question

2-13-1. The seventeenth century was an era in which __________. a. people deferred to Church teachings on all matters, including science b. scientists combined deductive reasoning and direct observation for the first time c. scientists used inductive reasoning to justify biblical teaching d. the Church incarcerated scientists on charges of heresy e. scientific theories from China and Japan were brought to Europe via trading routes

answer

b. scientists combined deductive reasoning and direct observation for the first time

question

2-13-2. In the seventeenth century, __________. a. colonies in the Americas imported villancicos from Spain and metric psalmody from England b. colonies in the Americas were still too undeveloped to enjoy European music c. native American and African musical styles overtook European styles, as the vogue for "savage" music replaced the madrigal in Europe. d. colonies in the Americas imported only secular music from Europe e. there was an exchange of musical styles between the European colonists, slaves, and native Americans, resulting in a blended style that would epitomize the Baroque

answer

a. colonies in the Americas imported villancicos from Spain and metric psalmody from England

question

2-13-3. Patronage of seventeenth-century music consisted of __________. a. wealthy patrons who hired musicians for their private chapels b. wealthy patrons and churches c. wealthy patrons, churches, and public performances of operas and concerts d. secular patronage only, with wealthy patrons and public concerts supporting musicians who had formerly been employed by the Church e. public patronage only, with public opera houses and public concerts replacing private patronage and Church patronage

answer

c. wealthy patrons, churches, and public performances of operas and concerts

question

2-13-4. The term Baroque was first applied to __________. a. overly ornate embellishments in architecture b. Monteverdi s style of composition c. basso continuo d. unprepared dissonance e. arts based on valued from ancient Greece

answer

a. overly ornate embellishments in architecture

question

2-13-5. The term Baroque is now applied to __________. a. music from ca. 1550-1700 b. music from ca. 1600-1750 c. music from ca. 1650-1800 d. any artwork with dramatic impact e. arts based on values from ancient Greece

answer

b. music from ca. 1600-1750

question

2-13-6. Seventeenth-century sculpture sought to __________. a. replicate classical aesthetics b. bring flat medieval painting styles to three dimensions c. break down the barriers between art and science d. portray more drama and emotion e. balance contrasting aspects

answer

d. portray more drama and emotion

question

2-13-7. In Baroque music, "affections" can be defined as __________. a. the Church's belief that God's love was called forth with the proper performance of vocal music b. a theoretical idea set forth in Monteverdi's manifesto, printed by his brother, and distributed on the streets of Venice in a pamphlet war against Artusi c. a scientific theory of attraction and repulsion that explained the harmonic pull between tonic and dominant tonalities d. the belief that a man could persuade a woman to love him based on his excellent performance of madrigals e. the spirits or "humors" believed to harbor emotions, and which could be brought into balance with contrasting moods of music

answer

e. the spirits or "humors" believed to harbor emotions, and which could be brought into balance with contrasting moods of music

question

2-13-8. Monteverdi called his approach to composition __________. a. doctrine of affections b. nuove musiche c. Florentine camerata d. seconda pratica e. baroque

answer

d. seconda pratica

question

2-13-9. Artusi criticized Monteverdi's Cruda Amarilli because it __________. a. violated Zarlino's counterpoint rules b. had too many madrigalisms c. didn't reflect the meaning of the text d. used too many accidentals e. mixed voices and instruments

answer

a. violated Zarlino's counterpoint rules

question

2-13-10. Tonal organization in the Baroque featured __________. a. the eight church modes b. the twelve church modes c. major and minor tonalities d. a mixture of major, minor, and church modes within the same work e. extreme dissonance, with no tonal focus

answer

a. the eight church modes

question

2-13-11. The texture of Baroque music is marked by __________. a. equality of all voices b. a return to the focus on the tenor voice, with the others embellishing it c. a polarity between bass and treble lines d. chordal settings e. unaccompanied solo singing

answer

c. a polarity between bass and treble lines

question

2-13-12. The instruments of the continuo group usually consist of __________. a. two treble instruments plus a keyboard b. one bass instrument, such as a viol, plus a keyboard or lute c. a consort of viols d. one bass instrument and one treble instrument e. a mixed grouping of voices and instruments

answer

b. one bass instrument, such as a viol, plus a keyboard or lute

question

2-13-13. The concertato medium consisted of __________. a. two treble instruments plus a keyboard b. one bass instrument, such as a viol, plus a keyboard or lute c. a consort of viols d. one bass instrument and one treble instrument e. a mixed grouping of voices and instruments

answer

e. a mixed grouping of voices and instruments

question

2-13-14. Tuning systems in the Baroque era gradually came to favor __________. a. equal temperament b. chromatic temperament c. pure tuning d. just intonation e. mean-tone

answer

a. equal temperament

question

2-13-15. Figured bass is __________. a. a bass line notated with embellishments to equal embellishments in the top voice b. a bass line notated with numbers to indicate chords above it c. a bass viol that has been elaborately carved, usually with references to the patron who commissioned it d. one of the standard chord progressions used in the Baroque era e. a bass line that takes the solo role

answer

b. a bass line notated with numbers to indicate chords above it

question

2-13-16. Realization is __________. a. the process of making emotions in the music seem more "real" through embellishment b. Monteverdi's term for the compositional techniques that Artusi criticized c. taking a standard melody and creating a set of variations for it d. filling in the chords above a bass line according to the numbers above the line e. the return of the tonic after a long chord progression

answer

d. filling in the chords above a bass line according to the numbers above the line

question

2-13-17. In modern editions of Baroque music, small notes in a keyboard part indicate __________. a. alternate pitches b. musica ficta c. editorial suggestions to flesh out unnotated parts d. embellishments e. notes to play with a light touch because they are dissonant against the bass

answer

d. embellishments

question

2-13-18. Which of these statements is true of the role of improvisation in Baroque music? a. Everything was written out, with no room for improvisation. b. The accompaniment and the melody were written, but performers could embellish the melody. c. Accompanists improvised the accompaniment based on improvisation in the melody line. d. The melody was written out and followed exactly, but the accompaniment was improvised. e. Part of the accompaniment was written out, the rest improvised, and the melody could be embellished.

answer

e. Part of the accompaniment was written out, the rest improvised, and the melody could be embellished.

question

2-13-19. In 1722, Rameau developed an influential theory of __________. a. embellishment b. harmony c. affections d. performance practice e. seconda pratica

answer

b. harmony

question

2-13-20. Which of the following statements best describes the use of chromaticism in the Baroque era? a. Chromaticism was used only for expression of strong emotions. b. Chromaticism expressed only emotions at first, but later was used in harmonic exploration. c. Chromaticism was used sparingly, and only when the text called for strong emotions. d. Chromaticism was banned by the Church, and composers respected the ban. e. Chromaticism was used only for modulation to new keys.

answer

a. Chromaticism was used only for expression of strong emotions.

