Ebook TExES Music EC12 Practice Question 177

Practice Question Book for the
Texas Educator Certification Program
Texas Examinations of Educator Standards (TExES ) Tests

TM TM
177 Music EC–12
★ Study Tips
★ Test-Taking Tips
★ Examples of Multiple-Choice Question Types
★ 49 Practice Questions
★ Answer Key and Rationales
This ebook was issued to Kelby Koch, order #11450635038. Unlawful distribution of this ebook is prohibited.
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Table of Contents
Chapter 1: Features of This Book ........................................................................ 4
Chapter 2: Using This Practice Book with the Preparation Manual ..................... 5
Chapter 3: Domains and Competencies ................................................................ 6
Chapter 4: Types of Multiple-Choice Questions .................................................. 8
Chapter 5: Answering the Practice Questions....................................................... 10
Chapter 6: General Study Tips .............................................................................. 11
Chapter 7: Test-Taking Tips ................................................................................. 13
Chapter 8: Test Directions .................................................................................... 17
Chapter 9: Sample Answer Sheet .......................................................................... 20
Chapter 10: Practice Questions ............................................................................. 22
Chapter 11: Answer Key ....................................................................................... 49
Chapter 12: Rationales for Answers .................................................................... 50
Chapter 13: Test Results ....................................................................................... 62
TExES Music EC–12 (177) Page 3 of 63
Chapter 1: Features of This Book
This book presents practice multiple-choice questions for the TExES™ Music
EC–12 (177) test for you to review as part of your preparation for taking the test.
The questions on the test are developed based on the test framework, which lists
the domains of content knowledge covered in the test. In addition, each domain
includes a number of competencies that are measured by the test. While studying,
you may wish to read the competencies before or after you consider each practice
question. A list of domains and competencies is in Chapter 3.
An answer key follows the practice questions. The answer key provides the answer
and competency for each question so you can check your strengths and weaknesses
in each of the competencies. A rationale for each answer follows the answer key.
The practice questions illustrate the formats and types of questions you will see
on the test. They are not, however, representative of the entire scope of the test in
either content or difficulty. Your performance on the practice questions should not
be viewed as a predictor of your performance on the actual examination.
Chapter 2: Using This Practice Book
with the Preparation Manual
This practice book will be most helpful when used in combination with the
Preparation Manual for TExES Music EC–12 (177). This manual is available
as a free download in the Preparation Materials section of the TExES website at
www.texes.ets.org. After downloading the manual, you may print out a copy. A
bound, printed copy can be ordered by completing and submitting the Preparation
Manual order form. The order form can also be downloaded from the TExES
website. Instructions regarding payment, completion and submission are on
the form.
Before answering the practice questions in this book, it’s a good idea to read
through the Preparation Manual to become familiar with the test and go over the
sample questions in the manual. At that point, you should be able to determine
which areas you need to focus on for review and study. The practice questions in
this book can be used to confirm that determination or to test yourself after you’ve
reviewed to check for improvement.
Chapter 3: Domains and Competencies
The content covered by this test is organized into broad areas of content
called domains. Within each domain, the content is further defined by a set of
competencies. Read each of the following competencies to get a more specific
idea of the knowledge you will be required to demonstrate on the test. Further
information about competencies, including descriptive statements about each
competency, is in the Preparation Manual for TExES Music EC–12 (177).
DOMAIN I — Listening
Competency 001
The teacher applies standard terminology to describe and analyze various elements
in a musical recording.
Competency 002
The teacher recognizes and describes music of diverse genres, styles and cultures
in a musical recording.
Competency 003
The teacher evaluates and critiques musical compositions and performances in a
musical recording.
DOMAIN II — Music Theory and Composition
Competency 004
The teacher knows how to read, write and interpret standard music notation.
Competency 005
The teacher understands methods and techniques of musical composition and
improvisation and knows how to arrange music for specific purposes and settings.
Chapter 3: Domains and Competencies
DOMAIN III — Music History and Culture
Competency 006
The teacher demonstrates a comprehensive knowledge of the history of
Western music.
Competency 007
The teacher understands music of diverse genres, styles and cultures and knows
how music can reflect elements of a specific society or culture.
DOMAIN IV — Music Classroom Performance
Competency 008
The teacher demonstrates knowledge of methods and techniques for singing.
Competency 009
The teacher demonstrates knowledge of methods and techniques for playing
musical instruments.
Competency 010
The teacher knows how to conduct vocal and instrumental performances.
DOMAIN V — Music Education
Competency 011
The teacher knows how to plan and implement effective music instruction.
Competency 012
The teacher knows how to provide students with learning experiences that enhance
their musical knowledge, skills and appreciation.
Chapter 4: Types of Multiple-Choice Questions
1. Complete the Statement

To check your answer to a complete-the-statement multiple-choice question,
reread the question and add your answer choice at the end. Be sure that your
choice best completes the sentence.
2. Single Item
In a single-item format, a problem is presented as a direct question or an
incomplete statement, and four answer choices appear below the question.
An example of this question type is shown below.
Which of the following are pronounced differently depending on whether

they are used as nouns or verbs?
A. lick, bottle, can

B. table, herd, carpet
C. drive, catalog, board
D. sow, entrance, present
The question above asks you to pick the group of words pronounced one way
when they are used as nouns and another way when they are used as verbs.
Pronounce these words to yourself to check your answer.
The correct answer choice is D.
2. Questions About Musical Scores

The important thing to keep in mind when answering questions about musical
scores is to answer the question that is being asked. You should consider
reading the questions first, and then looking at the musical score in light of
the questions you have to answer.
Chapter 4: Types of Multiple-Choice Questions
3. Questions Based on Listening Samples

Base your answer only on the particular piece or excerpt that is being played,
unless the question specifically asks about the larger work from which an
excerpt has been taken.
4. Clustered Items
Some questions are preceded by stimulus material that relates to the question.
You may have one or more questions relating to a single stimulus. When you
have at least two questions related to a single stimulus, the group of questions is
called a cluster. In such cases, you will generally be given information followed
by an event to analyze, a problem to solve or a decision to make.
5. Other Formats
New formats are developed from time to time in order to find new ways of
assessing knowledge with multiple-choice questions. If you see a question
format that is not familiar to you, read the directions carefully.
Read and approach the question the way you would any other question, asking
yourself what you are supposed to be looking for and what details are given in
the question that help you find the answer.
Additional information and tips for answering multiple-choice questions are

provided in the Preparation Manual and Study Tips: Preparing for the Texas
Educator Certification Exams. These publications can be downloaded for free from
the Preparation Materials section of the TExES website at www.texes.ets.org.
Chapter 5: Answering the Practice Questions
You will probably find it helpful to simulate actual testing conditions when
answering the practice questions. You can print out the answer sheet provided in
Chapter 9 if you wish.
The Music EC–12 test includes some questions that have an audio component.
When you downloaded this eBook, you also downloaded audio files to your
computer. For the practice questions that have an audio component, you will need
to access these audio files. To listen to the audio files, double click the appropriate
audio file icon.
The instructions on page 17 are similar to those provided for a paper-based test
administration. Read these instructions carefully because they contain useful
information about such things as guessing and scratch work.
The instructions on pages 18–19 are similar to those provided for a computer-
administered test. Read these instructions if you plan on taking a computer-
administered test.
When you have finished the practice questions, you can score your answers using
the answer key in Chapter 11.
Rationales for the answers are in Chapter 12.
Chapter 6: General Study Tips
Good preparation is an important component of success. In this section are some

