The Baroque Period Answer Key Part 2

52. A musical ornament consisting of the rapid alternation of two tones that are a whole or half step apart is a A. trill. B. shake. C. blurb. D. wobble. Answer: A 53. A polyphonic composition based on one main theme is the A. subject. B. concerto. C. episode. D. fugue. Answer: D 54. The main theme of a fugue is called the A. answer. B. subject. C. countersubject. D. episode. Answer: B 55. When the subject of a fugue is presented in the dominant scale, it is called the A. answer. B. countersubject. C. episode. D. stretto. Answer: A 56. In many fugues, the subject in one voice is constantly accompanied in another voice by a different melodic idea called a(n) A. answer. B. countersubject. C. episode. D. stretto. Answer: B 57. Transitional sections of a fugue that offer either new material or fragments of the subject or countersubject are called A. answers. B. episodes. C. preludes. D. strettos. Answer: B 58. ____________ is a musical procedure in which a fugue subject is imitated before it is completed. A. Augmentation B. Diminution C. Retrograde D. Stretto Answer: D 59. A ____________ is a single tone, usually in the bass, that is held while the other voices produce a series of changing harmonies against it. A. pedal point B. pitch C. basso continuo D. basso ostinato Answer: A 60. Turning the subject of a fugue upside down, or reversing the direction of each interval, is called A. inversion. B. stretto. C. retrograde. D. countersubject. Answer: A 61. 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. B. stretto. C. augmentation. D. retrograde. Answer: D 62. Presenting the subject of a fugue in lengthened time values is called A. inversion. B. augmentation. C. retrograde. D. diminution. Answer: B 63. Presenting the subject of a fugue in shortened time values is called A. inversion. B. augmentation. C. retrograde. D. diminution. Answer: D 64. Very often an independent fugue is introduced by a short piece called a(n) A. overture. B. prelude. C. concerto. D. pedal point. Answer: B 65. An ____________ is a play, set to music, sung to orchestral accompaniment, with scenery, costumes, and action. A. overture B. opera C. aria D. ensemble Answer: B 66. The text, or book, of a musical dramatic work is called the A. form. B. libretto. C. story. D. score. Answer: B 67. Which of the following statements is not true? A. B. C. D. The terms ensemble and chorus are synonymous. Voice categories in opera are divided more finely than in other musical genres. Operas may contain spoken dialogue, but most are sung entirely. Opera soloists must create a wide variety of characters, and so need acting skills as well as vocal artistry. Answer: A 68. A song for solo voice with orchestral accompaniment is called a/an A. aria. B. duet. C. ensemble. D. solo. Answer: A 69. ____________ refers to a vocal line that imitates the rhythms and pitch fluctuations of speech. A. Aria B. Duet C. Recitative D. Ensemble Answer: C 70. A ____________ is a singer with a low range who usually takes comic roles. A. tenor B. basso buffo C. basso profundo D. buffoon Answer: B 71. A ____________ is a singer with a very low range and powerful voice, who usually takes roles calling for great dignity. A. tenor B. basso buffo C. basso profundo D. buffoon Answer: C 72. A(n) ____________ is a musical number for two solo voices with orchestral accompaniment. A. aria B. ensemble C. duet D. chorus Answer: C 73. A(n) ____________ is an operatic number involving three or more leading singers. A. aria B. ensemble C. duet D. chorus Answer: B 74. The ____________ is the person who beats time, indicates expression, cues in musicians, and controls the balance among instruments and voices. A. prima donna B. prompter C. concertmaster D. conductor Answer: D 75. An ____________ is an orchestral composition performed before the curtain rises on a dramatic work. A. overture B. aria C. opera D. opening Answer: A 76. Members of the Camerata wanted to create a new vocal style based on the A. music of the ancient Greek tragedies. B. glories of their aristocratic patrons. C. organum of the Middle Ages. D. polyphonic madrigal. Answer: A 77. The members of the Camerata wanted the vocal line of their music to follow A. standard rules of musical theory. B. the rhythms and pitch fluctuations of speech. C. the lines of contrapuntal writing. D. set metrical and melodic patterns. Answer: B 78. Most early baroque operas were based on Greek mythology and A. contemporary political events. B. lyric poetry. C. ancient history. D. contemporary exploration of the new world. Answer: C 79. Which of the following statements is not true? A. B. Most early baroque operas were based on Greek mythology and ancient history. The members of the Florentine Camerata based their theories on actual dramatic music that had come down to them from the Greeks. C. The members of the