Music History Fall Final

Front 1

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

Back 1

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

Front 2

The following excerpts show

Back 2

two contrasting renderings of a continuo part.

Front 3

Which of the following ensembles does not exemplify the concertato medium or concertato style?

Back 3

solo harpsichord

Front 4

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

Back 4

increased emphasis on the melody and bass lines

Front 5

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

Back 5

intricate embellishments

Front 6

The primary purpose of continuo instruments is to

Back 6

accompany soloists or an ensemble

Front 7

In most periodizations of music history, the Baroque period lasts from approximately

Back 7

1600-1750

Front 8

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

Back 8

piano

Front 9

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

Back 9

barlines in scores.

Front 10

During the Baroque era, chromaticism was used to

Back 10

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

Front 11

By the end of the Baroque period, counterpoint became

Back 11

more harmonically driven

Front 12

By the end of the 1600s, which country was the dominant political and artistic power in Europe?

Back 12

France

Front 13

The term baroque was first applied to art and music by

Back 13

critics in the mid-1700s who disliked the style.

Front 14

The drawing below, by Charles Le Brun, documents the ways in which the human eye can convey

Back 14

the affections

Front 15

________ helped stimulate music publications, opera houses, and public concerts in the seventeenth century.

Back 15

Capitalism

Front 16

In music, the word idiomatic refers to

Back 16

music composed for a specific instrument or instrument family.

Front 17

How did changes in instrumentation affect tuning and performance practice during the 1600s?

Back 17

Increased reliance on harpsichord and organ led to the widespread use of mean-tone temperament.

Front 18

The excerpt below shows an early form of

Back 18

Figured Bass

Front 19

The bottom two staves of the following example constitute

Back 19

the basso continuo.

Front 20

During the 1600s, rulers, cities, and aristocratic families supported music and the arts often as a way to compete for prestige.

Back 20

True

Front 21

Rhythms during the Baroque became increasingly free and flexible and therefore pieces did not require barlines.

Back 21

False

Front 22

Composers of instrumental music in the 1600s sought to portray their personal feelings rather than general emotional states.

Back 22

False

Front 23

During the Baroque, the musical score was regarded as an outline that could be adapted, added to, or altered.

Back 23

True

Front 24

The term baroque was used by people living in the seventeenth and eighteenth centuries to describe the period in which they lived.

Back 24

False

Front 25

During the early Baroque era, many people believed experiencing a range of emotions through music could improve one's physical and mental health.

Back 25

True

Front 26

The dominant texture in early Baroque music is polyphony.

Back 26

False

Front 27

a harmonic system that uses major and minor keys

Back 27

tonality

Front 28

a bass line with added figures (numbers or accidentals) to indicate the chords above it

Back 28

figured bass

Front 29

the process of playing a figured bass and filling in the chords implied by its notation

Back 29

realization

Front 30

an extended embellishment of an important cadence

Back 30

cadenza

Front 31

a musical embellishment

Back 31

ornamentation, division, or figuration

Front 32

a large lute with extra bass strings

Back 32

theorbo

Front 33

a style of polyphony breaking voice-leading rules to express the text

Back 33

seconda pratica or second practice,

Front 34

a style combining instruments and voices

Back 34

concertato medium or style

Front 35

a notational system in which the bass line is written out and the appropriate chords are filled in by performers

Back 35

basso continuo or thoroughbass

Front 36

a style of polyphony following the rules of Zarlino

Back 36

prima pratica or first practice

Front 37

What important event in the history of opera occured in 1637?

Back 37

The first public opera house opened.

Front 38

Which of the following musical genres or styles does Claudio Monteverdi use in L'Orfeo? (Select three correct answers.)

Back 38

strophic aria with ritornello, recitative, choral madrigal

Front 39

The very first opera ever composed was

Back 39

Jacopo Peri and Ottavio Rinuccini's Dafne

Front 40

Giulio Caccini's Le nuove musiche contains

Back 40

solo madrigals, strophic arias, and a preface on performance practice that is valuable to modern scholars.

Front 41

Because women were prohibited from the stage in seventeenth-century Rome, female roles were sung by

Back 41

castrati.

Front 42

All the following conditions fostered the development of Venetian opera in the mid seventeenth century except what?

Back 42

Religious restrictions were vigorously enforced.

Front 43

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

Back 43

strophic

Front 44

How does Claudio Monteverdi express Orfeo's grief in this excerpt? (Select six correct answers.)
`

Back 44

diminished intervals in the vocal line,

direct chromatic motion in the vocal line,

melodic leaps in the vocal line to pitches that are dissonant with the bass,

abrupt changes between flat sonorities and sharp sonorities,

repetition of important words from the libretto,

evocative instrumentation

Front 45

In Jacopo Peri's recitatives, the most important syllables are set to pitches that are ________ and ___________. (Select two correct answers.)

Back 45

consonant with the bass, synchronized with the bass.

Front 46

Vincenzo Galilei, a member of the Florentine Camerata, argued that _______ created contradictory impressions and obscured the meaning of a text.

Back 46

polyphony

Front 47

In opera, the impresario is the

Back 47

theater manager or producer.

