Eduqas A-Level Music: Musical Theatre overview quiz quiz

A show built entirely of self-contained songs that stop the action, linked only by spoken comic scenes

A sung-through megamusical of the 1980s with amplified pop voices and lavish staged spectacle throughout

One where song, dance and story unite to advance the drama; the golden age (Rodgers and Hammerstein)

A light operetta of spoken dialogue and waltz numbers, associated with the Viennese stage tradition

Simple diatonic harmony with a few repeated words and singalong refrains for the audience

A sung-through pop spectacle driven by amplified power ballads and a recurring big key change

Strophic folk tunes set in a major key with no chromatic colour and very plain accompaniment

Complex chromatic harmony and conversational, ideas-led word-setting

A sung-through, pop-influenced, spectacular show with soaring ballads and amplified voices

A lush golden-age pit with classical strings and spoken dialogue carefully placed between songs

A small chamber show using only a solo piano and an intimate, unamplified legit singing voice

An unaccompanied chorus singing close-harmony numbers with no orchestra and no staged spectacle

The triumphant final number where the whole company resolves the story and takes its curtain call

A number where a character states a goal or longing, usually early, launching the story

A very fast comic patter song packed with tongue-twisting lyrics sung at high speed for laughs

An instrumental overture that stitches together the show's main tunes before the curtain rises

A slow, lyrical love ballad with sustained melismatic phrases

A full-company finale that brings the curtain down on the show

A very fast, wordy, syllabic and usually comic number

A returning reprise of an earlier tune in altered form

A brand-new song introduced late in the show that has no musical link to anything heard earlier

The opening number that establishes the setting and introduces the leading characters at the start

A purely instrumental link or interlude played by the pit between two spoken scenes to cover a change

A returning song, often transformed, showing a changed situation or character development

Syllabic is one note per syllable (rapid, wordy); melismatic is several notes to a syllable (soaring, emotional)

They are the same thing, both meaning that every single syllable of the text is sung on one held note

Syllabic always means singing loudly in a powerful belt voice, while melismatic always means a quiet legit voice

Syllabic word-setting is used only by the pit instruments, never by the voices, in a sung-through show

Legit is an amplified pop-style sound borrowed straight from rock and chart music, while belt is the unamplified classical opera voice

Legit is a classical, rounded voice (from operetta); belt is a powerful, chest-dominated voice carried high (usually amplified)

They are the same sound described by two interchangeable names, with no real difference in tone or technique

Belt is found only in golden-age shows and never appears in modern megamusicals or contemporary scores

It performs in full view on the stage as part of the staged action and its make-up has never changed over time

It plays only the overture at the very start and then falls completely silent for the entire rest of the show, leaving every song, dance and scene wholly unaccompanied

It accompanies from below the stage; traditionally strings, woodwind, brass and percussion (lush in the golden age), increasingly a pop-rock band in modern shows

It is always just a single piano in every era, with no strings, woodwind, brass, percussion or amplified band ever added

Singing a number without any pit accompaniment at all

The lowest sounding note of a chord, forming the bass of the harmony beneath

A style of energetic ensemble dance number used in finales

Instrumental music played under spoken dialogue to heighten a scene

Connecting musical features to dramatic meaning (what they convey about character, story or mood)

Retelling the whole plot of the show in detail without ever mentioning a single musical feature or device

Describing the notes and rhythms in technical detail while offering no interpretation of what they convey

Counting how many songs appear in the show and listing their titles, with no comment on what they express

Only the lyrics, ignoring every musical feature of the extract

Song type and structure, melody and word-setting, harmony, orchestration, then vocal style

A random order, jumping between features with no consistent method

Only the orchestration of the pit, with no comment at all on melody, word-setting, harmony or the vocal style