 |
1 | |
Interest in forming a total illusion; theatrical |
| | A) | BAROQUE |
| | B) | CLASSICAL |
| | C) | None of the above. |
|
|
2 | |
Fills the space with action and movement |
| | A) | BAROQUE |
| | B) | CLASSICAL |
| | C) | None of the above. |
|
|
3 | |
Emphasis on balance and clarity of structures |
| | A) | BAROQUE |
| | B) | CLASSICAL |
| | C) | None of the above. |
|
|
4 | |
Age of enlightenment |
| | A) | BAROQUE |
| | B) | CLASSICAL |
| | C) | None of the above. |
|
|
5 | |
Louis XIV as the epitome of his age |
| | A) | BAROQUE |
| | B) | CLASSICAL |
| | C) | None of the above. |
|
|
6 | |
Impartial in approach; reality rather than illusion |
| | A) | BAROQUE |
| | B) | CLASSICAL |
| | C) | None of the above. |
|
|
7 | |
Complex mixture of rationalism, sensuality, materialism, and spirituality |
| | A) | BAROQUE |
| | B) | CLASSICAL |
| | C) | None of the above. |
|
|
8 | |
New approach to science based on the union of mathematics and experiment |
| | A) | BAROQUE |
| | B) | CLASSICAL |
| | C) | None of the above. |
|
|
9 | |
Attempt to recapture the noble simplicity and calm grandeur of ancient Greece and Rome |
| | A) | BAROQUE |
| | B) | CLASSICAL |
| | C) | None of the above. |
|
|
10 | |
Evolution of the standard orchestra of four sections |
| | A) | BAROQUE |
| | B) | CLASSICAL |
| | C) | None of the above. |
|
|
11 | |
Free interchange of instrumental parts |
| | A) | BAROQUE |
| | B) | CLASSICAL |
| | C) | None of the above. |
|
|
12 | |
Emergence of major and minor as basis of tonality |
| | A) | BAROQUE |
| | B) | CLASSICAL |
| | C) | None of the above. |
|
|
13 | |
End of the basso continuo |
| | A) | BAROQUE |
| | B) | CLASSICAL |
| | C) | None of the above. |
|
|
14 | |
Faith in the power of reason as the best guide to human conduct |
| | A) | BAROQUE |
| | B) | CLASSICAL |
| | C) | None of the above. |
|
|
15 | |
Age of grandeur |
| | A) | BAROQUE |
| | B) | CLASSICAL |
| | C) | None of the above. |
|
|
16 | |
Period of Voltaire, Diderot, David, Goya, and Hogarth |
| | A) | BAROQUE |
| | B) | CLASSICAL |
| | C) | None of the above. |
|
|
17 | |
Exploitation of individual tone colors in orchestration |
| | A) | BAROQUE |
| | B) | CLASSICAL |
| | C) | None of the above. |
|
|
18 | |
Emotional restraint and good taste |
| | A) | BAROQUE |
| | B) | CLASSICAL |
| | C) | None of the above. |
|
|
19 | |
Basso continuo as the nucleus of the instrumental ensemble |
| | A) | BAROQUE |
| | B) | CLASSICAL |
| | C) | None of the above. |
|
|
20 | |
Period of Galileo, Newton, Bernini, Rubens, and Rembrandt |
| | A) | BAROQUE |
| | B) | CLASSICAL |
| | C) | None of the above. |
|
2002 McGraw-Hill Higher Education