Vocal Classroom Music (Grades K–12)

Subtest 1 Sample Items

Recommendation for individuals using a screenreader: please set your punctuation settings to "most."

Expand All | Collapse All

Question 1

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

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

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

Answer to question 1

Answer Enter to expand or collapse answer. Answer expanded

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

Question 2

2. Which of the following scales or modes is featured in this excerpt?

(The examinee listens to a 5-second rendition of a scale performed on a piano. The excerpt is played twice.)

1. natural minor
2. Ionian
3. pentatonic
4. Dorian

Answer to question 2

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: C. (Objective 0001) The excerpt is a 5-note scale built on the note C (c-d-f-g-a-c′) performed on a piano. Since the word pentatonic implies a scale that has five tones to the octave, the correct response is pentatonic. Correct Response: C. (Objective 0001) The excerpt is a 5-note scale built on the note C (c-d-f-g-a-c′) performed on a piano. Since the word pentatonic implies a scale that has five tones to the octave, the correct response is pentatonic.

Question 3

3. Which of the following is the most likely time signature for this excerpt?

(The examinee listens to a 15-second excerpt of an orchestral work from the Romantic period. The excerpt is played twice.)

Answer to question 3

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: C. (Objective 0001) This excerpt fits best into a pattern of five beats per measure. The notated rhythm of the first measure is as follows: 1 quarter note, 2 eighth notes, 1 half note, and 2 eighth notes. If the quarter note is worth one beat, the count for the first measure would be 1 – 2 and 3 – 4 – 5. Thus, the correct response is a time signature of . Correct Response: C. (Objective 0001) This excerpt fits best into a pattern of five beats per measure. The notated rhythm of the first measure is as follows: 1 quarter note, 2 eighth notes, 1 half note, and 2 eighth notes. If the quarter note is worth one beat, the count for the first measure would be 1 – 2 and 3 – 4 – 5. Thus, the correct response is a time signature of five four.

Question 4

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

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

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

Answer to question 4

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: D. (Objective 0001) The excerpt contains a progression of seven chords played on a piano. The next to last chord is F major and the final chord is C major. In the key of C major these chords would be identified as IV – I. A cadence proceeding from the IV chord to the I chord is known as a plagal cadence. This is the familiar "Amen" cadence used at the end of many hymns and prayers in Christian churches. Correct Response: D. (Objective 0001) The excerpt contains a progression of seven chords played on a piano. The next to last chord is F major and the final chord is C major. In the key of C major these chords would be identified as IV – I. A cadence proceeding from the IV chord to the I chord is known as a plagal cadence. This is the familiar "Amen" cadence used at the end of many hymns and prayers in Christian churches.

Question 5

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

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

Answer to question 5

Answer Enter to expand or collapse answer. Answer expanded

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

Question 6

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

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

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

Answer to question 6

Answer Enter to expand or collapse answer. Answer expanded

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

Question 7

7. Which of the following best describes the main characteristic of the music in the excerpt?

(The examinee listens to a 20-second excerpt of sacred music from the Middle Ages, in which two parts are moving note against note at the interval of a fifth. The excerpt is played twice.)

1. free organum
2. measured organum
3. melismatic organum
4. parallel organum

Answer to question 7

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: D. (Objective 0002) The earliest type of preserved polyphonic music from the Middle Ages is known as organum. When a second part is added to the main part, note against note at the lower fifth (as in the excerpt), it is called parallel organum. Correct Response: D. (Objective 0002) The earliest type of preserved polyphonic music from the Middle Ages is known as organum. When a second part is added to the main part, note against note at the lower fifth (as in the excerpt), it is called parallel organum.

Question 8

8. Which of the following church modes is featured in this excerpt of a melody from the thirteenth century?

(The examinee listens to a 15-second excerpt of a chant from the Medieval period. The excerpt is played twice.)

