The word baroque has at various times meant all of the following except |
D. Naturalistic. |
All of the following were baroque painters except |
B. Isaac Newton. |
Baroque painters exploited their materials to expand the potential of ____________ to create totally structured worlds. |
D. All answers are correct. |
Baroque style flourished in music during the period |
D. 1600-1750. |
The baroque, as a stylistic period in western art music, encompassed the years |
B. 1600-1750. |
The two giants of baroque composition were George Frideric Handel and |
B. Johann Sebastian Bach. |
All of the following were major baroque composers except |
A. Wolfgang A. Mozart. |
Which of the following statements is not true? |
B. The late baroque period was one of the most revolutionary periods in music history. |
One of the most revolutionary periods in music history was the |
B. Early baroque. |
The early baroque was characterized by |
B. Homophonic texture. |
The early baroque period spanned the years |
C. 1600-1640. |
Monteverdi, an early baroque composer, strove to create music that was |
B. passionate and dramatic. |
The early and late baroque periods differed in that composers in the early baroque |
B. favored homophonic texture. |
The middle baroque was characterized by |
D. a diffusion of the style into every corner of Europe. |
The middle baroque period spanned the years |
B. 1640-1690. |
Composers in the middle baroque phase favored writing compositions for instruments of the ____________ family. |
B. violin |
By about ____________, major or minor scales were the tonal basis of most compositions. |
C. 1690 |
Instrumental music became as important as vocal music for the first time in the ____________ period. |
D. late baroque |
The late baroque period spanned the years |
D. 1690-1750. |
Affections in baroque usage refers to |
D. emotional states or moods of music. |
22. A baroque musical composition usually expresses ____________within the same movement. |
A. one basic mood |
The baroque principle of ____________ may be temporarily suspended in vocal music when drastic changes of emotion in a text inspires corresponding changes in the music. |
B. unity of mood |
The compelling drive and energy in baroque music are usually provided by |
C. repeated rhythmic patterns. |
Baroque melodies often are |
A. elaborate and ornamental. |
Baroque melodies give the impression of |
D. dynamic expansion. |
Melodic sequence refers to |
C. the successive repetition of a musical idea at higher or lower pitches. |
A characteristic often found in baroque melodies is |
D. a short opening phrase followed by a longer phrase with an unbroken flow of rapid notes. |
Terraced dynamics refers to |
C. the sudden alternation from one dynamic level to another. |
In the baroque era, dynamics consisted mainly of sudden alterations between loud and soft called |
B. terraced dynamics. |
The main keyboard instruments of the baroque period were the organ and the |
B. harpsichord. |
A popular keyboard instrument in which sound was produced by means of brass blades striking the strings was the |
A. clavichord. |
The most characteristic feature of baroque music is its use of |
C. basso continuo. |
A bass part together with numbers (figures) that specify the chords to be played above it is called |
A. basso continuo. |
The orchestra evolved during the baroque period into a performing group based on instruments of the ____________ family. |
A. violin |
The word movement in music normally refers to |
B. a piece that sounds fairly complete and independent but is part of a larger composition. |
Which of the following statements is not true? |
B. Audiences in the baroque period were most anxious to hear old familiar favorites, and did not care for new music. |
A large court during the baroque period might employ about ____________ performers. |
C. 80 |
The music director of a baroque court was usually not responsible for |
D. publicity in reaching an audience. |
40. Frederick the Great, king of Prussia, was a |
D. All answers are correct. |
The position of the composer during the baroque period was that of |
C. A high-class servant with few personal rights. |
In the baroque period, the ordinary citizen’s opportunities for hearing music usually came from the |
B. church. |
In Italy, music schools were often connected with |
A. orphanages. |
To get a job, a musician had to |
D. pass a difficult examination. |
A concerto grosso most often has ____________ movement(s). |
C. three |
The large group of players in a concerto grosso is known as the |
D. tutti. |
The concerto grosso most often has three movements whose tempo markings are |
A. fast, slow, fast. |
The first and last movements of the concerto grosso are often in ____________ form. |
C. ritornello |
Which of the following statements is not true? |
C. A concerto grosso normally involves a large group of soloists accompanied by an equal number of supporting players. |
The solo instruments in Bach’s Brandenburg Concerto No. 5 are the ____________, violin, and harpsichord. |
C. flute |
Bach’s Brandenburg Concerto No. 5 is unusual in that |
C. it gives a solo role to the harpsichord. |
