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Total Categories: 6
The Common Practice Period (CPP) is characterized by the universal acceptance of the atonal system as the exclusive foundation for musical composition.
Answer: False
The Common Practice Period is defined by the universal acceptance of the tonal system, not the atonal system, as the sole foundation for musical composition.
The Common Practice Period encompassed approximately 250 years, extending from the mid-17th century to the late 19th century.
Answer: True
The Common Practice Period is generally understood to have spanned roughly from 1650 to 1900, covering approximately 250 years.
During the Common Practice Period, composers frequently explored multiple primary systems of musical composition simultaneously.
Answer: False
The term 'common practice' signifies that only one primary system of composition, the tonal system, was widely used and accepted by composers for over two centuries.
The Common Practice Period is considered the shortest of the three overarching divisions of Western classical music history.
Answer: False
The Common Practice Period serves as the central and longest of the three overarching divisions of Western classical music history: Early music, Common Practice Period, and New music.
The Common Practice Period concluded when composers began to exclusively focus on the established tonal system, eschewing any exploration of alternatives.
Answer: False
The Common Practice Period concluded when composers began exploring significantly altered or alternative musical systems, moving beyond the exclusive focus on the tonal system.
The term 'common practice' refers to a specific type of harmony that was prevalent during the period.
Answer: False
The term 'common practice' signifies the singular prevalence of the tonal system as the primary system of composition, rather than referring to a specific type of harmony itself.
The Common Practice Period is characterized as the central and longest of the three overarching divisions of Western classical music history. What are these three divisions?
Answer: Early music, Common Practice Period, New music.
The three major eras of Western classical music are broadly categorized as Early music, the Common Practice Period, and New music, with the CPP being the central and longest.
What is the precise definition of the Common Practice Period (CPP) in Western classical music?
Answer: An era lasting approximately 250 years, during which the tonal system was universally accepted as the sole foundation for musical composition.
The Common Practice Period refers to a historical era, lasting approximately 250 years, during which the tonal system was universally accepted as the sole foundation for musical composition, characterized by a shared set of compositional concepts.
What was the approximate chronological duration of the Common Practice Period?
Answer: Roughly 250 years, from 1650 to 1900.
The Common Practice Period spanned roughly from 1650 to 1900, encompassing about 250 years of Western classical music history.
What does the term 'common practice' denote within the context of this specific musical period?
Answer: The singular prevalence of the tonal system as the primary system of composition.
The term 'common practice' signifies that for over two centuries, only one primary system of composition, the tonal system, was widely used and accepted by composers.
The Common Practice Period commenced with the dominance of the tonal system and concluded when composers initiated exploration of what?
Answer: Significantly altered or alternative musical systems.
The Common Practice Period concluded when composers began exploring significantly altered or alternative musical systems, moving beyond the exclusive focus on the tonal system.
The Common Practice Period concluded when composers initiated the exploration of:
Answer: Explore significantly altered or alternative musical systems.
The Common Practice Period concluded when composers began exploring significantly altered or alternative musical systems, moving beyond the exclusive focus on the tonal system.
Which of the following is *not* considered one of the major eras of Western classical music, according to the broad categorization provided in the source?
Answer: Pre-historic music (Ancient, Tribal)
The major eras of Western classical music are broadly categorized into Early music, the Common Practice Period, and New music. 'Pre-historic music' is not listed as one of these divisions.
A consistent harmonic language, amenable to Roman numeral analysis, served as a prominent unifying feature throughout the Common Practice Period.
Answer: True
Music theorists can apply Roman numeral chord analysis to the consistent harmonic language of the Common Practice Period, indicating a shared structural approach to harmony.
Common-practice tonality is characterized by a clear separation between harmonic function and counterpoint.
Answer: False
Common-practice tonality is characterized as a union between harmonic function and counterpoint, where melodic lines contribute to a unified harmonic structure.
The tonal system organizes music around a central pitch known as the 'dominant,' thereby establishing a sense of harmonic direction.
Answer: False
The tonal system organizes music around a central pitch called the 'tonic,' which is the fundamental pitch of the scale, defining the key and providing stability.
The role of each tone in the diatonic scale within tonal music is defined by its specific relationship to the dominant pitch.
Answer: False
In tonal music, each tone in the diatonic scale functions according to its specific relationship to the tonic, which is the fundamental pitch of the scale.
According to music theorists, what constituted a prominent unifying feature throughout the Common Practice Period?
Answer: A consistent harmonic language, analyzable with Roman numerals.
A consistent harmonic language, which music theorists can analyze with Roman numerals, was a prominent unifying feature throughout the Common Practice Period.
How is common-practice tonality characterized with respect to the interplay between harmonic function and counterpoint?
Answer: As a union between harmonic function and counterpoint.
Common-practice tonality is characterized as a union between harmonic function and counterpoint, where individual melodic lines contribute to a unified, goal-oriented harmonic structure.