1. Dorian
2. Lydian
3. Mixolydian
4. Phrygian

Answer to question 8

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: B. (Objective 0002) The church modes (ecclesiastical modes) are a system of scales originating in the Middle Ages, each consisting of the notes of the C major scale but starting and closing on different notes, and limited to the range of approximately an octave. This excerpt is an example of the Lydian mode, which corresponds to a sequence of notes starting and ending with f. The order of whole (W) steps and half (H) steps in the Lydian mode is W-W-W-H-W-W-H. Another way to think of the Lydian pattern is as a major scale with a raised fourth scale degree. Correct Response: B. (Objective 0002) The church modes (ecclesiastical modes) are a system of scales originating in the Middle Ages, each consisting of the notes of the C major scale but starting and closing on different notes, and limited to the range of approximately an octave. This excerpt is an example of the Lydian mode, which corresponds to a sequence of notes starting and ending with f. The order of whole (W) steps and half (H) steps in the Lydian mode is W-W-W-H-W-W-H. Another way to think of the Lydian pattern is as a major scale with a raised fourth scale degree.

Question 9

9. Which of the following Baroque composers most likely wrote this excerpt?

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

1. Johann Sebastian Bach
2. Claudio Monteverdi
3. Henry Purcell
4. Antonio Vivaldi

Answer to question 9

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: A. (Objective 0002) A chorale was historically and traditionally a hymn tune of the German Protestant Church, developed during the Protestant Reformation. This excerpt was written by Johann Sebastian Bach, who was a German organist, choir master, and composer during this period in music history. His chorale harmonizations are still used widely and are regarded as models for the writing of tonal harmony in four parts. Correct Response: A. (Objective 0002) A chorale was historically and traditionally a hymn tune of the German Protestant Church, developed during the Protestant Reformation. This excerpt was written by Johann Sebastian Bach, who was a German organist, choir master, and composer during this period in music history. His chorale harmonizations are still used widely and are regarded as models for the writing of tonal harmony in four parts.

Question 10

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

(The examinee listens to a 25-second excerpt of plainchant written for Play of Virtues, a medieval play. The excerpt is played twice.)

1. Hildegard von Bingen
2. Francesca Caccini
3. Francesco Landini
4. Guillaume de Machaut

Answer to question 10

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: A. (Objective 0002) Hildegard von Bingen, a Benedictine nun during the Middle Ages, wrote monophonic music in the style of plainchant. She composed a collection of nearly 80 chants and a morality play, Play of Virtues,to be sung as a complete work. The excerpt contains a rendition of some of the music from that play. Correct Response: A. (Objective 0002) Hildegard von Bingen, a Benedictine nun during the Middle Ages, wrote monophonic music in the style of plainchant. She composed a collection of nearly 80 chants and a morality play, Play of Virtues,to be sung as a complete work. The excerpt contains a rendition of some of the music from that play.

Question 11

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

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

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

Answer to question 11

Answer Enter to expand or collapse answer. Answer expanded

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

Question 12

12. Which of the following twentieth-century compositional techniques is featured in this excerpt?

(The examinee listens to a 25-second excerpt of a piano work from the twentieth century. The excerpt is played twice.)

1. bitonality
2. parallel harmony
3. pantonality
4. quartal harmony

Answer to question 12

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: B. (Objective 0003) This excerpt features the technique of parallel harmony, which is the successive sounding of a fixed chordal combination through various degrees of a scale. The combination can be consonant or dissonant. This technique was widely used during the twentieth century, and it is often regarded as a characteristic feature of impressionism. Correct Response: B. (Objective 0003) This excerpt features the technique of parallel harmony, which is the successive sounding of a fixed chordal combination through various degrees of a scale. The combination can be consonant or dissonant. This technique was widely used during the twentieth century, and it is often regarded as a characteristic feature of impressionism.

Question 13

13. Which of the following twentieth-century composers most likely composed this excerpt?

(The examinee listens to a 30-second excerpt of a minimalist piece composed during the twentieth century. The excerpt is played twice.)

