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Score: _____ / 100 Points: _____ Name: ______________________________ ISCONSIN USIC EACHERS SSOCIATION W M T A Student ID: __________________________ Theory Test (Practice): Advanced A Teacher ID: _________________________ Match the terms with their definitions: 20 pts ________ Tutti 1. Instrument/voice is silent for a section or movement ________ Allargando 2. Full ensemble plays together ________ Rubato 3. Large orchestral work ________ Sonata-Allegro form 4. Composition for solo instrument and orchestra ________ Tacet 5. Composition for a small ensemble of musicians ________ Movement 6. Exposition, Development, Recapitulation ________ Largo 7. Self-contained section of a larger work ________ Symphony 8. Very slow tempo ________ Chamber music 9. Elastic, flexible tempo ________ Concerto 10. Gradually slower, louder, & broader Add the missing bar line to each example & identify the meter: 8 pts Meter options: Simple duple/triple/quadruple OR Compound duple/triple/quadruple Meter: __________________________________________ Meter: __________________________________________ Write each interval above the given note: 8 pts Write each chord in root position: 8 pts Use accidentals, not a key signature Identify each chord by name & function: 10 pts Use uppercase Roman numerals for major, lowercase for minor Write each scale: 4 pts Ascending only; Notate sharps/flats within the scale (do not write a key signature) AA Practice – page 2 Study this musical example and answer each question: 10 pts + 2 1. Key (include MA or mi): ____________________ 2. Genre: ☐ Symphony ☐ Concerto ☐ Chamber music 3. Meter: ☐ Simple duple ☐ Simple triple ☐ Compound triple 4. Name & function of the chord in measure 2: __________ __________ 5. Scale formed by the circled notes: ☐ Melodic minor ☐ Chromatic ☐ Whole tone Extra Credit: Musical style period: ________________________________________ Transpose measures 1-2 of the example above to D minor: 6 pts Remember to write the new key signature! Classify each composer: 16 pts Options: Baroque, Classical, Romantic, Impressionistic, Modern J.S. Bach: _________________________________ Haydn: ___________________________________ Beethoven: ______________________________ Ravel: ____________________________________ Vivaldi: __________________________________ Chopin: __________________________________ Copland: _________________________________ Schumann: ______________________________ Aural Exam – Each example will be played twice: 10 pts 1. Identify the interval: ☐ MA 2 ☐ mi 2 ☐ MA 3 ☐ mi 3 2. Identify the interval: ☐ Tritone ☐ MA 6 ☐ MA 7 ☐ mi 7 3. Identify the cadence: ☐ Authentic ☐ Half ☐ Plagal 4. Identify the musical style period: ☐ Baroque ☐ Romantic ☐ Modern 5. Circle the melody you hear: A: B: .

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Music Braille Code, 2015
MUSIC BRAILLE CODE, 2015 Developed Under the Sponsorship of the BRAILLE AUTHORITY OF NORTH AMERICA Published by The Braille Authority of North America ©2016 by the Braille Authority of North America All rights reserved. This material may be duplicated but not altered or sold. ISBN: 978-0-9859473-6-1 (Print) ISBN: 978-0-9859473-7-8 (Braille) Printed by the American Printing House for the Blind. Copies may be purchased from: American Printing House for the Blind 1839 Frankfort Avenue Louisville, Kentucky 40206-3148 502-895-2405 • 800-223-1839 www.aph.org [email protected] Catalog Number: 7-09651-01 The mission and purpose of The Braille Authority of North America are to assure literacy for tactile readers through the standardization of braille and/or tactile graphics. BANA promotes and facilitates the use, teaching, and production of braille. It publishes rules, interprets, and renders opinions pertaining to braille in all existing codes. It deals with codes now in existence or to be developed in the future, in collaboration with other countries using English braille. In exercising its function and authority, BANA considers the effects of its decisions on other existing braille codes and formats, the ease of production by various methods, and acceptability to readers. For more information and resources, visit www.brailleauthority.org. ii BANA Music Technical Committee, 2015 Lawrence R. Smith, Chairman Karin Auckenthaler Gilbert Busch Karen Gearreald Dan Geminder Beverly McKenney Harvey Miller Tom Ridgeway Other Contributors Christina Davidson, BANA Music Technical Committee Consultant Richard Taesch, BANA Music Technical Committee Consultant Roger Firman, International Consultant Ruth Rozen, BANA Board Liaison iii TABLE OF CONTENTS ACKNOWLEDGMENTS ..............................................................
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Byzantine Particles, a Case Study: Juxtaposed τε καί and δέ in Medieval Dodecasyllables Julie Boeten ARTICLES in Byzantine texts have hardly been investi- gated, even though they are important indicators of P language evolution and change. To study them in a metrical context proves to be especially illuminating, since the metre provides a prosodic framework, and at the same time the particles can provide us with more information on the function- ing of Byzantine metre, about which in-depth research is only just beginning to emerge. Investigation of the particles τε and δέ appears especially meaningful in this regard, since on even a brief glance their word order and function seem to have changed by Byzantine times. In this paper I examine this systematically in order to provide insight into not only the functioning of the Byzantine dodecasyllable metre but also the changed usage of particles such as τε and δέ. 1. Introduction Byzantine metre has mostly been studied in comparison with its earlier counterparts (especially the classical iambic trimeter, from which the dodecasyllable evolved)1 or its later successors (the metres of Modern Greek folk songs).2 Only in the past few years has it started to be examined for its own value and in its 1 P. Maas, “Der byzantinische Zwölfsilber,” BZ 12 (1903) 278–323; A. Rhoby, “Vom jambischen Trimeter zum byzantinischen Zwölfsilber. Beo- bachtung zur Metrik des spätantiken und byzantinischen Epigramms,” WS 124 (2011) 117–142. 2 P. Mackridge, “The Metrical Structure of the Oral Decapentasyllable,” BMGS 14 (1990) 200–213. ————— Greek, Roman, and Byzantine Studies 59 (2019) 529–550 2019 Julie Boeten 530 BYZANTINE PARTICLES, A CASE STUDY own right, most notably by Lauxtermann.3 Byzantine particles, similarly, have been largely ignored by scholars, the main ex- ceptions being Tonnet4 and Soltic.5 As Wahlgren has remarked, “there is still much work to be done on Greek particles.
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