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1 | |
The evolution from the Renaissance style to the Baroque style occurred in music before the visual arts, and in northern Europe before southern Europe. |
| | A) | TRUE |
| | B) | FALSE |
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2 | |
The Protestant Reformation led to a long period of religious conflict marked by all of the following except |
| | A) | Protestants stormed Catholic churches. |
| | B) | works of art and musical instruments were destroyed. |
| | C) | Catholics established the court of Inquisition to condemn dissenters. |
| | D) | the eventual settlement of Catholics in northern Europe and Protestants in Italy. |
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3 | |
The high emotions of the late Renaissance religious conflict coincided with the rise of a more emotional style in the arts. |
| | A) | TRUE |
| | B) | FALSE |
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4 | |
The vivid, passionate expression of the _________–human emotions or "states of the soul"–led to the Baroque period. |
| | A) | afflictions |
| | B) | confections |
| | C) | infections |
| | D) | affections |
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5 | |
The transition from the Renaissance to the Baroque can be described as a change from a romantic emphasis on drama and personal expression to a more classical style that stressed balance, order, and repose. |
| | A) | TRUE |
| | B) | FALSE |
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6 | |
Two famous artists whose work reflected the increased emotionalism prevalent during the transition from the Renaissance to the Baroque were Michelangelo and El Greco. |
| | A) | TRUE |
| | B) | FALSE |
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7 | |
One of the many composers whose music exhibited both the Renaissance and Baroque styles was |
| | A) | Carlo Gesualdo. |
| | B) | Palestrina. |
| | C) | Giovanni Bernini. |
| | D) | Florentine Camerata. |
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8 | |
The practice of using all the notes–both in and out of the mode–to create complex and dissonant effects is called |
| | A) | madrigalism. |
| | B) | diatonicism. |
| | C) | chromaticism. |
| | D) | aestheticism. |
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9 | |
Gesualdo employed chromaticism in his madrigals to |
| | A) | increase the tempo. |
| | B) | create a mood of serenity. |
| | C) | exaggerate the emotions in the text. |
| | D) | none of the above. |
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10 | |
The church of St. Mark in Venice, Italy, designed in the plan of a cross, became the center for the performance of __________ music, festive music performed by several choirs of voices and/or instruments. |
| | A) | polychoral |
| | B) | polymodal |
| | C) | polyphonic |
| | D) | polytonal |
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11 | |
All of these were particularly significant characteristics of the Venetian polychoral style except |
| | A) | the several choirs and instruments performing simultaneously were better served by chordal or homorhythmic texture than by the Renaissance polyphony. |
| | B) | contrasting sonorities of various voices and instruments did not appeal to the Baroque imagination. |
| | C) | Venetian polychoral works included large sections of massive chordal combinations. |
| | D) | the concertato principle. |
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12 | |
An underlying concept of the Baroque style, the contrasting sonorities of various voices and instruments, was known as the _______________ principle. |
| | A) | concerto |
| | B) | continuo |
| | C) | concertino |
| | D) | concertato |
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13 | |
___________ was a famous Italian organist, teacher, and composer who wrote many compositions for St. Mark's in Venice. |
| | A) | Carlo Gesualdo. |
| | B) | Giovanni Gabrieli. |
| | C) | Claudio Monteverdi. |
| | D) | Florentine Camerata. |
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14 | |
A piece to be played or sounded upon instruments rather than sung was called a |
| | A) | sonata. |
| | B) | toccata. |
| | C) | cantata. |
| | D) | concertato. |
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15 | |
Contrasting dynamic levels became an important characteristic of Baroque music. |
| | A) | TRUE |
| | B) | FALSE |
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16 | |
The Florentine Camerata was centered in __________, Italy. |
| | A) | Venice |
| | B) | Rome |
| | C) | Milan |
| | D) | none of the above |
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17 | |
The Florentine Camerata was |
| | A) | a group of musicians who specialized in polyphonic vocal works. |
| | B) | a group of intellectuals who discussed and promoted changes in artistic style. |
| | C) | a group of artists who painted and sculpted. |
| | D) | a famous salon where musicians performed. |
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18 | |
One of the most significant contributions of the Florentine Camerata was a new type of solo singing called |
| | A) | melody. |
| | B) | parody. |
| | C) | monody. |
| | D) | monologue. |
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19 | |
The Florentine Camerata found the existing vocal forms unsuitable for the clear and dramatic expression of a text for all of the following reasons except |
| | A) | the combination of melodic lines in the polyphonic madrigal made it too easy to understand the words. |
| | B) | the melody lines of the typical Renaissance madrigal were unrelated to the natural declamation of the words. |
| | C) | the use of the same melody for several verses of a strophic song belied any relationships between words and music. |
| | D) | they considered madrigalisms "childish" and sought a more natural method of expressing texts. |
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20 | |
Aware of the ideals of the ancient Greeks, the members of the Florentine Camerata envisioned a style of melody that would approximate the dramatic declamation of a text. |
| | A) | TRUE |
| | B) | FALSE |
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21 | |
Both monody and the Venetian polychoral style implied a new texture of music eventually known as |
| | A) | monophony. |
| | B) | polyphony. |
| | C) | homophony. |
| | D) | heterophony. |
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2003 McGraw-Hill Higher Education