Front 48

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

Back 48

to imitate speech and express the characters' emotional reactions

Front 49

This group carefully studied the writings of the ancient Greeks about music and contributed to the development of opera.

Back 49

The Florentine Camerata

Front 50

This person composed the monodies in Le nuove musiche.

Back 50

Giulio Caccini

Front 51

Opera originated

Back 51

ca. 1600

Front 52

The excerpt below is an example of a

Back 52

recitative

Front 53

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

Back 53

to save money and increase profits

Front 54

Who was Anna Rienzi, and why is she important to music history?

Back 54

She was a talented and charismatic performer whose career as a prima donna set the standard for later sopranos

Front 55

Giulio Strozzi's mid-seventeenth-century 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

Back 55

prima donna or diva.

Front 56

Claudio Monteverdi wrote only secular music.

Back 56

False

Front 57

Although Claudio Monteverdi's L'Orfeo was modeled on Jacopo Peri's L'Euridice, Monteverdi's work drew on an even wider range of styles and genres.

Back 57

True

Front 58

Claudio Monteverdi's L'Orfeo was first performed in a public opera house.

Back 58

False

Front 59

In Claudio Monteverdi's L'Orfeo, Orfeo expresses his grief with diatonic recitative that obeys the rules of counterpoint.

Back 59

False

Front 60

Scholars as well as musicians were crucial to the development of opera.

Back 60

True

Front 61

singer and composer for the intermedi for La pellegrina (1589); composer of and singer in Dafne (1598) and L'Euridice (1600); "inventor" of recitative style

Back 61

Jacopo Peri

Front 62

heorist, composer, and author of Dialogo della musica antica et della moderna (Dialogue of Ancient and Modern Music, 1581), which argued that solo melody ("monody") enhanced the natural speech inflections of good oration

Back 62

Vincenzo Galilei

Front 63

singer and composer for the intermedi for La pellegrina(1589); member of the Florentine Camerata; composer of monodies in Le nuove musiche (1602); composer of a second, rival setting of L'Euridice (1600)

Back 63

Giulio Caccini

Front 64

librettist for the intermedi for La pellegrina (1589) and Dafne (1598); author of the pastoral drama on which L'Euridice (1600) is based

Back 64

Ottavio Rinuccini

Front 65

Florentine count, who sponsored the intermedi for La pellegrina (1589) and hosted the Florentine Camerata

Back 65

Giovanni de’ Bardi

Front 66

producer, composer and choreographer of the intermedi for La pellegrina (1589); composer of musical morality play Rappresentatione di anima et di corpo (Representation of the Soul and the Body, 1600); director of L'Euridice (1600)

Back 66

Emilio de’ Cavalieri

Front 67

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

Back 67

sinfonia

Front 68

a vocal style halfway between aria and recitative – arioso, men who, as children, were subjected to operations to prevent puberty from changing their voices

Back 68

castrati,

Front 69

a form in which changes in harmony, melody, and rhythm reflect the changing content of each stanza

Back 69

strophic variation

Front 70

homophonic through-composed setting of a poem, a form pioneered by Giulio Caccini

Back 70

solo madrigal

Front 71

verse play with interspersed music, often with an idyllic rural setting and mythological characters

Back 71

pastoral drama

Front 72

series of polyphonic vocal pieces that present a story or a succession of scenes

Back 72

madrigal cycle or madrigal comedy,

Front 73

general, modern term for accompanied solo singing in the late 1500s and 1600s

Back 73

monody

Front 74

musical interludes performed between acts of a play

Back 74

intermedi

Front 75

What terms describe a pattern in the bass that repeats while the melody above it changes? (Select two correct answers.)

Back 75

basso ostinato, ground bass

Front 76

Claudio Monteverdi's stile concitato uses _______ to convey _________.

Back 76

rapid repetitions of a single note - anger, war, and excitement

Front 77

A concerted madrigal is one that is written for _______.

Back 77

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

Front 78

Barbara Strozzi's Lagrime mie uses which of the following genres or styles? (Select four that apply.)

Back 78

aria, arioso, recitative, lament bass

Front 79

Claudio Monteverdi's Altri canti d'amor is a concerted madrigal that contains examples of which styles or genres? (Select three answers.)

Back 79

sinfonia, stile concitato, lament bass

Front 80

What statement about the seventeenth-century Italian cantata is not true?

Back 80

Cantatas were staged with costumes, lighting, props, and scenery.

Front 81

What is Barbara Strozzi primarily known for?

Back 81

composing and publishing cantatas

Front 82

Barbara Strozzi was one of the most prolific composers of chamber music in the early 1600s.

Back 82

True

Front 83

Cruda Amarilli is a concerted madrigal.

Back 83

False

Front 84

The chacona was a bass pattern based on a refrain from the New World that was played on the guitar.

