The Baroque Era 1600–1750

’ Part 3: The Baroque Era: 1600–1750 1. The earliest operas were performed in __________. a) churches, monasteries, and convents b) private theaters at the courts of the nobility and royalty c) secret showings, because opera was ruled illegal by Louis XIV d) homes using only the piano as accompaniment 2. The castrati __________. a) possessed both the high range of a woman’s voice and the physical power of a man’s voice b) were completely natural phenomena c) often came from wealthy households where the families could afford expensive training d) were shunned by Baroque audiences 3. In Baroque art and music, artists tried to express a single emotion, otherwise known as a(n) __________. a) affect b) passion c) humor d) feeling 4. During the Baroque Era, churches __________. a) were thrifty and used little of their resources for the arts b) did not allow instruments c) spent large sums of money on lavish decorations and powerful organs d) hosted frequent opera concerts 13 5. Opera was the result of __________. a) someone uncovering a copy of Hildegard von Bingen’s morality plays b) a small group of philosophers, musicians, and poets who met in Florence to consider reviving the ancient Greek synthesis of music and drama c) a group of housewives who overheard their children acting out stories with music and shared this practice with their composer husbands d) composers adapting the formal structure of the Mass to secular chamber music. 6. Opera is best described as a __________. a) drama sung from beginning to end b) polyphonic choral work based on a sacred text c) sacred liturgical work for wind instruments d) a story told through dance and music alone 7. In Baroque opera, the group of instruments that always accompanies a singer is called the __________. a) Greek chorus b) concertato c) basso continuo d) prima prattica 8. In opera, the new homophonic texture __________. a) restored a greater sense of balance between text and music b) imitated call-and-response techniques from church music c) made all of the voices sound the same d) blended the church modes into a new type of harmony 9. A type of opera singing that lies somewhere between singing and speaking is called __________. a) basso continuo b) prima prattica c) aria d) recitative 10. What is the musical texture during Orpheus’s recitative in “Tu se´ morta”? a) monophonic b) homophonic c) polyphonic d) call and response 11. What is the musical texture during the chorus section of “Tu se´ Morta”? a) monophonic b) homophonic c) polyphonic d) heterophonic 12. Monteverdi was a master of __________. 14 a) old textures of composition b) new textures of composition c) both old and new textures of composition d) avant-garde literary techniques 13. In which genres did Monteverdi primarily compose? a) opera and madrigal b) madrigal and symphony c) opera and symphony d) oratorio and opera 14. Claudio Monteverdi’s career bridged the ______ and Baroque Era. a) Medieval b) Renaissance c) Classical d) Romantic 15. Monteverdi spent the last three decades of his life working at __________. a) the court of Mantua b) the papal chapel in Rome c) the court of Louis XVI in Paris d) St. Mark’s Basilica in Venice 16. Giovanni Gabrieli __________. a) championed the use of old elements in his works b) wrote only secular chamber music c) worked as a composer in Venice in the decades before Monteverdi’s arrival d) was a celebrated poet of early operas 17. A concerto is a(n) __________. a) chamber work for two violins and a basso continuo b) instrumental work for a soloist and a larger ensemble c) vocal work for a soprano and an alto d) tone poem 18. During the Baroque Era, all concertos were built around the __________. a) ritornello principle b) harpsichord as soloist c) demands of the composer’s patron d) percussion section 19. The ritornello principle is based upon __________. a) alternating sections for soloists with sections for the full orchestra b) alternating the organ with the full orchestra c) using puppets (such as Punchinello) to act out the program during the music d) improvisation 20. The term “program music” refers to a(n) __________. 15 a) concert that has a printed program b) vocal work written to meet a need in a scheduled program c) composition written to order for various programs in the church year d) instrumental work that is in some way associated with a story, event, or idea 21. Vivaldi was known as the __________. a) Coughing Priest b) Red Priest c) Musical Priest d) Most Dedicated Priest 22. 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 23. Which of the following is true of the composer Antonio Vivaldi? a) He composed very little music. b) His music was widely published and admired throughout Europe during his lifetime. c) His melodies all tended to sound alike. d) He died a very wealthy man and is buried in Westminster Abbey. 24. 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 26. There are more ________ in an orchestra than any other instrument. a) violins b) violas c) flutes d) cellos 27. The violin has __________ strings. a) 2 b) 3 c) 4 d) 5 28. “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) was originally conceived as program music about escaped convicts 29. The opening entry of all the voices on the main subject of a fugue is known as __________. 16 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 30. Because of its size, power, and timbral variety, the organ is sometimes called the __________. a) “King of Instruments” b) “Voice of God” c) “Prince of Pitches” d) “Monarch of Music” 31. 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 32. 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 33. Leopold Stokowski __________. a) arranged much historical music for modern orchestra b) disliked all films, including cartoons c) spent his entire career in his native England d) always used a conductor’s baton 34. 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 35. 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 36. The difference between Bach’s original Fugue in G Minor and Leopold Stokowki’s arrangement of the same piece for orchestra is one of __________. 17 a) timbre b) meter c) mode d) counterpoint 37. Which musical genres was Bach known to compose? a) organ fugues and operas b) orchestral works and cantatas c) cantatas and operas d) operas and orchestral works 38. Bach had __________ children, but only half survived into adulthood. a) 40 b) 16 c) 20 d) 4 39. Which of the following are sons of J. S. Bach who went on to be composers? a) Carl Philipp Emanuel Bach and Claude Fitzgerald Bach b) Claude Fitzgerald Bach and Johann Christian Bach c) Johann Christian Bach and Carl Philipp Emanuel Bach d) Wilheim Friedemann Bach and Claude Fitzgerald Bach 40. In which of the following cities was Bach employed? a) Eisenach b) Leipzig c) Paris d) Berlin 18