Part 3. The Baroque Era

Part 3. The Baroque Era Prelude 3 & Chapter 21- 28 1. Which statement is NOT true regarding Baroque instrumental music? Prelude 3 a. There was more focus on the expressive power of musical instruments. b.Instrumental music became less prominent than it had been during the Renaissance. c. During the Baroque era, several new instrumental genres were developed. d. As musical instruments developed technically, the level of virtuosity rose during the Baroque. 2. Baroque composers were interested in the possibilities for intense emotional expression. True False 3. In Baroque music, the instruments that provided accompaniment were referred to as a. monody. b.figured bass. c. equal temperament. d. basso continuo. 4. In the major-minor system, the most important note is the a. figured bass. b. dominant. c. subdominant. d. tonic. 5. Opera had its origins in the experiments of a group known as the a. Florentine Camerata. b. German Reformers. c. Dutch School. d. Viennese Four. 1/14 6. The Baroque era spanned the years a. 1500–1650. b. 1600–1750. c. 1700–1850. d. 1650–1700. 7. The term "baroque" derives from the Portuguese word for a. "misunderstood." b. "old." c. "misshapen." d. "broken." 8. The tuning system established in the Baroque that made it possible for instruments to play in any key is called a. equal temperament. b. unequal temperament. c. mean-tone temperament. d. just intonation. 9. What roles did women play in music during the Baroque era? a. They played no musical role during the Baroque era. b. composers only c. singers and composers d.singers only 10. Which of the following became a more popular texture during the early Baroque? a. heterophony b. polyphony c. homophony d.monophony 11. Which of the following was a hallmark of Baroque performance style? a. Abandoning major-minor tonality. b.Increased improvisation. c. Performing the work strictly as written. d.Exclusive use of church modes. 2/14 12. ________, the shorthand notation that developed during the Baroque for basso continuo players, allowed the performer to fill in the harmonies. a. Figured bass b. Virtuosity c. Neumes d.Ligatures 13. Who was Chiara Margarita Cozzolani? a. All possible answers. Chapter 21 b. a Benedictine nun c. a composer d. a musician 14. The themes of Barbara Strozzi’s arias often focus on a. the Virgin Mary. b. the theme of love. c. All possible answers. d.sacred themes. 15. The text setting of Strozzi’s Sleepyhead, Cupid! includes a. recitative. b. word-painting. c. figured bass. d. improvisation. 16. In times such as the Baroque era, when women had few choices in their lives, what was the only honorable alternative to marriage? a. becoming a musician b. becoming a priest c. entering a convent d. working as a servant 17. Chiara Margarita Cozzolani and Barbara Strozzi are unique in that a. they were both keyboard virtuosos. b. they both published music in their lifetimes. c. they were famous operatic sopranos. d. they were both nuns at St. Radegonda. 18. Barbara Strozzi published more arias than any other male singer-composer in her times. True 3/14 False 19. An aria is characterized by Chapter 22 a. tuneful and highly emotive melodies. b.rapid, speechlike declamation. c. two intertwined melodies sung simultaneously. d. homorhythmic choral singing. 20 Between scenes of an opera the orchestra may play a. a symphony. b.sinfonias. c. an overture. d. an aria. 21. Dido and Aeneas is one of the earliest, and most famous, Italian operas. True False 22. Who of the following was an early composer of Italian opera? a. Palestrina b.Machiavelli c. Monteverdi d. Purcell 23. The _______ was an English entertainment that combined music and poetry. a. masque b. opera c. aria d. da capo aria 4/14 24 The most important new genre of the Baroque era was a. opera. b. the Mass. c. the motet. d. the symphony. 25. The principal components of opera include arias, recitatives, overtures, and a. chant. b. organum. c. cantatas. d. choruses. 26. The text of an opera is known as a a. screenplay. b. libretto. c. recitative. d.storybook. 