chapter 20 Musical Taste and Style in the Enlightenment
MULTIPLE CHOICE
1. Which best describes the political situation of eighteenth-century Europe?
a.
under the command of one ruling power
b.
Countries became extremely individualized and separate.
c.
dominated by centralized states with large militaries
d.
Countries did not seek to expand their territories and influence.
e.
in a state of peace, remaining war– and revolution-free
2. What was one economic change in the eighteenth century?
a.
The urban middle class rose in numbers.
b.
The urban middle class declined in wealth.
c.
The urban middle class declined in social prominence.
d.
The aristocracy gained power and importance.
e.
The poor benefited from the progress that helped the high classes.
3. Johann Joachim Quantz argued that ideal music appealed
a.
to specific audiences because of its nationalistic traits.
b.
primarily to amateurs because of its simplistic traits.
c.
to wide audiences because of its distinctive nationalistic traits.
d.
to wide audiences because it blended nationalistic traits.
e.
primarily to professionals because of its intellectual traits.
4. The philosophes of the Enlightenment were mainly
a.
social reformers.
d.
religious leaders.
b.
composers.
e.
dissenters.
c.
philosophers.
5. During the eighteenth century, musicians increasingly depended on whom for support?
a.
churches
d.
city governments
b.
courts
e.
private patrons
c.
the public
6. Public concerts usually attracted what kind of audience?
a.
upper-middle and wealthy leisure classes, because concert tickets were expensive
b.
all classes, because public concerts were funded by aristocratic patrons and therefore free
c.
aristocrats, because public concerts were viewed as social, not musical, events
d.
the middle class, because the nobility had their own private concerts
e.
the lower classes, because public concerts were free and intended to reach those who could not
afford private concerts
7. Judging from public concert advertisements, programs usually lasted about how long in the
eighteenth century?
a.
half an hour
d.
three hours
b.
one hour
e.
six hours
c.
two hours
8. The end of the eighteenth century saw a growing preference for opera in which language?
a.
Italian
d.
Spanish
b.
German
e.
the vernacular
c.
French
9. Eighteenth-century public concert programs show that who was more important than composers?
a.
librettists
d.
administrators
b.
performers
e.
advertisers
c.
audience
10. What contributed to the growing prestige of purely instrumental music?
a.
nationalistic practices and themes in music
b.
the idea of music as a universal language
c.
a lack of communication among regions
d.
the desire to depict a single emotion without words
e.
a decline in available training for singers
11. How were private concerts normally funded?
a.
by aristocratic sponsors
d.
by the government
b.
by the audience
e.
by the church
c.
by the performers
12. As a result of the founding in 1726 of the Academy of Ancient Music,
a.
students learned how to play ancient instruments and music.
b.
other establishments concerned with the subject were formed.
c.
audiences rejected music of the past and preferred contemporary music.
d.
concerts of music from the past became increasingly popular.
e.
composers revived ancient composition styles.
13. The galant style became popular for all of the following reasons EXCEPT it
a.
was considered “natural.”
d.
focused more on counterpoint.
b.
was easily understood.
e.
focused more on melody.
c.
followed Enlightenment ideas.
14. Eighteenth-century composers learned a common set of formulas combining motion of the
melody and bass called
a.
partimento.
d.
Monte.
b.
schemata.
e.
Prinner.
c.
partials.
15. What was one result of music as a leisure activity?
a.
uninterested audience members
b.
a split between social classes
c.
the development of informed listeners
d.
a decline in the number of public concerts
e.
aristocratic patronage
16. Which eighteenth-century musical technique is a reaction against the complexity of Baroque music?
a.
melodies in short phrases over spare accompaniment
b.
melodies in long phrases over spare accompaniment
c.
melodies in short phrases over lush accompaniment
d.
melodies in long phrases over lush accompaniment
e.
melodies in long phrases with no accompaniment
17. Where did the galant style originate?
a.
in French operas
d.
in German operas
b.
in Italian operas
e.
in French concertos
c.
in French dance suites
18. In the 1700s, the Concert Spirituel was a
a.
new type of sacred music.
b.
popular choir.
c.
treatise that argued music was a gift from God.
d.
concert series that fostered the development of the symphony.
e.
gathering of church officials to discuss sacred music.
19. How did eighteenth-century musical values relate directly to central ideas of the Enlightenment?
a.
an emphasis on the natural
b.
Traditional religion was a main influence.
c.
allusions to the supernatural
d.
Observation of nature was not important.
e.
Complexity and artifice were preferred.