question

2-14-1. The text for an opera is called a(n) __________. a. lyrical poem b. libretto c. pastoral d. ritornello e. intermedio

answer

b. libretto

question

2-14-2. Which of the following statements best describes the Renaissance antecedents of opera? a. There was no staged music before opera, but dance songs sometimes included dialogue. b. Opera arose directly from the madrigal cycle without other influences. c. Opera represents the secularization of mystery plays that depict biblical stories. d. There were several genres that included some of the elements of opera. e. Opera had been improvised by traveling theatrical groups, and trained musicians adopted their techniques for written compositions.

answer

d. There were several genres that included some of the elements of opera.

question

2-14-3. The earliest opera plots were based on __________. a. historical events b. mythological characters and events c. current events d. comedic mishaps e. plays by contemporary playwrights

answer

b. mythological characters and events

question

2-14-4. The Florentine Camerata was __________. a. a traveling band of musicians and actors who brought music and theater to small-town audiences b. members of the count of Florence's private chapel c. members of the cathedral in Florence who were frustrated with their limited repertoire d. a group of scholars in Florence who discussed literature, science, and the arts e. a theater in Florence that produced plays, spectacles, and ballets

answer

d. a group of scholars in Florence who discussed literature, science, and the arts

question

2-14-5. Monody is the modern term for __________. a. the use of repeated pitches over a sustained chord b. plays with sung dialogue c. instrumental passages that depict the emotional state of a character d. all accompanied solo singing of the early seventeenth century e. seemingly plain compositions intended to be embellished

answer

d. all accompanied solo singing of the early seventeenth century

question

2-14-6. Le nuove musiche was __________. a. Monteverdi's term for the modern style b. a collection of songs in monody by Caccini c. a group of musicians who performed experimental music d. a treatise criticizing the newer styles e. one of the first operas

answer

b. a collection of songs in monody by Caccini

question

2-14-7. The count who hosted gatherings of poets and musicians at his home was __________. a. Mei b. Peri c. Bardi d. Galilei e. Rinuccini

answer

c. Bardi

question

2-14-8. The composer who collaborated on the first operas of the Florentine Camerata was __________. a. Mei b. Peri c. Bardi d. Galilei e. Rinuccini

answer

b. Peri

question

2-14-9. The poet who wrote the text for some of the first operas was __________. a. Mei b. Peri c. Bardi d. Galilei e. Rinuccini

answer

e. Rinuccini

question

2-14-10. The scholar whose study of ancient Greek texts led him to believe that all Greek plays had been sung was __________. a. Mei b. Peri c. Bardi d. Galilei e. Rinuccini

answer

a. Mei

question

2-14-11. Monteverdi developed stile concitato to depict __________. a. scenes of extreme sadness b. joyous sentiments c. agitation d. dialogue e. transitions between two emotional states

answer

c. agitation

question

2-14-12. The center for opera development after its initial development in Florence was __________. a. Venice b. Rome c. Ferrara d. Vienna e. Paris

answer

b. Rome

question

2-14-13. The style of monody in which a solo singer sings speechlike dialogue to the accompaniment of simple chords is __________. a. aria b. arioso c. recitative d. intermedio e. dialogo

answer

c. recitative

question

2-14-14. Two of Monteverdi's pupils and his successors as composers of Venetian opera were __________. a. Cavalli and Cesti b. Peri and Caccini c. Galilei and Bardi d. Francesca Caccini and Mei e. Vecchi and Rinuccini

answer

a. Cavalli and Cesti

question

2-14-15. Arioso is best defined as __________. a. a compositional style aimed at showing off a singer's virtuosity b. an instrumental interlude in the middle of an aria c. a series of fast, repeated pitches intended to portray agitation d. instrumental imitation of aria style e. a singing style midway between aria and recitative

answer

e. a singing style midway between aria and recitative

question

2-14-16. In Rome, roles for high voices were sung by __________. a. professional female singers b. women who had been trained in the church c. boy sopranos d. men who had been castrated as boys e. men who had naturally high voices

answer

d. men who had been castrated as boys

question

2-14-17. Cesti composed his most famous opera for audiences in which region? a. Northern Italy, including Venice b. Southern Italy, including Rome c. Austria d. England e. France

answer

c. Austria

question

2-14-18. The first public opera house opened in 1637 in which city? a. Venice b. Florence c. Mantua d. Rome e. Vienna

answer

a. Venice

question

2-14-19. Which of the following is not true of mid-seventeenth-century Italian opera style? a. There was a concentration on solo singing, with more arias per act. b. Recitative and aria became highly separated. c. Composers used a variety of styles for aria composition. d. Singers and spectacle had replaced drama as the focus of interest. e. A two-part orchestral sinfonia opened the opera.

answer

e. A two-part orchestral sinfonia opened the opera.

question

2-15-1. Monteverdi's seventh and eighth books of madrigals are best known for __________. a. compositions in the prima pratica style b. being attacked by Artusi because they break counterpoint rules c. including madrigals in the concertato medium d. experimental use of techniques that would later show up in his operas e. using texts that were written in Latin instead of Italian

answer

c. including madrigals in the concertato medium

question

2-15-2. A repeating bass line used as the basis of variations is called __________. a. basso continuo b. ostinato bass c. basso seguente d. partite e. basso spezzati

answer

b. ostinato bass

question

2-15-3. Which of the following statements best defines the cantata in the seventeenth century? a. A series of variations on a well-known song b. A set of variations on a sacred melody c. A succession of arias and recitatives in a brief, unstaged work d. A large-scale work for chorus, several soloists, and large orchestra e. An opera-like work depicting a biblical story

answer

c. A succession of arias and recitatives in a brief, unstaged work

question

2-15-4. Composed Jewish liturgical polyphonic music a. Lodovico Viadana b. Barbara Strozzi c. Lucrezia Vizzana d. Giacomo Carissimi e. Salamone Rossi

answer

e. Salamone Rossi

question

2-15-5. Published the first book of sacred music with basso continuo a. Lodovico Viadana b. Barbara Strozzi c. Lucrezia Vizzana d. Giacomo Carissimi e. Salamone Rossi

answer

a. Lodovico Viadana

question

2-15-6. Though a nun, she published a collection of her compositions. a. Lodovico Viadana b. Barbara Strozzi c. Lucrezia Vizzana d. Giacomo Carissimi e. Salamone Rossi

answer

c. Lucrezia Vizzana

question

2-15-7. Published more cantatas than any other composer of the early seventeenth century a. Lodovico Viadana b. Barbara Strozzi c. Lucrezia Vizzana d. Giacomo Carissimi e. Salamone Rossi

answer

b. Barbara Strozzi

question

2-15-8. The main composer of Roman oratorios a. Lodovico Viadana b. Barbara Strozzi c. Lucrezia Vizzana d. Giacomo Carissimi e. Salamone Rossi

answer

d. Giacomo Carissimi

question

2-15-9. Which of the following is not characteristic of Roman oratorios? a. They were elaborately staged. b. They were performed in the oratory portions of Roman churches. c. They included recitatives and arias. d. They drew their stories from the Bible. e. A narrator told parts of the tale in recitative.

answer

a. They were elaborately staged.

