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Baroque Music Assignment 4
Name_____________________________________
1.
The word baroque has at various times meant all of the following except
A. elaborately ornamented
C. bizarre
B. flamboyant
D. naturalistic
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2.
All of the following were baroque painters except
A. Gian Lorenzo Bernini
C. Peter Paul Rubens
B. Isaac Newton
D. Rembrandt van Rijn
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3.
Baroque style flourished in music during the period
A. 1000-1250
C. 1250-1600
B. 1250-1450
D. 1600-1750
4.
The two giants of baroque composition were George Frideric Handel and
A. Johann Christian Bach
C. Giovanni Gabrieli
B. Johann Sebastian Bach
D. Galileo Galilei
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5.
One of the most revolutionary periods in music history was the
A. Renaissance
C. Middle Baroque
B. Early Baroque
D. Late Baroque
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7.
6.
The early baroque was characterized by
A. elaborate counterpoint
C. development of the standardized orchestra
B. homophonic texture
D. diffusion of the style into every corner of Europe
The early baroque period spanned the years
A. 1567-1643
C. 1600-1640
B. 1640-1690
D. 1690-1750
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8.
Composers in the middle baroque phase favored writing compositions for instruments of the
____________ family.
A. brass
C. percussion
B. violin
D. woodwind
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9.
By about ____________ major or minor scales were the tonal basis of most compositions.
A. 1500
C. 1690
B. 1600
D. 1750
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10.
Instrumental music became as important as vocal music for the first time in the ____________ period.
A. Renaissance
C. Middle Baroque
B. Early Baroque
D. Late Baroque
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11.
The late baroque period spanned the years
A. 1567-1643
B. 1640-1690
C. 1600-1640
D. 1690-1750
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12.
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13.
Affections in baroque usage refers to
A. the nobility's manner of deportment
B. the doctrine of universal brotherhood
C. terraced dynamics
D. emotional states of moods of music
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The compelling drive and energy in baroque music are usually provided by
A. a bawdy text
C. repeated rhythmic patterns
B. complex harmonic progressions
D. the high dynamic level
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14.
Baroque melodies often are
A. elaborate and ornamental
B. easy to sing and remember
C. impossible to play
D. short and simple
2
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A.
B.
C.
D.
15.
Melodic sequence refers to
a composition by Vivaldi
a preferred method of tuning an instrument
the successive repetition of a musical idea at higher or lower pitches
the pedagogical steps in learning to play an instrument
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16.
Terraced dynamics refers to
A. a gradual change from soft to loud
B. a gradual change from loud to soft
C. the sudden alternation from one dynamic level to another
D. dynamics that are not written in the music, but added by the performer
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17.
The main keyboard instruments of the baroque period were the organ and the
A. clavichord
C. piano
B. harpsichord
D. accordian
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18.
strings was the
A. clavichord
B. harpsichord
A popular keyboard instrument in which sound was produced by means of brass blades striking the
C. basso continuo
D. organ
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19.
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The most characteristic feature of baroque music is its use of
A. gradual dynamic changes
C. basso continuo
B. monophonic texture
D. simple, singable melodies
20.
A bass part together with numbers (figures) that specify the chords to be played above it is called
A. basso continuo
C. basso profundo
B. harpsichord
D. counterpoint
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21.
The orchestra evolved during the baroque period into a performing group based on instruments of the
____________ family.
A. violin
C. brass
B. woodwind
D. percussion
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22.
The word movement in music normally refers to
A. music for the ballet
B. a piece that sounds fairly complete and independent but is part of a larger composition
C. the rising and falling of the melodic contour
D. the rhythm of the piece
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23.
Which of the following statements is not true?
A. a large court during the baroque might employ more than eighty performers, including the finest opera singers of the
day
B. audiences in the baroque period were most anxious to hear old familiar favorites, and did not are for new music.
C. in Italy, music schools were often connected with orphanages
D. church musicians in the baroque period earned lower pay and had less status than court musicians.
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24.
The position of the composer during the baroque period was that of
A. a free agent working on commissions
C. a high class servant with few personal rights
B. an equal to the nobility, based on merit
D. a low-class wandering minstrel
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25.
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In the baroque period, the ordinary citizen's opportunities for hearing music usually came from the
A. corner tavern
C. concert hall
B. church
D. court
26.