20. Which is a quality one would expect to hear in Classic-period music?
a.
a single idea or emotion in a section
b.
no contrasts in style, texture, or mood
c.
a theme that “spins out” one emotion
d.
long phrases that develop the same material
e.
contrasting moods in a movement
21. Harmony in the galant style
a.
changes frequently and irregularly.
b.
stresses the subdominant.
c.
is found in rhythmically sustained values.
d.
has a slower harmonic rhythm that punctuates melodic segments.
e.
does not punctuate or articulate phrases.
22. Which is NOT an example of periodicity?
a.
melodic flow broken into fragments
b.
distinct two- or four-measure phrases
c.
sequential repetition as a principal device
d.
frequent cadences with varied repetition
e.
relating segments of melody to the whole
23. What allowed for more possibilities of contrast in the new music of the eighteenth century?
a.
long lyrical melodic lines
b.
a single mood for a theme or movement
c.
chamber works for woodwinds only
d.
differences in melodic and harmonic material according to its function in the form
e.
continuous and quick harmonic rhythms
24. New styles in the eighteenth century placed musical focus on
a.
harmony.
d.
form.
b.
texture.
e.
rhythm.
c.
melody.
25. Which of the following is NOT an example of the hierarchy of cadences?
a.
Weak cadences mark internal phrases.
b.
The strongest cadences mark the ends of phrases.
c.
Weak cadences mark closing phrases.
d.
Strong cadences mark closing periods.
e.
The strongest cadences mark the ends of movements.
TRUE/FALSE
1. Italian comic opera strongly influenced the new musical style of the eighteenth century.
2. In the eighteenth century, shared aspects such as humanity and culture mattered more than national differences.
3. Nationalism in music was not seen until the end of the nineteenth century.
4. Amateurs in domestic settings often performed published music for keyboard, chamber ensemble,
or voice and keyboard.
5. In addition to performing, many musicians also taught amateur performers.
6. The eighteenth century saw the rise of professional women performers in music.
7. Concerts in the eighteenth and early nineteenth centuries consisted of a single type of music,
such as orchestral works, piano music, or songs.
8. Audience members regarded public concerts purely as a chance to listen to music.
9. Writers believed that music should appeal to both sophisticated and less sophisticated listeners.
10. New perspectives on human psychology and emotions influenced music material in the early 1700s.
SHORT ANSWER
1. The intellectual movement known as the ________ was based on themes of reason, nature, and progress.
2. The French thinkers Voltaire, Montesquieu, and Rousseau were leaders of the Enlightenment and known as ________.
3. The Enlightenment was primarily a ________ movement and therefore interested in promoting
the welfare of humankind.
4. Because people became interested in reading about and discussing music, ________ devoted to musical news, reviews, and
criticism began to appear.
5. The French term ________, meaning modern, chic, smooth, and sophisticated, came to describe
the new style of music in the eighteenth century.
6. ________ is characterized by surprising turns of harmony, chromaticism, nervous rhythms, and speechlike melody.
7. Two or more phrases that form a complete musical thought create a ________, a term borrowed
from ________, the art of oration.
8. The empfindsam style is closely associated with the composer ________.
9. The eighteenth-century convention of composing with ________ has been reconstructed by ________.
10. When the melody ________ at the end of a phrase, it resembles asking a question.
MATCHING
Match each item to the correct description below.
a.
Encyclopédie
d.
Klavierschule
b.
Versuch einer Anleitung zur Composition
e.
empfindsam style
c.
Les beaux-arts réduits à un même principe
1. treatise by Heinrich Christoph Koch written for amateurs who wished to learn how to compose
2. monumental text of the Enlightenment by Denis Diderot; contributed to by the philosophes
3. characterized by surprising turns of harmony; chromaticism; nervous rhythms; and free, speechlike melody
4. book by philosopher Charles Batteux that demonstrates the Enlightenment idea of how the arts should imitate nature
5. treatise by Daniel Gottlob Türk that instructs on taste, style, and technique
Match each item to the correct description below.
a.
Charles Burney
d.
classical music
b.
connoisseur
e.
Classic period
c.
Johann Joachim Quantz
6. tradition that covers many centuries and styles
7. informed listener who cultivated a taste for the best in music
8. era from 1730 to 1815, between the Baroque and Romantic periods
9. wrote A General History of Music, one of the first universal histories of music
10. wrote Essay on Playing the Transverse Flute
ESSAY
1. Describe the Classical style. Discuss what it was reacting to, what previous art it was influenced by, and features of the style.
Mention a few composers who are normally associated with the term.
2. Outline two or three ideas and values of the Enlightenment and how they relate to music. Discuss ideas such as music’s
purpose, the audience it should appeal to, and its relation to language in terms of Enlightenment values.