Music History Final

Front 1

The term baroque was first applied to art and music by

Back 1

critics in the mid-1700s who disliked the style

Front 2

How did Baroque artists, poets, and musicians evoke theatricality in their works?

Back 2

by using contrasts and motion to arouse feelings

Front 3

You find a music manuscript that sets a poem's vivid words with unprepared dissonances. Who is a probable composer?

Back 3

Claudio Monterverdi

Front 4

The practice of basso continuo reflects what trend that occurred around 1600?

Back 4

increased emphasis on the melody and bass lines

Front 5

The excerpt above shows an early form of

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figured bass

Front 6

The primary purpose of the basso continuo part is to

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accompany

Front 7

Which of the following was not a common continuo instrument during the 1600s?

Back 7

piano

Front 8

Which of the following does not follow concertato medium and concertato style?

Back 8

solo harpsichord

Front 9

During the Baroque era, chromaticism was used to

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express intense emotion in vocal works, suggest harmonic exploration in instrumental works, and create distinctive subjects in contrapuntal ones

Front 10

In music, the word idiomatic refers to

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music composed for a specific instrument or instrument family

Front 11

The prevalence of dance rhythms in Baroque music fostered the use of

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barlines in scores

Front 12

Composers in the seventeenth and early eighteenth centuries would describe their works as

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operating within the modal system, although to modern listeners they sound tonal

Front 13

The illustration below shows how Baroque architecture often used ________, similar to that found in music.

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intricate embellishments

Front 14

In music, the Baroque period lasted from approximately

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1600-1750

Front 15

The bottom two staves of the following example are

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the basso continuo part

Front 16

The top line of the following excerpt is the original melody. It and the line immediately below it show what?

Back 16

how some performers added extended embellishments

Front 17

By the end of the Baroque period, counterpoint became

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more harmonically driven

Front 18

This is an early Baroque composition that sparked controversy

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Cruda Amarilli

Front 19

Early Baroque composers' emphasis on drama and theatricality led to more of this type of performer

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professional

Front 20

"The invidious enemy, Love, circles

The fortress of my heart,

Hurry up, for he is not far away.

Arm yourselves!"

The excerpt above reflects how Baroque poets

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used words to suggest action or a theatrical performance

Front 21

The following excerpts show

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two contrasting renderings of a continuo part

Front 22

________ helped stimulate music publications, opera houses, and public concerts.

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Capitalism

Front 23

Opera originated

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ca. 1600

Front 24

This group intently studied the writings of the ancient Greeks about music

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The Camerata

Front 25

Which person is most closely associated with Le nuove musiche?

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Giulio Caccini

Front 26

Arias in the early 1600s were generally in what form?

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strophic

Front 27

The first opera was

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Peri and Runuccini's Dafne

Front 28

The excerpt below appears to be what type of piece?

Back 28

recitative

Front 29

What important step for opera happened in 1637?

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the first public opera house opened

Front 30

All of the following conditions fostered opera in Venice except

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religious restrictions were vigorously enforced

Front 31

The practice of castrati developed because

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women were not allowed to sing in Catholic churches or on stage in Rome

Front 32

Galilei argued that which musical technique created contradictory impressions and obscured the meaning of a text?

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polyphony

Front 33

Le nuove musiche contains

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the score of Dafne

Front 34

You are a pupil of Jacopo Peri's and want to imitate his recitative style. What type of harmonies do you use on important syllables?

Back 34

consonance with the bass

Front 35

Roman operas in the 1620s contributed to what important change in the genre?

Back 35

increasing distinction between recitative and aria

Front 36

In opera, the impresario is the

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theater manager who decides how many and which operas are performed

Front 37

You are a young Italian composer in the late 1600s. To ensure your opera is a success, you want to

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tailor the arias to the leading soprano's talent and preferences

Front 38

Why was Anna Renzi important?

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she was a talented and charismatic performer whose career set the standard for later sopranos

Front 39

This prominent mid-1600s opera composer studied with Monteverdi

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Francesco Cavalli

Front 40

Why did Venetian composers in the mid-1600s start to eliminate choruses from their operas?

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to save money and increase profits

Front 41

Why did composers such as Peri and Monteverdi sometimes employ extreme dissonances in their operas?