question

2-15-10. The Passion is a __________. a. multi-movement work depicting the last days of Christ b. secular cantata sung in Italian c. genre of Italian court entertainment d. French opera genre that included dancing and large choruses e. libretto that was used for several French operas

answer

a. multi-movement work depicting the last days of Christ

question

2-15-11. The forces for the small-scale sacred concerto typically consisted of __________. a. one solo singer and basso continuo b. one or more solo singers with organ and one or two violins c. one or more solo singers with organ and brass ensemble d. several solo singers with small chorus and organ e. several solo singers, small chorus, and string orchestra

answer

b. one or more solo singers with organ and one or two violins

question

2-15-12. Which of the following best describes the Italian secular cantata? a. A mini-opera with scenery and costumes b. A series of arias for several solo singers with full orchestral accompaniment c. Many short, contrasting sections with recitatives and arias for solo voice with continuo d. A series of religious songs sung outside of church during Lent and Advent, with orchestral accompaniment and scenery e. A biblical story set in operatic style but without staging or costumes

answer

c. Many short, contrasting sections with recitatives and arias for solo voice with continuo

question

2-15-13. Which of the following statements best describes Schütz's training and career? a. He was the first major composer to be trained and employed exclusively in German-speaking lands. b. He received his training in Vienna, then worked in Italy and France before returning to Germany for the remainder of his career. c. He studied with Gabrieli in Venice, then worked in Kassel and Dresden. d. He learned violin, keyboard, and composition from his father, and succeeded his father in the service of the elector of Hanover. e. He studied opera composition with Monteverdi, then composed oratorios in Rome before moving to Germany as a cathedral musician.

answer

c. He studied with Gabrieli in Venice, then worked in Kassel and Dresden.

question

2-15-14. Which of the following statements is true of the effect of the Thirty Years' War on Schütz's music? a. The oratorio replaced opera as the favorite genre. b. Schütz was forced to compose for smaller ensembles. c. Schütz composed for larger ensembles because they gave the impression of economic well-being. d. Nationalistic sentiment forced him to give up Italianate elements of his style. e. Old Testament stories of Jewish victories in war were the subjects of operas, oratorios, and cantatas.

answer

b. Schütz was forced to compose for smaller ensembles.

question

2-15-15. Musical figures were __________. a. the English version of agréments b. cadential flourishes that eventually evolved into the cadenza c. rhythmic patterns derived from dance steps that were sometimes used in an aria to suggest the moral qualities of the character singing it d. bass lines that became well-known variations forms throughout Europe e. counterpoint patterns that had become associated with specific emotions

answer

e. counterpoint patterns that had become associated with specific emotions

question

2-15-16. The most important composer of toccatas in the early seventeenth century was __________. a. Rossi b. Frescobaldi c. Schein d. Scheidt e. Marini

answer

b. Frescobaldi

question

2-15-17. What was the most common instrumentation for the sonata after ca. 1650? a. Any instrument or combination of instruments could be used. b. Solo harpsichord c. Solo treble instrument d. One or two treble instruments (usually violin(s)) and harpsichord e. Five instruments plus basso continuo

answer

d. One or two treble instruments (usually violin(s)) and harpsichord

question

2-15-18. Divisions and partite are terms for __________. a. dance steps that divide or partition the measure b. variations movements c. tuning systems used for seventeenth-century harpsichords d. composing for more than one choir e. multi-movement works of any type

answer

b. variations movements

question

2-15-19. Fiori musicali was __________. a. a collection of organ music composed for use in Mass b. a treatise on composing church music according to revised principles of the prima pratica c. a collection of polyphonic music for use in the Jewish liturgy d. a treatise on the variation forms e. a collection of suites using dance movements in a standard sequence

answer

a. a collection of organ music composed for use in Mass

question

2-15-20. The Banchetto musicale was __________. a. a collection of organ music composed for use in Mass b. a treatise on composing church music according to revised principles of the prima pratica c. a collection of polyphonic music for use in the Jewish liturgy d. a treatise on the variation forms e. a collection of suites using dance movements in a standard sequence

answer

e. a collection of suites using dance movements in a standard sequence

question

2-16-1. The main patron(s) of music in the French Baroque was/were __________. a. the Cathedral of Notre Dame b. middle-class concert audiences c. competing members of the nobility who ruled over small regions d. Louis XIV e. amateur musicians who purchased published music

answer

d. Louis XIV

question

2-16-2. Louis XIV and other members of the nobility took part in performances of which genre? a. the court ballet b. masque c. opera d. zarzuela e. mass

answer

a. the court ballet

question

2-16-3. Music of the Great Stable was __________. a. the first large ensemble of the violin family b. music performed in the area in front of the stage in a theater c. an ensemble composed of wind, brass, and timpani players who provided military and outdoor music for the French monarchy d. a derogatory term describing music performed in overly large music rooms built by dukes and other members of the nobility to impress their peers e. music performed on large organs installed in large cathedrals

answer

c. an ensemble composed of wind, brass, and timpani players who provided military and outdoor music for the French monarchy

question

2-16-4. Jean-Baptiste Lully is best known for his contribution to the development of __________. a. opera b. oratorio c. keyboard music d. music theory e. organ building

answer

a. opera

question

2-16-5. An opera by Lully might also be called a(n) __________. a. ouvrage b. tragédie en musique or tragédie lyrique c. divertissement d. air de cour e. agrément

answer

b. tragédie en musique or tragédie lyrique

question

2-16-6. Which of the following statements best describes the form of the French overture? a. three sections in fast-slow-fast order b. a slow opening marked by dotted rhythms, followed by a fast fugal section, with an optional slow closing section c. a fast and fugal opening section followed by a slow and homophonic section marked by dotted rhythms, with an optional closing section in a fast tempo d. a beginning section that is repeated after a departure into unrelated material in a contrasting key and mood e. a series of melodies drawn from the opera

answer

b. a slow opening marked by dotted rhythms, followed by a fast fugal section, with an optional slow closing section

question

2-16-7. Which scoring is typical of Lully's orchestration? a. two violins plus continuo b. varied scorings that respond to the meaning of the text c. five-part string orchestra without any woodwinds, brass, or keyboard instruments d. fivepart string orchestra augmented by woodwinds e. twentyfour strings, each with an independent part

answer

d. fivepart string orchestra augmented by woodwinds

question

2-16-8. The leading composer of church music in France during the late seventeenth century was __________. a. Jean-Baptiste Lully b. Jean-Philippe Quinault c. Denis Gaultier d. Cardinal Mazarin e. Marc-Antoine Charpentier

answer

e. Marc-Antoine Charpentier

question

2-16-9. Stile brisé, developed by lutenists, was imitated in __________. a. opera arias b. instrumental movements in French operas c. songs for court performances d. harpsichord music e. ballet movements

answer

d. harpsichord music

question

2-16-10. Stylized dance music suites in France were most often performed by __________. a. lute or harpsichord b. the Vingt-quatre violons du Roi c. the Great Stable d. a consort of viols e. organ

answer

a. lute or harpsichord

question

2-16-11. The tonal organization of a dance movement in binary form (assuming a major key) can best be summarized as __________. a. ||: I :|| ||: I :|| ||: I :|| etc. b. ||: I-V :|| ||: V-I :|| c. I-V-I d. V-I e. I-vi-vi-I

answer

b. ||: I-V :|| ||: V-I :||

question

2-16-12. The standard order of movements in seventeenth-century French suites was __________. a. allemande, courante, sarabande, gigue b. pavane, galliard, courante, allemande c. allemande, pavane, courante, gigue d. prelude, pavane, galliard, gigue e. prelude, gavotte, minuet, gigue

answer

a. allemande, courante, sarabande, gigue

question

2-16-13. How did Cromwell's prohibition against stage plays affect music performances? a. All music was banned from the stage. b. Oratorios became the most popular substitution for stage plays. c. The addition of music and elements from the masque made stage plays acceptable. d. Producers of plays set up an underground venues that attracted composers of experimental genres. e. Producers of operas and plays ignored the prohibition and continued as usual.