A musical ornament consisting of the rapid alternation of two tones that are a whole or half step apart is a |
A. trill. |
A polyphonic composition based on one main theme is the |
D. fugue. |
The main theme of a fugue is called the |
B. subject. |
When the subject of a fugue is presented in the dominant scale, it is called the |
A. answer. |
In many fugues, the subject in one voice is constantly accompanied in another voice by a different melodic idea called a(n) |
B. countersubject. |
Transitional sections of a fugue that offer either new material or fragments of the subject or countersubject are called |
B. episodes. |
____________ is a musical procedure in which a fugue subject is imitated before it is completed. |
D. Stretto |
A ____________ is a single tone, usually in the bass, that is held while the other voices produce a series of changing harmonies against it. |
A. pedal point |
Turning the subject of a fugue upside down, or reversing the direction of each interval, is called |
A. inversion. |
Presenting the subject of a fugue from right to left, or beginning with the last and proceeding backward to the first note, is called |
B. stretto. |
Presenting the subject of a fugue in lengthened time values is called |
B. augmentation. |
Presenting the subject of a fugue in shortened time values is called |
D. diminution. |
Very often an independent fugue is introduced by a short piece called a(n) |
A. overture. |
An ____________ is a play, set to music, sung to orchestral accompaniment, with scenery, costumes, and action. |
B. opera |
The text, or book, of a musical dramatic work is called the |
B. libretto. |
Which of the following statements is not true? |
A. The terms ensemble and chorus are synonymous. |
A song for solo voice with orchestral accompaniment is called a/an |
A. aria. |
____________ refers to a vocal line that imitates the rhythms and pitch fluctuations of speech. |
C. Recitative |
A ____________ is a singer with a low range who usually takes comic roles. |
B. basso buffo |
A ____________ is a singer with a very low range and powerful voice, who usually takes roles calling for great dignity. |
C. basso profundo |
A(n) ____________ is a musical number for two solo voices with orchestral accompaniment. |
C. duet |
A(n) ____________ is an operatic number involving three or more leading singers. |
B. ensemble |
The ____________ is the person who beats time, indicates expression, cues in musicians, and controls the balance among instruments and voices. |
D. conductor |
An ____________ is an orchestral composition performed before the curtain rises on a dramatic work. |
A. overture |
Members of the Camerata wanted to create a new vocal style based on the |
A. music of the ancient Greek tragedies. |
The members of the Camerata wanted the vocal line of their music to follow |
B. the rhythms and pitch fluctuations of speech. |
Most early baroque operas were based on Greek mythology and |
C. ancient history. |
Which of the following statements is not true? |
B. The members of the Florentine Camerata based their theories on actual dramatic music that had come down to them from the Greeks. |
The first opera house in Europe to offer entry to anyone with the price of admission opened in 1637 in |
D. Venice. |
The earliest opera that has been preserved is Jacopo Peri’s |
A. Euridice. |
The stage machinery of baroque opera |
B. bordered on the colossal. |
Castrati |
D. All answers are correct. |
Speechlike melody accompanied only by a basso continuo is called |
C. secco recitative. |
A typical baroque operatic form was the da capo aria in ABA form in which the singer |
B. was expected to embellish the returning melody with ornamental tones. |
Embellishments are |
A. ornamental tones not printed in the music that seventeenth- and eighteenth-century performers were expected to add to the melody. |
Monteverdi spent the greater part of his career in |
C. St. Mark’s, Venice. |
To evoke angry or warlike feelings in some of his texts, Monteverdi introduced new orchestral effects, including pizzicato and |
A. tremolo. |
To achieve intensity of expression, Monteverdi used ____________ with unprecedented freedom and daring. |
D. dissonances |
Monteverdi’s vocal music ordinarily was supported by a ____________ and other instruments. |
C. basso continuo |
Orpheus goes to Hades in the hope of bringing ____________ back to life. |
A. Eurydice |
Which of the following statements is not true? |
B. All twelve of Monteverdi’s operas are regularly performed in Europe and America. |
Which of the following statements is not true? |
A. Henry Purcell was virtually unknown in his own time, but today is considered England’s most significant composer from the Baroque Era. |
The respect given Henry Purcell by his fellow Englishmen is evidenced by his burial in |
B. Westminster Abbey. |
____________ is a musical idea repeated over and over in the bass while melodies above it constantly change. |
A. Basso ostinato |
Dido and Aeneas, which many consider to be the finest opera ever written to an English text, was composed by |
B. Henry Purcell. |
Henry Purcell’s opera Dido and Aeneas was inspired by the Aeneid, an epic poem by |
B. Virgil. |
The sonata in the baroque period was a composition in several movements for |
