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| 1 | |
At the beginning of the seventeenth century, composers found Palestrina's polyphonic style more suitable for secular songs rather than church music. |
| | A) | TRUE |
| | B) | FALSE |
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| 2 | |
During the Baroque, the old style of writing (Palestrina's polyphony) and the new style (monody) were used for different purposes. |
| | A) | TRUE |
| | B) | FALSE |
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| 3 | |
The composer who suggested that the old and new styles represented the "first" and "second" practices of music was |
| | A) | Carlo Gesualdo. |
| | B) | Giovanni Gabrieli. |
| | C) | Claudio Monteverdi. |
| | D) | Johann Sebastian Bach. |
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| 4 | |
For thirty years, Monteverdi was choirmaster at St. Mark's in Venice, where __________ had composed and performed great works in the Venetian polychoral style. |
| | A) | Carlo Gesualdo |
| | B) | Giovanni Gabrieli |
| | C) | Johann Sebastian Bach |
| | D) | George Frideric Handel |
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| 5 | |
Monteverdi shared __________ taste for dramatic and emotional settings of madrigal texts, using dissonance for expressive purposes. |
| | A) | Carlo Gesualdo's |
| | B) | Giovanni Gabrieli's |
| | C) | Johann Sebastian Bach's |
| | D) | George Frideric Handel's |
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| 6 | |
During the Renaissance period, dissonances could only be approached and resolved according to strict rules. |
| | A) | TRUE |
| | B) | FALSE |
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| 7 | |
Monteverdi allowed the __________ of his songs, rather than the prevailing rules of music theory, to determine his use of dissonance. |
| | A) | harmony |
| | B) | melody |
| | C) | meter |
| | D) | text |
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| 8 | |
The "first practice" of music, as identified by Monteverdi, is described by all of the following except that |
| | A) | all of the voices are nearly equal in importance. |
| | B) | it uses Palestrina's style of choral polyphony. |
| | C) | text expression is more important than the music. |
| | D) | it is often used in church music. |
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| 9 | |
The "second practice" of music, as identified by Monteverdi, is described by all of the following except that |
| | A) | the texture is usually homophonic. |
| | B) | music dominates the text. |
| | C) | it uses dissonance expressively. |
| | D) | it is often used in secular music. |
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| 10 | |
In the first practice, the established rules of music theory were observed; in the second practice, the rules might be broken for the purpose of better expressing the words. |
| | A) | TRUE |
| | B) | FALSE |
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| 11 | |
All of the following are characteristics of Monteverdi's madrigal compositions except |
| | A) | he used the old stile antico for madrigals, recognizing certain tonal principles. |
| | B) | he used the bass line as an organizing and stabilizing element, giving the music a sense of direction. |
| | C) | he used the triad as a chord, recognizing a rudimentary relationship between triads. |
| | D) | as tonality became more firmly established, he used both chromaticism and dissonance more freely. |
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| 12 | |
In the sixteenth century, short but spectacular music dramas called __________ were often performed between acts of a play. |
| | A) | interludes |
| | B) | intermedii |
| | C) | interactions |
| | D) | interruptions |
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| 13 | |
__________ sometimes constituted "mini" music dramas, with different voices or combinations of voices answering each other in dialogue form. |
| | A) | Motets |
| | B) | Monodies |
| | C) | Melodies |
| | D) | Madrigals |
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| 14 | |
It was the Florentine monodists who introduced a new type of vocal writing eminently suited for dramatic recitation; thus, the earliest operas consisted almost entirely of monody. |
| | A) | TRUE |
| | B) | FALSE |
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| 15 | |
The text of an opera is called a(n) |
| | A) | obligato. |
| | B) | ostinato. |
| | C) | libretto. |
| | D) | allegretto. |
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| 16 | |
Early opera librettos were |
| | A) | based on Greek mythology. |
| | B) | often set to music by many different composers. |
| | C) | usually performed by small casts and accompanied by a few instruments. |
| | D) | all of the above. |
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| 17 | |
Composers recognized two distinct types of solo singing, each implied but not achieved by monody: the recitative and aria. |
| | A) | TRUE |
| | B) | FALSE |
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| 18 | |
The invention of monody was important to Western music because it demonstrated that |
| | A) | the harpsichord could accompany singers with great expression. |
| | B) | solo singers could project their voices with enough volume to fill a concert hall. |
| | C) | a solo singer could combine beautiful music with dramatic text expression. |
| | D) | all of the above. |
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| 19 | |
All of the following are characteristics of a recitative except |
| | A) | the melody of a recitative reflects unnatural vocal inflections. |
| | B) | the rhythm of a recitative is free or flexible. |
| | C) | a recitative is flexible in form, adaptable to the demands of the text. |