answer

c. The addition of music and elements from the masque made stage plays acceptable.

question

2-16-14. Henry Purcell is best known for composing in which genres? a. English opera, semi-opera, and incidental music for plays b. Italian opera and oratorios c. liturgical music for the Catholic Church d. keyboard music, especially suites in the French style e. ballet

answer

a. English opera, semi-opera, and incidental music for plays

question

2-16-15. Henry Purcell's employer was __________. a. the Church of England b. the Catholic Church c. the English monarchy d. a private school for girls e. an opera impressario

answer

c. the English monarchy

question

2-16-16. Public concerts of instrumental music first began in __________. a. France b. England c. Spain d. Peru e. Mexico

answer

b. England

question

2-16-17. The zarzuela was __________. a. an Italian adaptation of French ballet b. a dance movement that originated in Latin America and came to Italy via Spain c. the predominant genre of musical theater in Spain for several centuries d. a six-stringed instrument made popular by Spanish composers of dance music e. a type of embellishment reserved for slow arias

answer

c. the predominant genre of musical theater in Spain for several centuries

question

2-16-18. La púrpura de la rosa was __________. a. the first opera produced in the New World b. a collection of zarzuelas that helped spread the genre throughout Europe c. a treatise on composing church music in concertato medium d. an Italian opera that inspired English composers to try their hands at opera e. a type of ornamentation added to cadences

answer

a. the first opera produced in the New World

question

2-16-19. The genre cultivated for Christmas and Easter in colonial Latin America was the __________. a. carol b. hymn c. madrigal d. zarzuela e. villancico

answer

e. villancico

question

2-16-20. The main chamber instruments in seventeenth-century Spain were __________. a. harp and guitar b. viols in consorts c. harpsichord and clavichord d. recorders and shawms e. violins in pairs

answer

a. harp and guitar

question

2-17-1. Which of the following letter schemes best represents the formal plan of a da capo aria? a. AAAAA b. ABCA c. AAB d. ABA e. AABB

answer

d. ABA

question

2-17-2. Which of the following statements best describes Venetian operatic arias in the latter part of the seventeenth century? a. The da capo form was the most commonly used form. b. Composers used several forms but favored the strophic aria. c. The strophic aria was standard. d. Composers did not compose arias because they believed arias interrupted the narrative of the story. e. Arias were brief diversions within recitatives.

answer

a. The da capo form was the most commonly used form.

question

2-17-3. Which of the following statements best describes the Italian secular cantata? a. a mini-opera with scenery and costumes b. a series of arias for several solo singers with full orchestral accompaniment c. many short, contrasting sections with recitatives and arias for solo voice with continuo d. a series of religious songs sung outside of church during Lent and Advent, with orchestral accompaniment and scenery e. an opera with sections between the acts that have unrelated plots and extended dance scenes

answer

c. many short, contrasting sections with recitatives and arias for solo voice with continuo

question

2-17-4. Alessandro Scarlatti is known mainly for works in which genre(s)? a. concerto grosso and sonata b. secular cantata and opera c. Mass and oratorio d. music for harpsichord e. music for organ

answer

b. secular cantata and opera

question

2-17-5. Which genre substituted for opera when public theaters were closed? a. oratorio b. cantata c. serenata d. aria e. magnificat

answer

a. oratorio

question

2-17-6. San Petronio in Bologna was known for being a center for developments in __________. a. church music in the Palestrina style b. sacred concerto c. instrumental music d. organ chorales e. scordatura violin-playing

answer

c. instrumental music

question

2-17-7. Antonio Stradivari was instrumental in the development of the __________. a. organ b. violin c. flute d. harpsichord e. guitar

answer

b. violin

question

2-17-8. The instrumentation for a trio sonata typically consisted of __________. a. two treble instruments and a cello b. two bass instruments and a keyboard instrument c. two treble instruments, an optional cello or viola da gamba, and harpsichord or organ d. a solo organ e. two sopranos or two tenors plus a keyboard instrument

answer

c. two treble instruments, an optional cello or viola da gamba, and harpsichord or organ

question

2-17-9. Which of the following statements best describes a typical sonata da camera? a. It consisted of four movements, usually in slow-fast-slow-fast order. b. It consisted of several stylized dances preceded by a prelude. c. The term was synonymous with "cantata." d. It was composed for groups of musicians occupying several choir lofts. e. It was written for large instrumental ensemble.

answer

b. It consisted of several stylized dances preceded by a prelude.

question

2-17-10. Which of the following statements best describes a typical sonata da chiesa? a. It consisted of four movements, usually in slow-fast-slow-fast order. b. It consisted of several stylized dances preceded by a prelude. c. The term was synonymous with "cantata." d. It was composed for groups of musicians occupying several choir lofts. e. It was written for large instrumental ensemble.

answer

a. It consisted of four movements, usually in slow-fast-slow-fast order.

question

2-17-11. In a trio sonata in a major key, a movement not in the tonic key would very likely be in the key of the __________. a. parallel minor b. subdominant c. dominant d. mediant e. relative minor

answer

e. relative minor

question

2-17-12. The composer known for his performance on the violin was __________. a. Stradella b. Alessandro Scarlatti c. Arcangelo Corelli d. Froberger e. Buxtehude

answer

c. Arcangelo Corelli

question

2-17-13. The large instrumental ensemble in a concerto grosso is referred to as the __________. a. concertino b. concertato c. collegium musicum d. concerto grosso e. corelli

answer

d. concerto grosso

question

2-17-14. The small instrumental ensemble in a concerto grosso is referred to as the __________. a. concertino b. concertato c. collegium musicum d. concerto grosso e. corelli

answer

a. concertino

question

2-17-15. The typical movements of a Torelli concerto are __________. a. fast-slow-fast b. fast-slow-fast-slow c. slow-fast-slow-fast d. a succession of fugal and nonfugal movements e. a series of contrasting sections based on the same theme

answer

a. fast-slow-fast

question

2-17-16. Stadtpfeifers were __________. a. members of amateur music-making clubs b. the set of organ pipes over the organist's head c. musicians hired to provide music for the city d. separable parts of a baroque trumpet e. the trumpets used for official city events

answer

c. musicians hired to provide music for the city

question

2-17-17. Which of the following statements best describes the state of Lutheran church music after the Thirty Years' War? a. Lutherans believed that only the minor mode should be used for the following thirty years. b. Lutherans believed all available resources should be used, including choirs and orchestras. c. Lutherans believed in simple music for personal devotion only. d. Lutherans believed no music should be sung in church in honor of those who had died in the war. e. Lutherans were divided in their opinions about the type of music that should be used.

