2026年音樂(lè)理論英語(yǔ)水平測(cè)試題集Part1:MultipleChoice(選擇題)共10題，每題2分，總分20分1.WhichofthefollowingisNOTadiatonicscaledegreeinWesternmusictheory?A)TonicB)SupertonicC)SubmediantD)ChromaticMediant2.TheharmonicfunctionofV7/IVinamajorkeytypicallyindicates:A)TonalstabilityB)CadentialarrivalC)SecondarydominantD)Neapolitanflavor3.Whatistheprimarycharacteristicofatonalityin20th-centurymusic?A)AbsenceofkeysignaturesB)UseofonlymajorandminormodesC)LackofhierarchicaltonalrelationshipsD)Excessiveuseofdissonance4.Theterm"enharmonicequivalent"refersto:A)TwonotesthatsoundthesamebutarewrittendifferentlyB)TwochordsthatresolvetothesametonalcenterC)AsequenceofchordsthatcreatestensionD)Amelodicpatternwithrepeatedintervals5.WhichintervalisrepresentedbythenotesEtoB??A)MajorthirdB)MinorsixthC)AugmentedfifthD)Diminishedfourth6.TheRomannumeral"IV"inmusictheorytypicallyrepresents:A)ThesubdominantchordB)ThedominantchordC)ThemediantchordD)Thetonicchord7.WhichofthefollowingisacharacteristicoftheBaroqueconcertoform?A)RhythmiccomplexityB)HomophonictextureC)FrequentkeychangesD)Soloandensembleinterplay8.Theterm"chromaticism"inmusictheoryrefersto:A)Theuseofall12pitchesinanoctaveB)Theavoidanceofhalf-stepintervalsC)TheemphasisonmajorchordsD)Theabsenceofmelodiccontour9.WhichintervalisrepresentedbythenotesAtoE??A)MajorsecondB)MinorseventhC)DiminishedsixthD)Augmentedfourth10.Theterm"modulation"inmusictheorydescribes:A)AchangeintempoB)AshiftinkeyC)AchangeindynamicsD)AchangeinmeterPart2:TrueorFalse(判斷題)共10題，每題1分，總分10分1.Aminorchordisbuiltbystackingthreeminorthirds.2.Theterm"ostinato"referstoarepeatedrhythmicormelodicpattern.3.Thedominantchordisalwaysbuiltonthefifthscaledegree.4.AtonalitywasprimarilydevelopedintheRomanticera.5.Theterm"counterpoint"referstotheindependentvocalorinstrumentallinesinacomposition.6.TheNeapolitanchordistypicallyusedtocreatetensionbeforethedominant.7.Theterm"modulation"involvesagradualshiftinkeywithoutaclearharmonicbreak.8.Amajorchordisbuiltbystackingtwomajorthirds.9.Theterm"polytonality"referstothesimultaneoususeoftwoormoretonalcenters.10.Theterm"sight-reading"referstotheabilitytoplayorsingmusicatfirsthearing.Part3:FillintheBlanks(填空題)共10題，每題2分，總分20分1.TheintervalfromCtoEisa(n)______.2.ThechordprogressionI–V–vi–iiiisoftenassociatedwith______music.3.Theterm"syncopation"referstothe______ofstrongandweakbeatsinrhythm.4.Theterm"fugue"describesacontrapuntalcompositionbasedona______.5.TheintervalfromCtoFisa(n)______.6.TheRomannumeral"ii"typicallyrepresentsa(n)______chordinaminorkey.7.Theterm"rubato"referstoa(n)______intempo.8.ThechordprogressionI–IV–V–Iisaclassicexampleofa______progression.9.Theterm"chromaticscale"referstoascalethatusesall12______inanoctave.10.Theterm"dynamics"inmusictheoryrefersto______ofloudness.Part4:ShortAnswer(簡(jiǎn)答題)共5題，每題4分，總分20分1.Explainthedifferencebetweenamajortriadandaminortriadintermsofintervalstructure.2.Whatisthefunctionofthesubdominantchord(IV)inamajorkey?Provideanexample.3.DescribethecharacteristicsoftheCommonPracticePeriodinWesternmusic.4.Whatisthepurposeofacadenceinmusic?Provideanexampleofaperfectauthenticcadence.5.Explaintheconceptof"modalinterchange"injazzharmony.Part5:Essay(論述題)共1題，滿分10分DiscusstheevolutionofchromaticisminWesternmusicfromtheBaroquetotheModernera.Includeexamplesfromkeycomposersandstyles.AnswerKeyandExplanationsPart1:MultipleChoice1.D)ChromaticMediantExplanation:ChromaticMediantisnotastandarddiatonicscaledegreeinWesternmusictheory.2.C)SecondarydominantExplanation:V7/IVisasecondarydominantthatcreatestensionleadingtothesubdominant.3.C)LackofhierarchicaltonalrelationshipsExplanation:Atonalityrejectsthetraditionaltonalcenter,eliminatinghierarchicalharmonicrelationships.4.A)TwonotesthatsoundthesamebutarewrittendifferentlyExplanation:Enharmonicequivalents(e.g.,C?andD?)arenotateddifferentlybuthavethesamepitchinstandardtuning.5.C)AugmentedfifthExplanation:EtoB?spanssixhalfsteps(E-F?-G?-A-B-C?-D?),whichisanaugmentedfifth.6.A)ThesubdominantchordExplanation:IVinRomannumeralsrepresentsthesubdominant(IVchord)inamajorkey.7.D)SoloandensembleinterplayExplanation:TheBaroqueconcertofeaturesacontrastbetweenasoloist(concertino)andanorchestra(tutti).8.A)Theuseofall12pitchesinanoctaveExplanation:Chromaticisminvolvestheuseofallchromaticpitches(sharpsandflats)withinascaleorchord.9.B)MinorseventhExplanation:AtoE?spanssixhalfsteps(A-B?