helpful hints and tips for becoming a better-prepared test taker.
• Identify what information the test will cover by reviewing the competencies
and domains for your field. A list of competencies and domains is included
in Chapter 3 of this book as well as in the Preparation Manual for each test
field. Preparation Manuals can be downloaded free of charge from the
Preparation Materials section of the TExES website at www.texes.ets.org.
• Focus your study time on those areas containing knowledge and skills
with which you are less familiar. While you are reviewing the content of all
domains and competencies, focus on areas about which you are least confident.
• Get study materials. Collecting and organizing study materials for review is a
critical step in preparing for the test. If you have questions about preparing to
take a Texas Educator Certification Program test, contact your advisor or the
director or certification officer at your Educator Preparation Program. Also,
think about where you might be able to obtain materials for your review.
Did you take a course in which the area was covered? Do you know a
teacher or professor who can help you organize your study? For most Texas
Educator Certification Program tests, Preparation Manuals are available for
free download from the Preparation Materials section of the TExES website
at www.texes.ets.org. Each Preparation Manual contains a combination of
test preparation and practice, including sample questions and answers with
explanations. Practice question books such as this one are also available for
other test fields.
• Plan and organize your time. Allow yourself plenty of time for review. The
Registration Bulletins, available on the TExES website, contain the test dates
and registration deadlines for the current testing year. There are plenty of
test dates available, so choose a test date far enough in advance so that you
can be fully prepared.
Chapter 6: General Study Tips
• Study. People have different study methods that work best for them—use
whatever you know works for you. Take an additional course, join a study
group or form your own study group. Consult with your program advisor or
director about whether you have completed sufficient coursework to prepare for
the test. If you have a specific need or area of weakness, an additional course or
a study group that focuses on that need or area may be best for you. If you are
retaking a test, use the information on your score report to help you prepare.
The domain and competency performance indicated on your score report can
help you identify possible areas for you to focus on.
• Be prepared on test day. You cannot control the testing situation, but you can
control yourself. Besides being well rested, it’s a good idea to eat before you
take the test. Allow yourself plenty of time to arrive at the test center on time,
and wear comfortable clothing. Dressing in layers is always a good plan. Make
sure you bring the required ID documents and your admission ticket with you to
the test center. You will not be admitted without them.
Chapter 7: Test-Taking Tips
Here are some good test-taking strategies.
• Carefully follow the directions to avoid wasting time.

• Do NOT panic. Concentrate on the current question only, and do not think
about how you answered other questions. This is a habit that can be learned
through practice.
• Understand the details of the question. Understanding the details of a
question may help you find the answer. It’s only by looking at all parts of a
question carefully that you will have all of the information you need to answer
correctly. Sometimes it helps to put the question in your own words. See
Chapter 4 in this book for the different types of multiple-choice questions that
may be asked and some tips for answering them.
• Don’t make questions more difficult than they are. Don’t read for hidden
meanings or tricks. There are no trick questions on the Texas Educator
Certification Program tests.
• Work as rapidly as you can without being careless. If you are taking a paper-
based test, this includes checking frequently to make sure you are marking your
answers in the appropriate rows on your answer sheet.
• Avoid spending too much time on one question. If you have given the
question some thought and you still don’t know the answer, eliminate as many
answer choices as possible and then select the best choice. However, it is best to
do this only after all the questions have been answered so you can stay focused
and save time.
• Leave no questions unanswered. Nothing is subtracted from a score if you
answer a question incorrectly. Questions for which you mark no answer or more
than one answer are not counted in scoring. Your score will be determined by
the number of questions for which you select the best answer.
• Pace yourself so you have enough time to answer every question. Be aware
of the time limit for each section and task, and budget enough time for each
question/task so you don’t have to rush at the end. It’s a good idea to check the
clock periodically to monitor progress.
• Don’t waste time pondering individual questions you find extremely

difficult or unfamiliar. Remember that no question carries greater weight
than any other. You might wish to work quite rapidly, first answering only the
questions about which you feel confident and then going back and answering
questions that require more thought, concluding with the most difficult
questions if there is time.
• Feel free to change your answers. You may change the answer to any
question you recorded. If you are taking a paper-based test, be sure to erase the
answer on the answer sheet completely and fill in the circle corresponding to
your desired answer for that question.
Paper-Based Testing
• Record all your answers on your answer sheet. Answers recorded in your
test booklet will not be counted. Given the time constraints, you should avoid
waiting until the last five minutes of a test administration to record your
answers on your answer sheet.
• Mark your answers in the correct response positions. Be sure you mark your
response in the correct circle. Always check to make sure that the circle you
mark matches the number of the question you are answering.
When you mark your answers on the answer sheet, keep the following guidelines
in mind.
• Use a soft-lead (No. 2 or HD) pencil.

• Mark only one answer for each question.
• Mark your answer in the row with the same number as the question you
are answering.
• Carefully and completely fill in the circle corresponding to the answer you
choose for each question. If you change your mind about an answer after
marking the answer sheet, completely erase your old answer and then mark
your new one.
• Completely erase any unnecessary or stray marks.
• You cannot make corrections after time is called.
Examples of Marking Answers

Answer sheets for the TExES tests can be either horizontal or vertical. The
examples below show you the correct way and wrong ways to mark each version
of the answer sheet.
Remember, answers marked in the test booklet do not count!
Computer-Administered Tests
• The computer-administered version of this test consists entirely of multiple-
choice questions. All questions will be presented via the computer, and you will
select responses using the computer.
• Read the directions carefully. You are responsible for reading and
understanding the directions before beginning the test. No oral instructions will
be provided. The time you take to read the directions is not considered part of
the testing time; however, it is recommended that you spend no more than about
fifteen minutes doing this. If you have questions about navigating through the
test, use the “Help” button on your screen.
• Click Help to review the General Directions, Testing Tools, How to Answer
and How to Scroll. The test clock will not stop when the Help function is
being used.
• Avoid spending too much time on one question. If you have given the
question some thought and you still don’t know the answer, eliminate as many
answer choices as possible and then select the best choice. You can review your
responses by clicking “Review.” However, it is best to do this only after all the
questions have been answered so you can stay focused and save time.
• After answering a question, move on to the next question by clicking “Next.”
To return to a previous question, click “Back.” If you are uncertain about a
question and want to review it later, click “Mark.” This will place a check mark
next to the question on the “Review” screen. The “Review” screen lists all of
the questions in the test and their status. This can be accessed by clicking
“Review.” Only questions that have already been seen may be reviewed.
• If you have time remaining at the end of the test, you will be given the option
to “Return” to the last question in the section, “Review” or “Continue.” At
this point, you can either go back and review your answers or continue. If you
choose to continue instead of reviewing your answers, you will not be able to
go back and review at any future time.
Chapter 8: Test Directions
Paper-Based Testing
Each question in the test booklet is a multiple-choice question with four answer
choices. Read each question carefully and choose ONE best answer. Record your
answer on the answer sheet in the circle that corresponds to the question number.
Completely fill the circle that has the same letter as the answer you have chosen.
Use only a soft-lead (No. 2 or HD) pencil.
Sample Question: 1. What is the capital of Texas?
A. Dallas
B. Lubbock
C. Austin
D. San Antonio
The correct answer to this question is C. You should indicate that on the answer
sheet as follows:
1.
Try to answer all the questions. In general, if you have some knowledge about a
question, it is better to try to answer it. You will NOT be penalized for guessing.
You may use the margins of the test booklet for scratch paper, but all of your
responses must be recorded on your answer sheet. Answers that are written in the
test booklet will NOT be scored.
Once the test has begun, you should continue from page to page, in sequence,
throughout the test booklet. The word “STOP” indicates that you have completed
the test. You may go back and review your answers, but be sure you have
answered all questions before raising your hand for dismissal.
The testing session will last five hours. You may work at your own pace. If you
have any questions, please ask them before beginning the test.
Computer-Administered Testing
Timing and Break