Back 84

True

Front 85

Back 85

lament bass

Front 86

Back 86

stile concitato

Front 87

Back 87

chacona

Front 88

L’incoronazione di Poppea

Back 88

1643

Front 89

L’Orfeo

Back 89

1607

Front 90

Altri canti d’amor from Madrigali guerrieri et amorosi (Madrigals of War and Love)

Back 90

1638

Front 91

Cruda Amarilli

Back 91

late 1590's

Front 92

Altri canti d’amor from Madrigali guerrieri et amorosi (Madrigals of War and Love)

Back 92

concerted madrigal

Front 93

L’incoronazione di Poppea,

Back 93

opera (for Venetian public)

Front 94

L’Orfeo

Back 94

opera (for Mantuan patron)

Front 95

Cruda Amarilli

Back 95

madrigal (voices alone)

Front 96

Which of the following statements best describes Heinrich Schütz's training and career?

Back 96

He studied with Giovanni Gabrieli in Venice, then worked in Kassel and Dresden.

Front 97

Why does Heinrich Schütz use unprepared and unresolved dissonance in the following example?

Back 97

to reflect the meaning of the text

Front 98

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

Back 98

madrigal

Front 99

Why were Alessandro Grandi and Lodovico Viadana's small-scale sacred concerti so popular?

Back 99

Even small churches with limited resources could perform them.

Front 100

In the seventeenth century, large-scale sacred concertos were often written for what occasions?

Back 100

feast days in large churches

Front 101

Which seventeenth-century composer is best known today for his or her Latin oratorios?

Back 101

Giacomo Carissimi

Front 102

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

Back 102

Passion

Front 103

In seventeenth-century music, forces for the small-scale sacred concerto typically consisted of

Back 103

one or more solo singers with organ and one or two violins.

Front 104

Which of the following musicians were employed at and wrote music for St. Mark's Church in Venice? (Select six correct answers.)

Back 104

Adrian Willaert, Cipriano de Rore, Gioseffo Zarlino, Giovanni Gabrieli, Claudio Monteverdi, Alessandro Grandi

Front 105

Which of the following statements is true of the affect of the Thirty Years' War on Heinrich Schütz's music?

Back 105

Due to lack of funds, Schütz was forced to compose for smaller ensembles.

Front 106

Which of the following is not characteristic of Roman oratorios?

Back 106

They were elaborately staged with scenery and costumes.

Front 107

In seventeenth-century music, the stile antico is associated primarily with what kind of music?

Back 107

contrapuntal music in the Palestrina style

Front 108

In the seventeenth century, musical figures were

Back 108

counterpoint patterns that had become associated with specific emotions.

Front 109

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

Back 109

church music

Front 110

In the sixteenth and seventeenth centuries, many Venetian composers—including Adrian Willaert and Giovanni Gabrieli—wrote music for cori spezzati.

Back 110

True

Front 111

In the seventeenth century, theatrical styles of music were not permitted in Christian church services.

Back 111

False

Front 112

In the seventeenth century, the stile moderno completely replaced the stile antico.

Back 112

False

Front 113

Serious music-making by nuns and novices was encouraged by the majority of church officials in the 1600s.

Back 113

False

Front 114

Johann Joseph Fux's Gradus ad Parnassum (Steps to Parnassus) is an influential treatise about counterpoint in the Palestrina style.

Back 114

True

Front 115

concerted madrigal

Back 115

Claudio Monteverdi

Front 116

large-scale sacred concerto

Back 116

Giovanni Gabrieli

Front 117

Italian cantata

Back 117

Barbara Strozzi

Front 118

oratorio

Back 118

Giacomo Carissimi

Front 119

small-scale sacred concerto (solo motet)

Back 119

Alessandro Grandi

Front 120

The organ masses in Girolamo Frescobaldi's Fiori musicali include which of the following instrumental genres? (Select four correct answers.)

Back 120

toccata, organ verse, canzona, ricercar

Front 121

What seventeenth-century instrumental genre uses an improvisatory style?

Back 121

toccata

Front 122

What seventeenth-century instrumental genre uses continuous imitation?

Back 122

ricercare

Front 123

Which of these seventeenth-century publications contains examples of organ music performed during the mass?

Back 123

Fiori musicali

Front 124

This musical excerpt appears to be what type of piece?

Back 124

ricercar

Front 125

What seventeenth-century instrumental genre uses variation as its primary means of contrast?

Back 125

passacaglia

Front 126

In the ricercare, the theme that is treated with continuous imitation is known as the

Back 126

subject

Front 127

Which of the following describes the difference between a canzona and a sonata in the early seventeenth century? (Select two correct answers.)

Back 127

Sonatas are more idiomatic and expressive; canzonas are formal and abstract., Sonatas reflect modern vocal styles; canzonas use the style of Renaissance polyphony.

Front 128

Girolamo Frescobaldi advocated frequent changes of tempo and figuration in performances of his instrumental music to portray various moods or affections.

Back 128

True

Front 129

Girolamo Frescobaldi encouraged performers of his toccatas to play them exactly as notated.

Back 129

False

Front 130

Girolamo Frescobaldi was one of the first composers of international renown to focus primarily on instrumental music, and keyboard music in particular.

Back 130

True

Front 131

Girolamo Frescobaldi's Fiori musicali effectively eliminates the use of Gregorian chant in the Catholic liturgy.

Back 131

False

Front 132

Girolamo Frescobaldi spent most of his career as an organist at St. Peter's in Rome.

