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Praxis II Music Education Vocab

Instructions:
  • Answer 50 questions in 15 minutes.
  • If you are not ready to take this test, you can study here.
  • Match each statement with the correct term.
  • Don't refresh. All questions and answers are randomly picked and ordered every time you load a test.

This is a study tool. The 3 wrong answers for each question are randomly chosen from answers to other questions. So, you might find at times the answers obvious, but you will see it re-enforces your understanding as you take the test each time.
1. Only occur in the melody over an independent bass.






2. Musical announcement played on brass instruments before the arrival of an important person. Usually played on trumpets and built from the notes of one major triad.






3. A- A






4. Pick up bar.






5. Thick or thin - How many instruments or voices are performing together.






6. Clarinets - bass clarinets - trumpets - tenor saxes - baritones






7. Music that moves in harmonic blocks (as opposed to the linear way polyphonic music moves)






8. Breaking of a melody into single notes or very short phrases by using rests. The melody is then shared between different voices.






9. Instruction to use the bow after a plucked passage of music.






10. Ending section designed to round off a musical composition.






11. F- F






12. Type of counterpoint (polyphony) where one or more voices imitate a leading voice.






13. Repetition by one or more different voices of a phrase.






14. V - vi






15. Piccolo - Guitar - Bass Guitar






16. Increasing the note values of a musical theme - usually to twice their value.






17. Repeating a theme or motif with notes of smaller value (usually half)






18. C clef sometimes used by the cello - bassoon - and trombone. C is on the second to top line






19. Turning upside down. Change of the relative position of an interval - chord - or melody.






20. Music that attemtps to paint a picture or mood - describe an action - or tell a story. Very popular in the Romantic period.






21. Middle C






22. Modification of motif and themes. The main ways of developing a theme are by imitation - sequence - inversion - fragmentation - augmentation - and diminution.






23. Musical shaping and phrasing. Marks include staccato - legato - accent.






24. Form of decoration; Unessential note that is not part of the harmony. Occurs off the beat.






25. Consists entirely of whole steps.






26. Fourth tone in a major/minor scale






27. Made smaller.






28. Alto and tenor clefs






29. General music courses involve listening - composing - and performing for all students.






30. A melody moves by inversion if it moves in ___________ when repeated. Sometimes the intervals are not exact.






31. Founder of kindergarten. Advocated dance and music in regards to nature as they played outside. Wrote Mother Play and Nursery songs with tunes.






32. Gliding or sliding from one note to another. Can be shown by a line between notes or by writing the actual notes to be played.






33. IV - I






34. Pure music - not linked to words or descriptive ideas. Opposite of program music.






35. Smallest complete unit of musical form containing about as much as can be held in a normal breath. Can be two to eight bars long.






36. Third tone in a major or minor scale






37. Background support for a melody.






38. Phrase is imitated by turning it upsidedown.






39. Rhythms that constantly change or are grouped in a different way.






40. Sounds major 16th lower. i.e. major second + two octaves






41. Distance between any two notes






42. Scales that share the same key signature (C major - A minor)






43. If the pedal is in any part other than the bass.






44. Stress placed on a particular note in relation to others around it.






45. Sounds major sixth lower. Written with key signature.






46. Fifth tone in a major or minor scale.






47. Natural Pitch






48. Sharpened 6 and 7 - but reverted to naturals when descending






49. Come at the end of a passage and anticipate the final chord.






50. Only the rhythm of a passage is imitated - not the melody.