54. Vivaldi was known as the
a. Coughing Priest.
b. Red Priest.
c. Musical Priest.
d. Most Dedicated Priest.
55. Antonio Vivaldi spent many years as director of music at
a. a Venetian orphanage for girls.
b. St. Mark’s Basilica in Venice.
c. St. Peter’s Cathedral in Rome.
d. a Florentine academy.
56. Which of the following is NOT true of the composer Antonio Vivaldi?
a. He was extremely prolific.
b. His music was widely published and admired throughout Europe during his
lifetime.
c. He was a master of melodic invention and formal novelty.
d. He died a very wealthy man and is buried in Westminster Abbey.
57. The tutti
a. is the section where the orchestra is highlighted.
b. is the section where the soloist plays alone.
c. occurs only at the end of the concerto.
d. is found only in program music.
58. Beethoven’s Wellington’s Victory and Berlioz’s Symphony fantastique are both
examples of
a. sonatas.
b. concertos.
c. chamber music.
d. program music.
59. There are more ________ in an orchestra than any other instrument.
a. violins
b. violas
c. flutes
d. cellos
60. The best violins are built after the pattern of a violin maker named
a. Antonio Vivaldi.
b. Claudio Monteverdi.
c. Antonio Strataveri.
d. Adolphe Sax.
61. “Fugue” comes from the same root word as “fugitive” and
a. refers to the transient lifestyles of many who performed these works.
b. is considered a fugitive form because it was never performed in church.
c. refers to the tendency of voices to “chase” one another as it develops.
d. all of the above.
62. The opening entry of all the voices on the main subject of a fugue is known as
a. a fugal confrontation because it presents the idea to be questioned.
b. the open presentation because it presents the theme for the first time.
c. a fugal exposition because it exposes the main idea of the work.
d. the coda because it begins and ends the presentation.
63. The organ is sometimes called the “King of Instruments” because
a. of its size, power, and variety of tone.
b. of its use in the castles.
c. of the gold, ivory, and rich woods from which it is constructed.
d. only nobility were allowed to play the organ.
64. A fugue subject
a. must use every note in the scale.
b. should be instantly recognizable.
c. can be boring and nondescript, as long as it fits into the scale.
d. does not appear until the second episode.
65. The largest pipes of an organ can be up to ______ feet high to produce the lowest notes.
a. 6
b. 150
c. 30
d. 16
66. Leopold Stokowski
a. arranged much historical music for modern orchestra.
b. appeared in Fantasia with Mickey Mouse.
c. ranks among the most influential conductors of the twentieth century.
d. all of the above.
67. In a fugue, the passages where the main subject (the main theme) is absent are called
a. expositions.
b. episodes.
c. middle entrances.
d. sonata.
68. After the exposition, Bach’s Fugue in G Minor alternates between
a. solo and tutti sections.
b. ritornello and episodes.
c. episodes and middle entries.
d. toccatas and fugues.
69. The difference between Bach’s original Fugue in G Minor and Leopold Stokowki’s
arrangement of the same piece for orchestra is one of
a. timbre.
b. meter.
c. mode.
d. counterpoint.
70. The one musical genre in which Bach did not compose was that of
a. organ fugues.
b. orchestral works.
c. cantatas.
d. operas.
71. Bach had ____ children, but only half survived into adulthood.
a. 40
b. 16
c. 20
d. 4
72. Which of the following is NOT a son of J. S. Bach who went on to be a composer?
a. Carl Philipp Emanuel Bach
b. Claude Fitzgerald Bach
c. Johann Christian Bach
d. Wilheim Friedemann Bach
73. Which of the following composers was NOT an organ composer from Northern Europe?
a. Jan Pieterszoon Sweelinck
b. Johann Sebastian Bach
c. Dietrich Buxtehude
d. Antonio Vivaldi
74. The term “concerto grosso” means
a. diminutive concerto.
b. big concerto with multiple soloists.
c. concerto with many dissonant sections.
d. a concerto written for the horn de grosso on the solo part.
75. How many soloists are in a Baroque concerto?
a. one
b. There could be any number of soloists.
c. none
d. five
76. Which timbre is heard in the solo sections for the finale of Bach’s Brandenburg Concerto
no. 2?
a. trumpet
b. oboe
c. recorder
d. all of the above
77. The ritornello sections in the finale of Bach’s Brandenburg Concerto no. 2
a. always appear in F major.
b. appear in various key areas throughout.
c. are all based on the tonic key.
d. both a and c.
78. The finale of Bach’s Brandenburg Concerto no. 2 uses which organizing principle?
a. fugue
b. ritornello
c. sonata-allegro
d. both a and b
79. The ritornello sections in the finale of Bach’s Brandenburg Concerto no. 2 can be
recognized by their
a. focus on the full orchestra.
b. focus on solo trumpet.
c. focus on oboe.
d. key area.
80. When performers began rediscovering Bach’s music in the nineteenth century, they
a. immediately began performing it on Baroque Era instruments.
b. were baffled by how to perform some of it, including the very difficult trumpet
part of the Brandenburg Concerto no. 2.
c. were excited because they could make the trumpet parts sound even better with
the newer instrument design.
d. made many changes, so that we do not know how Bach actually intended the
works to be performed.