The tonal system, foundational to the Common Practice Period, organizes music around a central pitch known as the:
Answer: Tonic
The tonal system organizes music around a central pitch called the 'tonic,' which is the fundamental pitch of the scale, creating a sense of harmonic direction and resolution.
What is the specific role of each tone in the diatonic scale within tonal music?
Answer: Each tone functions according to its specific relationship to the tonic.
In tonal music, each tone in the diatonic scale functions according to its specific relationship to the tonic, which is the fundamental pitch of the scale.
What is the designated term for the harmonic language of the Common Practice Period?
Answer: Common-practice tonality
The harmonic language of the Common Practice Period is known as 'common-practice tonality' or sometimes simply the 'tonal system.'
What constitutes the fundamental basis for musical composition during the Common Practice Period?
Answer: The tonal system.
During the Common Practice Period, the tonal system was regarded as the exclusive foundation for composition, organizing music around a central pitch or 'tonic.'
The tonal system prevalent during the Common Practice Period was unable to accommodate chromatic alteration without compromising its fundamental identity.
Answer: False
The tonal system of the Common Practice Period could withstand considerable chromatic alteration without losing its fundamental tonal identity, with chromatic notes adding color and tension.
The harmonic progression I-ii-V-I exemplifies a pattern found in works by composers such as Bach and Strauss, signifying a shared underlying harmonic grammar.
Answer: True
The progression I-ii-V-I, found in works by diverse composers like Bach and Strauss, evidences the widespread and consistent nature of harmonic patterns during the Common Practice Period.
Popular idioms of the twentieth century utilize major and minor chords with harmonic functions identical to those in classical common-practice models.
Answer: False
Popular idioms of the twentieth century, while using similar chord types, differ from common-practice progressions because the function of these elements is not identical to classical models of counterpoint and harmonic function.
A V-IV progression represents a common and anticipated harmonic movement within common-practice harmony.
Answer: False
In common-practice harmony, a V-IV progression is uncommon, though it is acceptable in later styles such as the 'shuffle' blues progression.
The 'shuffle' blues progression's final line (V-IV-I-I) superseded an earlier common ending of V-V-I-I.
Answer: True
The V-IV progression in the 'shuffle' blues progression's last line (V-IV-I-I) became the orthodox ending, replacing an earlier common ending (V-V-I-I).
In what way do popular idioms of the twentieth century diverge from common-practice period progressions concerning chord function?
Answer: The function of similar elements (like major/minor chords) is not identical to classical models.
Popular idioms of the twentieth century differ from common-practice period progressions because the function of similar elements (like major/minor chords) is not identical to classical models of counterpoint and harmonic function.
What evidence indicates the widespread and consistent nature of harmonic patterns during the Common Practice Period?
Answer: The presence of progressions like I-ii-V-I in works by diverse composers such as Bach and Strauss.
The widespread and consistent nature of harmonic patterns is evidenced by progressions like I-ii-V-I found in works by diverse composers such as Bach and Strauss, indicating a shared underlying harmonic grammar.
What is the significance of the V-IV progression within the 'shuffle' blues progression?
Answer: It replaced an earlier common ending (V-V-I-I) to become the orthodox ending.
The V-IV progression is essential to the 'shuffle' blues progression's last line (V-IV-I-I), becoming the orthodox ending and replacing an earlier common ending (V-V-I-I).
Which chord progression is identified as uncommon in common-practice harmony yet acceptable in subsequent musical styles such as the 'shuffle' blues?
Answer: V-IV
The V-IV progression is uncommon in common-practice harmony but is readily acceptable in many other styles, such as the 'shuffle' blues progression.
How does the tonal system of the Common Practice Period accommodate chromatic alteration?
Answer: It can withstand considerable chromatic alteration without losing its fundamental tonal identity.
The tonal system of the Common Practice Period can withstand considerable chromatic alteration without losing its fundamental tonal identity, with chromatic notes adding color and tension while still resolving to the established key.
The coordination of musical parts in common-practice music is primarily achieved through an externalized meter.
Answer: True
A fundamental aspect of common-practice music is the coordination of its various parts through an externalized meter, which establishes a regular, perceptible beat and rhythmic framework.
In common-practice metric structures, the fastest pulse levels are frequently extreme.
Answer: False
In common-practice metric structures, there is generally a clearly enunciated or implied pulse at all levels, with the fastest levels rarely being extreme.
Metres and pulse groups in common-practice music typically change frequently throughout a section or composition to maintain listener interest.
Answer: False
Once established, the metre and pulse groups in common-practice music rarely change throughout a section or an entire composition, providing rhythmic stability.
Pulse groups on all levels in common-practice music are asynchronous, implying that slower pulses frequently occur independently of strong pulses on faster levels.