In Italy, music schools were often connected with
A. orphanages
C. public schools
B. courts of the nobility
D. universities
27
To get a job, a musician had to
A. be the son of a musician
B. go to a conservatory for thorough training
C. marry the retiring musician's daughter
D. pass a difficult examination
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28.
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A concerto grosso most often has ____________ movement(s).
A. one
C. three
B. two
D. four
29.
The concerto grosso most often has three movements whose tempo markings are
A. fast, slow, fast
C. slow, fast, slow
B. fast, fast, slow
D. slow, slow, fast
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30.
The solo instruments in Bach's Brandenburg Concerto No. 5 are the ____________, violin, and harpsichord.
A. trumpet
C. flute
B. cello
D. oboe
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31.
Bach's Brandenburg Concerto No. 5 is unusual in that
A. it consists of a single movement
C. it gives a solo role to the harpsichord
B. it consists of four movements
D. the first movement is not in typical ritornello form
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32.
A polyphonic composition based on one main theme is the
A. subject
C. episode
B. concerto
D. fugue
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33.
The main theme of a fugue is called the
A. answer
B. subject
C. countersubject
D. episode
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34.
In many fugues, the subject in one voice is constantly accompanied in another voice by a different melodic idea called
a(n)
A. answer
C. episode
B. countersubject
D. stretto
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35.
Turning the subject of a fugue upside down, or reversing the direction of each interval, is called
A. inversion
C. retrograde
B. stretto
D. countersubject
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36.
Presenting the subject of a fugue from right to left, or beginning with the last and proceeding backward to the first note,
is called
A. inversion
C. augmentation
B. stretto
D. retrograde
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37.
Presenting the subject of a fugue in lengthened time values is called
A. inversion
C. retrograde
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B. augmentation
D. diminution
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38.
Presenting the subject of a fugue in shortened time values is called
A. inversion
C. retrograde
B. augmentation
D. diminution
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39.
Very often an independent fugue is introduced by a short piece called a(n)
A. overture
C. concerto
B. prelude
D. pedal point
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40.
An ____________ is a play, set to music, sung to orchestral accompaniment, with scenery, costumes, and action.
A. opera
C. aria
B. overture
D. ensemble
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41.
The text, or book, of a musical dramatic work is called the
A. form
C. story
B. libretto
D. score
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42.
A. aria
B. duet
43.
A song for solo voice with orchestral accompaniment is called a/an
C. ensemble
D. solo
____________ refers to a vocal line that imitates the rhythms and pitch fluctuations of speech.
A. aria
C. recitative
B. duet
D. ensemble
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44.
A ____________ is a singer with a low range who usually takes comic roles.
A. tenor
C. basso profundo
B. basso buffo
D. buffoon
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45.
A ____________ is a singer with a very low range and powerful voice, who usually takes roles calling for great dignity.
A. tenor
C. basso profundo
B. basso buffo
D. buffoon
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46.
47.
A(n) ____________ is an operatic number involving three or more leading singers.
A. aria
C. duet
B. ensemble
D. chorus
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A. overture
B. aria
An ____________ is an orchestral composition performed before the curtain rises on a dramatic work.
C. opera
D. opening
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48.
Members of the Camerata wanted to create a new vocal style based on the
A. music of the Greek tragedies
C. organum of the Middle Ages
B. glories of their aristocratic patrons
D. polyphonic madrigal
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49.
Most early baroque operas were based on Greek mythology and
A. contemporary political events
C. ancient history
B. lyric poetry
D. contemporary exploration of the new world
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50.
The first opera house in Europe to offer entry to anyone with the price of admission opened in 1637 in
A. Hamburg
C. Rome
B. London
D. Venice
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51.
The earliest opera that has been preserved is Jacopo Peri's
A. Euridice
C. Nerone
B. Orfeo
D. Arsace
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52.
Castrati
A. received the highest fees of any musicians
B. combined the power of a man with the vocal range of a woman
C. were male singers who had been castrated before puberty
D. All answers are correct
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53.
A typical baroque operatic form was the da capo aria in ABA form in which the singer
A. would make a literal repetition of the opening A section after the B section
B was expected to embellish the returning melody with ornamental tones
C. would insert recitatives between the sections for added variety
D. improvise new words for the returning A section
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54.
Embellishments are
A. ornamental tones not printed in the music that 17th and 18th century performers were expected to add to the melody
B. music created at the same time it is performed
C. notes printed in the music that embellish the melody
D. obsolete in contemporary performances
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55.