You have a total of five hours to take the test.
During the test, you may take one optional break. If you wish to take a break, you
should raise your hand. Since timing will not stop for this break, it is recommended
that the break not exceed 15 minutes.
Test Information
You may use the scratch paper provided to work out your answers. No credit will
be given for any responses marked on scratch paper. All scratch paper must be
turned in to the test administrator at the end of the testing session.
If you have a concern about the wording of a test question, please note the question
number on your scratch paper and continue the test. Report your concern to the test
administrator after you complete the test.
Testing Tools
Below is an overview of the tools and buttons available to you during the test.
These buttons and tools will help you navigate through your test.
After you answer a question, click NEXT. You may still change the
NEXT
answer after clicking NEXT.
BACK Clicking BACK will take you to the previous screen or question.
Clicking HELP will bring you to HELP. From HELP you can get
HELP information on different topics by clicking on one of the tabs at the top
of the screen.
Clicking MARK will place a check mark next to the questions you
may want to look at on the Review screen. Clicking MARK again
MARK
will remove the check mark. A question will remain marked until you
unmark it, even if you change the answer.
Clicking REVIEW will display the REVIEW screen. The REVIEW

screen lists all of the questions in the test and their status. The Status
column shows if a question has been answered, not answered or not
REVIEW
seen. The Mark column shows all questions you have marked for
review. The question you were looking at last is highlighted when
you enter the REVIEW screen.
Review Information
When you enter the REVIEW screen, the question you were looking at last is
highlighted. The Status column shows if a question has been Answered, Not
Answered or Not Seen. Questions you have marked are indicated with a
check mark.
REVIEW will be available to you at any time during the test. The Review screen
will also appear after the last question in the test session if time is still remaining.
If there is time remaining in the section, you will have the opportunity to return to
any question to answer or review the question more carefully.
Chapter 9: Sample Answer Sheet
Chapter 9: Sample Answer Sheet
Chapter 10: Practice Questions
The practice questions in this chapter are for you to review and use as part of
your preparation for the test. Each question is accompanied by the competency
that it measures. While studying, you may wish to read the competency before and
after you consider each question. Please note that the competency statements will
not appear on the actual test. Space has been provided for you to make notes on
each question.
There is an answer key for the practice questions in Chapter 11. The answer key
lists the question number and answer for each question. Please note that the answer
key also lists the competency assessed by each question and that the questions are
not necessarily presented in competency order.
The practice questions are included to illustrate the formats and types of questions
you will see on the test; however, your performance on the practice questions
should not be viewed as a predictor of your performance on the actual test.
Use Selection A to answer the question that follows.
Competency 001
1. Which type of cadence is heard in this listening excerpt?
A. Perfect authentic
B. Plagal
C. Authentic
D. Deceptive
Use Selection B to answer the question that follows.
Competency 001
2. The melody heard in this listening excerpt can best be described as which of
the following?
A. Modal
B. Atonal
C. Ostinato
D. Countermelody
Use Selection C to answer the question that follows.
Competency 001
3. This listening excerpt contains which musical device?
A. Sequence
B. Augmentation
C. Hemiola
D. Syncopation
Use Selection D to answer the question that follows.
Competency 001
4. Which scale is heard in this excerpt?
A. Major
B. Whole tone
C. Pentatonic
D. Natural minor
Use Selection E to answer the question that follows.
Competency 001
5. Based on the listening excerpt, which of the following chord types is played?
A. Major
B. Dominant seventh
C. Minor
D. Diminished seventh
Use Selection F to answer questions 6 and 7.
Competency 002
6. During which period was the excerpt composed?
A. Renaissance
B. Romantic
C. Baroque
D. Middle Ages
Competency 002
7. Who is the possible composer of this excerpt?
A. Moniot d’Arras
B. Hildegard von Bingen
C. Claudio Monteverdi
D. Guillaume Dufay
Use Selection G to answer questions 8 and 9.
Competency 002
8. What is the genre?
A. Ragtime
B. Bebop
C. Blues
D. Bluegrass
Competency 002
9. Which element is not used in this genre of music?
A. Repetition
B. Canon
C. Call and response
D. Syncopation
Use Selection H to answer questions 10 and 11.
Competency 003
10. This listening excerpt is influenced by the blues genre. Which of the
following style characteristics is not heard in this excerpt?
A. Twelve-bar blues form

B. Dissonant chords
C. Slides
D. Syncopated rhythms
Competency 003
11. This listening excerpt contains which device for musical expression?
A. Diminuendo and ritardando

B. Crescendo
C. Accelerando
D. Accelerando and diminuendo
Use Selection I to answer the following question.
Competency 003
12. Which of the following forms best describes this listening excerpt?
A. Binary form
B. Ternary form
C. Sonata-allegro form
D. Cyclic form
Use Selection J to answer the following question.
Competency 003
13. Which measures played in the performance below contain inaccurate

pitches?
A. One and two

B. Four and five
C. Five and six
D. Six and seven
Competency 004
14. This musical example can be described as which of the following?
A. Bitonal
B. Monodic
C. Heterophonic
D. Modal
Competency 004
15. Which of the following is an example of the Locrian scale?
A.
B.
C.
D.
Competency 004
16. In this example, which harmonic device is utilized in the final chord?
A. Picardy third
B. Diminished seventh
C. Augmented fifth
D. Parallel fifths
Competency 004
17. This music symbol is called
A. a gruppetto.
B. a tremolo.
C. a mordent.
D. an acciaccatura.
Competency 005
18. The bass line in this Bach Prelude excerpt is an example of which
compositional technique?
A. Pedal point
B. Suspension
C. Retardation
D. Harmonic rhythm
Competency 005
19. The B♭ trumpet is a transposing instrument. Written music notation for the
B♭ trumpet sounds a
A. minor third lower than the notated pitch.