answer

e. Lutherans were divided in their opinions about the type of music that should be used.

question

2-17-18. Concerts of sacred music given by Buxtehude were called __________. a. Singspiels b. Abendmusiken c. masques d. grand motets e. Praxis pietatis melica

answer

b. Abendmusiken

question

2-17-19. The form of the typical late-seventeenth-century toccata is __________. a. a series of entrances on a theme, followed by improvisatory music b. a series of short sections in free style alternating with longer ones in imitative counterpoint c. four movements in slow-fast-slow-fast tempos d. four movements in fast-slow-fast-slow tempos e. a series of variations with increasingly fast rhythmic divisions of a main theme

answer

b. a series of short sections in free style alternating with longer ones in imitative counterpoint

question

2-17-20. What instrument was most commonly featured in solo sonatas? a. recorder b. violin c. trumpet d. viola da gamba e. No instrument was more commonly used than others.

answer

b. violin

question

2-18-1. Of the following, which statement does not describe the changing Western world of the eighteenth century? a. The major political powers included France, Britain, and Prussia. b. The middle class grew in size and power. c. An increase in literacy promoted daily newspapers and novels. d. People continued to move away from urban centers to live in rural villages. e. Nature was increasingly idolized.

answer

d. People continued to move away from urban centers to live in rural villages.

question

2-18-2. Which city had conservatories that became centers of music training, especially for singers? a. Venice b. Vienna c. Paris d. Rome e. Naples

answer

e. Naples

question

2-18-3. Which city attracted instrumental performers, including Geminiani and Locatelli? a. Venice b. Vienna c. Paris d. Rome e. Naples

answer

d. Rome

question

2-18-4. In which city did Vivaldi spend most of his career? a. Venice b. Vienna c. Florence d. Naples e. London

answer

a. Venice

question

2-18-5. Which instrument did Vivaldi feature as a soloist in most of his concertos? a. flute b. violin c. cello d. harpsichord e. bassoon

answer

b. violin

question

2-18-6. Most of Vivaldi's concertos were first performed by __________. a. professional musicians b. adult amateurs c. male students d. female students e. traveling orchestras

answer

d. female students

question

2-18-7. Which of the following is one of Vivaldi's important contributions to the concerto genre? a. preference for three-movement structures b. establishment of fugal forms for fast movements c. preference for multiple soloists in a concerto d. superficial treatment of the slow movement e. assigning all of the principal melodies to the soloist

answer

a. preference for three-movement structures

question

2-18-8. Of the following, what does not characterize Vivaldi's typical ritornello form? a. The opening and closing ritornellos are in the tonic key. b. The ritornello melody is composed of several smaller units. c. The solo sections often modulate to related key areas. d. The ritornello always recurs in its complete form. e. The solo sections often have virtuosic display.

answer

d. The ritornello always recurs in its complete form.

question

2-18-9. Of the following, which describes Vivaldi's Four Seasons? a. It was published in Líestro armonico. b. It contains four works that have programmatic images. c. Vivaldi attached sonnets by Metastasio to the works. d. The principal soloist is a flute. e. Two of the works are orchestral with no soloists

answer

b. It contains four works that have programmatic images.

question

2-18-10. What kind of concert was sponsored by the Concert spirituel? a. sacred church concerts b. private chamber concerts c. public concerts d. royal concerts e. oratorio concerts

answer

c. public concerts

question

2-18-11. The leading composer of French violin sonatas in the early eighteenth century was __________. a. François Couperin b. Louis Nicolas Clérambault c. Jean-Philippe Rameau d. Jean-Marie Leclair e. Jean-Jacques Rousseau

answer

d. Jean-Marie Leclair

question

2-18-12. What is the subject matter of Couperin's Líart de toucher le clavecin? a. instructions on playing the harpsichord b. instructions on tuning harpsichords c. instructions on building harpsichords d. instructions on composing for harpsichords e. a comparison of harpsichords and organs

answer

a. instructions on playing the harpsichord

question

2-18-13. Of the following, what does not describe the ordres of Couperin? a. They comprise a loose collection of miniature pieces for the harpsichord. b. Most of the pieces are based on dance rhythms. c. Binary forms are prevalent. d. Many pieces have evocative titles. e. They were intended for professional performances.

answer

e. They were intended for professional performances.

question

2-18-14. Which two composers were honored by Couperin in published suites for two violins and harpsichord? a. Vivaldi and Rameau b. Corelli and Rameau c. Scarlatti and Lully d. Scarlatti and Handel e. Corelli and Lully

answer

e. Corelli and Lully

question

2-18-15. Which patron was instrumental in Rameau's earliest successes as a composer? a. Louis XIV b. Jean-Baptiste Lully c. Pierre Corneille d. Jean-Joseph de la Pouplinière e. Louis XVI

answer

d. Jean-Joseph de la Pouplinière

question

2-18-16. Which of the following professions was not part of Rameau's background? a. organ performer b. teacher at an orphanage c. theorist d. composer of opera e. composer of instrumental music

answer

b. teacher at an orphanage

question

2-18-17. For Rameau, the fundamental bass was __________. a. the succession of fundamental tones in a series of chords b. the succession of lowest pitches in a set of chords c. the French equivalent of basso continuo d. the lowest set of pipes on a Baroque organ e. the cadential formula that defines tonality

answer

a. the succession of fundamental tones in a series of chords

question

2-18-18. Which of the following characterizes Rameau's operatic style? a. a mixture of recitative, air, instrumental music, and chorus b. a subordinate orchestral role c. virtuosic arias d. recitative written in the style of Italian recitativo secco e. elimination of dance from the productions

answer

a. a mixture of recitative, air, instrumental music, and chorus

question

2-18-19. Rameau's first major opera in Paris was __________. a. Les Indes galantes b. Hippolyte et Aricie c. Castor et Pollux d. Platée e. Zoroastre

answer

b. Hippolyte et Aricie

question

2-18-20. In which way do the operas of Rameau differ from those of Lully? a. They use accompanied recitative. b. They contain a prominent role for the orchestra. c. Melodic ideas are often triadic. d. The music flows freely from recitative to airs. e. They have prominent roles for the chorus.

answer

c. Melodic ideas are often triadic.

question

2-19-1. Frederick the Great regularly performed on the __________. a. harpsichord b. violin c. flute d. oboe e. organ

answer

c. flute

question

2-19-2. Of the following statements, which describes the music of Telemann? a. He produced a limited number of compositions. b. His music was more popular than that of J. S. Bach. c. He composed only in the Italian styles. d. He composed instrumental works only. e. His music was little known outside of Leipzig.

