SHOSYS ACADEMY 8 TEST: Conventions Of Tone Labeling

SHOSYS ACADEMY 8 TEST: Conventions Of Tone Labeling

Kelvin Sholar

1 Introduction To The Blog Series

This series of lessons and tests incorporates an easy music appreciation curriculum for adult beginners who are remote learning, or are self-taught. Lessons are posted on Mondays while Tests are posted on Saturdays. For more in depth and private guidance, I offer personal instruction by Zoom (Personal Meeting ID 8522954569) – for 1 dollar a minute. Time schedules range from a minimum of 30 minutes to a maximum of 60 minutes. Email me at [email protected] to set up personal instruction. I accept payments and cash gifts by Cash App ($KelvinSholar), Zelle ([email protected]) or Paypal (paypal.me/kelvinsholar).

2 Testing Recall Of Conventions Of Tone Labeling

In blog 8, we learned about conventions of tone labeling. Here, remembrance is tested; the primary task for the student is to find cues in test questions that make it easy to remember answers. There may be more than one correct answer for a given test question. Correct answers are given at the end of this test.

2.1 Test Questions

1. In western music there are:

a). seven tones

b). twelve tones

c). eight tones

 

2. In England and America, tones are traditionally named relative to the first seven letters of the:

a). English Alphabet

b). American Alphabet

c). Roman (i.e. Latin) alphabet

 

3. In ancient Italy, Guido D’Arezzo created word names called:

a). solfeggio

b). arpeggio

 

4. Solfeggio is based on the first syllable of each line of the first verse of the Latin hymn:

a). Ave Maria

b). Veni Crator Spiritus

c). Ut Queant Laxis

 

5. In England and America, the solfeggio syllable Si is identical to:

a). so

b). ti

c). se

 

6. In order to define the twelve tones of equal temperament tuning ____ need to be adjoined to the seven Roman letters:

a). accents

b). accidentals

c). solfeggio

 

7. Where there are two choices of name for a tone,  then they are called:

a). enharmonic

b). chromatic

c). diatonic

 

8. Instead of naming twelve tones relative to Roman letters with accidentals, we could use the:

a). first twelve Roman letters

b). first seven Roman letters

c). first twelve Cyrillic letters

 

9. The twelve tones used in Western music can be labeled by twelve nonnegative numbers, or:

a). integers modulo twelve

b). cardinal numbers

c). ordinal numbers

 

9. The main advantage of designating twelve tones with integers modulo twelve is that each tone is numbered by its:

a). real name

b). ordinal position

c). cardinal count 

 

3 Test Answers

1. In western music there are:

b). twelve tones

 

2. In England and America, tones are traditionally named relative to the first seven letters of the:

c). Roman (i.e. Latin) alphabet

 

3. In ancient Italy, Guido D’Arezzo created word names called:

a). solfeggio

 

4. Solfeggio is based on the first syllable of each line of the first verse of the Latin hymn:

c). Ut Queant Laxis

 

5. In England and America, the solfeggio syllable Si is identical to:

b). ti

 

6. In order to define the twelve tones of equal temperament tuning ____ need to be adjoined to the seven Roman letters:

b). accidentals

 

7. Where there are two choices of name for a tone,  then they are called:

a). enharmonic

 

8. Instead of naming twelve tones relative to Roman letters with accidentals, we could use the:

a). first twelve Roman letters

 

9. The twelve tones used in Western music can be labeled by twelve nonnegative numbers, or:

a). integers modulo twelve

 

10. The main advantage of designating twelve tones with integers modulo twelve is that each tone is numbered by its:

b). ordinal position

 

4 Bibliography

Bloom, B. S.; Engelhart, M. D.; Furst, E. J.; Hill, W. H.; Krathwohl, D. R. Taxonomy Of Educational Objectives: The Classification Of Educational Goals. Handbook I: Cognitive Domain. New York: David McKay Company, 1956

Kamien, Roger. Music: An Appreciation. New York: McGraw-Hill Education, 2018

Loy, Gareth. Musimathics The Mathematical Foundations of Music: Volume 1. Cambridge, Massachusetts: The MIT Press, 2006

Miller, Michael. The Complete Idiots Gude To Music Theory. New York: Alpha Books, 2005