Back 132

True

Front 133

a setting for organ of a chorale melody, used as an introduction for congregational singing

Back 133

chorale prelude

Front 134

a work in imitative texture based on a single subject

Back 134

fugue

Front 135

an introductory piece for solo instrument, often in the style of an improvisation

Back 135

prelude

Front 136

a set of stylized dances

Back 136

suite

Front 137

a setting for an organ of an existing melody from the Roman Catholic liturgy

Back 137

organ verse

Front 138

a work or collection of works in the same genre

Back 138

opus

Front 139

Which of the following is not a feature of the French overture?

Back 139

imitative entries in a slow tempo

Front 140

Louis XIV and other members of the nobility during the French Baroque took part in performances of which genre?

Back 140

court ballet

Front 141

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

Back 141

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

Front 142

Jean-Baptiste Lully is best known for his contribution the development of ________ in France.

Back 142

opera

Front 143

Music of the Great Stable was

Back 143

an ensemble of wind, brass, and timpani players that provided military and outdoor music for the French monarchy.

Front 144

Harmonies in Jean-Baptiste Lully's music tend to

Back 144

be tonal, rather than modal.

Front 145

A French opera composed during the Baroque might also be called what? (Select two correct answers.)

Back 145

tragédie lyrique, tragédie en musique

Front 146

Compared to arias in seventeenth-century Italian opera, the airs in the operas of Jean-Baptiste Lully were

Back 146

less elaborate and effusive.

Front 147

The main patron(s) of music in the French Baroque was/were

Back 147

Louis XIV.

Front 148

Which scoring is typical of Jean-Baptiste Lully's orchestration?

Back 148

five-part string orchestra augmented by woodwinds

Front 149

Which of the following were important influences on the development of French opera? (Select two correct answers.)

Back 149

court ballet, French spoken tragedy

Front 150

In seventeenth-century France, royal music was organized into three categories: the Music of the Royal Chapel for religious services, the Music of the Chamber for indoor entertainment, and the Music of the Great Stable for military and outdoor entertainment.

Back 150

True

Front 151

Jean-Baptiste Lully's five-act operas combined serious plots from ancient mythology with comic characters from the Italian commedia dell'arte.

Back 151

False

Front 152

an ensemble whose core consists of strings with more than one player on each part

Back 152

orchestra

Front 153

long interludes of dancing with solo and choral singing, incorporated into an opera

Back 153

divertissements

Front 154

French musical-dramatic work staged with costumes and scenery, performed by members of the aristocracy together with professional dancers

Back 154

court ballet

Front 155

alternation of longer notes on the beat with shorter offbeats

Back 155

notes inégales

Front 156

music that marks the entrance of the king and welcomes him and the audience to the performance

Back 156

French overture

Front 157

The tonal organization of a dance movement in binary form (assuming a major key) is best summarized by which of the following diagrams?

Back 157

||: I-V :||: V-I :||

Front 158

Collections of keyboard music by Henry D'Anglebert, François Couperin, and composers of the French Baroque often contain tables that show performers

Back 158

the symbol, name, and manner of performance of various agréments.

Front 159

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

Back 159

tarantella

Front 160

Although most stylized dances in French keyboard suites used binary form, the chaconne was often composed in _________, which features a theme that alternates with contrasting ________.

Back 160

rondeau form - couplets

Front 161

Which of the following stylized dances, all commonly found in seventeenth-century suites, became an important part of the eighteenth- and nineteenth-century genres of the string quartet and symphony?

Back 161

minuet

Front 162

This musical example appears to be what type of dance?

Back 162

gigue

Front 163

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

Back 163

an unmeasured prelude followed by a series of stylized dances in a varied order and with fanciful titles

Front 164

Elisabeth-Claude Jacquet de la Guerre composed in all of the following genres except what?

Back 164

symphonies

Front 165

Throughout much of her career, Elisabeth-Claude Jacquet de la Guerre enjoyed the patronage of

Back 165

Louis XIV

Front 166

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

Back 166

an allemande followed by a courante, sarabande, and gigue, often preceded by a prelude and augmented with optional dances

Front 167

This musical example appears to be

Back 167

an unmeasured prelude

Front 168

Who was the leading lute composer of seventeenth-century France?

Back 168

Denis Gaultier

Front 169

Style brisé was developed by performers of the _________; it was later imitated by composers for the __________.

Back 169

lute - harpsichord

Front 170

This musical example appears to be what type of dance?

Back 170

courante

Front 171

A characteristic feature of the sarabande in French keyboard suites is the

Back 171

use of triple meter with emphasis on the second beat.

Front 172

This musical example appears to be what type of dance?

Back 172

minuet

Front 173

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

Back 173

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

Front 174

In seventeenth- and eighteenth-century France, most dance music written for solo keyboard was not intended to accompany dancing, but was for the pleasure of the performer or the entertainment of a small audience.