27. Which is NOT a true statement about Baroque opera? a. Baroque opera depicts events in a "hyper-reality." b.Characters in Baroque opera convey strong emotions through music. c. Baroque opera aims to depict events realistically. d.Baroque opera continues to appeal to audiences today. 28. Which is NOT true of an overture? a. It is generally played as an introduction and again between scenes. b.It is an instrumental introduction to an opera. c. It is performed by an orchestra. d.It may introduce themes from arias to follow. 5/14 29. Why does Dido sing a lament at the end of Purcell’s opera? a. Aeneas has been murdered. b. Aeneas was lost at sea. c. Aeneas has left her. d. Aeneas discovered that Dido was actually his sister. 30. Which statement about Johann Sebastian Bach’s career is NOT true? a. While in Leipzig, Bach was responsible for directing the university music group. b.Bach spent the last several decades of his life working at St. Thomas Church in Leipzig. c. Bach had an international career. Chapter 23 d.Bach was a renowned organist. 31. Bach composed in all genres except a. keyboard music. b. cantata. c. concerto. d. opera. 32. For which church did J. S. Bach write his cantatas? a. Roman Catholic b.Church of England c. Calvinist d.Lutheran 33. In regard to the cantatas by J. S. Bach, which statement is NOT true? a. Many of Bach’s cantatas are based on Lutheran chorale or hymn tunes. b.Bach wrote most of his cantatas for the Lutheran church. c. Bach’s church cantatas are single-movement works. d.Bach wrote over 200 cantatas. 6/14 34. In the Lutheran tradition, the cantata was performed along with the Gospel reading, sermon, and prayers a. during Lent. b. only on Christmas. c. on most Sundays of the church year. d. only on Easter. 35. The Lutheran chorale Wachet auf is in "bar form," which is respresented as _____. a. A-B-A-B-A b. A-B-A c. A-B d. A-A-B 36. Which describes the performing forces of a cantata? a. a cappella chorus b. two double choirs and orchestra c. string orchestra with continuo d.soloists, chorus and orchestra 37. Which voices sing the melody in a homorhythmic performance of a Lutheran chorale? a. sopranos b. basses c. tenors d. altos 38. Handel found great success living and working in a. Leipzig, Germany. Chapter 24 b.Rupertsberg, Germany. c. Paris, France. d.London, England. 7/14 39. How is the oratorio similar to opera? a. They both feature arias, recitatives, and choruses. b.They are both performed with scenery and costumes. c. Their librettos are drawn from secular themes. d.Their librettos are drawn from sacred themes. 40. The oratorio was generally based on a. Greek mythology. b. an ancient epic poem. c. a biblical story. d.Roman mythology. 41. Where was Handel born? a. Halle, Germany b.Rome, Italy c. Venice, Italy d.London, England 42. Which genre is Handel said to have invented? a. symphony b. cantata c. opera d.English oratorio 43. Which vocal form took its name from the Italian word for "place of prayer"? a. devotional music b.motet c. oratorio d. cantata 44. When many people are singing the same melody at the same time, but each singer is modifying the tune slightly, the resulting texture is known as a. heterophony. Chapter 25 b. homophony. c. melismatic. d. polyphony. 8/14 45. 1. A religious choral composition in English designed for congregational singing, though it could also be sung in the home or among friends, is called a. an oratorio. b. a motet. c. an anthem. d. a psalm. 46. Where did William Billings live and work? a. London b.Boston c. Paris 47. The seventeenth-century system in which New England church leaders sang each line of a psalm and the congregation repeated it back is called a. syllabic. b. homophony. c. chant. d. lining-out. 48. During the Baroque era, instrumental music rose to a position equal with vocal music, eventually becoming the central feature of Western concert music in the following century. Chapter 26 True False 49. Baroque trumpets were still "natural," meaning they a. were made of organic material. b. were without valves. c. did not have a mouthpiece. d. were only performed outside. 