answer

b. His music was more popular than that of J. S. Bach.

question

2-19-3. In which city did Bach primarily compose ensemble music for courtly entertainment? a. Weimar b. Leipzig c. Arnstadt d. Mülhausen e. Cöthen

answer

e. Cöthen

question

2-19-4. Bach's duties in Leipzig did not include __________. a. composing cantatas for the two most important local churches b. teaching music and Latin to boys in the St. Thomas School c. leading an exemplary Christian life d. composing music for court entertainments e. playing organ

answer

d. composing music for court entertainments

question

2-19-5. Bach absorbed elements of the Italian style by __________. a. studying with Vivaldi b. traveling throughout Italy c. teaching at a school for orphaned girls in Venice d. copying manuscripts of works by Italian composers e. reading textbooks

answer

d. copying manuscripts of works by Italian composers

question

2-19-6. Bach composed music in all but which of the following genres? a. opera b. cantata c. suite d. concerto e. sonata

answer

a. opera

question

2-19-7. Bach's Orgelbüchlein contains what type of works? a. preludes and fugues b. suites c. chorale preludes d. variations e. toccatas

answer

c. chorale preludes

question

2-19-8. Which publication contains twenty-four preludes and fugues in all of the major and minor keys? a. Well-Tempered Clavier b. Goldberg Variations c. Art of Fugue d. A Musical Offering e. English Suites

answer

a. Well-Tempered Clavier

question

2-19-9. Which publication uses a theme by Frederick the Great? a. Well-Tempered Clavier b. Goldberg Variations c. Art of Fugue d. A Musical Offering e. English Suites

answer

d. A Musical Offering

question

2-19-10. Which of the following statements best describes the soloists in the Brandenburg Concertos? a. Each concerto features a single soloist. b. All of the concertos feature trio sonata textures as in the concertos of Corelli. c. There is a wide variety of soloists, often treated in the style of the solo concerto. d. There are no soloists in the six concertos. e. The soloists are for violins only.

answer

c. There is a wide variety of soloists, often treated in the style of the solo concerto.

question

2-19-11. What did Erdmann Neumeister introduce to Lutheran sacred music? a. the use of chorale melodies b. the use of solo singers and choir c. poetic texts that could be used for recitatives and arias d. biblical texts e. the use of an orchestra

answer

c. poetic texts that could be used for recitatives and arias

question

2-19-12. Bach's cantatas usually end with __________. a. a Lutheran chorale in four-part harmony b. a fugal chorus with full orchestral accompaniment c. a dramatic ensemble number involving all the solo singers d. a prayer e. an organ prelude

answer

a. a Lutheran chorale in four-part harmony

question

2-19-13. Which of the following is not true of Bach's Mass in B Minor? a. It contains movements adapted from earlier compositions. b. It mixes a variety of sacred musical styles. c. Bach never heard the work performed in its entirety. d. It was written for liturgical services in Leipzig. e. It is Bach's only complete setting of the Catholic Mass Ordinary.

answer

d. It was written for liturgical services in Leipzig.

question

2-19-14. Which of the following statements accurately reflects Bach's reputation after his death? a. His compositions were not performed until they were revived in the nineteenth century. b. His sons kept his memory alive by continuing to compose in their father's style. c. There were annual Bach festivals in Weimar and Leipzig, beginning just after his death. d. His publishers promoted his music. e. All of Bach's music was published within fifty years of his death.

answer

a. His compositions were not performed until they were revived in the nineteenth century.

question

2-19-15. Handel's first London opera was __________. a. Rodelinda b. Giulio Cesare c. Almira d. Agrippina e. Rinaldo

answer

e. Rinaldo

question

2-19-16. The Royal Academy of Music was established in order to __________. a. teach music in the manner of the Paris Conservatory b. produce Italian opera c. promote ballad operas in English d. produce oratorios e. test the skills of music students

answer

b. produce Italian opera

question

2-19-17. Of the following statements, which characterizes Handel's operas? a. simple recitative b. ballets c. frequent choral writing inspired by English anthem traditions d. simple melodic airs e. preference for binary arias

answer

a. simple recitative

question

2-19-18. What is the language of the oratorios that Handel composed in London? a. English b. Latin c. Italian d. German e. French

answer

a. English

question

2-19-19. How do Handel's oratorios differ from Italian oratorios? a. lack of scenery and costumes b. religious subjects rather than stories from antiquity c. use of arias and recitatives d. extended use of the chorus e. no acting

answer

d. extended use of the chorus

question

2-19-20. Which composer influenced Handel's Opus 6? a. Telemann b. Bach c. Corelli d. Vivaldi e. Scarletti

answer

c. Corelli

question

2-201-1. Of the following, which characterizes the musical life of eighteenth-century Europe? a. The Italian style dominated until the end of the century. b. The French style, emerging from its opera, dominated Europe. c. In German-speaking regions, a distinctive regional style became the leading style of the continent. d. English and American composers were leaders in creating a dominant new style. e. The prevailing new style of Europe was international, assimilating features of numerous national styles.

answer

e. The prevailing new style of Europe was international, assimilating features of numerous national styles.

question

2-201-2. Which of the following was not part of the Enlightenment movement? a. a belief that reasoning could be applied to social issues b. a belief that religion should govern public morality c. a belief that the state should improve the human condition d. reverence for nature and naturalness e. a belief that individuals had rights

answer

b. a belief that religion should govern public morality

question

2-201-3. Of the following, which describes concert life in the late eighteenth century? a. Courts and churches no longer sponsored performances. b. All professional performances were opened up to female musicians. c. Technical demands of music relegated the amateur to a mere listener of music. d. Public concerts became more important. e. Choral music was restricted to churches.

answer

d. Public concerts became more important.

question

2-201-4. Of the following, which was a prevailing musical value in the late eighteenth century? a. Music should have contrapuntal complexity. b. Music should emphasize vocally conceived melodies with short phrases. c. Music should aim at the tastes of the connoisseur only. d. Music should be a vehicle for virtuosity. e. Music should reflect only one affect.

answer

b. Music should emphasize vocally conceived melodies with short phrases.