Back 174

True

Front 175

sarabande and chaconne

Back 175

Central and Latin America (the New World)

Front 176

courante

Back 176

France

Front 177

allemande

Back 177

Germany

Front 178

gigue

Back 178

England and Ireland

Front 179

a performance practice in which a dotted note is held longer than the notated value and the following note is shortened

Back 179

overdotting

Front 180

a broken or arpeggiated texture in keyboard and lute music

Back 180

style luthé

Front 181

a performance practice in which passages notated in short, even durations are performed by alternating longer notes on the beat with shorter offbeats

Back 181

notes inégales

Front 182

a collection of stylized dances for instrument performance

Back 182

suite

Front 183

the French term for harpsichord

Back 183

clavecin

Front 184

How did Oliver Cromwell's prohibition against stage plays affect music performance in seventeenth-century England?

Back 184

The addition of music and elements from the masque made stage plays acceptable.

Front 185

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

Back 185

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

Front 186

The English masque was influenced by

Back 186

French opera.

Front 187

The Masque from Act III of Henry Purcell's King Arthur includes which of the following? (Select five correct answers.)

Back 187

recitative, aria, chorus, dance, sinfonia

Front 188

Throughout his career, Henry Purcell's major employer was

Back 188

the English monarchy.

Front 189

Public concerts of instrumental music first began in

Back 189

England

Front 190

In this excerpt, Henry Purcell

Back 190

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

Front 191

Henry Purcell composed in which of the following genres? (Select six correct answers.)

Back 191

semiopera, incidental music for plays, catches, anthems and Services, odes, music for viol consort

Front 192

Henry Purcell's Dido and Aeneas was first performed at a girl's boarding school in 1689.

Back 192

True

Front 193

A catch was a round or canon with a serious text sung in mixed company.

Back 193

False

Front 194

In English semioperas, masques were heavily plotted action sequences that propelled the story forward.

Back 194

False

Front 195

a canon on a humorous text

Back 195

catch

Front 196

a musical-dramatic work staged with costumes and scenery, including dances, choruses and song

Back 196

masque

Front 197

a stage drama that combines a spoken play with an overture and four or more masques

Back 197

semiopera

Front 198

a ceremonial genre in honor of a saint or royalty, using chorus, soloists, and orchestra

Back 198

ode

Front 199

With its references to nymphs and shepherds, Alessandro Scarlatti's cantata Clori vezzosa, e bella belongs to the ________ literary tradition

Back 199

pastoral

Front 200

This is a diagram of a da capo aria. What harmonies would you expect to find in A2?

Back 200

Gm → Dm

Front 201

By the 1690s, Italian cantatas were comprised of

Back 201

contrasting recitatives and arias.

Front 202

Which of the following statements best describes Venetian operatic arias in the latter part of the seventeenth century?

Back 202

The da capo form was the most commonly used form.

Front 203

In late seventeenth-century Italy, what attracted audiences and thus largely determined the success of an opera production?

Back 203

the singers

Front 204

In late-seventeenth-century Italy, what served as a substitute for opera during Lent or at other seasons when the theaters were closed?

Back 204

oratorios

Front 205

Alessandro Scarlatti composed operas for theaters in

Back 205

Naples and Rome.

Front 206

The political splintering of northern Italy in the seventeenth century led to a dearth of music composition and performance.

Back 206

False

Front 207

In the da capo aria, the contrast between A and B sections often reveals conflicting emotions within a character.

Back 207

True

Front 208

Performer were expected to add their own ornaments to vocal and instrumental music of the late seventeenth and early eighteenth centuries.

Back 208

True

Front 209

By the 1670s, there could be as many as sixty arias in an Italian opera.

Back 209

True

Front 210

This composer published the very first concertos, including the first violin concertos.

Back 210

Giuseppe Torelli

Front 211

Which composer was best known for his performances on the violin?

Back 211

Arcangelo Corelli

Front 212

The instrumentation for a trio sonata typically consisted of

Back 212

two treble instruments, an optional cello or viola da gamba, and harpsichord or organ.

Front 213

Which of the following best describes a typical sonata da camera?

Back 213

It consists of several stylized dances preceded by a prelude.

Front 214

Where did Arcangelo Corelli spend the majority of his career?

Back 214

Rome

Front 215

Which of the following best describes a typical sonata da chiesa?

Back 215

It consists of four movements, usually in slow-fast-slow-fast order.

Front 216

Arcangelo Corelli composed in which of the following genres? (Select five correct answers.)

Back 216

sonata da chiesa, sonata da camera, trio sonata, solo sonata, concerto grosso

Front 217

What are the typical movements of a concerto by Giuseppe Torelli?

Back 217

fast-slow-fast

Front 218

In Arcangelo Corelli's major-key trio sonatas, a movement not in the tonic key would very likely be in the key of the

Back 218

relative minor.

Front 219

In a concerto grosso, the large instrumental ensemble is the ________, and the small instrumental ensemble is the _________.

Back 219

concerto grosso - concertino

Front 220

Early examples of ritornello form (such as those composed by Giuseppe Torelli) resemble the form of the

Back 220

da capo aria.

Front 221

Antonio Stradivari was instrumental in the development of the

Back 221

violin

Front 222

This example, by Arcangelo Corelli, contains a

Back 222

walking bass

Front 223

Although Arcangelo Corelli's sonatas contain hints of tonality, they are mostly modal.