Florentine Camerata wanted to create a new vocal style modeled on the music of ancient Greek tragedy. D. Polyphony was rejected by the members of the Florentine Camerata because different words sounding simultaneously would obscure the text. Answer: B 80. The first opera house in Europe to offer entry to anyone with the price of admission opened in 1637 in A. Hamburg. B. London. C. Rome. D. Venice. Answer: D 81. The earliest opera that has been preserved is Jacopo Peri's A. Euridice. B. Orfeo. C. Nerone. D. Arsace. Answer: A 82. The stage machinery of baroque opera A. was very primitive. B. bordered on the colossal. C. was nonexistent. D. replaced set designs. Answer: B 83. Castrati A. received the highest fees of any musicians. B. combined the lung power of a man with the vocal range of a woman. C. were male singers who had been castrated before puberty. D. All answers are correct. Answer: D 84. Speechlike melody accompanied only by a basso continuo is called A. basso ostinato. B. accompanied recitative. C. secco recitative. D. congregational singing. Answer: C 85. 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. B. was expected to embellish the returning melody with ornamental tones. C. would insert recitatives between the sections for added variety. D. improvise new words for the returning A section. Answer: B 86. Embellishments are A. ornamental tones not printed in the music that seventeenth- and eighteenth-century performers were expected to add to the melody. B. music created at the same time it is performed. C. notes printed in the music that embellish the melody D. obsolete in contemporary performances Answer: A 87. Monteverdi spent the greater part of his career in A. Notre Dame, Paris. B. The Duomo, Florence. C. St. Mark's, Venice. D. the Vatican, Rome. Answer: C 88. To evoke angry or warlike feelings in some of his texts, Monteverdi introduced new orchestral effects, including pizzicato and A. tremolo. B. double stops. C. sul ponticello. D. col legno. Answer: A 89. To achieve intensity of expression, Monteverdi used ____________ with unprecedented freedom and daring. A. skips B. texts C. consonances D. dissonances Answer: D 90. Monteverdi's vocal music ordinarily was supported by a ____________ and other instruments. A. bassoon B. trumpet C. basso continuo D. string bass Answer: C 91. Orpheus goes to Hades in the hope of bringing ____________ back to life. A. Eurydice B. Phyllis C. Persephone D. Oriana Answer: A 92. Which of the following statements is not true? A. B. C. Monteverdi's Orfeo, composed in 1607, is considered to be the earliest operatic masterpiece. All twelve of Monteverdi's operas are regularly performed in Europe and America. Monteverdi creates variety in Orfeo by using many kinds of music, combining recitatives, arias, duets, choruses, and instrumental interludes into one dramatic whole. D. Monteverdi's works form a musical bridge between the sixteenth and seventeenth centuries and greatly influenced composers of the time. Answer: B 93. Which of the following statements is not true? A. Henry Purcell was virtually unknown in his own time, but today is considered England’s most significant composer from the Baroque Era. B. Purcell mastered all the musical forms of late seventeenth-century England, including church music, secular choral music, music for small groups of instruments, songs, and music for the stage. C. Purcell's music is filled with lively rhythms and a fresh melodic style that captures the spirit of English folk songs. D. Dido, in Virgil's epic poem that Purcell used as the basis for his opera Dido and Aeneas, was queen of Carthage. Answer: A 94. The respect given Henry Purcell by his fellow Englishmen is evidenced by his burial in A. Potter's Field. B. Westminster Abbey. C. Buckingham Palace. D. Canterbury Cathedral. Answer: B 95. ____________ is a musical idea repeated over and over in the bass while melodies above it constantly change. A. Basso ostinato B. Basso profundo C. Basso continuo D. Thoroughbass Answer: A 96. Dido and Aeneas, which many consider to be the finest opera ever written to an English text, was composed by A. Claudio Monteverdi. B. Henry Purcell. C. George Frideric Handel. D. Jeremiah Clarke. Answer: B 97. Henry Purcell's opera Dido and Aeneas was inspired by the Aeneid, an epic poem by A. Homer. B. Virgil. C. Nahum Tate. D. Dido. Answer: B 98. The sonata in the baroque period was a composition in several movements for A. a solo instrument. B. three solo instruments. C. two to four instruments. D. one to eight instruments. Answer: D 99. Baroque trio sonatas usually involve ____________ performers. A. two B. three C. four D. five Answer: C 100. A sonata intended to be played in church, and therefore dignified and suitable for sacred performance, was called a A. sonata da camera. B. trio sonata. C. sonata da chiesa. D. basso ostinato. Answer: C