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| 1 | |
Baroque composers of instrumental music were set back by changes in instrumental styles and techniques during the Renaissance. |
| | A) | TRUE |
| | B) | FALSE |
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| 2 | |
The Baroque period was the first time that instrumental music became virtually equal, both in quantity and quality, with vocal music. |
| | A) | TRUE |
| | B) | FALSE |
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| 3 | |
All of the following were characteristic of Baroque music except |
| | A) | Renaissance forms continued to be used. |
| | B) | a number of new instrumental forms and styles appeared. |
| | C) | keyboard music increased in variety and in quantity. |
| | D) | the lute continued to increase in popularity and importance. |
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| 4 | |
During the Baroque era, the __________ replaced the lute in popularity, and many lute pieces were played on this instrument instead. |
| | A) | organ |
| | B) | virginal |
| | C) | clavichord |
| | D) | harpsichord |
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| 5 | |
The __________ had the ability to produce a variety of timbres, dynamic levels, and pitches, making it suitable for the Baroque taste for drama and contrast. |
| | A) | organ |
| | B) | virginal |
| | C) | clavichord |
| | D) | harpsichord |
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| 6 | |
A distinctive feature of Baroque music was the abrupt change of dynamic levels called __________ dynamics. |
| | A) | terraced |
| | B) | increased |
| | C) | decreased |
| | D) | graduated |
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| 7 | |
The organist was able to achieve terraced dynamics and various sonorities by using any of the following methods except |
| | A) | changing stops. |
| | B) | moving from one keyboard to another. |
| | C) | adding or subtracting the number of voices. |
| | D) | covering the pipes with dampers. |
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| 8 | |
Although more pedals and different stops have been added, the organ has not been "improved" upon since the early eighteenth century. |
| | A) | TRUE |
| | B) | FALSE |
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| 9 | |
The __________ is an imitative polyphonic composition with three to five melodic lines or "voices." |
| | A) | canon |
| | B) | fugue |
| | C) | round |
| | D) | catch |
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| 10 | |
Since the fugue was originally developed on keyboard instruments, it was never successfully adapted for other instrumental or vocal combinations. |
| | A) | TRUE |
| | B) | FALSE |
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| 11 | |
The fugue entrances alternate between the tonic and dominant keys, with those in the dominant called the |
| | A) | subject. |
| | B) | countersubject. |
| | C) | answer. |
| | D) | counteranswer. |
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| 12 | |
The opening section of a fugue, in which the subject entrances are stated, is called the |
| | A) | restatement. |
| | B) | working out. |
| | C) | exposition. |
| | D) | episode. |
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| 13 | |
A __________ is a relatively short keyboard piece which may be an independent composition or an introduction to another piece or set of pieces. |
| | A) | prelude |
| | B) | interlude |
| | C) | postlude |
| | D) | midlude |
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| 14 | |
Preludes were often paired with more structured works such as the toccata during the late Baroque period. |
| | A) | TRUE |
| | B) | FALSE |
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| 15 | |
One of Bach's greatest legacies was a set of two volumes of twenty-four preludes and fugues called the __________, which included one prelude and fugue in each major and minor key. |
| | A) | Well-Tempered Clavier |
| | B) | Goldstein Variations |
| | C) | Brandenburg Concertos |
| | D) | Little Fugues |
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| 16 | |
In music, the term well-tempered refers to a method of tuning keyboard instruments. |
| | A) | TRUE |
| | B) | FALSE |
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| 17 | |
The German word clavier is a general term for |
| | A) | organ. |
| | B) | keyboard. |
| | C) | clavichord. |
| | D) | harpsichord. |
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| 18 | |
A religious keyboard composition based upon the melody of a Lutheran chorale is a chorale |
| | A) | hymn. |
| | B) | prelude. |
| | C) | postlude. |
| | D) | interlude. |
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| 19 | |