Back 41

to imitate speech and express the characters' emotional reactions

Front 42

You hear a tuneful, rhythmic piece for solo singer in a late seventeenth-century opera. You have just heard

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an aria

Front 43

Claudio Monteverdi wrote ______ throughout his lengthy career.

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madrigals

Front 44

Giulio Caccini often

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set each line of poetry as a separate phrase ending in a cadence

Front 45

Giulio Strozzi's description of the person who "bear[s] the full weight of an opera, repeating it virtually every evening....in the most perfect voice" refers to the

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prima donna or diva

Front 46

A prolific composer of dramatic music who worked in Florence in the mid-1600s was

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Francesca Caccini

Front 47

Although the term ________ originally meant abnormal, bizarre, and exaggerated, it now has a more positive meaning.

Back 47

Baroque

Front 48

The _______ relied on mathematics, observation, practical experiments, and perceived effects, rather than on tradition and received wisdom.

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scientific revolution

Front 49

In the early 1600s, new styles in art, architecture, and music began in which country?

Back 49

Italy

Front 50

The two statues below reflect the shift in artistic values from the ______ era to the _______. How does the on eon the right reflect emerging values?

Back 50

Renaissance to the Baroque

Because they are moving. The focus isn't solely on the human form.

Front 51

The Baroque era initiated many musical developments the endure today. Name and describe at least three of these.

Back 51

Opera, concerto, solo sonata, fugue, development of professional performers, dissonance, emphasis on melody

Front 52

According to René Descartes and other seventeenth-century thinkers, the _______ were relatively stable states of the soul. Another more modern term for these states is _______.

Back 52

affections

emotions

Front 53

The basso continuo gradually caused composers and theorists to think of consonant sounds as _____ rather than as a set of intervals over the bass.

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chords

Front 54

Baroque composers often juxtaposed or paired very ______ rhythms with very ________ ones. Recitative are aria paris and fugues preceded by toccatas reflect this practice.

Back 54

free

strict

Front 55

Baroque musicians used _____ as a means of moving the emotions. Examples include trills, appoggiaturas, and mordents.

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ornamentation

Front 56

The text of an opera is referred to as the

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labretto

Front 57

Le nuove musiche translates as

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the new music

Front 58

Ornamentation serves what purpose in Le nuove musiche?

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enhances message of text

Front 59

A recurring instrumental refrain is referred to as a

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ritornelle

Front 60

The excerpt below is from what type of piece? List two reasons for your answer.

Back 60

Recitative

1. Speech like rhythms in the vocal lines

2. Consonances with the bass

Front 61

The excerpt below is what type of piece? List two reasons for your answer.

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Aria

1. single voice

2. accompanied with strings

3. clearly metered

Front 62

Prior to becoming Pope, how was Clement IX involved with operas?

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He was a labretto

Front 63

List two enduring traits that opera had acquired by the middle of the seventeenth century.

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No longer have many choruses, more focus on the singer, more separation between arias and recitatives

Front 64

Italian for "first lady" a _______ is the lead soprano in an opera.

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premma donna

Front 65

To "take a moderate course between...song and fluent rapid [tones] of speech" describes _____

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Recitative style

Front 66

a large lute with extra bass strings

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theorbo

Front 67

a style of polyphony

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prima pratica or first practice

Front 68

from the Italian "to reach agreement" combining instruments and voices

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concertato medium or style

Front 69

broke voice-leading rules to express the text

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seconda pratica or second practice

Front 70

melody and bass line are notated; inner parts are not

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basso continuo or throughbass

Front 71

playing the basso continuo part

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realization

Front 72

an extended embellishment

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division or figuration

Front 73

decorating an important cadence

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cadenza

Front 74

harmonic system that uses major and minor keys

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tonality

Front 75

composers add flat or sharp signs or numbers over the staff

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figured bass

Front 76

characterized by rapid reiteration on a single note to convey anger

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concitato genere or stile concitato

Front 77

halfway between aria and recitative

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arioso

Front 78

altering the harmonies and melodic line to accentuate the content of each stanza

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strophic variation

Front 79

men who, as children, were subjected to operations to prevent puberty from changing their voices

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castrati

Front 80

in the 1600s, an instrument piece, especially one that serves as a prelude

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sinfonia

Front 81

Ground refers to what type of bass movement?