1. John Adams
2. John Cage
3. Tan Dun
4. Samuel Barber

Answer to question 13

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: A. (Objective 0003) The ensemble in the excerpt is a full orchestra and two electronic keyboard synthesizers. The music is composed of short, mostly four-note motives that continually repeat. This style of composition is called minimalism, in which a very small musical unit is repeated over and over to form a composition. John Adams is best known as one of the most successful minimalist composers and is therefore the most likely composer of this work. Correct Response: A. (Objective 0003) The ensemble in the excerpt is a full orchestra and two electronic keyboard synthesizers. The music is composed of short, mostly four-note motives that continually repeat. This style of composition is called minimalism, in which a very small musical unit is repeated over and over to form a composition. John Adams is best known as one of the most successful minimalist composers and is therefore the most likely composer of this work.

Question 14

14. Which of the following musical forms is demonstrated in this excerpt?

(The examinee listens to an excerpt of the third movement of a late eighteenth-century symphony. The excerpt is played twice.)

1. fugue
2. minuet
3. passacaglia
4. scherzo

Answer to question 14

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: B. (Objective 0003) The excerpt features an orchestra playing a composition with simple triple meter, moderate danceable tempo, and homophonic texture. These characteristics are typical for the third movement minuet of a late eighteenth-century symphony. Options A and C have polyphonic textures. The scherzo, which replaced the minuet as the third-movement genre of choice starting in the nineteenth century, contains a fast tempo that creates the impression of a compound meter. Thus, the correct answer is B. Correct Response: B. (Objective 0003) The excerpt features an orchestra playing a composition with simple triple meter, moderate danceable tempo, and homophonic texture. These characteristics are typical for the third movement minuet of a late eighteenth-century symphony. Options A and C have polyphonic textures. The scherzo, which replaced the minuet as the third-movement genre of choice starting in the nineteenth century, contains a fast tempo that creates the impression of a compound meter. Thus, the correct answer is B.

Question 15

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

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

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

Answer to question 15

Answer Enter to expand or collapse answer. Answer expanded

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

Question 16

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

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

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

Answer to question 16

Answer Enter to expand or collapse answer. Answer expanded

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

Question 17

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

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

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

Answer to question 17

Answer Enter to expand or collapse answer. Answer expanded

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

Question 18

18. Which of the following best describes the musical style of this excerpt?

(The examinee listens to a 45-second excerpt from an Argentinian dance. The excerpt is played twice.)

1. cumbia
2. reggae
3. samba
4. tango

Answer to question 18

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: A. (Objective 0004) The excerpt is from a famous tango, La Cumparsita. The music is in a slow duple meter with straightforward harmony and a repetitive rhythmic pattern. The accompaniment consists of a bandoneón (button accordion), violin, piano, and guitar. The overall style of this excerpt could best be described as a tango, which evolved in Argentina and Uruguay during the nineteenth century. Correct Response: A. (Objective 0004) The excerpt is from a famous tango, La Cumparsita. The music is in a slow duple meter with straightforward harmony and a repetitive rhythmic pattern. The accompaniment consists of a bandoneón (button accordion), violin, piano, and guitar. The overall style of this excerpt could best be described as a tango, which evolved in Argentina and Uruguay during the nineteenth century.

Question 19

19. Which of the following is the correct title and composer for the Broadway musical featured in this excerpt?

(The examinee listens to a 45-second excerpt from a Broadway musical. The excerpt is played twice.)

1. My Fair Lady by Frederick Loewe
2. West Side Story by Leonard Bernstein
3. Sweeney Todd by Stephen Sondheim
4. Carousel by Richard Rodgers

Answer to question 19

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: B. (Objective 0004) The excerpt features music from a scene in West Side Story in which the hit song "Tonight," a duet featuring Tony and Maria, is alternated with music by the two gangs, the Jets and the Sharks, as they are singing about a possible rumble between them. Elements of jazz, both in the orchestration and in the syncopated rhythms, are evident in the music. West Side Story, a Broadway musical about gangs on the streets of New York, has music composed by Leonard Bernstein and was first staged in 1957. Correct Response: B. (Objective 0004) The excerpt features music from a scene in West Side Story in which the hit song "Tonight," a duet featuring Tony and Maria, is alternated with music by the two gangs, the Jets and the Sharks, as they are singing about a possible rumble between them. Elements of jazz, both in the orchestration and in the syncopated rhythms, are evident in the music. West Side Story, a Broadway musical about gangs on the streets of New York, has music composed by Leonard Bernstein and was first staged in 1957.