B. major second higher than the notated pitch.
C. major second lower than the notated pitch.
D. minor second lower than the notated pitch.
Competency 005
20. Of the following woodwind instruments, which has the highest-sounding

range?
A. Oboe
B. B♭ clarinet
C. Bassoon
D. English horn
Competency 005
21. Call and response is a technique commonly used in African music. Which of
the following is an improvisational device that represents this technique?
A. Echo singing
B. Rondo development
C. Theme and variations
D. Question-and-answer phrases
Competency 006
22. During the twentieth century, Arnold Schoenberg experimented and

developed a new musical sound. Which musical style did he develop?
A. Twelve-tone music
B. Electronic music
C. New age
D. Sonata form
Competency 006
23. Figured bass notation was used primarily in which of the following musical
style periods?
A. Classical
B. Modern
C. Romantic
D. Baroque
Competency 006
24. Richard Wagner was a highly influential composer of the nineteenth

century. Which of the following is a musical device associated with
Wagnerian opera?
A. Singspiel
B. Recitativo accompagnato
C. Leitmotif
D. Recitativo secco
Competency 006
25. A dramatic increase in the number of musical instruments used within an

orchestra was established during which musical style period?
A. Baroque
B. Romantic
C. Renaissance
D. Classical
Competency 007
26. What popular technology, prevalent in the 1980s, transformed the way film
music was produced and continues to be used in the production of modern
film music?
A. Audio recorder
B. Synthesizer
C. Theremin
D. Vitaphone system
Competency 007
27. What are the typical instruments used in a gamelan ensemble?
A. Bonangs, rebab, suling

B. Cajón de tapeo, timbales, agogô
C. Shehnai, dutār, mridanga
D. Saenghwang, taegŭm, haegŭm
Competency 007
28. Vadi and durbal describe the level of musical significance carried by notes
in a composition. Which of the following Eastern music genres uses vadi
and durbal?
A. Korean p’ansori
B. Indian raga
C. Malaysian ronggeng
D. Burmese yodaya
Competency 008
29. Leslie, a freshman choir member, has a tendency to produce a nasal

tone quality. Which of the following would be the best approach to
use to correct her problem?
A. Suggest that Leslie create the sound farther back in her throat
B. Have Leslie take a deep and full breath to support her sound
C. Ask Leslie to use a breathier tone
D. Encourage Leslie to add space to her tone by lifting her soft palate
Competency 008
30. Which of the following terms describes the place in the voice where a singer
shifts from one vocal register to another?
A. Falsetto
B. Timbre
C. Passaggio
D. Head voice
Competency 008
31. Danielle, a middle school choir member, has been asked by her choral
director to give a presentation on correct singing posture. Which of the
following is not a component of correct singing posture?
A. Chin down
B. Legs slightly apart
C. Chest high
D. Shoulders down and back
Competency 008
32. Which of the following might be an appropriate voicing for a sixth-grade

beginning choir at the start of the school year?
A. Soprano I, soprano II, alto

B. Soprano, alto, tenor, bass
C. Two-part or unison
D. Soprano, alto, bass
Competency 008
33. The pitches in this musical example are labeled with which of the following
sight-singing tools?
A. Kodály signs
B. Movable do
C. Curwen signs
D. Fixed do
Competency 009
34. Ms. Wenzel notices that her clarinet student consistently plays every note
flat. Ms. Wenzel should tell her student to
A. pull out the barrel joint.

B. adjust the angle of the instrument.
C. relax the embouchure.
D. switch to a softer reed.
Competency 009
35. What is the correct fingering sequence for the first three notes of the
A♭ Major scale on the 4-valve BB♭ tuba?
A. 1-0-4
B. 23-1-0
C. 13-23-1
D. 12-13-1
Competency 009
36. Michael is a beginning trumpet player at his middle school. Next week
he will be tested on how to properly hold his instrument. Which would
be an appropriate right-hand position for Michael to demonstrate to the
band instructor?
A. His pinky finger should be placed in the pinky ring

B. His palm should touch the valve casing
C. His fingers should lie flat across the valves
D. His hand should form a “c” shape
Competency 009
37. Mr. Hernández, a high school orchestra instructor, asks his string students to
play a two-measure section using the louré bowing technique. Which of the
following styles is Mr. Hernández asking his students to produce?
A. Notes that are detached and not slurred

B. Notes that have an accented staccato stroke
C. Notes that are smoothly separated or pulsed
D. Notes that have a sharp staccato
Competency 010
38. When conducting an ensemble, which of the following is true?
A. The number of strokes in the pattern will not necessarily be reflective of

the time signature
B. It is acceptable to cross arms while conducting
C. Accents and dynamics should never be conducted with the left hand
D. Conducting should never be done without a baton
Competency 010
39. Which of the following describes the most common accompaniment styles
used by composers in the Romantic period?
A. A light and sparse accompaniment that is steady in tempo and dynamics

within each section
B. A heavy and lush accompaniment with intense dynamic differences
C. A light yet medium ensemble-scored accompaniment that is secondary
to the melody
D. An erratic accompaniment that is unpredictable and harmonically
surprising
Competency 010
40. Photocopying music is illegal in which of the following instances?
A. As a provision for judges in a music competition

B. As a single-page copy for a difficult page turn
C. To use temporarily while ordered music arrives
D. When the musical work is in the public domain
Competency 010
41. Which composer’s works are not part of the standard musical repertoire for
string ensembles?
A. Vivaldi’s
B. Chopin’s
C. Handel’s
D. Kreisler’s
Competency 011
42. Ms. Lorraine, a middle school orchestra instructor, is developing an

assessment in preparation for the spring concert. Which of the following
would not be considered a formal evaluation of curriculum content mastery?
A. Keeping a record of concert attendance

B. Quizzing articulation markings
C. Checking the memorization of repertoire
D. Evaluating student-written program notes
Competency 011
43. For a secondary music director, which of the following is an essential

resource to determine performance-quality repertoire in preparation
for state contests?
A. Selective Music List (SML)

B. Prescribed Music List (PML)
C. Standard Repertoire List (SRL)
D. Texas Music List (TML)
Competency 011
44. In developing the music skill of singing or performing in parts, which of the
following is the best first step for young students?
A. Having students sing a song while keeping the beat through marching,
stepping or skipping
B. Dividing the class into two sections, teaching one section one part and
the other section the alternate part and singing together
C. Dividing the class into two sections and having one group start singing
while the other group follows in rhythmic or melodic canon
D. Allowing the class to start a well-known song or rhythm pattern and
entering later in rhythmic or melodic canon
Competency 011
45. Which sentence describes the basic strand of perception as listed in the
Texas Essential Knowledge and Skills (TEKS) for Secondary Level I?
A. The student creates cultural connections among various types of music.

B. The student listens to a musical performance and reflects on his or her
personal experience.
C. The student describes and analyzes musical sound and demonstrates
musical artistry.
D. The student critically evaluates musical performances — both live and
recorded — for quality and purpose.
Competency 011
46. The Kodály Method, Suzuki Method, Orff Approach, Gordon’s Music
Learning Theory and other popular methods are influenced by which of the
following basic principles initially promoted by Swiss educator Johann
Heinrich Pestalozzi?
A. Symbol-before-sound approach
B. Sound-before-symbol approach
C. Prepare, present, practice method
D. Child-centered instruction
Competency 012
47. Mr. Jansen, a high school band director, wants to integrate other subject
areas with music instruction. The best way Mr. Jansen can do this is by
A. having his students write a critique of a recording of a musical work.