50. During the Baroque era, the strings on stringed instruments were made of a. gut. b.silk. c. steel. d.string. 9/14 51. Each piece in the Baroque dance suite was set in _______ form. a. binary b. binary or ternary c. ternary d. neither binary nor ternary 52. During the Baroque era, the woodwind instruments were a. used only for loud, outdoor events. b. all made of wood. c. "natural instruments." d.made of wood, except for the flute. 53. Guarneri, Stradivarius, and Amati were all noted Baroque makers of which instrument? a. violin b. organ c. flute d. harpsichord 54. The Baroque dance inspired by the music of Germany is the a. sarabande. b. allemande. c. courante. d. gigue. 55. The Baroque dance inspired by the music of Spain is the a. passepied. b. allemande. c. sarabande. d. courante. 10/14 56. The minuet, gavotte, bourrée, passepied, and hornpipe are a. not movements in a Baroque dance suite. b. optional movements often included in a Baroque dance suite. c. movements always included in a Baroque dance suite. d. vocal forms popularized during the Baroque era. 57. Water Music and Music for the Royal Fireworks are the best-known suites by which composer? a. Handel b.J. S. Bach c. Cozzolani d.William Billings 58. Instrumental music meant to portray the action and emotion described by words is called a. concerto grosso. Chapter 27 b. absolute music. c. program music. d. word-painting. 59. The Baroque genre that is characterized by one or more solo instruments and orchestra is a. the concerto. b. a suite. c. a sonata. d. an anthem. 60. The Baroque concerto that is characterized by a solo instrument and orchestra is the a. solo concerto. b. concerto grosso. c. concertino. d. concertare. 61. Which is a true statement? a. The standard Baroque concerto has four movements. b.Baroque concertos tended to consist of only one movement. c. The standard Baroque concerto has three movements. d.Baroque concertos consisted of a paired set of dance movements. 11/14 62. Vivaldi wrote instrumental music that depicts a scene without the use of sung words, a genre called a. song. b. program music. c. absolute music. d. intentional music. 63. What makes The Four Seasons a programmatic work? a. It is based on a painting of the same name. b.It is based on a set of poems, one for each season. c. It is based on a play of the same name. d.The idea for the work came to Vivaldi in a dream. 64. Which Baroque composer was known as “the red priest”? a. Antonio Vivaldi b.William Billings c. George Frideric Handel d.Johann Sebastian Bach 65. J. S. Bach’s most comprehensive example of contrapuntal writing is his Chapter 28 a. b. c. d. 66. A highly structured contrapuntal form based on a single theme or subject is a a. prelude. b.fugue. c. da capo. d. toccata. 12/14 67. The first section of a fugue is called the a. episode. b. exposition. c. ritornello. d. opening. 68. The main theme of a fugue is known as the a. subject. b. answer. c. fugato. d. episode. 69. The sections of a fugue that do not contain the subject are called a. ritornellos. b. episodes. c. expositions. d. codas. 70. What keyboard instrument has its strings plucked by quills? a. organ b. harpsichord c. clavichord d. Piano 71. Which are examples of improvisatory forms? a. prelude and toccata b. passacaglia and prelude c. toccata and passacaglia d. chaconne and prelude 13/14 72. Which contrapuntal device involves playing the melody in longer note values? a. augmentation b. inversion c. stretto d.retrograde 73. Which contrapuntal device presents the melody turned upside down (in mirror image)? a. retrograde b. inversion c. stretto d. augmentation 74. _____ is the title of J. S. Bach’s collection of preludes and fugues issued in two volumes and demonstrating the new tuning system for keyboard instruments. a. b. Preludes and Fugues, Opus 47 c. d. 75. Which of the following statements about fugues is NOT true? a. Fugues may be written for keyboard instruments. b. Keyboard fugues are often paired with preludes or toccatas. c. All statements are true. d. Fugues may be written for a group of instruments or voices. 14/14