. Because it is regarded as a “European-American” genre, gospel has no place in a modern, multicultural curriculum.
A:
As long as songs that avoid outright Biblical passages and themes are avoided or minimized, gospel music emphasizing broader themes can be included as part of a public school’s music curriculum. Answer B asserts that the Supreme Court has issued a final ruling on the constitutionality of using music of a religious origin in the public schools. While cases of these kinds are commonplace in the court system, the Court has not issued a final, definitive ruling on this subject. Therefore, answer B is incorrect. Answer C states that teachers who specialize in gospel may teach classes on the subject in the public schools, which is false. Therefore, answer C is incorrect. Finally, answer D incorrectly asserts that gospel music is primarily a European-American genre. Generations of African-American gospel performers and composers would no doubt dispute this claim. Therefore, answer D is incorrect.
The standout trumpeter in a high school concert band lately has been making obvious mistakes and throwing off the ensemble during rehearsals. The director strongly suspects that she has not been practicing. What would be an appropriate intervention?
a. Ask the student to perform her piece in front of the entire group, and say that she will be doing so for the next week.
b. Confer with the student privately about the importance of practice, and warn her that her top spot could slip in an upcoming trial for first chair.
c. Nothing; these things have a way of working themselves out.
d. Levy consequences to the entire trumpet section, in the hopes that they will apply peer pressure to their first chair.
B:
Would be an appropriate intervention for the horn player in question. High school students, even those in “elite” situations, sometimes will err in their responsibilities, especially those high achievers that may spread themselves too thin between academics and other activities such as music. Because they are young, they will benefit from discrete reminders about the importance of practice and preparation in music. It would be inappropriate to use the solution suggested by answer A; humiliating a student is never acceptable in any setting, especially not in front of his or her peers. Answer C, doing nothing, would not be appropriate, since practice is important and should be addressed. Finally, answer D, is an inappropriate consequence. Discipline should be applied to groups only when most if not all of the students in question have been involved in the infraction.
According to The National Association for Music Education standards for music teachers, which grade level’s students might be assessed in their singing of the song “America the Beautiful”?
a. Pre-Kindergarten
b. K-4
c. 5-8
d. 9-12
B:
Grades K-4. The association states that a student meets the national singing standards if he or she can sing the song in question with proper tone, pitch, and rhythm. Furthermore, it cites “America the Beautiful” specifically as an appropriate song for assessment of general music students in grades K-4. When assessing pre-school students, the teacher asks the student to pick a favorite song. Therefore, answer A is incorrect. In answer C, 5-8, and answer D, 9-12, it is assumed that the teacher has a wide variety of more advanced songs from which to choose appropriate means of assessment. Accordingly, answers C and D are incorrect.
According to standards set forth for music teachers by the state of Texas, beginning music teachers working with children from early childhood to fourth grade (EC-4) should:
a. have an advanced music degree from an accredited institution
b. be able to sing or play a musical instrument
c. be at least 25 years old
d. have performed professionally, i.e. on a paying basis for at least six months
B:
Music teachers should be able to sing or play a musical instrument. This is one of the areas in which teachers of music to younger children can be considered generalists, and therefore do not have to be able to sing and play an instrument at a mastered level. In addition, while teachers working with younger children are held to the same standards as teachers working in upper elementary school through high school, they are expected to have basic understanding of many of these standards. Neither Texas state standards nor the state law require teachers to have an advanced music degree from an accredited institution, nor do they put an age requirement of 25 years or older on teachers. Finally, they do not require that music teachers have a professional music background. Therefore, answers A, C, and D are incorrect.
When accused of substantial wrongdoing in a classroom or other setting involving students, when should a teacher admit liability?
a. never
b. if ordered to do so by an administrator
c. if doing so will mean the problem can be resolved
d. when talking to the media
A:
Never. Under no circumstances should a teacher admit wrongdoing in significant cases, such as those involving misconduct or negligence. Doing so could place a teacher’s career, certification, and legal status in jeopardy. Because the school’s interest may run counter to that of a teacher, regardless of his or her innocence or culpability, a teacher never should admit wrongdoing until he or she has retained legal counsel, which usually will not be provided by the teacher’s school district or school board. Therefore, answers B, C, and D are incorrect.
Which of the following statements is true of a diagnostic assessment?
a. It is performed at the beginning of the semester, and it includes auditions.
b. It is performed in the middle of the semester, and is an important component of a student musician’s midterm letter grade.
c. It is another term for summative assessment.
d. It never should be reserved for students college age and above.
A:
Diagnostic assessment is performed at the beginning of a semester and includes auditions for select ensembles. While diagnostic assessment can be used to assess a student’s skill level and to judge whether he or she is prepared to enter a more advanced band or choir, it also can be used to determine one or more students’ skill levels before the teacher begins selecting the semester’s music and planning its lessons. Answer B, an assessment performed in the middle of the semester, would be better termed as a formative assessment. Answer B is incorrect. Answer C, a summative assessment, would be performed at the end of the semester in order to give a summary assessment of skills the student has been expected to know. Since diagnostic assessments are key to students of virtually every age, answer D, reserving them for college age students, is incorrect.
Students with overbites tend to play with their brass instruments pointed downward, which hurts their sound and can affect their posture. Which of the following statements offers an acceptable way for a band teacher to correct this problem?
a. Teach the student to bend his or her wrists to compensate.
b. Require that all horn players have a more “normal” bite or be under the care of an orthodontist.
c. The teacher should accept that students play differently; the orientation of the instrument should not affect its tone or volume.
d. Suggest that the student move the jaw forward comfortably.
D:
Suggesting that the student move his or her lower jaw forward, as long as such a shift is comfortable and does not affect the student’s embouchure. Severely altering the orientation of a musician’s wrists will not solve the problem and will affect adversely the way he or she uses his or her hands, so answer A is incorrect. Also incorrect is answer B, as requiring all students to have proper bite or orthodontia would be unnecessarily impractical and exclusionary. Nonetheless, the incorrectness of answers A and B do not imply that an overbite or improper orientation of the horn should be acceptable in an ensemble, as it can affect tone and projection. Therefore, answer C is incorrect.
Which of the following assessment scales would be appropriate for a teacher measuring progress of her second grade music students?
a. letter grades, A to F
b. percentages
c. second graders are too young for assessments; the focus should be on an introduction to music without judgment or pressure
d. a simple system such as checks and plusses
D:
A simple system such as checks (for meeting the standard) and plusses (for exceeding them). A third symbol, such as an O for approaching the standard, also would be appropriate. Answer A, assigning letter grades, would be appropriate only for older students, and then only as an overall grade. Therefore, answer A is incorrect. Also incorrect is answer B, percentages, since they would be overly detailed and unnecessary to assess the basic process of students so young. Conversely, answer C, which asserts that second graders are too young for assessment, is incorrect, as state and national standards exist for students as young as those of pre-school age.
Which of the following styles of music would feature taiko drums?
a. Navajo
b. Chinese
c. West African
d. Japanese
D:
Japanese. The taiko is an important feature to Japanese music, from classical to folk to other pieces composed in the present day. It is often played alone or in taiko ensembles. While various styles of drum are important in the other musical styles listed, the taiko is key only to Japanese music; indeed, taiko means “drum” in Japanese. As a result, all other answers would be incorrect.