B. encouraging his students to attend local symphonic concerts.
C. participating in competitions every year.
D. having the student body observe a marching band performance at a
pep rally.
Competency 012
48. In order to teach about different cultures through music, Ms. Wills,
an elementary school music teacher, has planned a Chinese New Year
celebration unit. Which of the following lessons would best help her
young students learn about Chinese musical culture?
A. Analysis of the different scales used in Chinese music through listening

excerpts, followed by discussion of the differences between northern
and southern music
B. Study of Chinese instruments through an arts-and-crafts project
involving the creation of an instrument, followed by a show-and-tell
presentation
C. Independent study of musical developments during one of the various
dynastic periods in China and a research paper assignment
D. Exploration of the history of Peking opera and creation of a video
report highlighting the various aspects of performance style, costuming
and makeup while comparing and contrasting with Western opera
Competency 012
49. Which of the following is the best approach when teaching proper
concert etiquette?
A. Giving a lecture on the elements of proper concert etiquette

B. Asking students to demonstrate both inappropriate and proper
concert etiquette
C. Having students write about concerts in which proper concert
etiquette is not practiced
D. Having students read articles about proper concert etiquette
Acknowledgements
Questions 6 and 7
O, Jerusalem by Hildegard of Bingen. Performed by Emma Kirkby and
Gothic Voices, conducted by Christopher Page. Courtesy of Hyperion
Records Ltd., London.
Questions 8 and 9
Crazy Blues by Perry Bradford, performed by Noble Sissle. Courtesy of Library
of Congress # edrs 50754r.
Question 10 and 11
Blue Shades © Frank Ticheli/The Harry Fox Agency, Inc. Used by permission
of The Harry Fox Agency, Inc. and the University of Texas San Antonio
Wind Ensemble.
Chapter 11: Answer Key
The answer key below lists the question number and correct answer for each
practice question. The answer key also lists the competency assessed by
each question.
Question Question
Number Answer Competency Number Answer Competency
1 B 001 26 B 007
2 A 001 27 A 007
3 D 001 28 B 007
4 B 001 29 D 008
5 C 001 30 C 008
6 D 002 31 A 008
7 B 002 32 C 008
8 C 002 33 D 008
9 B 002 34 B 009
10 A 003 35 A 009
11 B 003 36 D 009
12 A 003 37 C 009
13 C 003 38 A 010
14 A 004 39 B 010
15 C 004 40 A 010
16 A 004 41 B 010
17 C 004 42 A 011
18 A 005 43 B 011
19 C 005 44 A 011
20 B 005 45 C 011
21 D 005 46 B 011
22 A 006 47 A 012
23 D 006 48 B 012
24 C 006 49 B 012
25 B 006
Chapter 12: Rationales for Answers
1. Option A is incorrect. A perfect authentic cadence is defined as the

progression of a V chord in root position to the tonic chord in root position
with tonic in the uppermost voice. Option B is correct. The cadence in this
excerpt is I-IV-I, which is the definition of a plagal cadence. Option C is
incorrect. An authentic cadence is defined as a chord progression in which
the V chord resolves to the tonic chord. This listening excerpt does not
contain a V chord in the cadence; therefore, it cannot be authentic. Option D
is incorrect. Deceptive cadences are chord progressions that move from a
V chord to any chord but the tonic chord. This listening excerpt does not
contain a V chord in the cadence.
2. Option A is correct. This excerpt has a lowered third and a lowered seventh
scale degree; these are the characteristics of the Dorian mode scale. Option B
is incorrect. Atonality is defined as music with no tonic center or no central
key or scale. Option C is incorrect. An ostinato is a repeated pattern. This
excerpt has no repetition in it. Option D is incorrect. A countermelody is a
secondary melody that accompanies the primary melody. In this excerpt, there
is only one melody.
3. Option A is incorrect. A sequence is a melodic or rhythmic pattern that is

repeated three or more times at different pitches. This is not heard in this
excerpt. Option B is incorrect. Augmentation occurs when the melodic theme
is altered by increasing the rhythmic values of the notes. Option C is incorrect.
The hemiola is a rhythmic pattern of three groups of two notes alternating
with two groups of three notes. That is not present in this excerpt. Option D
is correct. Syncopation is the accent of a weak beat in a composition. In this
excerpt, the accents occur on the upbeats.
4. Option A is incorrect. A major scale has half steps between the third and
fourth scale degrees, as well as the seventh and eighth scale degrees. This
scale excerpt does not follow this pattern. Option B is correct. A whole-tone
scale is made up of only whole-tone intervals. Option C is incorrect. A
pentatonic scale contains only five pitches. This excerpt contains seven.
Option D is incorrect. A natural minor scale has half steps between the
second and third scale degrees, as well as the fifth and sixth scale degrees.
This excerpt does not.
5. Option A is incorrect. A major chord is built with a major third between the
root and third followed by a minor third between the third and fifth. Option B
is incorrect. A dominant seventh chord is built with a major third between the
root and third, a minor third between the third and fifth, and a minor third
between the fifth and seventh. Option C is correct. A minor chord is built with
a minor third between the root and third, followed by a major third between
the third and fifth. Option D is incorrect. A diminished seventh is built with a
minor third between the root and third, a minor third between the third and
fifth and a minor third between the fifth and seventh.
6. Option A is incorrect. The Renaissance period, which lasted from

approximately 1450–1600 C.E., refined the sacred polyphonic motet
and Mass of the Middle Ages to reflect a more unified sound. Option B
is incorrect. The nineteenth-century Romantic period was marked by a
shift of focus toward emotion and individuality. Option C is incorrect.
Composers from the Baroque period, which lasted from approximately
1600–1750 C.E., used techniques such as basso continuo and focused on
expressing affections. Option D is correct. The music of the Middle Ages,
which lasted from approximately 600–1450 C.E., focused on the development
of both monophonic and polyphonic styles. This excerpt is a monophonic
sequence, a sacred genre first developed during the style period.
7. Option A is incorrect. Moniot d’Arras was a composer and troubadour of the

Middle Ages whose monophonic compositions mainly centered around the
theme of courtly love. Option B is correct. Hildegard von Bingen, a female
composer of the Middle Ages, wrote monophonic compositions that displayed
a wide range and vocal dexterity for females. Option C is incorrect. Claudio
Monteverdi composed music in the early Baroque period and is known as one
of the first composers of opera. Option D is incorrect. Guillaume Dufay is a
composer of the Renaissance period. His sacred motets and cantus firmus
Masses are among his well-known surviving works.
8. Option A is incorrect. Ragtime is a genre of musical composition for the

piano, generally in duple meter and containing a highly syncopated treble
lead over a rhythmically steady bass. Option B is incorrect. Bebop is a genre
of jazz that developed in the late 1940s and features fast tempi, complex
chord structure and virtuoso performance. Option C is correct. Classic blues
is typically accompanied by a piano or small jazz combo and sung by African
American women. Option D is incorrect. Bluegrass is a style of country music
that often uses guitars and fiddles.
9. Option A is incorrect. Repetition is used frequently in blues music by both

the vocal and instrumental parts. Option B is correct. Canon is an element of
counterpoint in which voices imitate one another at an established interval.
Option C is incorrect. Call and response is used in blues between vocals
and instruments. Option D is incorrect. Syncopation is often used in blues,
accenting the weak beats (2 and 4) of a measure instead of the strong beats.
10. Option A is correct. The form of this composition is through-composed.