Monteverdi spent the greater part of his career in
A. Notre Dame, Paris
C. St. Mark's, Venice
B. The Duomo, Florence
D. The Vatican, Rome
56.
To achieve intensity of expression, Monteverdi used ____________ with unprecedented freedom and daring.
A. skips
C. consonances
B. texts
D. dissonances
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57.
The respect given Henry Purcell by his fellow Englishmen is evidenced by his burial in
A. Potter's Field
C. Buckingham Palace
B. Westminster Abbey
D. Canterbury Cathedral
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58
____________ is a musical idea repeated over and over in the bass while melodies above it constantly change.
A. basso ostinato
C. basso continuo
B. basso profundo
D. throughbass
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59.
Dido and Aeneas, which many consider to be the finest opera ever written to an English text, was composed by
A. Montiverdi
C. Handel
B. Purcell
D. Clarke
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60.
Baroque trio sonatas usually involve ____________ performers.
A. two
C. four
B. three
D. five
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61.
Vivaldi spent most of his life working at an institution for orphaned and illegitimate girls in
A. Rome
C. Florence
B. Venice
D. Milan
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62.
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Vivaldi was famous and influential because of his skill as a
A. harpsichordist
C. lute player
B. opera singer
D. violinist
63.
Vivaldi wrote approximately ____________ concerti grossi and solo concertos.
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A. 10
B. 30
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C. 90
D. 450
Vivaldi concerto usually has ____________ movements.
A. two
C. four
B. three
D. a variable number of
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65
The longest period of Johann Sebastian Bach's professional life was spent as director of music at St. Thomas's Church in
A. Rome
C. Cothen
B. Leipzig
D. Eisenach
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66.
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68.
Of Bach's twenty children, ____________ went on to become well-known composers.
A. two
C. four
B. three
D. five
67.
A. organist
B. composer
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A. opera
B. concerto
Bach was recognized as the most eminent ____________ of his day.
C. violinist
D. cellist
Bach created masterpieces in every baroque form except the
C. fugue
D. sonata
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70.
Bach's personal musical style was drawn from
A. Italian concertos
C. German church music
B. French dance pieces
D. All answer are correct
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Bach achieves unity of mood in his compositions by using
A. homophonic texture
C. an insistent rhythmic drive
B. musical symbolism
D. simple melodic ideas
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71.
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Sets of dance-inspired instrumental movements are called
A. sonatas
C. suites
B. concertos
D. cantatas
72.
A two-part collection of preludes and fugues, one in each major and minor key, basic to the repertoire
of keyboard players today, is Bach's
A. Art of the Fugue
C. St. Matthew Passion
B. Well-Tempered Clavier
D. Brandenburg Concertos
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73.
Which of the following is not a part of the baroque suite?
A. Allemande
C. Sarabande
B. Waltz
D. Gigue
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74.
In Bach's day, the Lutheran church service lasted about ____________ hour(s).
A. one
C. three
B. two
D. four
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75.
The ____________ is a Lutheran congregational hymn tune.
A. cantata
C. chorale prelude
B. chorale
D. recitative
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76.
77.
the
Congregational singing of chorales was an important way for people to
A. stay awake during long sermons
C. learn new music
B. participate directly in the service
D. All answer are correct
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A sung piece, or choral work with or without vocal soloists, usually with orchestral accompaniment, is
A. cantata
B. chorale prelude
C. concerto grosso
D. sonata
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78.
A large-scale composition for chorus, vocal soloists, and orchestra, usually set to a narrative biblical text, is
called
A. chorale
C. oratorio
B. aria
D. recitative
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79.
Oratorio differs from opera in that it has no
A. orchestral accompaniment
C. choral part
B. acting, scenery, or costumes
D. vocal soloists
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80.
The first oratorios were based on
A. Greek mythology
B. contemporary literature
C. Greek and Roman literature
D. stories from the Bible
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81.
George Frideric Handel was born in 1685, the same year as
A. Johann Sebastian Bach
C. Claudio Monteverdi
B. Arcangelo Corelli
D. Antonio Vivaldi
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82.
Handel spent the major portion of his life in
A. Germany
C. Italy
B. England
D. Ireland
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83.
Handel's Messiah is an example of
A. an oratorio
B. an opera
C. musical theater
D. a song
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84.
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Although Handel wrote a great deal of instrumental music, the core of his huge output consists of English oratorios and
Italian
A. operas
C. chorales
B. songs
D. madrigals