Music Chp 14

Front 1

(T/F) At the beginning of the seventeenth century, composers found Palestrina's polyphonic style more suitable for secular songs rather than church music.

Back 1

FALSE

Front 2

(T/F) During the Baroque, the old style of writing (Palestrina's polyphony) and the new style (monody) were used for different purposes.

Back 2

TRUE

Front 3

The composer who suggested that the old and new styles represented the "first" and "second" practices of music was

Back 3

Claudio Monteverdi.

Front 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.

Back 4

Giovanni Gabrieli

Front 5

Monteverdi shared __________ taste for dramatic and emotional settings of madrigal texts, using dissonance for expressive purposes.

Back 5

Carlo Gesualdo's

Front 6

(T/F) During the Renaissance period, dissonances could only be approached and resolved according to strict rules.

Back 6

TRUE

Front 7

Monteverdi allowed the __________ of his songs, rather than the prevailing rules of music theory, to determine his use of dissonance.

Back 7

text

Front 8

The "first practice" of music, as identified by Monteverdi, is described by all of the following except that

Back 8

- all of the voices are nearly equal in importance.
-it uses Palestrina's style of choral polyphony.
X text expression is more important than the music.
- it is often used in church music.

Front 9

The "second practice" of music, as identified by Monteverdi, is described by all of the following except that

Back 9

-the texture is usually homophonic.
X music dominates the text.
-it uses dissonance expressively.
-it is often used in secular music.

Front 10

(T/F) 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.

Back 10

TRUE

Front 11

All of the following are characteristics of Monteverdi's madrigal compositions except

Back 11

X he used the old stile antico for madrigals, recognizing certain tonal principles.
-he used the bass line as an organizing and stabilizing element, giving the music a sense of direction.
-he used the triad as a chord, recognizing a rudimentary relationship between triads.
-as tonality became more firmly established, he used both chromaticism and dissonance more freely.

Front 12

In the sixteenth century, short but spectacular music dramas called __________ were often performed between acts of a play.

Back 12

intermedii

Front 13

__________ sometimes constituted "mini" music dramas, with different voices or combinations of voices answering each other in dialogue form.

Back 13

Madrigals

Front 14

(T/F) 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.

Back 14

TRUE

Front 15

The text of an opera is called a(n)

Back 15

libretto.

Front 16

Early opera librettos were

Back 16

- based on Greek mythology.
-often set to music by many different composers.
- usually performed by small casts and accompanied by a few instruments.
ALL OF THE ABOVE

Front 17

(T/F) Composers recognized two distinct types of solo singing, each implied but not achieved by monody: the recitative and aria.

Back 17

TRUE

Front 18

The invention of monody was important to Western music because it demonstrated that

Back 18

a solo singer could combine beautiful music with dramatic text expression.

Front 19

All of the following are characteristics of a recitative except

Back 19

X the melody of a recitative reflects unnatural vocal inflections
-the rhythm of a recitative is free or flexible.
-a recitative is flexible in form, adaptable to the demands of the text.
-a recitative is flexible in form, adaptable to the demands of the text.
-the texture of a recitative is generally homophonic.

Front 20

All of the following are characteristics of an aria except

Back 20

-an aria provides an emotional reaction to events and is well adapted to the Baroque doctrine of affections.
-arias often have soaring melody lines, displaying the beauty of the voice.
X an aria has unmetered rhythm.
-an aria has formal design, as in the da capo aria (A B A).

Front 21

(T/F) In 1607, Claudio Monteverdi composed the opera Orfeo.

Back 21

TRUE

Front 22

__________ was the first composer to realize the successful music drama requires a skillful blending of the literary, visual, and lively arts.

Back 22

Claudio Monteverdi

Front 23

Monteverdi's "Tu se' morta" is an example of a(n) __________ from the opera Orfeo.

Back 23

recitative

Front 24

The first public opera house opened in __________, Italy, in 1637.

Back 24

Venice

Front 25

The term __________ is Italian for "beautiful singing."

Back 25

bel canto

Front 26

All of the following are characteristics of late Baroque, bel canto opera except

Back 26

-interest in the beauty of the singing voice.
-emphasis on dazzling vocal performances.
X close attention to the recitatives and the dramatic integrity of the story.
- the tendency of singers to take liberties with the melody lines.

Front 27

(T/F) 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

Back 27

TRUE

Front 28

Another name for a virtuoso female singer is a

Back 28

prima donna

Front 29

(T/F) By the end of the Baroque era, professional opportunities for women to direct court or church ensembles were still largely denied.

Back 29

TRUE

Front 30

By the 1720s, audiences were tiring of the highly stylized Baroque opera, so a new dramatic form, the __________ opera, became popular in England.

Back 30

ballad

Front 31

In 1728, English poet and playwright __________ wrote the Beggar's Opera, ridiculing some of the more obvious limitations of Baroque opera.

Back 31

John Gay

Front 32

The epitome of the Baroque composer, __________, was born in Germany, spent considerable time in Italy, and eventually became a British citizen.

Back 32

George Frideric Handel

Front 33

Although the oratorio shares many characteristics with the opera, its most important difference is its

Back 33

religious subject matter.

Front 34

(T/F) 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.

Back 34

TRUE

Front 35

The world's best-known and best-loved oratorio is Handel's

Back 35

Messiah.

Front 36

The date of __________ death (1750) is generally accepted as the end of the Baroque period.

Back 36

Johann Sebastian Bach's

Front 37

Johann Sebastian Bach wrote two large choral works called __________, oratorios based upon the events leading to the crucifixion of Christ.

Back 37

Passions

Front 38

(T/F) Since Bach was Catholic, he wrote the Mass in B Minor to attract the favorable attention of an influential Catholic Elector.

Back 38

FALSE

Front 39

Bach wrote nearly 200 dramatic religious vocal works called __________, which are short oratorios.

Back 39

cantatas

Front 40

The term cantata originally meant a piece to be

Back 40

SUNG

Front 41

-polyphonic, conservative style of the late Renaissance

Back 41

first practice/stile antico

Front 42

-homophonic, expressive style introduced by Monteverdi

Back 42

second practive/stile moderno

Front 43

use of tones not in the key on which a composition is based

Back 43

chromaticism

Front 44

dramatic vocal form blending visual, literary, and musical arts performed in a theater or opera house

Back 44

opera

Front 45

text of a dramatic vocal work

Back 45

libretto

Front 46

speechlike setting of a text, with a homophonic accompaniment by keyboard (dry recitative) or an orchestra (accompanied recitative)

Back 46

recitative

Front 47

-songlike setting of a text
-maually expressive
-accompanied by an orchestra
-generally homophonic in texture

Back 47

aria

Front 48

an aria with an ABA design

Back 48

da capo aria

Front 49

18th century Italian singing style that emphasized the beauty and virtuosity of the voice

Back 49

bel canto

Front 50

castrated male singer

Back 50

castrato (plural castrati)

Front 51

-dramatic vocal work on a religious subject
-performed in a concert hall or church

Back 51

oratorio

Front 52

-multimovement dramatic cocal work on a religious or secular subject
-performed in concert style

Back 52

cantata