978-1259892707 Test Bank Part IV The Baroque Period Part 2

4-18

A. Notre Dame, Paris

85. To evoke angry or warlike feelings in some of his texts, Monteverdi introduced new orchestral effects, including pizzicato

and ______.

D. col legno

86. To achieve intensity of expression, Monteverdi used ____________ with unprecedented freedom and daring.

A. skips

87. Monteverdi’s vocal music ordinarily was supported by a ____________ and other instruments.

A. bassoon

88. In the myth of Orpheus, Orpheus goes to Hades in the hope of bringing ____________ back to life.

D. Oriana

89. Which of the following statements is not true?

A. Monteverdi’s Orfeo, composed in 1607, is considered to be the earliest operatic masterpiece.

90. Which of the following statements is not true?

D. Purcell used a ground bass in Dido’s Lament.

91. ____________ is a musical idea repeated over and over in the bass while melodies above it constantly change.

D. Thoroughbass

92. Dido and Aeneas, which many consider to be the finest opera ever written to an English text, was composed by ______.

A. Claudio Monteverdi

93. Henry Purcell’s opera Dido and Aeneas was originally written to be performed by ______.

A. a church choir

4-20

of McGraw-Hill Education.

Feedback: Purcell wrote Dido and Aeneas for students at a girls’ boarding school; the work was intended to display the student’s

accomplishments.

94. The sonata originated in ______.

95. Baroque trio sonatas usually involve ____________ performers.

A. two

96. A sonata intended to be played in church, and therefore dignified and suitable for sacred performance, was called a ______.

A. sonata da camera

97. A sonata to be played at court, and therefore dancelike in character, was called a ______.

D. tarantella

98. Corelli spent most of his adult life in ______.

A. Venice

4-21

of McGraw-Hill Education.

Learning Objective: Recall details of Arcangelo Corelli’s life and works

Topic: Arcangelo Corelli

Feedback: Corelli studied in Bologna but spent most of his adult life in Rome. He was friend and music director to Cardinal

Ottoboni, in whose palace he lived. There he mingled with the intellectual and aristocratic elite of Rome.

99. Corelli advanced violin technique by introducing chords and ______.

D. tremolo

100. In addition to being an important composer, Arcangelo Corelli was also the leading Italian ________ of his time.

D. flutist

101. Which of the following statements is not true?

D. The sonata originated in Italy but spread to Germany, England, and France during the seventeenth century.

102. Corelli’s Trio Sonata in A Minor, Op. 3, No. 10, consists of four short movements, all in the same ______.

A. meter

103. Corelli’s Trio Sonata in A Minor, Op. 3, No. 10, is scored for ______.

A. two violins

4-22

of McGraw-Hill Education.

C. two violins and basso continuo

D. piano, violin and cello

104. Characteristic of baroque trio sonatas, the second movement of Corelli’s Trio Sonata in A Minor, Op. 3, No. 10, is ______.

A. slow and dignified

105. What is the theorbo?

A. A bass woodwind instrument similar to the bassoon

106. Vivaldi spent most of his life working at an institution for orphaned and illegitimate girls in ______.

A. Rome

107. Which of the following statements is not true?

A. Some of Vivaldi’s instrumental concertos were arranged by J. S. Bach.

108. Vivaldi was famous and influential as a virtuoso ______.

A. harpsichordist

109. Vivaldi wrote approximately ____________ concerti grossi and solo concertos.

A. 10

110. A Vivaldi concerto usually has ____________ movements.

A. a variable number of

111. Which of the following statements is not true?

A. So many members of the Bach family were musicians that the name Bach became synonymous with town musician.

112. Which of the following statements is not true?

A. Bach’s church music uses operatic forms such as the aria and recitative.

4-24

of McGraw-Hill Education.

Feedback: Bach created masterpieces in every baroque form except opera. His instrumental music includes pieces for orchestra,

for small groups, and for solo organ, harpsichord, clavichord, violin, and cello. His vocal music—the bulk of his output— was

written mostly for the Lutheran church and was often based on familiar hymns. His music was complex, full of polyphony and

although he never wrote an opera, he borrowed from the form (arias, recitatives, and overtures).