Question 20

20. Which of the following characteristics of jazz is featured in this excerpt?

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

1. flat-four beat
2. gospel rhythm
3. 12-bar blues
4. ragtime ballad

Answer to question 20

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: C. . (Objective 0004) The excerpt features a piano comping, an acoustic bass outlining the chords, and a high hat and ride cymbal all playing twelve measures of the chord progression known as 12-bar blues. Originally the blues did not have a set form. It was simply known as a sorrow song or country blues. Eventually it evolved into a set form, with 12-bar blues becoming the most common version. This form became the basis for many jazz tunes, rhythm and blues tunes, and other songs in popular music. Correct Response: C. (Objective 0004) The excerpt features a piano comping, an acoustic bass outlining the chords, and a high hat and ride cymbal all playing twelve measures of the chord progression known as 12-bar blues. Originally the blues did not have a set form. It was simply known as a sorrow song or country blues. Eventually it evolved into a set form, with 12-bar blues becoming the most common version. This form became the basis for many jazz tunes, rhythm and blues tunes, and other songs in popular music.

Question 21

21. This excerpt is representative of which of the following styles of Latin American music?

(The examinee listens to a 20-second excerpt of a folk song performed on a steel drum. The excerpt is played twice.)

1. calypso
2. reggae
3. salsa
4. son

Answer to question 21

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: A. (Objective 0004) The excerpt features a steel drum band playing a calypso standard called "Marianne." Steel drum bands, now popular throughout the Caribbean, originated in Trinidad and the nearby island of Tobago. Calypso can be slow or fast and is usually in duple meter with a lot of syncopation. Correct Response: A. (Objective 0004) The excerpt features a steel drum band playing a calypso standard called "Marianne." Steel drum bands, now popular throughout the Caribbean, originated in Trinidad and the nearby island of Tobago. Calypso can be slow or fast and is usually in duple meter with a lot of syncopation.

Question 22

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

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

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

Answer to question 22

Answer Enter to expand or collapse answer. Answer expanded

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

Question 23

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

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

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

Answer to question 23

Answer Enter to expand or collapse answer. Answer expanded

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

Question 24

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

(The examinee listens to a performance of the following music played by a string quartet. The excerpt is played twice.)

