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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. Highest natural adult male voice






2. Smallest unit of musical form. Can be as short as two notes or as long as six. A motif has Clear rhythmic patterns as well as a clear melodic outline.






3. Between 2/3 - 5/6 - 7/8






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






5. Second tone in a major/minor scale






6. Child - developmental approach. Quarter note = ta. Eight note pairs = ti ti. Half note = ta - a. Moveable do and hand signs.






7. How high or low a note is.






8. Glissando in vocal music






9. Between 3/4 and 7/8






10. Repeating a rhythm in a different part of the bar.






11. Accompaniment style popular in the classical period. Instead of writing simple chords for the left hand - the composer arranges the same notes in a pattern of broken chords.






12. Alto and tenor clefs






13. Smallest interval in common use in western music. The interval between one note on the piano and the next.






14. Sounds major 13th lower. i.e. major sixth + octave






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






16. An annual budget is provided for the replacement of school - owned instruments that is equivalent to at least ______ of the current replacement value of the total inventory.






17. Combination of aggreable tones.






18. Notes that are not in the key of the composition. Romatic period is known as the period of chromaticism.






19. Gives stopping place to breathe. Signals the end of both small and large musical sections.






20. Short - constantly repeated motif. Usually - but not always in the bass.






21. Another word for key.






22. IV - I






23. I - V ii - V IV - V






24. Note that does not form part of the harmony and is approached by a leap and quitted by a step






25. Music where two or more equally important melodic lines are combined and woven together with rhythmic contrast happening between the voices.






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






27. Key note. Tonic of C major is C. The tonic triad is C E G.






28. Sounds major second lower. Same as B flat trumpets.






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






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






31. Intervals of the first phrase are NOT reproduced exactly.






32. Without key center






33. Middle C






34. Scale consisting of five notes. No semitones. One major third - two minor thirds. All fifths are perfect.






35. Used to give a more melodic bass part and to give variety to the music.






36. Sixth tone in a major or minor scale






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






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






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






40. Interval of less than a semitone






41. D- D






42. Articulation on guitar produced by sliding the finger from one fret to the next up and back.






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






44. Accenting of a beat that is not normally accented






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






46. 1. Avoiding ledger lines 2. Provide a better key signature 3. Avoid changing the pattern of fingering for different pitches






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






48. Background support for a melody.






49. Educator in Moravian church in 1600s. Believed music ed was instinctual for children who first learn to make sounds through vocalizations..






50. V - vi