113. Which of the following about Vivaldi’s La Primavera (Spring) from The Four Seasons is true?

A. It was little known during his life.

114. The longest period of Johann Sebastian Bach’s professional life was spent as director of music at St. Thomas’s Church in

______.

A. Rome

115. Of Bach’s twenty children, ____________ went on to become well-known composers.

A. two

116. While at Leipzig, what did Bach do?

D. All answers are correct.

117. Bach was recognized as the most eminent ____________ of his day.

D. cellist

4-25

of McGraw-Hill Education.

Bloom’s: Remember

Learning Objective: Recall the biography of Johann Sebastian Bach

Topic: Johann Sebastian Bach

Feedback: Bach is most famous for his compositions today, but during his lifetime he was recognized as a virtuoso and eminent

organist.

118. Bach created masterpieces in every baroque form except ______.

D. sonata

119. Bach’s personal musical style was drawn from ______.

A. Italian concertos

120. Bach achieves unity of mood in his compositions by using ______.

A. homophonic texture

121. Sets of dance-inspired instrumental movements are called ______.

A. sonatas

122. A two-part collection of preludes and fugues, one in each major and minor key and basic to the repertoire of keyboard

players today, is Bach’s ______.

A. Art of the Fugue

4-26

of McGraw-Hill Education.

Accessibility: Keyboard Navigation

Bloom’s: Remember

Learning Objective: Enumerate the features of a baroque suite

Topic: Suite

Feedback: Bach’s Well-Tempered Clavier is a collection of forty-eight preludes and fugues, two in each major key and each

minor key and was composed to explain and demonstrate a system of tuning.

123. Which of the following statements about baroque suites is not true?

A. Baroque suites often begin with a French overture.

124. Although all the movements of a baroque suite are in the same key, they differ in ______.

A. meter

125. In contrast to fugues, baroque suites tended to have ____________ because they were based on dance steps.

A. choral singers

126. The various dances of the baroque suite are usually ______.

A. polyphonic in texture

127. Baroque suites frequently begin with a ______.

4-27

of McGraw-Hill Education.

A. French overture

B. gavotte

C. gigue

D. sarabande

128. The French overture has ______.

D. one continuous section

129. In Bach’s day, the Lutheran church service lasted about ____________ hour(s).

A. one

130. The Lutheran chorale tunes ______.

A. had been adapted from Catholic hymns

131. The ____________ is a Lutheran congregational hymn tune.

A. cantata

132. Congregational singing of chorales was an important way for people to ______.

A. stay awake during long sermons

133. The ____________ is a short instrumental composition based on a hymn tune to remind the congregation of the hymn’s

melody.

A. suite

134. The principal means of musical expression in the Lutheran service was the ______.

A. church opera

135. A sung piece, or choral work with or without vocal soloists, usually with orchestral accompaniment, is the ______.

D. sonata

136. In their use of aria, duet, and recitative, Bach’s cantatas closely resembled the ____________ of the time.

A. suites

4-29

of McGraw-Hill Education.

Feedback: A church cantata is very similar to an opera, especially in the way it uses arias, recitatives, and duets. This merging of

sacred and secular elements is typical of the baroque style.

137. Which of the following statements is not true?

138. Which of the following statements is not true?

D. The first oratorios were based on stories from the Bible.

139. A large-scale composition for chorus, vocal soloists, and orchestra, usually set to a narrative biblical text, is called a(n)

______.

A. chorale

140. Oratorio differs from opera in that it has no ______.

A. orchestral accompaniment

141. The first oratorios were based on ______.

A. Greek mythology

4-30

of McGraw-Hill Education.

Learning Objective: Compare and contrast baroque opera and baroque oratorio

Topic: Oratorio

Feedback: The first oratorios were based on biblical stories (although they were not intended for religious services). Music based

on Greek and Roman myths was more typical of the Renaissance.

142. The ____________ in an oratorio is especially important and serves either to comment on or to participate in the drama.