Back 223

False

Front 224

In the Baroque, a sonata da camera could be performed in church services, substituting for certain items in the Mass Proper or Vespers.

Back 224

False

Front 225

In the Baroque, a sonata da chiesa could be performed in church services, substituting for certain items in the Mass Proper or Vespers.

Back 225

True

Front 226

Of the following, what does not characterize Antonio Vivaldi's typical ritornello form?

Back 226

The ritornello always recurs in its complete form.

Front 227

Which of the following is not true of how Antonio Vivaldi composed concertos?

Back 227

He wrote them for instruments whose bows are very similar to modern ones.

Front 228

Most of Antonio Vivaldi's concertos were first performed by

Back 228

female students

Front 229

Of the following, which describes Antonio Vivaldi's Four Seasons?

Back 229

a set of concertos published with programmatic sonnets

Front 230

Which of the following is not a reason why pupils were instructed in music at Pio Ospedale della Pietà?

Back 230

to prepare them for careers in music

Front 231

Which instrument did Antonio Vivaldi feature as a soloist in most of his concertos?

Back 231

violin

Front 232

What accounts for the large musical output of many eighteenth-century composers?

Back 232

constant public demand for new music, especially by the middle class

Front 233

Which abilities or qualities made Farinelli (Carlo Broschi) famous?

Back 233

vocal range and breath control

Front 234

Which of the following does not happen during an episode in ritornello form?

Back 234

The ritornello returns in full.

Front 235

In which city did Antonio Vivaldi spend most of his career?

Back 235

Venice

Front 236

Which statement does not describe the changing Western world of the eighteenth century?

Back 236

People continued to move away from urban centers to live in rural villages.

Front 237

What musical technique, favored by Antonio Vivaldi, is evident in this example?

Back 237

sequence

Front 238

Who were eighteenth-century Neapolitan conservatories designed to teach?

Back 238

poor or orphaned boys

Front 239

Antonio Vivaldi composed in all of the following genres except what?

Back 239

masque

Front 240

Which statement best describes the relationship between the soloist and the orchestra in Antonio Vivaldi's concerti?

Back 240

The soloist is a distinct personality that both interacts with the orchestra and stands apart from it.

Front 241

Antonio Vivaldi's concertos for the Pio Ospedale della Pietà were designed to be both educational and entertaining.

Back 241

True

Front 242

Antonio Vivaldi was the first composer to make the slow movement of a concerto as important as the others.

Back 242

True

Front 243

Which of the following musicians did not participate in early eighteenth-century opera?

Back 243

François Couperin

Front 244

Who developed the theory of the fundamental bass?

Back 244

Jean-Philippe Rameau

Front 245

Which chord progression did Jean-Philippe Rameau consider to be the strongest?

Back 245

V7-I (upper voices move by step, bass moves by falling fifth)

Front 246

Whose works inspired Jean-Philippe Rameau to approach music as a source of empirical data that could be explained by rational principles?

Back 246

René Descartes

Front 247

All of the following are characteristic of Jean-Philippe Rameau's operas except what?

Back 247

spoken commentary by a narrator

Front 248

Jean-Philippe Rameau's first major opera in Paris was

Back 248

Hippolyte et Aricie

Front 249

All of the following statements describe the ordres of François Couperin except what?

Back 249

They were intended for professional performers.

Front 250

In the dispute between the Lullistes and Ramistes, what was the major criticism against the music of Jean-Philippe Rameau?

Back 250

his dense orchestration and complex harmonies

Front 251

What kind of concert was sponsored by the Concert Spirituel?

Back 251

public concerts

Front 252

Jean-Philippe Rameau spent his early career as a(n)

Back 252

organist

Front 253

François Couperin sought to synthesize which of the following composers' styles?

Back 253

Jean-Baptiste Lully and Arcangelo Corelli

Front 254

What is the most common root movement in Jean-Philippe Rameau's compositions?

Back 254

Falling fifth

Front 255

Like Italian operas, Jean-Philippe Rameau's operas contain strong divisions between recitative and air (aria).

Back 255

False

Front 256

During his lifetime, Jean-Philippe Rameau was known only as a writer and theorist.

Back 256

False

Front 257

François Couperin often titled his instrumental pieces after a mood, personality, or scene.

Back 257

True

Front 258

In the early eighteenth century, Paris was the only major center of French music.

Back 258

True

Front 259

a term coined by Jean-Philippe Rameau to indicate the main key of a piece or movement

Back 259

tonic

Front 260

a term coined by Jean-Philippe Rameau to indicate the succession of the roots in a series of chords

Back 260

fundamental bass

Front 261

a three-movement composition for orchestra and soloist

Back 261

concerto

Front 262

a piece of instrumental music that depicts or suggests a mood, personality, or scene, usually indicated in its title

Back 262

character piece

Front 263

a term that François Couperin used for the publications of his suiteso

Back 263

ordre

Front 264

ordres and character piece

Back 264

François Couperin

Front 265

Neapolitan and Roman opera

Back 265

Alessandro Scarlatti

Front 266

concerto and ritornello form

Back 266

Antonio Vivaldi

Front 267

castrato

Back 267

Farinelli

Front 268

Traité de l'harmonie (Treatise on Harmony)

Back 268

Jean-Philippe Rameau

Front 269

Why do the genres of Johann Sebastian Bach's musical output differ for each city in which he worked?

