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Free Practice Questions for Cantabria PAU Music Analysis II (Análisis Musical II)

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Key Facts: Cantabria PAU Music Analysis II (Análisis Musical II) Exam

90 Mins

Official time limit for the written examination paper

UNICAN Regulations

0–10 Scale

Official grading scale for PAU subject examinations

UNICAN Guidelines

5 Modules

Core curriculum topic areas evaluated on the exam

2º Bachillerato Curriculum

EUR 71.09

Base registration fee for Cantabria PAU Access Phase

University of Cantabria (UNICAN)

100

Practice questions included in this question bank

OpenExamPrep

Cantabria PAU Music Analysis II (UNICAN 2026) evaluates 2º Bachillerato students on score analysis, harmony, cadences, musical forms, textures, and historical styles in a 90-minute paper. This English-language MCQ bank is a study adaptation of the knowledge behind the official written exam, not a format simulation.

Sample Cantabria PAU Music Analysis II (Análisis Musical II) Practice Questions

Try these sample questions to review concepts for the Cantabria PAU Music Analysis II (Análisis Musical II) exam. Each question includes a detailed explanation. Start the interactive quiz above for the full 100+ question experience with AI tutoring.

1In the standard structure of Classical sonata form, which three main sections compose its formal scheme?
A.Prelude, Fugue, and Coda
B.Introduction, Theme and Variations, and Final Rite
C.Exposition, Development, and Recapitulation (or Reprise)
D.Refrain, Couplet, and Cadenza
Explanation: Classical sonata form is articulated fundamentally in three main sections: Exposition (themes presented in competing tonal areas), Development (themes transformed and modulated), and Recapitulation (themes return reconciled in the tonic).
2What formal trait essentially characterizes Classical rondo structure in its ABACA scheme?
A.Continuous variation of the bass over a melodic ostinato
B.Contrapuntal exposition of a subject in all voices
C.Periodic return of a main theme or refrain (A) alternating with secondary episodes or strophes (B, C)
D.Uninterrupted rhythmic development without differentiated sections
Explanation: Classical rondo is defined by recurrent reappearance of a main theme (refrain, labeled A) in the home key, intercalated with contrasting episodes or strophes (B, C).
3In a Baroque fugue, what name is given to the contrapuntal procedure in which a voice's 'Subject' entry occurs before the previous voice has finished exposing it completely?
A.Augmentation
B.Stretto (or Estrecho)
C.Diminution
D.Subject inversion
Explanation: Stretto is a high-tension contrapuntal resource in fugue where subject (or answer) entries overlap, a new voice entering before the previous one finishes.
4Which statement accurately describes a Rounded Binary Form (or binary with reprise)?
A.It consists of a single melodic section repeated continuously with different lyrics
B.It comprises two sections (|: A :||: B A' :|) where the second section concludes by re-exposing the initial material in the tonic
C.It presents three independent sections A, B, and C of identical length without tonal reprise
D.It is a four-voice contrapuntal movement based exclusively on strict canons
Explanation: Rounded binary form has two parts divided by repeat bars (|: A :||: B A' :|); section B introduces some instability or contrast and then returns abbreviated initial material in the tonic.
5What basic structural difference exists between Ternary ABA form (or ternary Lied) and Rounded Binary form?
A.Ternary ABA never returns to the tonic in the final A section
B.Rounded Binary lacks repeat bars and is performed without pauses
C.In Ternary ABA, section B is an independent block with its own key and material, and A returns complete and autonomous
D.There is no difference; both terms are completely synonymous in analytic theory
Explanation: In ternary ABA (ternary Lied), central section B is a closed independent block (often in a relative or neighboring key), followed by a complete independent return of A.
6When analyzing a 'Theme and Variations,' which procedure represents an ornamental or melodic variation?
A.Drastically changing meter and instrumental template without keeping any note or harmony of the theme
B.Replacing the theme with an atonal military march unrelated to the original theme
C.Keeping the theme's harmonic structure while adding neighbor tones, passing notes, and virtuoso passagework to the main melodic line
D.Suppressing the bass and performing only silence in the upper voice
Explanation: Ornamental variation embellishes and decorates the theme's melodic line with passing notes, neighbors, arpeggios, or appoggiaturas while preserving the underlying harmonic framework.
7What combination of elements defines Rondo-Sonata form prevailing in finales of Classical symphonies and concertos?
A.The ABACABA scheme where section B first appears in the dominant (Exposition) and later reappears in the tonic (Recapitulation)
B.Superposition of four independent fugues performed simultaneously by the orchestra
C.An uninterrupted sequence of 12 harmonic variations over a 4-bar bass ostinato
D.Strophic alternation of a Gregorian choir with improvised dry-recitative passages
Explanation: Rondo-Sonata synthesizes rondo recurrence (ABACABA) with sonata's tonal principle: first episode B appears in the dominant (or secondary key) like a second theme, then returns in the tonic.
8In the first movement of a Classical solo concerto, what does the so-called 'Double Exposition' consist of?
A.The soloist plays the entire movement twice consecutively exactly the same
B.The orchestra first presents an initial exposition (Tutti) remaining in the tonic, followed by a second exposition with the Soloist that modulates to the dominant
C.The Development section is repeated entirely in the relative minor key
D.The conductor exposes the theme by singing before the instruments enter
Explanation: In Classical concerto sonata form (shaped by Mozart), 'Double Exposition' means the orchestra (Tutti) first presents themes staying in the tonic, then the soloist joins in a second exposition that modulates to the dominant.
9What innovation did Ludwig van Beethoven introduce in symphony structure by replacing the traditional Minuet of the third movement?
A.He replaced the refined Minuet with the Scherzo, a faster, more energetic ternary-meter movement of dizzying character
B.He eliminated the third movement completely in all his symphonies
C.He replaced the third movement with an a cappella Gregorian chant solo
D.He introduced a five-voice twelve-tone fugue based on a retrograde series
Explanation: Beethoven transformed the symphony by replacing the polite moderate courtly Baroque/Classical ternary Minuet with the Scherzo (literally 'joke'), keeping ternary structure but with greater rhythmic drive.
10What is the stylized order of the four core dances that constitute the nuclear structure of the Baroque Suite?
A.Polka – Waltz – Mazurka – Bolero
B.Pavane – Galliard – Saltarello – Tarantella
C.Minuet – Scherzo – Rondo – Coda
D.Allemande – Courante – Sarabande – Gigue
Explanation: The instrumental Baroque Suite (consolidated by composers such as Froberger and J.S. Bach) was internationally structured on four main dances: Allemande, Courante, Sarabande, and Gigue.