Answer: False
In common-practice music, pulse groups on all levels are synchronous, meaning that all pulses on slower levels coincide with strong pulses on faster levels, creating a clear rhythmic hierarchy.
Tempo in common-practice compositions is generally consistent throughout a piece or section.
Answer: True
A typical characteristic of tempo in common-practice compositions is consistency, meaning the tempo generally remains the same throughout a composition or a specific section, contributing to rhythmic stability.
In common-practice music, tempo, beat length, and measure length are selected to facilitate the maintenance of a single time signature throughout.
Answer: True
Tempo, beat length, and measure length are chosen in common-practice music to allow for a single time signature to be maintained throughout the entire piece or section, reinforcing the consistent metric structure.
Durational patterns in common-practice music typically feature a wide duration complement and range, incorporating numerous distinct basic units.
Answer: False
Durational patterns in common-practice music typically feature a small or moderate duration complement and range, with one predominant pulse heard as the basic unit.
Extremely long durations, such as pedal tones, represent common exceptions to the predominance of a single basic durational unit in common-practice music.
Answer: True
Extremely long durations, such as pedal tones, are the most frequent exceptions to the predominance of a single basic durational unit in common-practice music.
In common-practice music, two-pulse groups are less frequent than three-pulse groups in the organization of metres.
Answer: False
Metres, or pulse groups, in common-practice music are generally organized in two-pulse or three-pulse groups, with two-pulse groups being the most frequent.
What constitutes a fundamental aspect of common-practice music concerning the coordination of its various musical parts?
Answer: Coordination through an externalized meter.
The coordination of musical parts in common-practice music is fundamentally achieved through an externalized meter, establishing a regular and perceptible rhythmic framework.
What is a general characteristic of pulse within common-practice metric structures?
Answer: The fastest levels are rarely extreme.
In common-practice metric structures, there is generally a clearly enunciated or implied pulse at all levels, with the fastest levels rarely being extreme.
What is a characteristic of the fastest pulse levels within common-practice metric structures?
Answer: They are rarely extreme.
In common-practice metric structures, the fastest pulse levels are rarely extreme, contributing to a consistently felt underlying beat.
What is a characteristic concerning changes in metre and pulse groups within a common-practice composition?
Answer: They rarely change throughout a section or an entire composition.
Once established, the metre and pulse groups in common-practice music rarely change throughout a section or an entire composition, providing rhythmic stability and predictability.
What constitute the most frequent exceptions to the predominance of a single basic durational unit in common-practice music?
Answer: Extremely long durations, such as pedal tones.
Extremely long durations, such as pedal tones, are the most frequent exceptions to the predominance of a single basic durational unit in common-practice music.
How do pulse groups on different metric levels interrelate in common-practice music?
Answer: They are synchronous, with slower pulses coinciding with strong pulses on faster levels.
In common-practice music, pulse groups on all levels are synchronous, meaning that all pulses on slower levels coincide with strong pulses on faster levels, creating a clear and unified rhythmic hierarchy.
What is a typical characteristic of tempo within common-practice compositions?
Answer: Consistency, generally remaining the same throughout a composition or section.
A typical characteristic of tempo in common-practice compositions is consistency, meaning the tempo generally remains the same throughout a composition or a specific section.
What are the typical characteristics of durational patterns in common-practice music concerning duration complement and range?
Answer: A small or moderate duration complement and range, with one predominant pulse.
Durational patterns in common-practice music typically feature a small or moderate duration complement and range, with one duration or pulse usually predominating as the basic unit.
How are metres or pulse groups typically organized within common-practice music?
Answer: In two-pulse or three-pulse groups, with two-pulse being most frequent.
Metres, or pulse groups, in common-practice music are generally organized in two-pulse or three-pulse groups, with two-pulse groups being the most frequent.
What is the primary objective behind the selection of tempo, beat length, and measure length in common-practice music?
Answer: To maintain a single time signature throughout the entire piece or section.
Tempo, beat length, and measure length are chosen in common-practice music to allow for a single time signature to be maintained throughout the entire piece or section, reinforcing the consistent metric structure.
If short exceptions to the predominance of a single basic durational unit manifest in common-practice music, how do they generally appear?
Answer: As rapidly alternating or transient components of ornaments like trills or tremolos.
If short exceptions to the predominance of a single basic durational unit occur, they generally appear as rapidly alternating or transient components of ornaments like trills or tremolos.
Rhythmic units in common-practice music are typically based on extrametric patterns, frequently deviating from the established meter.
Answer: False
Rhythmic units in common-practice music are typically based on metric or intrametric patterns, aligning with or subdividing the established meter, rather than deviating from it.
Triplets and other extrametric patterns are typically perceived on levels *lower* than the basic durational unit or pulse in common-practice music.
Answer: False
Triplets and other extrametric patterns are usually heard on levels *higher* than the basic durational unit or pulse in common-practice music.