Option B is incorrect. Dissonant chords can be heard, especially during
the train whistle effects by the brass section. Option C is incorrect.
This style characteristic, although understated, is heard in this listening
excerpt. Option D is incorrect. This style characteristic is heard in this
listening excerpt.
11. Option A is incorrect. Diminuendo means that the music will gradually
become softer, while ritardando means that the tempo of the music will
gradually become slower. Option B is correct. During numerous moments
in the excerpt, the music crescendos or becomes gradually louder in
volume. Option C is incorrect. The tempo does not significantly increase
or demonstrate accelerando. Option D is incorrect. The tempo does not
increase, and the volume does not decrease.
12. Option A is correct. Binary form refers to two distinct sections. Option B is
incorrect. In ternary form there are three sections — an A section, a B section
and a return to a variation of the A section. Option C is incorrect. Sonata-
allegro form includes an exposition, development and a recapitulation usually
followed by a coda. Option D is incorrect. Cyclic form, which contrasts
movements, is found in larger pieces such as symphonies, sonatas and suites.
13. Option A is incorrect. Measures one and two contain no inaccurate pitches.
Option B is incorrect. Measures four and five contain no inaccurate pitches.
Option C is correct. In measures five and six, the pitches performed in the
top line are G, A, D, C and D — different from what is written in the score.
Option D is incorrect. Measures six and seven contain no inaccurate pitches.
14. Option A is correct. This example from the second scene of Stravinsky’s
Petrushka is known for the use of bitonality. Option B is incorrect. Monody
is a style dating back to the seventeenth century in which an embellished solo
vocal line is accompanied. While this is a two-line example, the dissonance
is an element of modern music. Option C is incorrect. Heterophonic texture
is described as the simultaneous performance of two or more variations of
a melody. This does not occur in this example. Option D is incorrect. This
example is not based upon the Gregorian modes.
15. Option A is incorrect. The lowered seventh indicates that this is a Mixolydian
scale. Option B is incorrect. The lowered second, third, sixth and seventh
indicate that this is a Phrygian scale. Option C is correct. The Locrian scale
is built with a lowered second, third, fifth, sixth and seventh. Option D is
incorrect. The raised fourth indicates that this is a Lydian scale.
16. Option A is correct. Although the madrigal is written in the key of G Minor,
the final chord includes a B♮ in the soprano line, creating a G Major chord —
a Picardy third. Option B is incorrect. The final chord is a G Major chord
with no seventh present. Option C is incorrect. The fifth in the final chord is
perfect, not augmented. Option D is incorrect. Parallel motion occurs between
chord progressions. This question asks about the final chord.
17. Option A is incorrect. Gruppetto is the Italian term for “turn.” This is not
the symbol for gruppetto. Option B is incorrect. This is not the symbol
for tremolo. Option C is correct. Mordent is an ornament defined as the
alternation between the note and the note below. Option D is incorrect.
This is not the symbol for acciaccatura.
18. Option A is correct. A pedal point, or pedal tone, is a sustained low note
in the bass line of a composition, demonstrated in this excerpt. Option B
is incorrect. There is no suspension present in this excerpt. Option C is
incorrect. There is no resolution of non-chord tones in this excerpt. Option D
is incorrect. Harmonic rhythm describes the frequency of the chord changes.
Compositional technique refers to specific devices used and does not
articulate a necessary harmonic sequence.
19. Option A is incorrect. This is the sounding transposition for the trumpet in A.
There is a minor third between C and A. Option B is incorrect. This is the
sounding transposition for the trumpet in D. The B♭trumpet sounds lower
than its written notation. Option C is correct. The B♭ trumpet sounds a
major second lower than written. Option D is incorrect. This is the sounding
transposition for the trumpet in B. B is only a minor second from C. B♭is a
major second from C.
20. Option A is incorrect. An oboe has a range of B♭3–A6. Option B is correct.

A B♭ clarinet has a range of E3–C7 and sounds a whole step lower. Option C
is incorrect. A bassoon has a range of B♭1–E♭5. Option D is incorrect. An
English horn has a range of B3–G6 and sounds a perfect fifth lower.
21. Option A is incorrect. While an echo is a compositional effect sometimes

employed by composers, it is not the best answer to depict call and response.
Option B is incorrect. Rondo form, a recurrence of the first section after the
second, was a compositional device used especially during the Baroque and
Classical periods. Option C is incorrect. Theme and variations refers to a
form that presents a musical idea and then restructures that idea in sequential
phrases. Option D is correct. Call and response is a common characteristic
of African drumming. One person or group asks a melodic and/or rhythmic
question, and others in the group answer with either a prescribed or
improvised response.
22. Option A is correct. Schoenberg developed the twelve-tone technique and

ushered in the idea of atonality or pantonality. Option B is incorrect. The
first electronic music compositions were written in the early 1950s by
Herbert Eimert and Robert Beyer. Option C is incorrect. The new age music
movement is known for sound layering. Schoenberg’s death preceded the
birth of this movement. Option D is incorrect. Sonata form is a music
structure developed during the early Classical period.
23. Option A is incorrect. During the Classical period, notation was primarily
what it is today, though figured bass continued to be used in some instances.
Option B is incorrect. During the Modern period, notation was primarily
Option C is incorrect. During the Romantic period, notation was primarily
Option D is correct. During the Baroque period, the figured bass or basso
continuo was used in almost all compositions as a method of notation.
24. Option A is incorrect. Singspiel, a German music development of the late