D. one to eight instruments. |
Baroque trio sonatas usually involve ____________ performers. |
C. four |
A sonata intended to be played in church, and therefore dignified and suitable for sacred performance, was called a |
C. sonata da chiesa. |
A sonata to be played at court, and therefore dancelike in character, was called a |
A. sonata da camera. |
Which of the following statements is not true? |
A. The trio sonata usually involved three performers, two on high instruments and one on a bass line. |
Corelli’s Trio Sonata in A Minor, op. 3, no. 10, consists of four short movements, all in the same |
B. key. |
Corelli’s Trio Sonata in A Minor, op. 3, no. 10, is scored for |
C. two violins and basso continuo. |
Characteristic of baroque trio sonatas, the second movement of Corelli’s Trio Sonata in A Minor, op. 3, no. 10, is |
C. fugue-like. |
The theorbo is a(n) |
C. plucked string instrument capable of producing chords as well as a bass line. |
When a dissonance moves to a consonance, it is called a |
C. resolution. |
Vivaldi spent most of his life working at an institution for orphaned and illegitimate girls in |
B. Venice. |
Which of the following statements is not true? |
C. Like Corelli, Vivaldi wrote only instrumental music. |
Some of Vivaldi’s instrumental concertos were arranged by |
B. Johann Sebastian Bach. |
Vivaldi was famous and influential as a virtuoso |
D. violinist. |
Vivaldi wrote approximately ____________ concerti grossi and solo concertos. |
D. 450 |
A Vivaldi concerto usually has ____________ movements. |
C. three |
Vivaldi wrote concertos |
C. for a great variety of instruments. |
The longest period of Johann Sebastian Bach’s professional life was spent as director of music at St. Thomas’s Church in |
B. Leipzig. |
Of Bach’s twenty children, ____________ went on to become well-known composers. |
C. four |
While at Leipzig, Bach |
D. All answers are correct. |
Bach was recognized as the most eminent ____________ of his day. |
A. organist |
Bach created masterpieces in every baroque form except the |
A. opera. |
Bach’s personal musical style was drawn from |
D. All answers are correct. |
Bach achieves unity of mood in his compositions by using |
C. an insistent rhythmic drive. |
Sets of dance-inspired instrumental movements are called |
C. suites. |
A two-part collection of preludes and fugues, one in each major and minor key, basic to the repertoire of keyboard players today, is Bach’s |
B. Well-Tempered Clavier. |
Which of the following statements is not true? |
B. The baroque suite is a musical form exclusive to the orchestra. |
Although all the movements of a baroque suite are in the same key, they differ in |
D. All answers are correct |
Which of the following is not a part of the baroque suite? |
B. Waltz |
The various dances of the baroque suite are usually |
C. in AABB form. |
Baroque suites frequently begin with a |
A. French overture. |
The French overture has |
A. two sections: slow-fast. |
In Bach’s day, the Lutheran church service lasted about ____________ hour(s). |
D. four |
The Lutheran chorale tunes |
D. All answers are correct. |
The ____________ is a Lutheran congregational hymn tune. |
B. chorale |
Congregational singing of chorales was an important way for people to |
B. participate directly in the service. |
The ____________ is an instrumental composition based on a chorale. |
B. chorale prelude |
A ____________ is a short instrumental composition based on a hymn tune that reminds the congregation of the hymn’s melody. |
A. chorale prelude |
A sung piece, or choral work with or without vocal soloists, usually with orchestral accompaniment, is the |
A. cantata. |
When chorale melodies were harmonized for church choir, the tune was given to the |
B. congregation. |
In their use of aria, duet, and recitative, Bach’s cantatas closely resembled the ____________ of the time. |
B. operas |
Which of the following statements is not true? |
C. When chorale melodies were harmonized for church choirs, the tune was assigned to the tenors. |
Which of the following statements is not true? |
A. Oratorios first appeared in England. |
Oratorio differs from opera in that it has no |
B. acting, scenery, or costumes. |
The first oratorios were based on |
D. stories from the Bible. |
The ____________ in an oratorio is especially important and serves either to comment on or to participate in the drama. |
B. chorus |
An element of the oratorio that is especially important and serves to comment on or participate in the drama is the |
B. chorus. |
Pieces of an oratorio are usually connected together by means of |
A. a narrator’s recitatives. |
In oratorio, the story is carried forward by the |
C. narrator’s recitatives. |
Oratorios first appeared in |
C. Italy. |
George Frideric Handel was born in 1685, the same year as |
A. Johann Sebastian Bach. |
Handel spent the major portion of his life in |
B. England. |
Handel’s Messiah is an example of |
A. an oratorio. |
Although Handel wrote a great deal of instrumental music, the core of his huge output consists of English oratorios and Italian |
A. operas. |
Test 3 ( baroque period)
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