Violin one, violin two, viola, and cello. Metronome mark set to 100. The notes for all of these instruments consist of eight measures.
Violin one. Treble clef, key of D Major. Two over four time signature. Measure one. Piece begins in piano. Eighth note rest. Eighth note on D, followed by two beamed eighth notes, one on C, the other on B. Measure two. Quarter note on A sharp. Quarter note on C. Slur extending from the single eighth note on D in measure one and the C in measure two. Measure three. Quarter note on B. Quarter note on F. A slur connects these two notes. Measure four. Quarter note on F. Quarter note on G sharp. Tie extending from the quarter note on F in measure 3 to the quarter note on F in measure 4. Measure 5. Quarter note on A. Quarter note on C. Measure 6. Quarter note on B. Quarter note on F. Slur extending from the quarter note on G sharp in measure 4 to the quarter note on F in measure 6. Crescendo extending across the second note in measure five to the end of measure six. Measure 7. Quarter note on B. Two beamed eighth notes, one on A with a natural sign in parentheses, the other on G. Measure 8. Half note on F. Slur extending from the quarter note on B in measure 7 to the half note on F in measure 8. Decrescendo extending across the beginning of measure seven to the end of measure 8.
Violin two. Treble clef, key of D Major. Two over four time signature. Measure one. Piece begins in piano. Four beamed eighth notes, the first on the D just above middle C, the second on F, the third on E, and the fourth on the D just above middle C. Measure two. Quarter note on middle C. Quarter note on the A sharp one ledger line below middle C. Slur extending from the first eighth note just above middle C in measure one to the quarter note on the A sharp in measure two. Measure three. Quarter note on the B just below middle C. Quarter note on the D just above middle C. Measure four. Two quarter notes, both on F. Slur extending from the D just below middle C in measure three to the first quarter note on F in measure four. Measure five. Two quarter notes, both on F. Tie connecting the second quarter note on F in measure four to the first quarter note on F in measure five. Measure six. Two quarter notes, both on F. Tie connecting the second quarter note on F in measure five to the first quarter note on F in measure six. Crescendo extending across the second note in measure five to the end of measure six. Measure seven. Quarter note on F. Quarter note on E. Tie connecting the second quarter note on F in measure six to the first quarter note on F in measure seven. Slur extending from the second quarter note on F in measure six to the second quarter note on E in measure seven. Measure eight. Half note on the D just above middle C. Decrescendo extending from the beginning of measure seven to the end of measure eight.
Viola. C clef, key of D Major. Two over four time signature. Measure one. Piece begins in piano. Half note on E. Measure two. Half note on E. Tie connecting the two half notes. Measure three. Quarter note on E. Quarter note on F sharp. Measure four. Quarter note on G sharp. Quarter note on A. Slur extending from quarter note on E in measure three to quarter note on A in measure four. Measure five. Quarter note on B. Quarter note on G sharp. Measure six. Quarter note on A. Quarter note on C. Slur extending from quarter note on B in measure five to quarter note on C in measure six. Crescendo extending from the quarter note on G sharp in measure five to the end of measure six. Measure seven. Quarter note on C. Quarter note on B. Tie connecting the quarter note on C in measure six to the quarter note on C in measure seven. Measure eight. Half note on C. Decrescendo extending from the quarter note on B in measure seven to the end of measure eight.
Cello. Bass clef, key of D Major. Two over four time signature. Measure one. Piece begins in piano. Quarter note on B. Quarter note on D. Measure two. Quarter note on F. Quarter note on E. Slur extending from quarter note on B in measure one to quarter note on E in measure two. Measure three. Quarter note on D. Quarter note on B. These two notes are connected by a slur. Measure four. Half note on F just below the staff. Measure five. Quarter note on F. Quarter note on E. Measure six. Quarter note on D. Quarter note on B. Slur extending from the quarter note on F in measure five to the quarter note on B in measure six. Crescendo extending from the quarter note on E in measure five to the end of measure six. Measure seven. Quarter note on G. Quarter note on A. Measure eight. Half note on D. Slur extending from the quarter note on G in measure seven to the half note on D in measure eight. Decrescendo extending from the quarter note on A in measure seven to the end of measure eight.

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

1. The viola does not follow correct phrasing in measure 4.
2. The first violin and viola do not play A sharp in measure 5.
3. The cello does not perform the crescendo in measures 5 and 6.
4. The second violin does not observe the tie in measures 6 and 7.

Answer to question 24

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: B. (Objective 0005) In measure 5 of the excerpt, the first violin and viola play A natural instead of the A sharp that is indicated in the score. The excerpt begins in B melodic minor with the sixth and seventh scale degrees raised, and it eventually modulates to the relative major (D). It is still in B melodic minor in measures 5 and 6. Therefore, as indicated in the score, A should be played with a sharp. Correct Response: B. (Objective 0005) In measure 5 of the excerpt, the first violin and viola play A natural instead of the A sharp that is indicated in the score. The excerpt begins in B melodic minor with the sixth and seventh scale degrees raised, and it eventually modulates to the relative major (D). It is still in B melodic minor in measures 5 and 6. Therefore, as indicated in the score, A should be played with a sharp.

Question 25

25. Which of the following expressive elements is featured most prominently in this excerpt?

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

1. articulation
2. tempo
3. phrasing
4. dynamics

Answer to question 25

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: D. (Objective 0005) Expression markings in music are used to indicate aspects of a work other than pitches and rhythms that should be realized in a performance. Some of the basic types of expressive elements are tempo, dynamics, legato, staccato, and phrasing. The most prevalent expressive element in this excerpt is the contrast between soft and loud, which is referred to in music as the dynamics of a piece. Correct Response: D. (Objective 0005) Expression markings in music are used to indicate aspects of a work other than pitches and rhythms that should be realized in a performance. Some of the basic types of expressive elements are tempo, dynamics, legato, staccato, and phrasing. The most prevalent expressive element in this excerpt is the contrast between soft and loud, which is referred to in music as the dynamics of a piece.