question

2-201-5. Of the following, which describes the galant style? a. originated in German Lieder b. emphasized spun-out melodies c. featured simple harmonies and accompaniments d. was considered to be a learned style e. featured frequent imitative counterpoint

answer

c. featured simple harmonies and accompaniments

question

2-201-6. The galant style originated in _________________. a. Italy b. France c. Austria d. Spain e. England

answer

a. Italy

question

2-201-7. Of the following, which describes the empfindsam style? a. light accompaniment and simple melody b. strict fugal counterpoint c. surprising harmonic turns, nervous rhythms, and speechlike melody d. dark, passionate melodies best suited for orchestra strings e. refinement and parallel thirds

answer

c. surprising harmonic turns, nervous rhythms, and speechlike melody

question

2-201-8. The empfindsam style is most closely associated with _________________. a. C. P. E. Bach b. J. C. Bach c. J. S. Bach d. Stamitz e. D. Scarlatti

answer

a. C. P. E. Bach

question

2-201-9. Which of the following does not characterize the classical style? a. a single emotional mood projected in each movement b. periodic melodies c. slow harmonic movement d. differentiation of musical material according to its function e. frequent cadences

answer

a. a single emotional mood projected in each movement

question

2-201-9.5 Where did the classical style first appear (in 1720's and 1730's)? a. Italian Opera b. French Opera c. Baroque concerto grosso d. English masque

answer

a. Italian Opera

question

2-201-10. The most thorough guide to melodic composition was written by ________________. a. Rameau b. Charles Burney c. Johann Nicolaus Forkel d. Heinrich Christoph Koch e. C. P. E. Bach

answer

d. Heinrich Christoph Koch

question

2-201-11. Which of the following characterizes a typical opera buffa? a. three acts b. characters drawn from Antiquity c. tuneful arias with short, periodic phrases d. accompanied recitative e. a plot that caricatured the faults of commoners only

answer

c. tuneful arias with short, periodic phrases

question

2-201-12. What is the name of the musical entertainment performed between the acts of a serious opera or play? a. dramma comico b. commedia per musica c. intermezzo d. interlude e. dramma giocoso

answer

c. intermezzo

question

2-201-13. Which of the following was an important contribution of opera buffa? a. ensemble finales b. expanded role for chorus c. virtuosic singing d. large orchestral role e. mixture of arias and recitative

answer

a. ensemble finales

question

2-201-14. He was the master of opera seria. a. Pergolesi b. Hasse c. Gluck d. Metastasio e. Goldoni

answer

b. Hasse

question

2-201-15. This poet's librettos established opera seria traditions. a. Pergolesi b. Hasse c. Gluck d. Metastasio e. Goldoni

answer

d. Metastasio

question

2-201-16. He composed La serva padronna. a. Pergolesi b. Hasse c. Gluck d. Metastasio e. Goldoni

answer

a. Pergolesi

question

2-201-16.5 La serva padrona has how many singing roles? a. two b. three c. five d. six e. seven

answer

a. two

question

2-201-17. He introduced refinements into the comic-opera libretto. a. Pergolesi b. Hasse c. Gluck d. Metastasio e. Goldoni

answer

e. Goldoni

question

2-201-18. Of the following, which is a characteristic of opera seria? a. five acts b. comic scenes mixed with serious ones c. plots drawn from recent history d. frequent duets e. frequent da capo arias

answer

e. frequent da capo arias

question

2-201-19. The Querelle des bouffons was a dispute about ____________. a. the relative merits of French and Italian opera b. the relative merits of strict counterpoint and the galant style c. the relative merits of the operas of Lully and Rameau d. the role of comedy in opera e. the financial support of opera

answer

a. the relative merits of French and Italian opera

question

2-201-20. Of the following, which characterizes opéra comique? a. simple melodies called ariettes b. simple recitative c. ballet d. chorus e. three acts

answer

?a. simple melodies called ariettes ?b. simple recitative

question

2-201-21. Of the following, which characterizes the operas of Jommelli and Traetta? a. limited orchestral role b. expanded role for the chorus c. spoken dialogue d. da capo arias only e. avoidance of French characteristics

answer

b. expanded role for the chorus

question

2-201-22. Of the following, which is not a belief of Gluck? a. The demands of soloists should not affect opera composition. b. The French language could be used effectively in opera. c. Recitative and aria should be less distinct. d. The overture should be an integral part of the opera. e. Music should assimilate learned complexities.

answer

e. Music should assimilate learned complexities.

question

2-201-22.5 He was a major figure of operatice reform and active in both Vienna and France a. Pergolesi b. Hasse c. Gluck d. Metastasio e. Goldoni

answer

c. Gluck

question

2-201-23. Of the following, who was not known as a composer of Lieder? a. Telemann b. Reichardt c. C P E Bach d. J S Bach e. Carl Heinrich Graun

answer

d. J S Bach

question

2-201-23.5 Which historic figure composed an early example of opera comique? a. Voltaire b. Rousseau c. Benjamin Franklin d. Montesquieu e. Louis Xv

answer

b. Rousseau

question

2-201-24. Which of the following religions adapted church music to the style of opera? a. Catholic b. Lutheran c. Anglican d. Calvinism e. Buddhism

answer

a. Catholic

question

2-201-24.5 Ballad opera is the name given to a popular form of opera in _____. a. England b. Germany c. France d. Spain e. Italy

answer

a. England

question

2-201-25. What was the primary type of sacred music in New England during the colonial period? a. anthem b. psalm-setting c. cantata d. polyphonic mass e. oratorio

answer

b. psalm-setting

question

2-22-1. Which instrument uses hammers to strike strings? a. harpsichord b. clavichord c. organ d. fortepiano e. celesta

answer

d. fortepiano

question

2-22-2. Which instrument uses a mechanism that plucks the strings? a. harpsichord b. clavichord c. organ d. fortepiano e. celesta

answer

a. harpsichord

question

2-22-3. Which instrument uses tangents to strike the strings, which stay in contact until the key is released? a. harpsichord b. clavichord c. organ d. fortepiano e. celesta

answer

b. clavichord

question

2-22-4. Of the following, which instrument was invented in 1710 and became a standard woodwind member by 1780? a. flute b. oboe c. clarinet d. bassoon e. saxophone

answer

c. clarinet

question

2-22-5. By the end of the eighteenth century, the role of leading the orchestra fell to __________. a. the harpsichord player b. the leader of the violins c. a specialized conductor who did not play an instrument d. the composer e. violist

answer

b. the leader of the violins

question

2-22-6. Of the following, which Baroque instrumental genre continued into the Classic era? a. fugue b. toccata c. dance suite d. prelude e. solo concerto

answer

e. solo concerto

question

2-22-7. Of the following, which is not a characteristic of sonata form as described by Heinrich Christoph Koch? a. It is an expanded version of binary form. b. The form is divided into three principal sections. c. The first section moves from the tonic to the dominant or relative major. d. The first section presents the principal ideas. e. The form is not a rigid mold, but a plan or set of principles.

answer

b. The form is divided into three principal sections.

question

2-22-8. Which of the following would be considered a rondo form? a. ABACADA b. ABA c. rounded binary d. A repeated with variations e. ABAB

answer

a. ABACADA

question

2-22-9. The composer who published some of his keyboard sonatas with the title Essercizi was __________. a. J C Bach b. Domenico Alberti c. Domenico Scarlatti d. C P E Bach e. J S Bach

answer

c. Domenico Scarlatti

question

2-22-10. Of the following, which does not describe the sonatas of C. P. E. Bach? a. They helped to establish the three-movement structure. b. They sustain the Baroque style well into the Classic era. c. They often contain expressive melodies with short phrases. d. In them, Bach introduced sections of dialogue and recitative. e. They exemplify the empfindsam style.

answer

b. They sustain the Baroque style well into the Classic era.