About the Cantabria PAU Music Analysis II (Análisis Musical II) Exam

Comprehensive preparation bank for the Cantabria PAU Análisis Musical II examination (Universidad de Cantabria UNICAN 2026). Designed for 2º Bachillerato music students, this resource covers harmonic analysis, cadential formulas, non-chord tones, formal structures (sonata, rondo, fugue, lied), textures, instrumental transposition, score reading, historical style aesthetics from Medieval to 20th century, and contemporary music concepts.

Exam sponsor: University of Cantabria (UNICAN) PAU Organising Commission. The requirements and fees below concern the certification or admission exam, separate from our free practice resources.

Assessment

The PAU Análisis Musical II examination is a 90-minute written paper administered by UNICAN. It tests students on score excerpt analysis, cadence identification, harmonic analysis, formal structure classification, texture recognition, and historical period commentary.

Time Limit

90 minutes.

Passing Score

Marked on a 0–10 scale. Minimum 4.0 required in Access Phase.

Exam / Certification Fees

EUR 71.09 base registration fee for PAU Access Phase.

Exam sponsor website

Fees, eligibility, and exam policies can change. Confirm them with the exam sponsor before applying or paying.

Our practice resources: topics covered

We aim to reflect publicly available exam outlines and topic information in our study resources. Coverage, format, and difficulty may differ from the actual exam, and we cannot guarantee that every detail is accurate or current. Confirm exam requirements, fees, and policies with the official exam sponsor.

20%

Musical Form, Structure & Analytical Methodology

Sonata-allegro form, rondo, fugue structure, binary and ternary forms, theme and variations, lied structures, suite movements, and analytical methodology.

20%

Harmony, Tonality, Counterpoint & Cadences

Perfect, plagal, deceptive, half and Phrygian cadences, harmonic functions, non-chord tones, voice leading, modulation, and tonal vs atonal systems.

