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25 Cards in this Set

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(T/F) The evolution from the Renaissance style to the Baroque style occurred in music before the visual arts, and in northern Europe before southern Europe.
False
The Protestant Reformation led to a long period of religious conflict marked by all of the following except
- Protestants stormed Catholic churches.
-works of art and musical instruments were destroyed.
-Catholics established the court of Inquisition to condemn dissenters.
Xthe eventual settlement of Catholics in northern Europe and Protestants in Italy.
(T/F) The high emotions of the late Renaissance religious conflict coincided with the rise of a more emotional style in the arts.
True
The vivid, passionate expression of the _________–human emotions or "states of the soul"–led to the Baroque period.
affections
(T/F) The transition from the Renaissance to the Baroque can be described as a change from a romantic emphasis on drama and personal expression to a more classical style that stressed balance, order, and repose.
FALSE
(T/F) Two famous artists whose work reflected the increased emotionalism prevalent during the transition from the Renaissance to the Baroque were Michelangelo and El Greco.
TRUE
One of the many composers whose music exhibited both the Renaissance and Baroque styles was
Carlo Gesualdo.
The practice of using all the notes–both in and out of the mode–to create complex and dissonant effects is called
chromaticism.
Gesualdo employed chromaticism in his madrigals to
increase the tempo.
The church of St. Mark in Venice, Italy, designed in the plan of a cross, became the center for the performance of __________ music, festive music performed by several choirs of voices and/or instruments.
polychoral
All of these were particularly significant characteristics of the Venetian polychoral style except
-the several choirs and instruments performing simultaneously were better served by chordal or homorhythmic texture than by the Renaissance polyphony.
X contrasting sonorities of various voices and instruments did not appeal to the Baroque imagination.
-Venetian polychoral works included large sections of massive chordal combinations.
- the concertato principle.
An underlying concept of the Baroque style, the contrasting sonorities of various voices and instruments, was known as the _______________ principle.
concertato
___________ was a famous Italian organist, teacher, and composer who wrote many compositions for St. Mark's in Venice
Giovanni Gabrieli.
A piece to be played or sounded upon instruments rather than sung was called a
sonata
(T/F) Contrasting dynamic levels became an important characteristic of Baroque music.
true
The Florentine Camerata was centered in __________, Italy.
-Venice
-Rome
-Milan
NONE OF THE ABOVE (FLORENCE)
The Florentine Camerata was
a group of intellectuals who discussed and promoted changes in artistic style.
One of the most significant contributions of the Florentine Camerata was a new type of solo singing called
monody.
The Florentine Camerata found the existing vocal forms unsuitable for the clear and dramatic expression of a text for all of the following reasons except
X the combination of melodic lines in the polyphonic madrigal made it too easy to understand the words
-the melody lines of the typical Renaissance madrigal were unrelated to the natural declamation of the words.
-they considered madrigalisms "childish" and sought a more natural method of expressing texts.
-the use of the same melody for several verses of a strophic song belied any relationships between words and music.
(T/F) Aware of the ideals of the ancient Greeks, the members of the Florentine Camerata envisioned a style of melody that would approximate the dramatic declamation of a text.
TRUE
Both monody and the Venetian polychoral style implied a new texture of music eventually known as
Homophony
Baroque term for human emotions or states of the soul
affections
-Music for two or more choirs, vocal, instrumental, or both, performed antiphonally
-A characteristic feature of music of the Ventian school
polychoral music
Principle of contrasting the sonorities of large and small vocal and instrumental ensembles
concertato principle
In the 15th and 16th centuries, an instrumental composition to be "sounded" on instrments rather than sung.
sonata