A __________, or "touch piece," is a showy keyboard piece that exploits the technical brilliance or virtuosity of the performer. |
| | A) | toccata |
| | B) | sonata |
| | C) | cantata |
| | D) | continuo |
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| 20 | |
The toccata was frequently followed in performance by a(n) |
| | A) | aria |
| | B) | prelude |
| | C) | continuo |
| | D) | fugue |
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| 21 | |
A favorite melodic device of the Baroque period was the use of __________, the repetition of a melodic phrase at different levels of pitch. |
| | A) | ostinato |
| | B) | sequence |
| | C) | inversion |
| | D) | retrograde |
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| 22 | |
The short sets of stylized dance pieces for lute or keyboard popular during the Renaissance were expanded in the Baroque to multimovement works consisting of several dance pieces, called |
| | A) | suites. |
| | B) | fugues. |
| | C) | gigues. |
| | D) | canons. |
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| 23 | |
The strong bass voice that sounded continuously throughout Baroque ensemble compositions was called the |
| | A) | drone bass. |
| | B) | thoroughbass. |
| | C) | ostinato bass. |
| | D) | continuo bass. |
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| 24 | |
Nearly all Baroque music, except for solo lute and keyboard pieces, was accompanied by two or more instruments that performed the bass line and that were called the |
| | A) | basso profundo. |
| | B) | cantus firmus. |
| | C) | continuo. |
| | D) | thoroughbass. |
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| 25 | |
Keyboard players improvised the inner parts according to the rules of tonality, completing the triad built upon each bass note unless the composer indicated otherwise by using a system of musical shorthand called |
| | A) | continuo bass. |
| | B) | figured bass. |
| | C) | bass figures. |
| | D) | toccata bass. |
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| 26 | |
When keyboard players improvised the completed harmonies above the figured bass, they were __________ the figured bass. |
| | A) | realizing |
| | B) | energizing |
| | C) | improvising |
| | D) | compromising |
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| 27 | |
What types of instruments were made by the Stradivari and Guarneri families? |
| | A) | oboes |
| | B) | flutes |
| | C) | violins |
| | D) | clarinets |
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| 28 | |
Baroque violins differed in several respects from the viols of the Renaissance; new methods of construction and new bowing techniques produced a louder sound, pleasing to the romantic taste of the Baroque music lover. |
| | A) | TRUE |
| | B) | FALSE |
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| 29 | |
The trio sonata was written on three lines of music, but it required at least __________ performers, because of the basso continuo. |
| | A) | two |
| | B) | three |
| | C) | four |
| | D) | five |
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| 30 | |
__________ was famous in his own time as a virtuoso violinist and as an outstanding composer of trio sonatas. |
| | A) | Corelli |
| | B) | Tartini |
| | C) | Handel |
| | D) | Frescobaldi |
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| 31 | |
A concerto grosso is a composition in three movements (slow-fast-slow) for a small group of solo instruments. |
| | A) | TRUE |
| | B) | FALSE |
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| 32 | |
The three movements of a concerto grosso are arranged |
| | A) | slow-fast-slow. |
| | B) | fast-slow-fast. |
| | C) | fast-fast-slow. |
| | D) | slow-fast-fast. |
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| 33 | |
The group of solo instruments in a concerto grosso is called the tutti; the larger orchestral group is called the concertino. |
| | A) | TRUE |
| | B) | FALSE |
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| 34 | |
The ________ principle of contrasting sonorities formed the basis of the Baroque concerto. |
| | A) | concertato |
| | B) | continuo |
| | C) | toccata |
| | D) | sonata |
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| 35 | |
The most prolific composer of Baroque concertos, including solo concertos as well as concerto grossi, was |
| | A) | Corelli. |
| | B) | Tartini. |
| | C) | Vivaldi. |
| | D) | Frescobaldi. |
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| 36 | |
__________ was ordained a priest, but spent most of his life as a professional musician. |
| | A) | Corelli |
| | B) | Tartini |
| | C) | Vivaldi |
| | D) | Frescobaldi |
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