Question 26

26. A high school choral director is auditioning an eleventh-grade female for a place in the concert choir. Which of the following parts would likely be the best fit for this student's voice?

(The examinee listens to a 20-second excerpt of a vocal solo sung by a high school student as part of an audition for the concert choir. The excerpt is played twice.)

1. first soprano
2. second soprano
3. first alto
4. second alto

Answer to question 26

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: C. (Objective 0005) In this excerpt, the singer's singable range is between the A below the treble clef staff and the E in the top space. Range is a helpful indication of whether the student is a soprano or an alto, but it is not necessarily conclusive, nor does it indicate whether the student should sing the first or second part. The individual's vocal timbre is very important in determining the correct placement. The director should listen for the part of the singer's range that sounds fullest and is produced with the most freedom. The student in the excerpt would most likely be most comfortable as a first alto, because she has a good range but sounds a bit weak on the lower notes. Correct Response: C. (Objective 0005) In this excerpt, the singer's singable range is between the A below the treble clef staff and the E in the top space. Range is a helpful indication of whether the student is a soprano or an alto, but it is not necessarily conclusive, nor does it indicate whether the student should sing the first or second part. The individual's vocal timbre is very important in determining the correct placement. The director should listen for the part of the singer's range that sounds fullest and is produced with the most freedom. The student in the excerpt would most likely be most comfortable as a first alto, because she has a good range but sounds a bit weak on the lower notes.

Question 27

27. This excerpt is most likely an arrangement for which of the following voice parts?

(The examinee listens to a 30-second excerpt of a choral piece for a junior high school choir. The excerpt is played twice.)

1. SATB
2. SAAB
3. SACB
4. SSCB

Answer to question 27

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: C. (Objective 0005) The vocal ensemble in the excerpt is a junior high school choir with typical soprano, alto, and baritone parts, along with a special cambiata part for boys with changing voices. The ranges for the soprano, alto, and baritone are appropriate for average junior high singers. The top note for the sopranos is top-line F in the treble clef, the top note for the altos is third-space C in the treble clef, and the top note for the baritones is B on top of the staff in bass clef. The range of the additional part for boys is from fourth-line F in the bass clef to middle C. Therefore, the arrangement of the piece in the excerpt is SACB. Correct Response: C. (Objective 0005) The vocal ensemble in the excerpt is a junior high school choir with typical soprano, alto, and baritone parts, along with a special cambiata part for boys with changing voices. The ranges for the soprano, alto, and baritone are appropriate for average junior high singers. The top note for the sopranos is top-line F in the treble clef, the top note for the altos is third-space C in the treble clef, and the top note for the baritones is B on top of the staff in bass clef. The range of the additional part for boys is from fourth-line F in the bass clef to middle C. Therefore, the arrangement of the piece in the excerpt is SACB.

Question 28

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

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

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

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

Answer to question 28

Answer Enter to expand or collapse answer. Answer expanded

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

Question 29

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

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

Answer to question 29

Answer Enter to expand or collapse answer. Answer expanded

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

Question 30

30. Which of the following general music methodologies maintains the philosophy that singing is the best foundation for musicianship?

1. Dalcroze
2. Gordon
3. Kodály
4. Orff

Answer to question 30

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: C. (Objective 0006) One of the basic tenets of the philosophy underlying the Kodály approach is that singing is the best foundation for musicianship. Zoltán Kodály held that singing is as natural to a child as speaking, and to use this innate ability in teaching music literacy is both practical and effective. Practitioners using this approach believe musical knowledge acquired through singing is internalized much more effectively than knowledge that is acquired through the use of an instrument. Correct Response: C. (Objective 0006) One of the basic tenets of the philosophy underlying the Kodály approach is that singing is the best foundation for musicianship. Zoltán Kodály held that singing is as natural to a child as speaking, and to use this innate ability in teaching music literacy is both practical and effective. Practitioners using this approach believe musical knowledge acquired through singing is internalized much more effectively than knowledge that is acquired through the use of an instrument.

Question 31

31. Which of the following general music methodologies contains a set of goals for teacher-directed activities—the first of which is creating an environment in which students feel they belong and can safely make a contribution to the group, such as in a children's musical game or in communal music making?

