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1 | |
Although the Classical period produced much more vocal than instrumental music, very few operas and very little vocal religious music was composed during this time. |
| | A) | TRUE |
| | B) | FALSE |
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2 | |
Born in a German state and educated in Prague and Vienna, __________ spent four years studying and composing operas in Italy and was responsible for the reform opera. |
| | A) | Franz Joseph Haydn |
| | B) | Wolfgang Amadeus Mozart |
| | C) | Christoph Willibald Gluck |
| | D) | Giovanni Battista Pergolesi |
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3 | |
Gluck proposed to __________ serious opera by imposing classical restraint upon it. |
| | A) | inform |
| | B) | reform |
| | C) | conform |
| | D) | perform |
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4 | |
Gluck was impressed by a famous French Baroque composer, Jean-Philippe Rameau, who attempted with some success to integrate __________ into the drama of his works. |
| | A) | voices |
| | B) | ballet |
| | C) | scenery |
| | D) | libretto |
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5 | |
Gluck wrote the first reform opera, which was |
| | A) | The Marriage of Figaro |
| | B) | Orfeo and Euridice |
| | C) | Apollo and Daphne |
| | D) | La Serva Padrona |
| | E) | The Magic Flute |
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6 | |
In his reform operas, Gluck did all of the following except |
| | A) | writing music to serve, rather than dominate, the drama. |
| | B) | including many da capo arias because of their intense dramatic quality. |
| | C) | designing the overture as an integral part of the opera. |
| | D) | lessening the difference between aria and recitative, keeping both simple and natural. |
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7 | |
The introductory orchestra piece of an opera is called the |
| | A) | introit. |
| | B) | prelude. |
| | C) | overture. |
| | D) | oratorio. |
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8 | |
Gluck responded to a statement made by __________ that the French language was entirely unsuited to singing by effectively setting a French libretto to music. |
| | A) | Franz Joseph Haydn |
| | B) | Jean-Philippe Rameau |
| | C) | Jean-Jacques Rousseau |
| | D) | Wolfgang Amadeus Mozart |
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9 | |
Due in large part to Gluck's efforts, French replaced Italian as the language of serious opera all over Europe in the eighteenth century. |
| | A) | TRUE |
| | B) | FALSE |
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10 | |
Light in mood and concerned with everyday characters and events, __________ operas developed in several countries during the eighteenth century. |
| | A) | serious |
| | B) | reform |
| | C) | comic |
| | D) | Baroque |
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11 | |
Audiences appreciated the fact that comic operas were written in their own, local language and that all comic operas (except the Italian form) used spoken dialogue instead of recitative. |
| | A) | TRUE |
| | B) | FALSE |
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12 | |
In Italy during the early eighteenth century, short comic episodes interspersed between acts of a serious opera became so popular that composers used them as the basis for a new style of opera. |
| | A) | TRUE |
| | B) | FALSE |
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13 | |
The first comic opera was __________, written by Giovanni Battista Pergolesi. |
| | A) | The Marriage of Figaro |
| | B) | Orfeo and Euridice |
| | C) | La Serva Padrona |
| | D) | The Magic Flute |
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14 | |
The opera buffa introduced the ensemble __________ to bring an act or an opera to a musically and dramatically exciting close. |
| | A) | coda |
| | B) | finale |
| | C) | postlude |
| | D) | intermezzo |
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15 | |
One of history's most tragic figures, __________, began his performing career as a child prodigy. |
| | A) | Franz Joseph Haydn |
| | B) | Jean-Jacques Rousseau |
| | C) | Wolfgang Amadeus Mozart |
| | D) | Christoph Willibald Gluck |
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16 | |
Although Mozart had a short life that was marked by financial difficulties |
| | A) | he was helped by the support and understanding that he received from both his father and his wife. |
| | B) | he delighted his audiences and was highly paid for his services. |
| | C) | he enjoyed the respect of his fellow composer Haydn. |
| | D) | none of the above. |
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17 | |
All of the following are TRUE about Mozart's operas except |
| | A) | he felt that music was the supreme element of opera. |
| | B) | he wrote comic operas, serious operas, and a Singspiel. |
| | C) | some of his operas combine elements of the serious and comic styles. |
| | D) | classical restraint and proportion are often abandoned. |
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18 | |
Mozart's opera buffa, The Marriage of Figaro, was based upon a politically volatile play by the French writer, Pierre Beaumarchais. |
| | A) | TRUE |
| | B) | FALSE |
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19 | |
In The Marriage of Figaro one of the main characters is a nobleman who is outwitted and humiliated by his own servants. |
| | A) | TRUE |
| | B) | FALSE |
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20 | |
Although the Classical period was primarily a secular age, the Church remained a strong influence in some areas of Europe; however, very few composers contributed to the repertoire of religious music. |
| | A) | TRUE |
| | B) | FALSE |
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21 | |
The following were all TRUE of Classical religious music except |
| | A) | the fugal style of Bach was considered inappropriate for the church. |
| | B) | expressive passages in homophonic texture were used. |
| | C) | lyrical melodies similar to those in bel canto opera were used. |
| | D) | the orchestra was very important, with many vocal sections based on instrumental forms of the Baroque and Classical periods. |
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22 | |
After Bach and Handel, Protestant music declined because the music was supposed to be a functional part of the service rather than "art for art's sake." |
| | A) | TRUE |
| | B) | FALSE |
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23 | |
When Haydn was criticized for writing religious music that was too "happy," he replied that he did not believe the Lord minded cheerful music. |
| | A) | TRUE |
| | B) | FALSE |
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24 | |
Just before he died, Mozart composed a __________, the Mass performed for funeral or memorial services. |
| | A) | Passion |
| | B) | Sanctus |
| | C) | Requiem |
| | D) | Prelude |
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2003 McGraw-Hill Higher Education