question

2-22-11. In which region did the symphony originate? a. Italy b. France c. Austria d. England e. Germany

answer

a. Italy

question

2-22-12. This Italian was the first important composer of symphonies. a. Stamitz b. Gossec c. Wagenseil d. Sammartini e. J C Bach

answer

d. Sammartini

question

2-22-13. Writing in Vienna, his symphonies featured contrasting themes. a. Stamitz b. Gossec c. Wagenseil d. Sammartini e. J C Bach

answer

c. Wagenseil

question

2-22-14. Active in London, he was an important influence on the young Mozart. a. Stamitz b. Gossec c. Wagenseil d. Sammartini e. J C Bach

answer

e. J C Bach

question

2-22-15. He is considered to be one of the leading composers of symphonies in France. a. Stamitz b. Gossec c. Wagenseil d. Sammartini e. J C Bach

answer

b. Gossec

question

2-22-16. He was the founder of the symphony school in Mannheim. a. Stamitz b. Gossec c. Wagenseil d. Sammartini e. J C Bach

answer

a. Stamitz

question

2-22-17. Which center developed an orchestra, referred to as "an army of generals," that was renowned throughout Europe for its precision and technique? a. Milan b. Stuttgart c. Vienna d. Mannheim e. Paris

answer

d. Mannheim

question

2-22-18. The Classic-era genre that combines characteristics of the symphony and the concerto is called the __________. a. divertimento b. symphonie concertante c. sinfonia d. concerto grosso e. cassation

answer

b. symphonie concertante

question

2-22-19. Of the following, what characterizes the concerto form of J. C. Bach? a. The opening ritornello modulates to the dominant. b. There are five principal solo sections. c. The first solo section contains no thematic material. d. The ritornellos serve as a frame for a sonata form structure. e. There are typically four movements.

answer

d. The ritornellos serve as a frame for a sonata form structure.

question

2-22-20. Of the following, what does not characterize a concerto cadenza in the Classic era? a. It was usually improvised. b. A heavy orchestral 6/4 chord introduced the cadenza. c. The soloist signaled the end of a cadenza with a trill. d. The cadenza was placed at the end of the second solo section. e. The cadenza developed from vocal arias.

answer

d. The cadenza was placed at the end of the second solo section.

question

2-23-1. Who was Haydn's principal employer throughout his long career? a. Emperor Leopold II b. the archbishop of Salzburg c. Baron Gottfried van Swieten d. Prince Nikolaus Esterházy e. Johann Peter Salomon

answer

d. Prince Nikolaus Esterházy

question

2-23-2. Haydn's patron asked him to compose chamber music for which instrument? a. sackbut b. baryton c. arpeggione d. viola d'amore e. violone

answer

b. baryton

question

2-23-3. Who persuaded Haydn to come to London? a. Johann Peter Salomon b. Queen Elizabeth c. Mozart d. Baron Gottfried van Swieten e. Prince Nikolaus Esterházy f. C. Bach

answer

a. Johann Peter Salomon

question

2-23-4. Of the following, which was the main source of Haydn's idiom? a. learned counterpoint b. empfindsam style c. galant style d. Sturm und Drang e. Italian recitative

answer

c. galant style

question

2-23-5. Of the following, which does not typify a Haydn symphony? a. three-movement structures b. frequent slow introductions for the first movements c. the reappearance of the first theme at the beginning of the second key area d. lyric slow movements and stylized minuets for third movements e. fast finales that are shorter than the first movements

answer

a. three-movement structures

question

2-23-6. The heightened expression found in the symphonies of 1768-1772 is associated with which style? a. galant style b. empfindsam style c. Sturm und Drang d. Baroque style e. opera buffa style

answer

c. Sturm und Drang

question

2-23-7. Haydn's last symphonies were composed for __________. a. audiences in Vienna b. the Prince of Ersterháza c. London concerts d. Paris concerts e. Frederick the Great

answer

c. London concerts

question

2-23-8. Which set of Haydn's string quartet has three fugal finales? a. Opus 17 b. Opus 20 c. Opus 33 d. Opus 54 e. Opus 76

answer

b. Opus 20

question

2-23-9. Haydn's Opus 33 quartets were composed in what style? a. light-hearted and witty b. serious and moody c. restrained and unemotional d. orchestral e. theatrical

answer

a. light-hearted and witty

question

2-23-10. Which composer inspired Haydn's oratorios? a. CHOICE BLANK b. Telemann c. Scarlatti d. Handel e. Mozart f. S. Bach

answer

d. Handel

question

2-23-11. Mozart was a child prodigy on which instrument or instruments? a. keyboard b. keyboard and violin c. keyboard, violin, and flute d. 1keyboard, violin, and cello e. flute and keyboard

answer

b. keyboard and violin

question

2-23-12. Most of Mozart's masterworks were composed in which city? a. Salzburg b. Paris c. London d. Prague e. Vienna

answer

e. Vienna

question

2-23-13. Which composer did not exert a strong influence on Mozart? a. Haydn b. J. S. Bach c. CHOICE BLANK d. Handel e. Vivaldi f. C. Bach

answer

e. Vivaldi

question

2-23-14. Among Mozart's finest chamber works are the string quintets for which combination of instruments? a. two violins, viola, two cellos b. two violins, viola, cello, string bass c. two violins, two violas, cello d. violin, two violas, two cellos e. piano, violin, viola, cello, string bass

answer

c. two violins, two violas, cello

question

2-23-15. Most of Mozart's piano works were composed for __________. a. his own performance b. the performance of his patrons only c. skilled virtuosos d. sketches for orchestral works e. pupils, domestic music-making, and publication

answer

e. pupils, domestic music-making, and publication

question

2-23-16. Which of the following describes Mozart's first-movement forms in his piano concertos? a. They blend elements of ritornello and sonata form, similar to the works of J. C. Bach. b. The solo sections are devoted exclusively to virtuosic display. c. The two principal themes tend to be identical. d. Modulation is limited. e. They abandon sonata principals for the sake of ritornello principles.

answer

a. They blend elements of ritornello and sonata form, similar to the works of J. C. Bach.

question

2-23-17. Of the following, which is not a late symphony by Mozart? a. Prague b. Jupiter c. Linz d. Haffner e. Military

answer

e. Military

question

2-23-18. Which of the following operas is based on a Lorenzo Da Ponte libretto? a. The Marriage of Figaro b. The Magic Flute c. Idomeneo d. Clemenza di Tito e. La finta semplice

answer

a. The Marriage of Figaro

question

2-23-19. Which of the following operas is a Singspiel? a. The Marriage of Figaro b. The Magic Flute c. Idomeneo d. Clemenza di Tito e. Cosi fan tutte

answer

b. The Magic Flute

question

2-23-20. Mozart's final work, left incomplete at his death, was __________. a. The Magic Flute b. Clemenza di Tito c. Symphony No. 41 d. Requiem Mass e. Clarinet Quintet

answer

d. Requiem Mass

Study Guide Section 2 – Flashcards

Unlock all answers in this set

Haven't found what you were looking for?

Search for samples, answers to your questions and flashcards