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a repeating pattern

Front 82

A concerted madrigal is one that is written for

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solo voice or small vocal ensemble with basso continuo and/or other instruments

Front 83

What is the general name for a repeating pattern in the lowest voice of a composition?

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basso ostinato

Front 84

Which of the following is not a characteristic of Gabrieli's large-scale sacred concerti?

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a unified compositional style

Front 85

Which of these genres is not based on a biblical or religious text?

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madrigal

Front 86

Why does Schütz use dissonance in Saul, was verfolgst du mich?

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to reflect the meaning of the text

Front 87

Which of the following best describes the function of a Latin-language oratorio?

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Latin oratorios were aimed at the elite, and formed a sacred alternative to opera seria

Front 88

What was the primary aim of church music in the seventeenth century?

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communicating the church's message effectively to the people

Front 89

Stile antico is associated primarily with which musical technique?

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counterpoint

Front 90

What is Barbara Strozzi primarily known for?

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composing and publishing her works

Front 91

Which composer is best know today for his/her Latin oratorios?

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Carissimi

Front 92

Why were Viadana's sacred concerti so popular?

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they were written so that many churches could use them

Front 93

In what context was stile antico most likely to be heard in the middle of the seventeenth century?

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church music

Front 94

Large-scale concerti were often written for what occasions?

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feast days in large churches

Front 95

Which of the following best describes the difference between a canzona and a sonata in the early seventeenth century?

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sonatas were more idiomatic and expressive; canzonas are formal and abstract

Front 96

Unusual skips and dissonances are components of what compositional technique?

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musical figures

Front 97

During the early 1600s, a piece that uses continuous imitation was called a

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ricercare

Front 98

During the early 1600s, a piece in an improvisatory style was called a

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toccata

Front 99

Which of the following refers to a piece that uses variation as its primary means of contrast?

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passacaglia

Front 100

Which of these contains examples of instrumental music used in church services?

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Fiori musicali

Front 101

How does Schütz differentiate between narrative and dialogue in his settings of the Passion story?

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he uses plainsong for the narrative and a motetlike polyphony for dialogue

Front 102

Which of the following best describes the style of Salamone Rossi's liturgical music?

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similar to contemporary Italian secular music, with few elements of traditional Jewish music

Front 103

What type of work sets the story of Jesus' crucifixion?

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Passion

Front 104

Which composer studied in Italy and the established Germany as a center of musical activity in Europe?

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Schütz

Front 105

In the 1600s, a cantus-firmus variation refers to what type of variation?

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melody is repeated; other voices change

Front 106

Why were the arts, especially dance, so important durin gthe reign of Louis XIV?

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Louis XIV used the arts to establish his authority

Front 107

What motivated the development and improvement of wind instruments in seventeenth-century France?

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the desire for greater control over intonation and tone color and the prominence of winds

Front 108

How did string music at the French court in the 1600s influence the development of the modern orchestra?

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it featured instruments from the violin family with more than one player per part

Front 109

Which of the following is not characteristic of the French overture?

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imitative entries in a slow tempo

Front 110

Collections of keyboard music by D'Anglebert, Couperin, and others often contain tables that show performers

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various methods of notating ornaments and options for performing them

Front 111

Which of the following was not typically included in a suite?

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tarantella

Front 112

In seventeenth-century Germany, how was a suite normally structured?

Back 112

an allemande followed by a courante, minuet, sarabande, and improvisatory toccata

Front 113

In seventeenth-century France, how was a suite normally structured?

Back 113

an unmeasured prelude followed by a series of dance-inspired movements (which ones and their order varied)

Front 114

What is one reason for the popularity of masques during the 1600s?

Back 114

Cromwell's government prohibited stage plays, but permitted concerts and private musical entertainments

Front 115

You discover a new collection of music manuscripts by Elisabeth-Claude Jacquet de la Guerre. It could include all of the following except

Back 115

symphonies

Front 116

This musical example appears to be what type of dance?