1. Comprehensive Musicianship
2. Gordon's Music Learning Theory
3. Dalcroze method
4. Orff-Schulwerk method

Answer to question 31

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: D. (Objective 0006) In the Orff-Schulwerk method, there are large central ideas or goals around which the curriculum is organized. These are the goals in the teacher's mind as he or she leads the students through Orff activities. The first of these goals is to encourage a sense of community through musical experiences. Games that engage and include everyone tend to give children that sense of belonging to a group and being a contributing member. Communal music making, when properly prepared and organized, can serve the same purpose. Correct Response: D. (Objective 0006) In the Orff-Schulwerk method, there are large central ideas or goals around which the curriculum is organized. These are the goals in the teacher's mind as he or she leads the students through Orff activities. The first of these goals is to encourage a sense of community through musical experiences. Games that engage and include everyone tend to give children that sense of belonging to a group and being a contributing member. Communal music making, when properly prepared and organized, can serve the same purpose.

Question 32

32. Which of the following activities would likely be most effective in combining music and the visual arts in a fourth-grade general music class?

1. asking students to draw freely while listening to a recording of traditional music from a country other than the United States
2. having students compare the prints, paintings, sculptures, and music of artists from the same historical period
3. having students discuss the music of various composers who acknowledge they were inspired by works of visual art
4. asking students to use lines, colors, and patterns to illustrate various musical events in a recording of absolute music

Answer to question 32

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: D. (Objective 0006) Music and the visual arts share some of the terms used to describe elements, but their meaning is very different because the visual arts function in space, not time. One way the visual arts can be combined authentically and effectively with music is to use lines, colors, and patterns to illustrate various musical events as they occur in absolute, or nonreferential, music. For example, students could listen to a Bach two-part invention and use different-colored lines to show the shape of melodies in the two lines of the invention; then use the same patterns to show where imitation occurs. After that, students could discuss the similarities and/or differences in what they have drawn. Correct Response: D. (Objective 0006) Music and the visual arts share some of the terms used to describe elements, but their meaning is very different because the visual arts function in space, not time. One way the visual arts can be combined authentically and effectively with music is to use lines, colors, and patterns to illustrate various musical events as they occur in absolute, or nonreferential, music. For example, students could listen to a Bach two-part invention and use different-colored lines to show the shape of melodies in the two lines of the invention; then use the same patterns to show where imitation occurs. After that, students could discuss the similarities and/or differences in what they have drawn.

Question 33

33. A middle school music teacher is planning to introduce the playing of a I–IV–V–I chord progression to students in a beginning guitar class. The students have already learned the chords A, B flat, C, D, E, F, and G. In which of the following keys would this chord progression be easiest for students to learn first?

1. C major
2. D major
3. F major
4. G major

Answer to question 33

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: B. (Objective 0006) In teaching this basic chord progression that is fundamental to playing simple song accompaniments, it is important to give beginning students the best chance for success by using the series of chords that involves the fewest fingers and the simplest finger movements from chord to chord. In the key of D major, the chords D (I), G (IV), and A (V) each involve only the first three fingers, whose placement is entirely between the second and third frets, requiring very minimal shifting of fingers between chord changes. Therefore, it would be easiest for students to first learn this chord progression in the key of D major. Correct Response: B. (Objective 0006) In teaching this basic chord progression that is fundamental to playing simple song accompaniments, it is important to give beginning students the best chance for success by using the series of chords that involves the fewest fingers and the simplest finger movements from chord to chord. In the key of D major, the chords D (I), G (IV), and A (V) each involve only the first three fingers, whose placement is entirely between the second and third frets, requiring very minimal shifting of fingers between chord changes. Therefore, it would be easiest for students to first learn this chord progression in the key of D major.

