Music 105 - Understanding Music » Spring 2022 » Quiz 3 The Baroque Period
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Question #1
The early baroque was characterized by
A.
homophonic texture.
B.
elaborate counterpoint.
C.
diffusion of the style into every corner of Europe.
D.
development of the standardized orchestra.
Question #2
A sonata to be played at court, and therefore dancelike in character, was called a
A.
sonata da chiesa.
B.
trio sonata.
C.
tarantella.
D.
sonata da camera.
Question #3
The theorbo is a(n)
A.
plucked string instrument capable of producing chords as well as a bass line.
B.
bass woodwind instrument similar to the bassoon.
C.
electronic instrument whose tone is generated by oscillators.
D.
keyboard instrument suitable for playing basso continuo parts.
Question #4
Vivaldi spent most of his life working at an institution for orphaned and illegitimate girls in
A.
Rome.
B.
Venice.
C.
Florence.
D.
Cremona.
Question #5
A Vivaldi concerto usually has ____________ movements.
A.
three
B.
two
C.
a variable number of
D.
four
Question #6
Bach created masterpieces in every baroque form except
A.
concerto.
B.
sonata.
C.
opera.
D.
fugue.
Question #7
Bach achieves unity of mood in his compositions by using
A.
an insistent rhythmic drive.
B.
musical symbolism.
C.
simple melodic ideas.
D.
homophonic texture.
Question #8
Monteverdi, an early baroque composer, strove to create music that was
A.
placid and smooth.
B.
difficult to perform.
C.
extremely complex.
D.
passionate and dramatic.
Question #9
Although all the movements of a baroque suite are in the same key, they differ in
A.
national origin.
B.
tempo.
C.
All answers are correct.
D.
meter.
Question #10
In contrast to fugues, baroque suites tended to have ____________ because they were based on dance steps.
A.
melodies in minor keys
B.
choral singers
C.
balanced and symmetrical phrases
D.
foot stomps and hand claps
Question #11
The various dances of the baroque suite are usually
A.
in AABB form.
B.
in ABA form.
C.
polyphonic in texture.
D.
in theme and variation form.
Question #12
In their use of aria, duet, and recitative, Bach's cantatas closely resembled the ____________ of the time.
A.
concertos
B.
sonatas
C.
suites
D.
operas
Question #13
A large-scale composition for chorus, vocal soloists, and orchestra, usually set to a narrative biblical text, is called a(n)
A.
chorale.
B.
aria.
C.
oratorio.
D.
recitative.
Question #14
Oratorio differs from opera in that it has no
A.
choral part.
B.
vocal soloists.
C.
orchestral accompaniment.
D.
acting, scenery, or costumes.
Question #15
George Frideric Handel was born in 1685, the same year as
A.
Claudio Monteverdi.
B.
Arcangelo Corelli.
C.
Antonio Vivaldi.
D.
Johann Sebastian Bach.
Question #16
Handel's Messiah is an example of
A.
musical theater.
B.
an oratorio.
C.
a song.
D.
an opera.
Question #17
Where did Handel's Messiah receive its premiere?
A.
Ireland
B.
London
C.
Venice
D.
Austria
Question #18
Modern historians use the term baroque to indicate
A.
a scientific movement popular in the seventeenth century.
B.
a particular style in the arts, involving action and movement.
C.
a period of decline in the arts.
D.
a class of musical instruments that no longer function.
Question #19
Affections in baroque usage refers to
A.
emotional states or moods of music.
B.
the nobility's manner of deportment.
C.
terraced dynamics.
D.
the doctrine of universal brotherhood.
Question #20
The baroque principle of ____________ may be temporarily suspended in vocal music when drastic changes of emotion in a text inspires corresponding changes in the music.
A.
basso continuo
B.
terraced dynamics
C.
unity of mood
D.
All answers are correct.
Question #21
The compelling drive and energy in baroque music are usually provided by
A.
a bawdy text.
B.
the high dynamic level.
C.
repeated rhythmic patterns.
D.
complex harmonic progressions.
Question #22
Baroque melodies often are
A.
easy to sing and remember.
B.
elaborate and ornamental.
C.
short and simple.
D.
impossible to play.
Question #23
Melodic sequence refers to
A.
the successive repetition of a musical idea at higher or lower pitches.