Anacrustic (upbeat) beginnings and strong endings are among the most frequent rhythmic gestures observed in common-practice music.
Answer: True
Anacrustic (upbeat) beginnings and strong endings are possibly the most frequent rhythmic gestures in common-practice music, which also employs thetic (stressed) and initial rest gestures.
Complete avoidance of rhythmic gesture repetition is a common characteristic in common-practice compositions.
Answer: False
Rhythmic gestures in common-practice music are typically repeated exactly or in variation after contrasting gestures; complete avoidance of repetition is rare.
Composite rhythms in common-practice music primarily function to introduce rhythmic complexity and obscure the established meter.
Answer: False
Composite rhythms in common-practice music serve to confirm the meter, often appearing in metric or note patterns identical to the pulse on a specific metric level.
In common-practice melody, the primary elements of importance are patterns of pitch and duration.
Answer: True
In common-practice melody, patterns of pitch and duration are of primary importance, shaping the melodic contour and rhythmic flow.
Pitches in common-practice melody are generally chromatic, frequently moving outside the established major or minor scale.
Answer: False
Pitches in common-practice melody are generally diatonic, meaning they primarily belong to the established major or minor scale of the key.
What is the primary characteristic of durations within common-practice melody?
Answer: They tend to recur and are often periodic.
In common-practice melody, durations tend to recur and are often periodic, appearing in regular, predictable patterns.
How are rhythmic gestures typically handled concerning repetition in common-practice music?
Answer: They are repeated exactly or in variation after contrasting gestures.
Rhythmic gestures in common-practice music are typically repeated exactly or in variation after contrasting gestures, with complete avoidance of repetition being rare.
What are the primary elements of significance in common-practice melody?
Answer: Patterns of pitch and duration.
In common-practice melody, patterns of pitch and duration are of primary importance, as they fundamentally shape the melodic contour.
How are pitches generally characterized within common-practice melody?
Answer: They are generally diatonic, belonging to the established major or minor scale.
Pitches in common-practice melody are generally diatonic, meaning they primarily belong to the established major or minor scale of the key.
Upon what are rhythmic units typically based in common-practice music?
Answer: Metric or intrametric patterns.
Rhythmic units in common-practice music are typically based on metric or intrametric patterns, aligning with or subdividing the established meter.
At what metric levels are triplets and other extrametric patterns typically perceived in common-practice music?
Answer: On levels higher than the basic durational unit or pulse.
Triplets and other extrametric patterns are usually heard on levels higher than the basic durational unit or pulse in common-practice music.
What is the primary function of composite rhythms in common-practice music?
Answer: To confirm the meter.
Composite rhythms in common-practice music serve to confirm the meter, often appearing in metric or note patterns identical to the pulse on a specific metric level.
Which of the following rhythmic gestures is described as the *most rare* within common-practice music?
Answer: Upbeat endings.
Common-practice music employs thetic, anacrustic, and initial rest rhythmic gestures. Anacrustic beginnings and strong endings are frequent, while upbeat endings are the most rare.
The mid-Baroque, Classical, and Romantic periods are all encompassed within the Common Practice Period.
Answer: True
The Common Practice Period primarily includes the mid-Baroque, Classical, and Romantic periods, which shared a common underlying tonal system despite stylistic differences.
Musical styles remained largely static and unchanging during the Common Practice Period, exhibiting minimal evolution in forms such as the sonata.
Answer: False
Despite the overarching tonal framework, the Common Practice Period saw significant stylistic evolution, with various patterns and conventions, including the sonata form, emerging, flourishing, and declining.
The 'Transition to Classical' period, characterized by Galant music, is identified as a transitional phase within the Common Practice Period.
Answer: True
Transitional phases within the Common Practice Period include the 'Transition to Classical,' which features Galant music, and the 'Transition to Romantic.'
The sonata form exemplifies a musical pattern that emerged, flourished, and subsequently declined during the Common Practice Period.
Answer: True
The sonata form is cited as an example of a musical pattern that flourished and subsequently declined during the Common Practice Period, demonstrating stylistic evolution within the era.
Which of the following musical periods are primarily encompassed within the Common Practice Period?
Answer: Mid-Baroque, Classical, and Romantic.
The Common Practice Period primarily includes the mid-Baroque, Classical, and Romantic periods, which shared a common underlying tonal system.
Which transitional phase, characterized by Galant music, is identified within the Common Practice Period?
Answer: Transition to Classical
The 'Transition to Classical' period, featuring Galant music, is mentioned as a transitional phase within the Common Practice Period.
Which musical form is cited as an example that flourished and subsequently declined during the Common Practice Period?
Answer: Sonata form
The sonata form is cited as an example of a musical pattern that flourished and subsequently declined during the Common Practice Period, demonstrating the era's stylistic evolution.