-C?-D-E?),whichisaminorseventh.10.B)AshiftinkeyExplanation:Modulationreferstochangingfromonekeytoanotherwithinamusicalpiece.Part2:TrueorFalse1.FalseExplanation:Aminorchordisbuiltbystackingaminorthirdandamajorthird(e.g.,C-E?-G).2.TrueExplanation:Anostinatoisarepeatedmusicalidea(rhythmicormelodic)thatpersiststhroughoutapiece.3.TrueExplanation:Thedominantchord(V)isalwaysbuiltonthefifthscaledegreeinamajororminorkey.4.FalseExplanation:Atonalitywasprimarilydevelopedinthe20thcentury(e.g.,bySchoenberg,Webern,andBerg).5.TrueExplanation:Counterpointinvolvestheindependentmelodiclinesinacomposition,ofteninpolyphony.6.TrueExplanation:TheNeapolitanchord(?II)createstensionbeforethedominant(V)inlateRomanticandearly20th-centurymusic.7.TrueExplanation:Modulationofteninvolvesasmoothtransitionbetweenkeyswithoutaabruptharmonicbreak.8.TrueExplanation:Amajorchordisbuiltbystackingamajorthirdandamajorthird(e.g.,C-E-G).9.TrueExplanation:Polytonalityinvolvesthesimultaneoususeoftwoormoretonalcenters(e.g.,inStravinsky’s"TheRiteofSpring").10.FalseExplanation:Sight-readingreferstoplayingorsingingmusicfromascoreatfirstsight,notatfirsthearing.Part3:FillintheBlanks1.majorthird2.pop/rock3.displacement4.subject5.perfectfifth6.minor7.flexibility8.I–IV–V–I9.semitones10.intensityPart4:ShortAnswer1.Differencebetweenmajorandminortriads:Amajortriadisbuiltbystackingamajorthirdandaminorthird(e.g.,C-E-G),whileaminortriadisbuiltbystackingaminorthirdandamajorthird(e.g.,C-E?-G).2.Functionofthesubdominantchord(IV):Thesubdominantchord(IV)providesharmonicstabilityandoftenleadstothedominant(V),creatingtensionbeforeresolutiontothetonic(I).Example:InCmajor,theprogressionI–IV–V–IisC–F–G–C.3.CharacteristicsoftheCommonPracticePeriod:TheCommonPracticePeriod(c.1750–1900)emphasizedtonality,functionalharmony,andformalstructureslikesonataform,symphony,andconcerto.KeycomposersincludeMozart,Beethoven,Haydn,Schubert,Chopin,andBrahms.4.Purposeofacadence:Acadenceprovidesharmonicresolution,markingtheendofaphraseorsection.Exampleofaperfectauthenticcadence:I–V–I(e.g.,C–G–CinCmajor).5.Modalinterchangeinjazzharmony:Modalinterchangeinvolvesborrowingchordsfromparallelminorkeystocreatetensionandcolorinjazzharmony.Example:InCmajor,usingtheDm7chord(fromCminor)insteadofDm7?5createschromaticism.Part5:EssayEvolutionofChromaticisminWesternMusicChromaticismhasplayedapivotalroleintheevolutionofWesternmusic,evolvingfromsubtleharmonicinflectionsintheBaroqueeratocomplextonalexplorationsinthe20thcentury.Thistransformationreflectsbroaderchangesinmusicalaesthetics,fromthefunctionalharmonyoftheCommonPracticePeriodtotheatonalityandserialismofModernism.BaroqueEra(c.1600–1750):SubtleChromaticismIntheBaroqueera,chromaticismwasprimarilyusedtoenhanceexpressiveandornamentaleffects.ComposerslikeJ.S.Bachemployedchromaticisminfuguesandconcertostocreatetensionandresolution.Forexample,inTheWell-TemperedClavier,Bachfrequentlyuseschromaticpassingtonesandalteredchordstoenrichharmonicprogressionswithoutdisruptingtonalstability.Chromaticismwasoftenreservedforornamentationorbriefmodulations,servingtoreinforcetheprevailingkeyratherthanchallengeit.ClassicalEra(c.1750–1820):ControlledChromaticismDuringtheClassicalera,chromaticismbecamemoresystematic,butitsusewasstilltiedtofunctionalharmony.MozartandHaydnoccasionallyemployedchromaticismtocreateemotionaldepth,asseeninMozart’sClarinetConcerto,wherechromaticchordsenhancethelyricalqualityofthesololine.However,chromaticismwasgenerallysubordinatetothetonalframework,withcadencesandkeysignaturesmaintainingharmoniccoherence.RomanticEra(c.1820–1900):ExpandedChromaticismTheRomanticeramarkedasignificantexpansionofchromaticism,ascomposerssoughtgreateremotionalandexpressiverange.Berlioz’sSymphoniefantastiqueandWagner’sTristanundIsoldepushedchromaticismtonewlimits.InTristanundIsolde,Wagner’schromaticismdissolvestraditionaltonalrelationships,creatingacontinuousharmonicflow.Chromaticismbecameameansofevokingmoodandsymbolism,asseeninChopin’snoctur