B.
a preferred method of tuning an instrument.
C.
the pedagogical steps in learning to play an instrument.
D.
a composition by Vivaldi.
Question #24
Terraced dynamics refers to
A.
a gradual change from soft to loud.
B.
the sudden alternation from one dynamic level to another.
C.
a gradual change from loud to soft.
D.
dynamics that are not written in the music but added by the performer.
Question #25
A bass part together with numbers that specify the chords to be played above it is called
A.
counterpoint.
B.
sequenced bass.
C.
basso profundo.
D.
figured bass.
Question #26
A large court during the baroque period might employ about ____________ performers.
A.
18
B.
80
C.
120
D.
24
Question #27
Frederick the Great, king of Prussia, was a
A.
composer.
B.
general.
C.
All answers are correct.
D.
flutist.
Question #28
In Italy, music schools were often connected with
A.
universities.
B.
orphanages.
C.
public schools.
D.
courts of the nobility.
Question #29
A concerto grosso most often has ____________ movement(s).
A.
three
B.
four
C.
two
D.
one
Question #30
The large group of players in a concerto grosso is known as the
A.
soloists.
B.
orchestra.
C.
concertino.
D.
tutti.
Question #31
The solo instruments in Bach's Brandenburg Concerto No. 5 are the ____________, violin, and harpsichord.
A.
trumpet
B.
oboe
C.
cello
D.
flute
Question #32
Bach's Brandenburg Concerto No. 5 is unusual in that
A.
the first movement is not in typical ritornello form.
B.
it consists of a single movement.
C.
it gives a solo role to the harpsichord.
D.
it consists of four movements.
Question #33
In many fugues, the subject in one voice is constantly accompanied in another voice by a different melodic idea called a(n)
A.
stretto.
B.
countersubject.
C.
episode.
D.
answer.
Question #34
Transitional sections of a fugue that offer either new material or fragments of the subject or countersubject are called
A.
preludes.
B.
answers.
C.
episodes.
D.
strettos.
Question #35
____________ is a musical procedure in which a fugue subject is imitated before it is completed.
A.
Augmentation
B.
Diminution
C.
Retrograde
D.
Stretto
Question #36
The text, or book, of a musical dramatic work is called the
A.
libretto.
B.
story.
C.
score.
D.
form.
Question #37
A.
Giovanni Gabrieli.
B.
Galileo Galilei.
C.
Johann Christian Bach.
D.
Johann Sebastian Bach.
Question #38
Members of the Camerata wanted to create a new vocal style based on the
A.
glories of their aristocratic patrons.
B.
music of the ancient Greek tragedies.
C.
organum of the Middle Ages.
D.
polyphonic madrigal.
Question #39
Most early baroque operas were based on Greek mythology and
A.
contemporary political events.
B.
contemporary exploration of the new world.
C.
ancient history.
D.
lyric poetry.
Question #40
The earliest opera that has been preserved is Jacopo Peri's
A.
Euridice.
B.
Arsace.
C.
Orfeo.
D.
Nerone.
Question #41
The stage machinery of baroque opera
A.
replaced set designs.
B.
was nonexistent.
C.
bordered on the colossal.
D.
was very primitive.
Question #42
Castrati
A.
All answers are correct.
B.
combined the lung power of a man with the vocal range of a woman.
C.
received the highest fees of any musicians.
D.
were male singers who had been castrated before puberty.
Question #43
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.
would improvise new words for the returning A section.
C.
would insert recitatives between the sections for added variety.
D.
was expected to embellish the returning melody with ornamental tones.
Question #44
To evoke angry or warlike feelings in some of his texts, Monteverdi introduced new orchestral effects, including pizzicato and
A.
sul ponticello.
B.
tremolo.
C.
col legno.
D.
double stops.
Question #45
In the myth of Orpheus, Orpheus goes to Hades in the hope of bringing ____________ back to life.
A.
Phyllis
B.
Oriana
C.
Eurydice
D.
Persephone
Question #46
The sonata originated in
A.
Germany.
B.
France.
C.
the Netherlands.
D.
Italy.
Question #47
Baroque trio sonatas usually involve ____________ performers.
A.
four
B.
two
C.
three
D.
five
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