Music Test #2

Front 1

Ritornello form-

Back 1

a Baroque musical form based on reoccurrences of a Ritornello:

Front 2

Secco recitative-

Back 2

accompanied only by concerto

Front 3

Recitative-

Back 3

a half-singing, half-reciting style of presenting words in opera, oratorio, etc. following speech accents, speech rhythm closely

Front 4

Aria-

Back 4

a vocal number for solo singer and orchrestra, generally in opera, cantata, or oratorio

Front 5

Oratorio-

Back 5

long semi dramatic piece on a religious subject for soloist, chorus, orchestra

Front 6

Fugue-

Back 6

a composition written systematically in imitative polyphony, usually with a single main theme, a fugue subject

Front 7

Stretto-

Back 7

short section, at end of fugue, where subject is imitated in close succession

Front 8

Coda-

Back 8

the ending section of a fugue

Front 9

Recapitulation-

Back 9

restatement of the subject

Front 10

Subject-

Back 10

short melody which is the main point of the fugue introduced in the beginning in a single unaccompanied voice

Front 11

Development-

Back 11

section of fugue where subject is manipulated, for example (i.e.) change of key sequence imitation, etc

Front 12

Exposition-

Back 12

part of a fugue where the subject is exposed

Front 13

Counterpoint-

Back 13

is a background complementary music to the main subject in a fugue

Front 14

Counterpoint-

Back 14

is a background complementary music to the main subject in a fugue

Front 15

Accompanied recitative-

Back 15

accompanied by orchestra

Front 16

Chorus-

Back 16

a group of singers singing together with more than 1 person on a voice part

Front 17

Homophony-

Back 17

a musical texture that involves only one melody of real interest, combined with chords or other secondary sounds

Front 18

Baroque sacred music placed special emphasis on the

Back 18

choir.

Front 19

Baroque sacred music borrowed from secular music, especially opera. What 3 elements were used?

Back 19

used recitative & aria also featured virtuoso solo singing.

Front 20

The most theatrical genre of Baroque vocal music was

Back 20

Oratorio

Front 21

Oratorio was most often based on stories from the

Back 21

Old Testament.

Front 22

Oratorio used ? characters and ? action.

Back 22

real;implied

Front 23

Oratorio differed from opera by using ? form and incorporating many more ?.

Back 23

concert;choruses

Front 24

Oratorio was similar to Renaissance choral music because the textures used were ? and ?. It also used word ? just like the Renaissance madrigal.

Back 24

polyphony;homophony;;painting

Front 25

To provide maximum fullness in Oratorio, composers used voices and ?.

Back 25

orchestra

Front 26

Handel’s most famous work is ?.

Back 26

Messiah

Front 27

It took Handel ? days to compose the Messiah.

Back 27

23

Front 28

Messiah is unlike any other Handel Oratorio because: the text was taken entirely from the Bible. It uses anonymous ? and ? Narrative episodes from Jesus’ life are depicted by using ?. Comments on these episodes are depicted by using ?,?, and ?

Back 28

narrators and commentators;recitative;recitative, aria, and chorus

Front 29

During the recitative, “There were shepherds,” the narrator tells the story in four parts. Part 1 & 3 are ? recitative and parts 2 & 4 are ? recitative.

Back 29

secco;accompanied

Front 30

Parts 1 & 3 are conversational style with ? rhythm and ? accompaniment

Back 30

free;continuo

Front 31

Parts 2 & 4 are very melodic with clear ? and ? accompaniment

Back 31

meter;orchestral

Front 32

The text of “Glory to God” comes from the book of ?, chapter ?, verses ? in the bible.

Back 32

Luke;2;8-14

Front 33

In “Glory to God,” the choir takes the role of the ?.

Back 33

angels

Front 34

The famous chorus that ends Part II of Messiah is the ?

Back 34

Hallelujah! Chorus.

Front 35

At the 1st London performance, King George II was so moved that ?

Back 35

he stood up at the chorus.