Back 269

He composed primarily to fulfill the needs of positions he held.

Front 270

In the fugue subject for Johann Sebastian Bach's Prelude and Fugue in A Minor, the organ imitates music that is idiomatic for which instrument?

Back 270

violin

Front 271

Johann Sebastian Bach composed music in all of the following genres except what?

Back 271

opera

Front 272

While working in Arnstadt, Johann Sebastian Bach traveled 225 miles on foot and by coach to hear what composer perform in Lübeck?

Back 272

Dietrich Buxtehude

Front 273

Johann Sebastian Bach's duties in Leipzig included all of the following except what?

Back 273

composing music for court entertainments

Front 274

Collections such as The Art of Fugue and The Well-Tempered Clavier reflect Johann Sebastian Bach's ________ approach to composition.

Back 274

systematic and comprehensive

Front 275

Which publication by Johann Sebastian Bach contains twenty-four preludes and fugues in all of the major and minor keys?

Back 275

The Well-Tempered Clavier

Front 276

Which composer said the following about his compositional development?

"First [I mastered] the Polish style, followed by the French, church, chamber, and operatic styles, and finally the Italian style...."

Back 276

Georg Philipp Telemann

Front 277

Johann Sebastian Bach absorbed the Italian style by

Back 277

copying manuscripts of works by Italian composers.

Front 278

The following example, from Johann Sebastian Bach's Fugue in D-sharp Minor (The Well-Tempered Clavier), contains an example of

Back 278

stretto

Front 279

Sometimes Johann Sebastian Bach composed melodies and fugue subjects based on the letters of his last name. Which notes spell the German designations for B-A-C-H?

Back 279

B flat-A-C-B natural

Front 280

Johann Sebastian Bach wrote solo harpsichord music in all of the following genres except what?

Back 280

cantata

Front 281

The following example, from Johann Sebastian Bach's Fugue in D-sharp Minor (The Well-Tempered Clavier), contains an example of

Back 281

augmentation

Front 282

In eighteenth-century Germany, musicians were known for importing foreign genres, styles, and techniques, and for blending them to suit any purpose or audience.

Back 282

True

Front 283

During his career, Johann Sebastian Bach focused on composing music for professional performers.

Back 283

True

Front 284

Johann Sebastian Bach's music was popular and well-known throughout Europe during his lifetime.

Back 284

False

Front 285

In eighteenth-century Germany, many aristocrats were enthusiastic amateur composers and performers.

Back 285

True

Front 286

cantatas, Passions, pedagogical keyboard works, and chamber music for the collegium musicum

Back 286

Leipzig (1723–50)

Front 287

organ music and cantatas

Back 287

Weimar (1708–17)

Front 288

solo and ensemble music for court entertainment

Back 288

Cöthen (1717–23)

Front 289

mostly organ music

Back 289

Arnstadt (1703–07) and Mühlhausen (1707–08)

Front 290

Which of the following vocal genres may be found in a cantata by Johann Sebastian Bach? (Select five correct answers.)

Back 290

chorale motet, da capo aria, simple recitative, chorale, accompanied recitative

Front 291

Unlike the Italian cantatas of Alessandro Scarlatti, the Lutheran cantatas of Johann Sebastian Bach ________________. (Select three correct answers.)

Back 291

use sacred texts., include chorus., feature multiple soloists and an ensemble of instruments.

Front 292

For what occasion did Johann Sebastian Bach compose his St. John Passion and St. Matthew Passion?

Back 292

Vespers on Good Friday in Leipzig

Front 293

An eighteenth-century Lutheran service would include performances from which of the following musical genres? (Select five correct answers.)

Back 293

chorale prleude (organ), toccata and fugue (organ), chorale (choir and congregation), cantata (choir and orchestra), motet (choir)

Front 294

What did Erdmann Neumeister introduce to Lutheran sacred music?

Back 294

poetic texts that could be used for recitatives and arias

Front 295

An eighteenth-century Lutheran cantata draws its texts from all of the following sources except what?

Back 295

Introits and Graduals

Front 296

About how many cantatas by Johann Sebastian Bach survive?

Back 296

200

Front 297

Johann Sebastian Bach's cantatas usually end with

Back 297

a Lutheran chorale in four-part harmony.

Front 298

Which of the following statements accurately reflects Johann Sebastian Bach's reputation after his death?

Back 298

His compositions were not performed until they were revived in the nineteenth century.

Front 299

Which of the following is not an instrumental genre that Johann Sebastian Bach used in the Lutheran service?

Back 299

sonata

Front 300

Johann Sebastian Bach drew upon all of the following national genres in his cantata Nun komm, der Heiden Heiland except what?

Back 300

catch from England

Front 301

Johann Sebastian Bach's cantatas were usually performed by a small ensemble (about one to three singers per part).

Back 301

True

Front 302

When composing his church cantatas, Johann Sebastian Bach never reused earlier music.

