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opera |
a drama that is sung |
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recitative |
the vocal style in opera that imitates the natural inflections of speech |
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florentine camerata |
opera was born through the innovations of this |
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aria |
a highly emotional sung in an opera |
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overture |
orchestral introduction heard at the beginning of an opera |
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libretto |
the text of an opera |
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monteverdi |
the first master of opera |
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greek mythology |
earliest opera took their plots from here |
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masque |
a type of english entertainment combining music, poetry, and dance |
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henry purcell |
greatest native-born english composer of baroque |
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a production at a girls’ school |
purcell’s opera "dido and aeneas" was composed for: |
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nahum tate |
librettist of purcell’s "dido and aeneas" |
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virgil’s aeneid |
epic poem purcell’s "dido and aeneas" is based on |
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killing herself |
dido sings her famous lament just prior to: |
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over a ground bass |
dido’s lament is composed: |
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it suggests cupid waking |
why does the opening melodic line ascend in strozzi’s amor dormilione |
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lutheran church service |
the sacred cantata was an intergral part of |
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chorale tunes were originally conceived for polyphonic settings |
which does not describe a chorale |
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all of the above |
during his life, bach held the position of |
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the organ |
bach was most famous as a performer on: |
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bar form (A-A-B) |
what is the form of the chorale tune "wachet auf" |
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seven |
how many movements does bach’s cantata no. 140 "wachet auf" |
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a grand chorale fantasia |
the opening movement of bach’s cantata "wachet auf" is best described as: |
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da capo (A-B-A) |
the duet from bach’s cantata "wachet auf" is in what form? |
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elaborate scenery |
which of the following does not characterize an oratorio |
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the bible |
stories for oratorios are generally drawn from |
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the oratorio |
george frideric handel was considered a master of |
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handel |
born in germany and studied in italy |
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operas |
when handel arrived in london, he established his fame by composing: |
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oratorio |
later in life, handel turned his attention from operas to the: |
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messiah |
which of the following is handel’s most famous oratorio frequently performed today |
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oratorio |
handel’s messiah is: |
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all of the above |
why is handel’s messiah so popular in england and america |
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a da capo aria |
"rejoice greatly, o daughter of zion" from messiah is an example of |
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the hallelujah chorus |
the famous choral climax in part ii of handel’s messiah is: |
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baroque |
the first era of western music history in which instrumental music was as important as the vocal music |
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general shape of the instrument |
which is not a major difference between baroque and modern violins |
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trumpet |
which of the following wind instruments is not made of wood |
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each movement is in a contrasting key |
which of the following does not characterize the suite |
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tarantella |
which of the following baroque types was not standard in a baroque suite |
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a lively sextuple meter dance |
a gigue is best described as: |
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binary |
what is the form of each individual movement in a suite |
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all of the above |
the concept of the suite was applied to: |
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suite |
"water music" by handel is best described as a: |
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it was performed outdoors on barges |
why is the music in handel’s "water music" marked by lively rhythms and catchy melodies |
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instrumental groups exchanging motivic ideas |
the "alls hornpipe" movement from "water music" is characterized by: |
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jean-baptiste lully |
who was the court composer to louis xiv that was central to the development of french opera |
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trumpet |
the dominant instrument in mouret’s rondeau is |
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A-B-A-C-A |
the form of the rondeau is: |
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concerto |
the instrumental form based on the contrast of two dissimilar masses of sound is called a: |
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three |
how many movements does a typical concerto have |
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concerto grosso |
a concerto based on the opposition of small and large groups of instruments is called: |
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vivaldi |
who was the greatest and most prolific italian composer of concertos |
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the color of his hair |
vivaldi was known as the "red priest" because of: |
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venice |
vivaldi lived and worked in: |
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the four seasons |
which of the following is a well known set of concertos by vivaldi |
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the violin |
the soloist instrument in "spring" of vivaldi’s four seasons is: |
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the concertos avoid ritornello form |
which does not characterize vivaldi’s four seasons |
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ritornello form |
the opening movement of "spring" from "the four seasons" features: |
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an ostinato rhythm |
in the slow movement of "spring" vivaldi evokes a dog barking by: |
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bach |
who composed the "brandenburg concertos" |
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six |
bach’s "brandenburg concertos" comprise how many separate concertos |
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the ripieno |
the accompanying group in a concerto grosso is called: |
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the concertino |
the solo group in a concerto grosso is called: |
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piano |
which of the following was not an important keyboard instrument in the baroque |
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the harpsichord |
a keyboard instrument in which the strings are plucked by quills |
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all of the above |
the harpsichord is different from piano because |
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an improvisatory, virtuosic keyboard work |
what is a toccata |
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all of the above |
a chorale prelude |
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fugue |
a keyboard form based on principle of voices imitating each other |
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counterpoint |
what is the principle element of a fugue |
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episodes |
in a fugue, the areas of relaxation where the subject is not heard |
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answer |
after the fugue is stated,the second entrance of the subject is called: |
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prelude |
of the following which is not a contrapuntal device that alters the original theme |
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diminution |
in a fugue, the technique of stating the theme in faster rhythmic values |
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exposition |
the opening section of a fugue, in which all sections of a voice successfully introduce the subject |
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the well tempered clavier |
in the field of keyboard music bach’s most important collection was: |
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the well tempered clavier |
which of the following is a set of forty-eight preludes and fugues by bach |
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48 |
how many preludes and fugues are contained in the two "well tempered clavier" volumes |
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the art of fugue |
bach’s last demonstration of contrapuntal mastery |
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four |
how many voices or individual lines are there in bach’s contrapunctus i, from "the art of fugue" |
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the second top voice, alto |
in which voice is the subject first heard in contrapunctus i, from "the art of fugue" |
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it emphasized the grandiose |
which of the following is not true of the rococo |
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watteau |
which of the following was one of the greatest painters of the french rococo |
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franois couperin |
a great french clavecinist |
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london |
the "beggar’s opera" was first performed in: |
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gay pepusch |
the "beggar’s opera" was written by: |
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a ballad or dialogue opera |
john gay’s "beggar’s opera" is best described as |
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italy |
opera buffa is comic opera from: |
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