Question 34

34. Use the example below to answer the question that follows.

Bass clef, key of G major, common time signature. Measure one. Eighth note on F. Measure two. Dotted quarter note on G. Eighth note on F. Dotted quarter note on E. Eighth note on B. Measure three. Set of four beamed eighth notes. First note on A, second note on B, third note on G, fourth note on A. Quarter note on F. Two beamed eighth notes. First note on E, second note on the D just above middle C. Measure three. Dotted quarter note on G. Eighth note on F. Quarter note on E. Quarter note on B. Measure four. Set of four beamed eighth notes. First on A, second on G, third on F, fourth on G. Dotter quarter note on E. Eighth rest.

According to the system of fixed-do solfège, which of the following would be the correct syllables for the melody shown?

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

Answer to question 34

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: B. (Objective 0006) In fixed-do solfège, C is always do, whether it is C natural, C sharp, C flat, C double sharp, or C double flat. Continuing this system, D natural, D sharp, D flat, D double sharp, and D double flat are always re. The melody is in the key of E minor, which is the relative minor of G major, with an F sharp in the key signature. However, the correct solmization used is from the C major scale, and the F sharp is ignored. Thus, the syllables for this melody should begin with fa. Correct Response: B. (Objective 0006) In fixed-do solfège, C is always do, whether it is C natural, C sharp, C flat, C double sharp, or C double flat. Continuing this system, D natural, D sharp, D flat, D double sharp, and D double flat are always re. The melody is in the key of E minor, which is the relative minor of G major, with an F sharp in the key signature. However, the correct solmization used is from the C major scale, and the F sharp is ignored. Thus, the syllables for this melody should begin with fa.

Question 35

35. A third-grade class will be learning to play the soprano recorder. Which of the following series of notes would be most appropriate for the music teacher to introduce first?

1. B – A – G
2. C – D – E
3. D – C – B
4. F – G – A

Answer to question 35

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: A. (Objective 0006) The first notes learned on a soprano recorder are most often B – A – G. Only the thumb and first three fingers of the left hand are needed to play these notes. The right hand is simply used to help support the instrument. Starting the learning process this way also helps the student concentrate on using the fingers of the left hand for the top holes on the instrument. Correct Response: A. (Objective 0006) The first notes learned on a soprano recorder are most often B – A – G. Only the thumb and first three fingers of the left hand are needed to play these notes. The right hand is simply used to help support the instrument. Starting the learning process this way also helps the student concentrate on using the fingers of the left hand for the top holes on the instrument.

Question 36

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

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

Answer to question 36

Answer Enter to expand or collapse answer. Answer expanded

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

Question 37

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

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

Answer to question 37

Answer Enter to expand or collapse answer. Answer expanded

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

Question 38

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

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

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

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

Answer to question 38

Answer Enter to expand or collapse answer. Answer expanded

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

Question 39

39. Some students in a music appreciation class are English language learners and/or struggling readers who lack the basic reading skills necessary to fully comprehend assigned readings. Which of the following strategies would be most appropriate for the music teacher to use to scaffold the reading comprehension of these students?

1. providing the students with oral previews of text content and noting key concepts on the board
2. having the students conduct alternate content research using online texts rather than printed ones
3. teaching the students the basic reading skills they lack and reviewing key skills before assignments
4. substituting lower-level music appreciation texts for the students' reading assignments

Answer to question 39

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: A. (Objective 0007) Teachers need to provide scaffolding to English language learners and struggling readers who lack the basic reading skills necessary to comprehend assigned content-area readings. An oral preview of the key concepts covered in a class reading assignment provides scaffolding by activating students' prior knowledge related to a text and building needed vocabulary and background knowledge required to make inferences and repair comprehension during reading. Writing notes on a whiteboard during the oral preview both reinforces the new concepts and vocabulary and helps students become familiar with how these elements will appear in print. Correct Response: A. (Objective 0007) Teachers need to provide scaffolding to English language learners and struggling readers who lack the basic reading skills necessary to comprehend assigned content-area readings. An oral preview of the key concepts covered in a class reading assignment provides scaffolding by activating students' prior knowledge related to a text and building needed vocabulary and background knowledge required to make inferences and repair comprehension during reading. Writing notes on a whiteboard during the oral preview both reinforces the new concepts and vocabulary and helps students become familiar with how these elements will appear in print.

Question 40

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

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

Answer to question 40

Answer Enter to expand or collapse answer. Answer expanded

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