Back 116

minuet

Front 117

Why did other countries emulate the French style in music, arts, and architecture from the 1660s forward?

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Louis XIV was admired by other rulers for his power and his artistic patronage; French arts were considered to be highly refined

Front 118

"There is a prodigy who...sings at sight the most difficult music. She accompanies herself...on the harpsichord, which she plays in an inimitable manner." Who does this describe?

Back 118

Elisabeth-Claude Jacquet de la Guerre

Front 119

This musical example appears to be

Back 119

an unmeasured prelude

Front 120

Harmonies in Lully's music tend to

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be tonal, rather than modal

Front 121

You find a previously lost opera by Henry Purcell. What elements might it contain?

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overture and prologue based on those of French operas; arias in the Italian style; and choruses and diatonic songs in the English style

Front 122

In this excerpt, Henry Purcell

Back 122

shortens accented syllables and uses reverse dotted rhythms to reflect the rhythms of English speech

Front 123

Why is John Playford's collection of dances, The English Dancing Master (1651), important?

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it preserves folk and popular music that, until the twentieth century, often went undocumented

Front 124

Why did music in the Spanish colonies in the Americas borrow elements from many cultures?

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Spanish colonies were ethnically diverse, and acculturation (the process by which one culture adopts traits of another culture) took place

Front 125

A distinctly Spanish operatic practice is to set dialogue as

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strophic songs

Front 126

Variations between song manuscripts in Spain and Spanish colonies tell us that

Back 126

composers and performers expected improvisation and alteration rather that strict adherence to the score

Front 127

A tiento written by Juan Bautista José Cabanilles would most likely

Back 127

sound improvisatory and incorporate imitation

Front 128

The continuo part in Spanish operas had a distinctive color because it was frequently performed by

Back 128

harp, guitar and viol

Front 129

This musical excerpt employs what repetitive musical technique?

Back 129

grand bass

Front 130

In the mid-seventeenth century, a secular work, usually for solo voice or vocal ensemble with continuo, is referred to as a

Back 130

contata

Front 131

In the Baroque, composers used both the descending tetrachord motive and chacona as______, but they portray opposite emotions; the descending tetrachord frequently indicates a ______ and the chacona is a _______

Back 131

grand bass

lament

joyful dance

Front 132

List three ways oratorio differs from opera

Back 132

sacred, seldom staged, used a narrator

Front 133

How did the language of an oratorio's libretto affect its purpose?

Back 133

Latin oratorios were for the educated (elite), Italian oratorios were for larger groups of less educated people

Front 134

How did Giovanni Gabrieli take advantage of the architecture of St. Mark's in his sacred concerti?

Back 134

He was able to write works for multiple balconies with multiple organs and choirs

Front 135

Why did Schütz focus on the small sacred concerto rather than the large, especially in the 1630s and 1640s?

Back 135

Economical reasons (war)

Front 136

In addition to compositional types, list and describe three other approaches to categorizing instrumental music in the early Baroque

Back 136

Social function, nationality, performance forces

Front 137

You find a manuscript of untexted music written on two staves, which suggests it was composed for what type of instrument?

Back 137

keyboard/harpsichord

Front 138

With his librettist Quinault, Lully integrated drama, music, and ballet in a new French form of opera called

Back 138

Tragedy Musique

Front 139

Elegance and restraint characterized _______ music during the 1600s, while more florid ornamentation and overt emotional expression characterized ______ music of the time.

Back 139

French

Italian

Front 140

Spanish music of the seventeenth century frequently incorporated ______ rhythms

Back 140

syncopated

Front 141

The uniform bowing and precision that _____ demanded became the foundation for the modern orchestra

Back 141

Lulee

Front 142

Describe or diagram binary form. How many sections are there? How is it structured harmonically?

Back 142

2 sections

From tonic to dominant

Front 143

French Baroque music employed _______ to emphasize important notes and give melodies shape.

Back 143

ornaments

Front 144

Name on type of music written for home performance by amateurs in the seventeenth century.

Back 144

suites for harpsichord, fantasias

Front 145

Colonization led to the dissemination of what dance from Central America?

Back 145

sarabande

Front 146

French harpsichord music absorbed many characteristics of music written for what instrument?

Back 146

lute