A. minister

143. In addition to being a composer and opera impresario, Handel was a virtuoso ______.

A. violinist

144. What is a major difference between a cantata and an oratorio?

D. An oratorial is based on biblical stories.

145. Sections of an oratorio are usually connected together by means of ______.

D. arias

146. Oratorios first appeared in ______.

A. Germany

4-31

of McGraw-Hill Education.

D. France

147. George Frideric Handel was born in 1685, the same year as ______.

D. Antonio Vivaldi

148. Handel spent the major portion of his life in ______.

A. Germany

149. Handel’s __________ features the aria, Piangerò la sorte mia (I shall mourn my fate), and is one of his most frequently

performed operas today.

D. La Traviata

150. Handel’s Messiah is an example of ______.

D. a song

151. Handel is associated with the __________ period.

A. late Renaissance

4-32

of McGraw-Hill Education.

B. early baroque

C. late baroque

D. late Classical

152. Handel’s oratorios are usually based on ______.

D. Roman history

153. Where did Handel’s Messiah receive its premiere?

A. London

154. Some of Vivaldi’s instrumental concertos were arranged by ______.

A. Arcangelo Corelli

155. 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

4-33

of McGraw-Hill Education.

Feedback: One way in which a fugue subject can be varied is retrograde, a technique in which the subject is reversed (it begins

with the last note and proceeds backwards to the first).

156. Transitional sections of a fugue that offer either new material or fragments of the subject or countersubject are called

______.

A. answers

157. The respect given Henry Purcell by his fellow Englishmen is evidenced by his burial in ______.

A. Potter’s Field

158. Speechlike melody accompanied only by a basso continuo is called ______.

A. basso ostinato

159. 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

4-34

of McGraw-Hill Education.

Learning Objective: Compare and contrast baroque opera and baroque oratorio 9

Learning Objective: Define the cantata 3

Learning Objective: Describe the main elements of a fugue 12

Learning Objective: Discuss the baroque concerto grosso form and ritornello form 5

Learning Objective: Discuss the chorale and church cantata during the baroque era 6

Learning Objective: Enumerate the features of a baroque suite 6

Learning Objective: Explain how composers were an integral part of baroque society 4

Learning Objective: Identify features of the baroque orchestra 3

Learning Objective: Identify the baroque period and its phases 10

Learning Objective: Know several types of dance-inspired movements in baroque music 2

Learning Objective: Know the special characteristics of opera in the baroque era 10

Learning Objective: Know the structure of the orchestra for performing a concerto grosso 2

Learning Objective: Know the types of musical forms used by J. S. Bach 3

Learning Objective: Know what a movement is in a musical composition 1

Learning Objective: Recall characteristics of the period in which the baroque style of music flourished 8

Learning Objective: Recall details of Arcangelo Corelli’s life and works 6

Learning Objective: Recall leading composers of the baroque period 9

Learning Objective: Recall the biography of George Frideric Handel 5

Learning Objective: Recall the biography of Johann Sebastian Bach 7

Learning Objective: Recall the life and works of Antonio Vivaldi 7

Learning Objective: Recall the origins of opera 2

Learning Objective: Recall the use of chords and basso continuo in baroque music 2

Learning Objective: Recognize keyboard instruments of the baroque period 2

Learning Objective: Recognize the baroque sonata 5

Learning Objective: Recognize the elements of opera 14

Learning Objective: Summarize characteristics of baroque music 14

Topic: Antonio Vivaldi 7

Topic: Arcangelo Corelli 6

Topic: Baroque music 34

Topic: Chorale and church cantata 9

Topic: Claudio Monteverdi 7

Topic: Concerto 8

Topic: Dynamics 3

Topic: Fugue 12

Topic: George Frideric Handel 8

Topic: Henry Purcell 4

Topic: Instrument families 4

Topic: Johann Sebastian Bach 11

Topic: Keyboard instruments 2

Topic: Melody 5

Topic: Opera 27

Topic: Oratorio 11

Topic: Rhythm 1

Topic: Sonata 8

Topic: Suite 6