eighteenth century, is defined as a comic play with spoken dialogue and song.
Option B is incorrect. Recitativo accompagnato, or accompanied recitative, is
more representative of Haydn or Mozart, composers of the Classical period.
Option C is correct. Wagner was known for his frequent use of leitmotif, a
recurring musical structure that represents a character, emotion or idea. Option
D is incorrect. Recitativo secco, a sparse form of accompaniment in opera,
was developed in the mid-seventeenth century and used by composers such as
Vivaldi and Handel.
25. Option A is incorrect. The orchestra from the Baroque period was small in
size and chiefly known for its use of strings and continuo instruments such
as a keyboard or harpsichord. Option B is correct. During the Romantic
period, the size and influence of the orchestra expanded to huge proportions,
which allowed for a much wider range of sounds. Option C is incorrect.
The modern-day definition of the orchestra began to take shape during
the mid-Renaissance period. Instruments were organized into sections, and
compositions were written with specific instrumentation in mind. Option D
is incorrect. Like the Renaissance period, the Classical period had an orchestra
divided into four self-contained sections: strings, woodwinds, brass and
percussion. The use of continuo instruments was discarded.
26. Option A is incorrect. Although audio recorders were used to capture sounds
on tape and were experimented with in the 1950s, they did not have a major
impact on film music. Option B is correct. The widespread use of the
synthesizer occurred in the early 1980s and aided the composer in creating
scores. It also enabled the film director to hear the music without hiring a full
orchestra. More musicians started using the synthesizer, and musicians with
less musical training were able to contribute to the film industry. Option C is
incorrect. The theremin, an instrument that created eerie noises, was used in
music for sci-fi and horror films. Option D is incorrect. Vitaphone was a
sound-on-disc system used in silent films. It synchronized the action on the
screen with music being played through a phonograph.
27. Option A is correct. Many differently tuned gongs are used in a gamelan
ensemble, as are the suling (a bamboo flute) and the rebab (a stringed
instrument). These instruments carry the melody. Option B is incorrect.
These are all Latin music percussion instruments. Option C is incorrect. These
are all Indian musical instruments. Option (D) is incorrect. The saenghwang
and the taegum are Korean wind instruments, while the haegum is a Korean
two-stringed fiddle.
28. Option A is incorrect. Koreans do not use the words vadi and durbal to
describe the significance of individual notes. Option B is correct. In Indian
raga, vadi refers to the notes of highest importance or emphasis, while durbal
refers to notes that are de-emphasized. Option C is incorrect. Malaysians do
not use the words vadi and durbal to describe the significance of individual
notes. Option D is incorrect. The Burmese do not use the words vadi and
durbal to describe the significance of individual notes.
29. Option A is incorrect. Instructing the student to sing farther back in the throat
will not teach full head resonance and efficient sound production. Option B
is incorrect. Although efficient breath management is necessary to singing,
this alone will not correct her tone. Option C is incorrect. Using a breathy
tone will not effectively correct nasality and will not teach efficient sound
production. Option D is correct. Allowing the sound to resonate higher in the
head by creating more space will most likely give optimal results.
30. Option A is incorrect. Falsetto refers to a higher register that extends past the
full voice range. Option B is incorrect. Timbre refers to tone quality. Option C
is correct. Passaggio literally means “passage” and refers to the place in one’s
voice where it switches registers. Option D is incorrect. Head voice refers to
the highest register of the voice.
31. Option A is correct. The head should be erect, facing forward for best singing
results. Option B is incorrect. A relaxed stance with knees bent, legs apart and
one foot slightly in front of the other is good singing posture. Option C is
incorrect. The high, or lifted, chest is a component of good singing posture.
Option D is incorrect. Shoulders positioned down and back create a
comfortable and good singing posture.
32. Option A is incorrect. Sixth-grade beginning singers are approximately

11 years old with unchanged voices. This, combined with the lack of
experience in choral singing, would make SSA singing difficult. Option B
is incorrect. Generally, boys’ voices have not yet changed enough by sixth
grade to be able to sing tenor and bass. Option C is correct. Two-part or
unison music is a good choice for students of this age and ability level.
Option D is incorrect. Boys of this age have not gone through enough vocal
change to sing bass.
33. Option A is incorrect. There are no numbers used in this example. Option B
is incorrect. When using the movable-do method, tonic is called “do.” This
example is written in the key of G. G is labeled as “so.” Option C is incorrect.
Curwen hand signs are not used in this example. Option D is correct. When
using the fixed-do method, C is called “do.”
34. Option A is incorrect. A student pulls out the barrel joint when he or she
is sharp and pushes the barrel joint in when he or she is flat. Option B is
correct. The instrument should be held at a 30- to 40-degree angle for the best
intonation. Option C is incorrect. Students are told to relax the embouchure
when they are sharp, especially when playing diminuendos. Option D is
incorrect. Soft reeds actually cause the intonation of the instrument to go flat.
35. Option A is correct. The first three notes of the A♭Major scale are A♭, B♭
and C. This is the correct fingering for the 4-valve BB♭tuba. The C can also
use the fingering combination of 13. Option B is incorrect. This fingering
pattern is used for the A♭Major scale by the French horn. Option C is
incorrect. This is not how these notes would be fingered on the 4-valve
BB♭tuba. Option D is incorrect. The C can be played with 1 in the higher
register, but the remaining two notes are not fingered correctly.
36. Option A is incorrect. The pinky should rest on top of the pinky ring, not
in it. Incorrect placement of the pinky can lead to excess pressure on the lips.
Option B is incorrect. The palm should not touch the valve casing. Doing
so may cause hand cramping and immobility of the fingers. Option C is
incorrect. Quick, disruptive movements and loss of leverage can result if the
fingers are flat on the valves. Option D is correct. The “c” shape creates a
relaxed position that allows the fingers to arch over the valves.
37. Option A is incorrect. Détaché is defined as the bowing technique in which

notes are not slurred and not staccato. Option B is incorrect. Martelé is
defined as an accented staccato stroke. Option C is correct. Louré is defined
as a bowing technique that is smoothly separated or pulsed. Option D is
incorrect. Spiccato is defined as a sharp staccato.
38. Option A is correct. The number of strokes in the pattern will rely more upon
what the conductor needs to communicate to his ensemble for clear direction.
Option B is incorrect. It is never acceptable to cross arms while conducting.
Doing so confuses the musicians. Option C is incorrect. The right hand should
be keeping the steady beat, while the left hand should be used for accents
and other articulation markings. Option D is incorrect. Depending upon the
conductor and the ensemble, directing without a baton is acceptable.
39. Option A is incorrect. A light and sparse accompaniment is an appropriate

Baroque style. Option B is correct. The Romantic period features heavy
and lush accompaniments with intense dynamic differences. Option C is
incorrect. During the Classical period, the size of the orchestra expanded,
but the importance of the harmonic structure was secondary to the melodic
structure. Option D is incorrect. The erratic and unpredictable aspects are
Modern music components.
40. Option A is correct. It is illegal to photocopy music to save on the cost of

purchasing music. Option B is incorrect. It is legal to make a single-page
copy without obtaining permission. Option C is incorrect. It is legal to make
temporary copies of copyrighted music if a valid order has been placed and
the temporary copies are destroyed after the originals arrive. Option D is
incorrect. Music that is in the public domain is legal to photocopy.
41. Option A is incorrect. Vivaldi’s works are part of standard string ensemble
repertoire. Option B is correct. Chopin is primarily known for his piano
compositions. His works are not part of the standard string repertoire.
Option C is incorrect. Handel’s works are part of the standard string ensemble
repertoire. Option D is incorrect. Kreisler’s works are part of the standard
string ensemble repertoire.
42. Option A is correct. A teacher may track student concert attendance.