81. How is the Baroque trumpet different from the modern trumpet?
a. It is made of wood.
b. It has no bell.
c. It has no valves.
d. There were no trumpets in the Baroque Era.
82. Which of the following is a Baroque composer who wrote in the concerto genre?
a. Walter Piston
b. Ludwig van Beethoven
c. Antonio Strataveri
d. Arcangelo Corelli
83. Which genre of music did Bach compose for the weekly Lutheran service?
a. concerto grosso
b. sonata de camera
c. oratorio
d. cantata
84. From where did Awake, a Voice Calls to Us derive its name and primary melody?
a. a chorale tune
b. a Gregorian chant
c. a famous concerto
d. none of the above
85. The seventh movement of Cantata 140 features
a. a virtuoso trumpet solo.
b. a monophonic Gregorian chant melody.
c. a sense of musical unity, with the orchestra doubling the chorus.
d. both a and c.
86. The first and final movements of Bach’s Cantata 140 are unified by using a common
a. pervading rhythmic motive.
b. credo section.
c. chorale melody.
d. English dialect.
87. Which formal device is used by Bach in the first movement of Cantata 140?
a. ritornello principle
b. rondo
c. recitative
d. ABA
88. What musical device does Bach use at the beginning of Cantata 140 to suggest a
procession?
a. snare drum
b. dotted rhythms similar to a French overture
c. sogetto cavatto
d. none of the above
89. J. S. Bach wrote
a. about 150 cantatas within his first three years in Leipzig, at the rate of roughly
one per week.
b. over 2,000 works for the organ during a three-year period.
c. much of the music that is attributed to Handel.
d. very little during his lifetime.
90. Chorale melodies were
a. used in church because they were easy to sing, so everyone could participate.
b. sung as part of the Lutheran church service.
c. sung in the vernacular.
d. all of the above.
91. Which of the following compositions is based around a chorale melody?
a. Brandenberg Concerto no. 2
b. Sing Unto God
c. the Saint Cecilia Mass
d. Cantata 80: “A Mighty Fortress Is Our God”
92. The chorale melody of “Awake, a Voice Calls to Us” appears in which sections of the
finale of Bach’s Cantata 140?
a. the ritornello sections
b. the chorale sections
c. all of the above
d. none of the above
93. Baroque composers wrote music for services of different faiths, including
a. Unitarian and non-denominational.
b. Catholic, Lutheran, and Anglican.
c. Anabaptist, Catholic, and Liturgical Bohemians.
d. Muslim, Catholic, and Protestant.
94. The oratorio
a. is musically very similar to an opera, but is unstaged and based on a sacred topic.
b. is not at all like an opera, and is only performed during Lent.
c. was banned due to the theatrics in the church and does not exist today.
d. is performed totally a cappella.
95. G. F. Handel
a. composed only sacred works.
b. composed both opera and oratorio.
c. never wrote any works for orchestra.
d. never traveled outside of Germany.
96. Handel’s Messiah differs from most of the oratorios because it
a. does not really have characters or a plot, and also contains New Testament
material.
b. uses an orchestra.
c. is twice as long as any of the others.
d. was first performed while Handel was in prison.
97. Which is the best way to describe the recitative style of “He That Dwelleth in Heaven”?
a. long, flowing, and melodic
b. declamatory
c. choral
d. chorale-based
98. How does Bach make the short text of “Thou Shalt Break Them” into an extended aria?
a. repeating words several times and writing long melismas on key words
b. using an extended AABA form
c. incorporating an improvised trumpet solo
d. all of the above
99. Which is a word-painting technique that Handel uses to represent the text in the aria
“Thou Shalt Break Them”?
a. a shaking figure
b. a large downward leap
c. long slow notes
d. both a and b
100. The “Hallelujah” chorus features which textures?
a. monophony
b. homophony
c. polyphony
d. all of the above
101. Which texture does Handel use in the “Hallelujah” chorus to emphasize God’s power in
the line, “For the Lord God Omnipotent reigneth”?
a. monophony
b. homophony
c. polyphony
d. none of the above
102. Which timbres are used to emphasize the regal nature of the “King of Kings” text in the
“Hallelujah” chorus?
a. shawm and sackbut
b. trumpet and timpani
c. a capella voices
d. crumhorn and snare
103. The recitative section of “He That Dwelleth in Heaven” is accompanied only by
a. violin.
b. chorus.
c. basso continuo.
d. clarinet.
104. It is widely believed that while attending the London premiere of the Messiah, King
George II
a. became tired of sitting and stood near the end of the oratorio.
b. was moved by the beauty and majesty of the music and stood in respect.
c. thought that the work was too long and walked out after the second act.
d. broke into tears and called out to Handel during the final aria.
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105. All of the following have done a “cover” of Handel’s “Hallelujah” chorus EXCEPT:
a. Quincy Jones
b. Mannheim Steamroller
c. Relient K
d. The Doors