| | D) | the texture of a recitative is generally homophonic. |
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| 20 | |
All of the following are characteristics of an aria except |
| | A) | an aria provides an emotional reaction to events and is well adapted to the Baroque doctrine of affections. |
| | B) | arias often have soaring melody lines, displaying the beauty of the voice. |
| | C) | an aria has unmetered rhythm. |
| | D) | an aria has formal design, as in the da capo aria (A B A). |
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| 21 | |
In 1607, Claudio Monteverdi composed the opera Orfeo. |
| | A) | TRUE |
| | B) | FALSE |
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| 22 | |
__________ was the first composer to realize the successful music drama requires a skillful blending of the literary, visual, and lively arts. |
| | A) | Carlo Gesualdo |
| | B) | Claudio Monteverdi |
| | C) | Johann Sebastian Bach |
| | D) | George Frideric Handel |
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| 23 | |
Monteverdi's "Tu se' morta" is an example of a(n) __________ from the opera Orfeo. |
| | A) | aria |
| | B) | chorus |
| | C) | overture |
| | D) | recitative |
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| 24 | |
The first public opera house opened in __________, Italy, in 1637. |
| | A) | Rome |
| | B) | Milan |
| | C) | Venice |
| | D) | Florence |
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| 25 | |
The term __________ is Italian for "beautiful singing." |
| | A) | con brio |
| | B) | bel canto |
| | C) | non troppo |
| | D) | cantus firmus |
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| 26 | |
All of the following are characteristics of late Baroque, bel canto opera except |
| | A) | interest in the beauty of the singing voice. |
| | B) | emphasis on dazzling vocal performances. |
| | C) | close attention to the recitatives and the dramatic integrity of the story. |
| | D) | the tendency of singers to take liberties with the melody lines. |
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| 27 | |
Although castrati were admired for the extreme range and power of their voices, a taste for women's voices developed during the seventeenth and early eighteenth centuries. |
| | A) | TRUE |
| | B) | FALSE |
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| 28 | |
Another name for a virtuoso female singer is a |
| | A) | primordio. |
| | B) | primavera. |
| | C) | prima donna. |
| | D) | primaticcio. |
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| 29 | |
By the end of the Baroque era, professional opportunities for women to direct court or church ensembles were still largely denied. |
| | A) | TRUE |
| | B) | FALSE |
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| 30 | |
By the 1720s, audiences were tiring of the highly stylized Baroque opera, so a new dramatic form, the __________ opera, became popular in England. |
| | A) | madrigal |
| | B) | comical |
| | C) | serious |
| | D) | ballad |
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| 31 | |
In 1728, English poet and playwright __________ wrote the Beggar's Opera, ridiculing some of the more obvious limitations of Baroque opera. |
| | A) | Robert Gray |
| | B) | Howard Jay |
| | C) | Philip May |
| | D) | John Gay |
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| 32 | |
The epitome of the Baroque composer, __________, was born in Germany, spent considerable time in Italy, and eventually became a British citizen. |
| | A) | George Frideric Handel |
| | B) | Johann Sebastian Bach |
| | C) | Jean-Philippe Rameau |
| | D) | Francois Couperin |
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| 33 | |
Although the oratorio shares many characteristics with the opera, its most important difference is its |
| | A) | popular orientation. |
| | B) | emphasis on vocal drama. |
| | C) | religious subject matter. |
| | D) | use of elaborate arias. |
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| 34 | |
Like an aria, an oratorio chorus has formal design, metered rhythm, and an orchestral accompaniment; it may be either homophonic or polyphonic and often includes sections of both textures. |
| | A) | TRUE |
| | B) | FALSE |
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| 35 | |
The world's best-known and best-loved oratorio is Handel's |
| | A) | Water Music. |
| | B) | Fireworks Music. |
| | C) | Rodrigo. |
| | D) | Messiah. |
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| 36 | |
The date of __________ death (1750) is generally accepted as the end of the Baroque period. |
| | A) | George Frideric Handel's |
| | B) | Johann Sebastian Bach's |
| | C) | Jean-Philippe Rameau's |
| | D) | Francois Couperin's |
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| 37 | |
Johann Sebastian Bach wrote two large choral works called __________, oratorios based upon the events leading to the crucifixion of Christ. |
| | A) | Cantations |
| | B) | Orations |
| | C) | Passions |
| | D) | Masses |
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| 38 | |
Since Bach was Catholic, he wrote the Mass in B Minor to attract the favorable attention of an influential Catholic Elector. |
| | A) | TRUE |
| | B) | FALSE |
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| 39 | |
Bach wrote nearly 200 dramatic religious vocal works called __________, which are short oratorios. |
| | A) | sonatas |
| | B) | cantatas |
| | C) | toccatas |
| | D) | oratorios |
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| 40 | |
The term cantata originally meant a piece to be |
| | A) | sung. |
| | B) | played. |
| | C) | sounded. |
| | D) | performed. |
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