However, attendance is not listed in the TEKS as an area for content
assessment. Option B is incorrect. A quiz is considered a formal assessment.
Interpreting music symbols accurately is one suggestion for evaluation of
musicianship (see TEKS Music Level II.3.C.). Option C is incorrect. A
repertoire memory check is considered a formal assessment. Performance
preparation is one area for evaluation of musicianship (see TEKS Music
Level II.2.B.). Option D is incorrect. Evaluation through student-written
program notes is considered a formal assessment. Written feedback on content
expectations is one area for evaluation of musicianship (see TEKS Music
Level II.6.A.).
43. Option A is incorrect. While this is a resource for bands from the National
Band Association, it is not the best resource for selecting contest repertoire.
Option B is correct. The Prescribed Music List (PML) is the official source
for all University Interscholastic League (UIL) music. It must be consulted
in preparation for the required-piece component of the contest. Option C is
incorrect. The American Choral Directors Association’s Two-Year College
Standard Repertoire List would not be the best resource for a secondary music
educator to use. Option D is incorrect. The Texas Music List (TML) is not an
authorized resource.
44. Option A is correct. Although other methods might be used to develop a

student’s ability to perform in parts, the question asks for the best first step
for young children. Option A is the simplest strategy and should be mastered
before further methods are attempted. Option B is incorrect. Although option
B is one of the methods in developing part-singing ability, the activity is quite
advanced, requiring more independent musicianship than requested by the
question. Option C is incorrect. While the use of canons is one of the first
steps in producing part singing or instrumental part-work ability, it is not the
best first step. Option D is incorrect. Option D can be used once students have
confidence with repertoire. Although it should be attempted before option C,
it is not the best first step.
45. Option A is incorrect. This answer loosely describes the basic strand of
historical/cultural heritage. Option B is incorrect. Reflection on personal
experience may be a by-product of successful TEKS implementation, but it is
not a specific expectation. Option C is correct. This is a direct quotation from
the TEKS document to define the strand perception. Option D is incorrect.
This is a loose definition of the TEKS fourth strand, critical evaluation.
46. Option A is incorrect. The symbol-before-sound approach might be

considered a more traditional approach. Option B is correct. Pestalozzi,
followed by Lowell Mason and other great music pedagogues from the
twentieth century, promoted the sound-before-symbol approach for effective
instruction. Elements of this approach can be observed in many music
methodologies currently in use. Option C is incorrect. The pedagogical
formula prepare, present, practice is a three-step process commonly used by
Kodály teachers. While it is based on the sound-before-symbol philosophy,
it was not developed by Pestalozzi. Option D is incorrect. Child-centered
instruction was the focus of work by many different educational theorists.
However, Pestalozzi is known as one of the main founders of the sound-
before-symbol learning approach.
47. Option A is correct. Writing a critique is a very effective way to integrate

other content areas into music instruction. Not only does it teach critical
analysis, but it also provides students a way to practice writing skills.
Option B is incorrect. Although encouraging students to attend local concerts
is important in developing their appreciation for the fine arts, it is not the best
way to integrate other subjects with music instruction. Option C is incorrect.
Although competitions help students become well rounded, they are not the
best way to integrate other content areas with music instruction. Option D is
incorrect. While this may be a positive experience for students — some of
whom are not necessarily involved in fine arts — it does not integrate other
subject areas with music instruction.
48. Option A is incorrect. While the Chinese culture has very distinct scales in its
music, this is an advanced study and, therefore, not appropriate for younger
elementary school students. Option B is correct. For younger students, this
helps teach Chinese musical culture while still providing a varied lesson plan.
Option C is incorrect. A research paper of this nature would not be appropriate
for younger elementary school students. Option D is incorrect. A project of
this magnitude and intricacy would not be appropriate for younger elementary
school students.
49. Option A is incorrect. Educating students on proper concert etiquette is not

as effective as having them experience it. Option B is correct. The best way
to teach concert etiquette is to enforce proper concert etiquette at concerts.
Option C is incorrect. Writing assignments are not as effective as experiencing
proper concert etiquette. Option D is incorrect. Reading is not as effective as
experiencing proper concert etiquette.
Chapter 13: Test Results
The results for each TExES test are reported as a score in the range of 100–300,
with a total test scaled score of 240 as the minimum passing score.
Your total test scaled score shows how you performed on the test as a whole and
whether you passed the test.
Minimum passing standards for the tests were established by the State Board for
Educator Certification (SBEC) with input from committees of Texas educators.
For the TExES tests, the minimum passing score represents the minimum level of
competency required to be an entry-level educator in Texas public schools in the
field in which you tested.
Information on score reporting and score reporting dates is on the TExES website
at www.texes.ets.org and in the Registration Bulletin, which is also available on
the website. The score report will indicate whether you have passed the test and
will include:
• a total test scaled score

• your performance in the major content domains of the test and in the specific
content competencies of the test
• information to help you understand the score scale and interpret your results
Scaled scores are reported to allow for comparison of scores across different
versions of the same test. The total scaled score is not the percentage of questions
answered correctly and is not determined by averaging the number of questions
answered correctly in each domain.
Information about understanding the score scale and interpreting your results may
be useful in identifying strengths and weaknesses in your content preparation and
can be used for further study or for preparing to retake the test.
Texas Educator Certification Program Tests
If you’re preparing to take a

ETS is a private,
Texas Educator Certification nonprofit organization
devoted to educational
Program test, this book should measurement and
be part of your preparation. research, primarily
through testing.
You’ll see practice questions ETS develops and
administers millions
for the types of multiple-choice of achievement and
admissions tests
questions you will see on test
each year in the
day along with study and test- United States and
180 other countries.
taking tips.
You get:
 49 Practice Questions
 Test Instructions and Answer Sheet

 Answer Key and Rationales

Ebook TExES Music EC12 Practice Question 177

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Practice Question Book for the

Texas Educator Certification Program

Texas Examinations of Educator Standards (TExES ) Tests

177 Music EC–12

Chapter 1: Features of This Book ........................................................................ 4

Chapter 3: Domains and Competencies ................................................................ 6

Chapter 4: Types of Multiple-Choice Questions .................................................. 8

Chapter 5: Answering the Practice Questions....................................................... 10

Chapter 6: General Study Tips .............................................................................. 11

Chapter 7: Test-Taking Tips ................................................................................. 13

Chapter 8: Test Directions .................................................................................... 17

Chapter 9: Sample Answer Sheet .......................................................................... 20

Chapter 10: Practice Questions ............................................................................. 22

Chapter 11: Answer Key ....................................................................................... 49

Chapter 12: Rationales for Answers .................................................................... 50

Chapter 13: Test Results ....................................................................................... 62

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DOMAIN II — Music Theory and Composition

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DOMAIN III — Music History and Culture

DOMAIN IV — Music Classroom Performance

DOMAIN V — Music Education

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1. Complete the Statement

Which of the following are pronounced differently depending on whether

A. lick, bottle, can

The correct answer choice is D.

2. Questions About Musical Scores

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3. Questions Based on Listening Samples

Additional information and tips for answering multiple-choice questions are

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Rationales for the answers are in Chapter 12.

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Good preparation is an important component of success. In this section are some

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Here are some good test-taking strategies.

• Carefully follow the directions to avoid wasting time.

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• Don’t waste time pondering individual questions you find extremely

• Use a soft-lead (No. 2 or HD) pencil.

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Examples of Marking Answers

Remember, answers marked in the test booklet do not count!

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Sample Question: 1. What is the capital of Texas?

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Timing and Break

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Clicking REVIEW will display the REVIEW screen. The REVIEW

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Use Selection A to answer the question that follows.

1. Which type of cadence is heard in this listening excerpt?

Use Selection B to answer the question that follows.

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Use Selection C to answer the question that follows.