Back 302

True

Front 303

The instrumental music of ___________ influenced George Frideric Handel's solo and trio sonatas and concerti grossi.

Back 303

Arcangelo Corelli

Front 304

Which of the following is a common element in all of George Frideric Handel's Italian operas?

Back 304

simple recitative

Front 305

Like many of George Frideric Handel's Italian operas, the plot of Giulio Cesare concerns

Back 305

an episode from the life of a Roman hero.

Front 306

George Frideric Handel's choral music is _____________ than the choral music of Johann Sebastian Bach.

Back 306

simpler and less contrapuntal

Front 307

The chorus in George Frideric Handel's oratorios did all of the following except what?

Back 307

dance

Front 308

In George Frideric Handel's operas, the plot develops through

Back 308

recitatives.

Front 309

In what cities or regions of Europe did George Frideric Handel live and compose music? (Select three correct answers.)

Back 309

Hamburg, Italy, London

Front 310

The vocal line in this excerpt features

Back 310

coloratura.

Front 311

Instrumental sinfonias served what purpose in several of George Frideric Handel's operas?

Back 311

marking key moments in the plot, such as battles

Front 312

In what genres did George Frideric Handel compose? (Select six correct answers.)

Back 312

Italian opera, English oratorio, Italian cantata, odes and anthems, concerto grosso, trio and solo sonatas

Front 313

Which company produced many of George Frideric Handel's Italian operas in London, including Giulio Cesare?

Back 313

Royal Academy of Music

Front 314

George Frideric Handel's Messiah premiered in

Back 314

Dublin.

Front 315

How do George Frideric Handel's oratorios differ from Italian oratorios?

Back 315

Handel's oratorios make extensive use of the chorus.

Front 316

Most of George Frideric Handel's Italian-language operas were produced in

Back 316

London

Front 317

George Frideric Handel initial began producing oratorios during the Lenten season as a way

Back 317

to extend his earnings from opera, which could not be staged during Lent.

Front 318

George Frideric Handel's most important patrons were the British monarchs.

Back 318

True

Front 319

George Frideric Handel's oratorios were performed in churches.

Back 319

True

Front 320

Borrowed, transcribed, adapted, rearranged, or parodied music can often be found in George Frideric Handel's works.

Back 320

True

Front 321

George Frideric Handel composed most of his music for public audiences, not just for a church, a court, or a town council.

Back 321

True

Front 322

George Frideric Handel wrote generic opera arias without specific singers or their abilities in mind.

Back 322

False

Front 323

George Frideric Handel wrote da capo arias for his operas and oratorios.

Back 323

True

Front 324

a vocal style that uses orchestral accompaniment to dramatize the text

Back 324

recitativo accompagnato (accompanied recitative)

Front 325

a soprano singing the leading female role in an opera

Back 325

prima donna

Front 326

a vocal style scored for solo voice and basso continuo, used for setting dialogue or monologue in as speechlike a fashion as possible

Back 326

recitativo semplice (simple recitative)

Front 327

an operatic form that freely combines recitative, aria, arioso, and instrumental music

Back 327

scene complex

Front 328

a vocal style with florid vocal ornamentation

Back 328

coloratura

Front 329

What international practices influenced the building of seventeenth- and eighteenth-century German organs? (Select two correct answers.)

Back 329

the Dutch practice of dividing the pipes into groups, the French practice of using stops to allow for solo and contrapuntal lines

Front 330

What was the primary function of organ music in the Lutheran Church during the time of Dietrich Buxtehude?

Back 330

prelude to a chorale, scriptural reading, or larger work

Front 331

Concerts of sacred music given by Dietrich Buxtehude were called

Back 331

Abendmusiken.

Front 332

What is the structure of Dietrich Buxtehude's Praeludium in E Major?

Back 332

Five free sections in a toccata style alternate with four fugal sections with closely related subjects.

Front 333

Which section of this Baroque organ is highlighted?

Back 333

Rückpositiv

Front 334

Which of the following does not contribute to the improvisatory quality of the toccata style of Dietrich Buxtehude?

Back 334

regular use of repeated figuration

Front 335

What was one cultural reason for the establishment of a collegium musicum in seventeenth-century German towns?

Back 335

Amateur music-making was a prominent part of social life.

Front 336

Which section of this Baroque organ is highlighted?

Back 336

Hauptwerk

Front 337

How did Dietrich Buxtehude spend most of his career?

Back 337

as an organist in Lübeck

Front 338

The Stadtpfeifer were

Back 338

musicians hired to provide music for a city.

Front 339

By the late seventeenth century, the Holy Roman Empire was weak, encompassing hundreds of independent and self-governing political units.

Back 339

True

Front 340

In the seventeenth century, Lutheran composers began using the concertato medium in arrangements of chorales.

Back 340

True

Front 341

In the seventeenth century, German music was uninfluenced by the music of other countries.

Back 341

False

Front 342

In this passage from Dietrich Buxtehude's Praeludium in E Major, the organist performs a trill with his feet on the pedals.

Back 342

True

Front 343

In the Baroque, fugues were written as both independent pieces and as sections within pieces.

Back 343

True