20%

Texture, Instrumentation & Timbre Analysis

Monophony, homophony, polyphony, heterophony, melody with accompaniment, instrument transpositions (B-flat, F, E-flat), score clefs, timbre, and electroacoustic concepts.

20%

Historical Styles: Medieval, Renaissance, Baroque & Classical Analysis

Gregorian chant, Notre Dame organum, Ars Nova, Renaissance polyphony and madrigals, Baroque basso continuo and concertos, and Classical symphonic style.

20%

Romantic, 20th Century, Contemporary & Popular Music Analysis

Romantic lied and program music, impressionism, expressionism, twelve-tone serialism, neoclassicism, aleatoric music, minimalism, spectralism, jazz, film scoring, and popular music.

Preparing for the Cantabria PAU Music Analysis II (Análisis Musical II) Exam

What You Need to Know

  • Passing score: Marked on a 0–10 scale. Minimum 4.0 required in Access Phase.
  • Assessment: The PAU Análisis Musical II examination is a 90-minute written paper administered by UNICAN. It tests students on score excerpt analysis, cadence identification, harmonic analysis, formal structure classification, texture recognition, and historical period commentary.
  • Time limit: 90 minutes.
  • Exam / certification fees: EUR 71.09 base registration fee for PAU Access Phase. Official sources

Using Our Practice Resources

  • Work through all 100 available questions
  • Review every answer and explanation
  • Track weak areas and revisit them
  • Use our AI tutor for tough concepts

Cantabria PAU Music Analysis II (Análisis Musical II): Suggested Study Strategy

1Practice identifying cadences (Perfect V-I, Plagal IV-I, Deceptive V-VI, Half Cadence to V, Phrygian iv6-V) directly on score excerpts.
2Memorize instrument transpositions: B-flat instruments sound a major 2nd lower, F instruments sound a perfect 5th lower, and E-flat instruments sound a major 6th lower than written.
3Master the internal structure of Sonata-Allegro form (Exposition, Development, Recapitulation, Coda) and Fugue (Subject, Answer, Countersubject, Episodes, Stretto).
4Learn to distinguish musical textures visually on a score: monophony, homophony, polyphony/contrapuntal, and melody with accompaniment.
5Review stylistic markers across historical eras, such as Gregorian chant, Renaissance polyphony, Baroque basso continuo, Classical periodic phrasing, Romantic chromaticism, and 20th-century serialism.

Frequently Asked Questions

Is this practice bank in the same format as the real Cantabria PAU exam?

No, and it is important to know the difference. The official Cantabria PAU paper, organised by the University of Cantabria (UNICAN), is a 90-minute examination sat in Spanish (or in the target language for foreign-language papers) and built around open and semi-constructed written tasks that must be answered and justified in full. Under Real Decreto 534/2024, open and semi-constructed responses must account for at least 70% of every paper, so the real exam is not a multiple-choice test. This bank is an English-language multiple-choice study adaptation of the official 2º Bachillerato syllabus — not an official translation, not a past paper, and not a simulation of the exam format. Use it to drill the underlying knowledge and reasoning quickly, then practise the official written, oral, graphic, practical, or performance tasks separately, because that is what the examiners actually mark.

What is the format of the PAU Análisis Musical II exam in Cantabria (UNICAN)?

The exam is a 90-minute written examination administered by UNICAN. It features score excerpt analysis, cadence identification, harmonic analysis, formal structure diagrams, and historical stylistic periodization.

How is the final university admission mark calculated in Cantabria?

The final admission mark combines 60% of the student's Bachillerato GPA (Nota Media de Bachillerato) and 40% of the PAU Access Phase average (Calificación de la Fase de Acceso). A minimum score of 4.0 is required in the PAU Access Phase, and the combined result must be at least 5.0.

What core topics are tested on the Music Analysis II paper?

The paper covers five major topic areas: Musical Form & Structure, Harmony & Cadences, Texture & Instrumentation, Historical Styles (Medieval to Classical), and Romantic & Contemporary Music.

What registration fee is required for the PAU Access Phase in Cantabria?

The base registration fee for the PAU Access Phase in Cantabria is EUR 71.09, set by the Universidad de Cantabria (UNICAN).

What language is the exam administered in?

The examination paper and official responses in Cantabria are in Spanish ('es').