Lesson 16: inspired to understand unit test
living music ii unit 4: inspired to understand
answers

I just took this Unit Test for Living Music so here are the answers for anyone struggling with this course.

1. Click on the play button to listen to the excerpt from the first movement of Johann Sebastien Bach's Brandenburg Concerto No. 5 in D major, BWV 1050. This is an example of...
c. A sequence, in which a repetitive motive rises or falls by a step with each statement

2. Which of the following statements is not true about this excerpt?
c.The harpsichord plays only a simple left hand bass line

3. Click on the play button to listen to the second movement of Bach's Brandenburg Concerto No. 5. In this excerpt, the melody is passed from violin to flute to harpsichord. This compositional technique, when one instrument plays a pattern very similar to another, is called...
b. imitation

4. Listen to the excerpt from the third movement of Bach's Brandenburg Concerto No. 5. Which dance form is used here?
a. the gigue, a lively dance in compound meter.

5. Listen to an excerpt of Mozart's overture "The Magic Flute", K. 620. The piece is written in sonata form. What takes place in the transition form the first theme to the second theme of the exposition?
a. The exposition modulates to a new key, from E flat to B flat.

6. Listen to an excerpt from "The Bird Catcher's Aria" from Mozart's "Die Zauberflote"  Mozart intended this aria to be relatively simpele, for the role of Papageno was played by an inexperienced singer.How did he achieve this?
d. all of the above

7. When translated lyrics are written into the score, they are often...
b. intended to fit the rhythm of the music and express the general meaning of the song. 

8. Listen to the second verse of the "Duet of Pamino and Papageno" from Mozart's Die Zauberflote. In the second verse, Mozart included...
b. ornamentation in the vocal lines

9. The character of the Queen of Night in "The Magic Flute" is thought to be based on...
b. The Empress Maria-Theresa, who was known for her anti-Masonic beliefs.

10. Listen to an excerpt from "O Isis and Osiris": aria from "The Magic Flute" This aria is an example of         texture.
a. homophonic

11. Listen to the excerpt of the first movement from Franz Schubert's Piano Trio No. 1 in B-flat Major, op. 99. D. 898. The opening of Schubert's Piano Trio No. 1 features 
a. triplets in the strings against eighth notes in the piano. 

12. The top two staves of this image (violin and cello) include a turn and a trill.These are both types of...
d. ornamentation

13. Listen to an excerpt of the second movement from Schubert's Piano Tro No. 1. This movement provides a good example of...
d. a barcarolle

14. Listen to an excerpt of the third . This movement from Schubert's Piano Trio No. 1. This movement is a lighthearted, mischievous style known as a(n)...
c. scherzo

15. Listen to the excerpt of the first movement from Johannes Brahms's Piano Concerto No. 2 in B-flat Major, op. 83. This piano concerto is arguably a fusion of a concerto and a symphony. One reason for this is...
a. the prominent solos by instruments such as the French horn, cello, and the oboe.

16. In this image, the number 8 followed by a dotted bracket is...
d. an abbreviation for all' ottava, which means "play an octave up"

17. Listen to the excerpt of the second movement from Brams's Piano Concerto No.2 It's interesting that Brahms referred to this movement as a "very small, pretty scherzo" because...
d. all of the above

18. Listen to an excerpt of the third movement from Brahms's Piano Concerto No. 2. This excerpt from the third movement is organized in an unusual meter that had        beats per measure.
c. six. (The meter is 6/4)

19. Listen to an excerpt of the fourth movement from Brahms's Piano Concerto No, 2. This movement is...
d. a rondo.

Answers:
c
c
b
a
a
d
b
b
b
a
a
d
d
c
a
d
d
c
d

1 C.
2 C.
3 B.
4 A.
5 A.
6 D.
7 B.
8 B.
9 B.
10 A.
11 A.
12 D.
13 D.
14 C.
15 A.
16 D.
17 D.
18 C.
19 D.

Buddhist painting from india, nepal, and tibetthe production of buddhist manuscripts illustrated with images of various buddhist deities and/or scenes from the life of shakyamuni flourished in bihar and bengal (present-day eastern india and bangladesh) under the rule of the pala dynasty (ca. 8th - 12th century). the illustrations of the gods that appear in these manuscripts were based on descriptions found in indian texts intended to the practitioner mentally invoke the form of the deity. these texts provide the artist with the basic schema of the image, detailing what an image should look like, from the posture, gesture, and color of the deity, to the attributes (objects he or she holds that symbolize specific powers or knowledge).similarities among the buddhist paintings in this section, which are from india, nepal, and tibet, stem from a variety of reasons. they include the continuous trade and contact provided by trade route linkages and the tendency of artists working abroad to emulate indian models, but the main reason is due to the fact that the gods' depictions in the art of all three countries are ultimately dependent upon the meditation texts described above. in addition, during the pala period, pilgrims, monks, and students from all over asia, but particularly from nepal and tibet, flocked to the region's prominent religious centers; when they returned home, they took the pala style with them in the form of portable items such as manuscripts and small sculptures.