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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
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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
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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
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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
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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
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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
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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 ______.
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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
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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
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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
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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
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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
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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
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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
