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Results Form
0% (1 out of 336 correct)
The questions marked with symbol have not been graded.


WRONG1. The composer of "Viri Galilaei" is:
O A. Guillaume de Machaut.
O B. Hildegard of Bingen.
O C. Pope Gregory I.
C D. not known.



WRONG2. The performing forces of "Viri Galilaei" are:
O A. children's voices, unaccompanied.
C B. adult male voices, unaccompanied.
O C. a soprano solo voice with a small organ.
O D. a mixed chorus of adult men and women with organ accompaniment.



WRONG3. How would you characterize the mood of "Viri Galilaei"?
O A. bright and dancelike
O B. majestic and grandiose
C C. slow, solemn, then joyful
O D. festive and celebratory



WRONG4. The composer of "Columba aspexit" is:
O A. Guillaume de Machaut.
C B. Hildegard of Bingen.
O C. Pope Gregory I.
O D. not known.



WRONG5. Which structure do you hear in "Columba aspexit"?
C A. a number of tunes sung twice, with one single tune at the end
O B. the same tune sung over and over with slight changes each time
O C. one recurring tune interspersed with contrasting sections
O D. many phrases, each with a different melody



WRONG6. The performing forces in "Columba aspexit" consist of:
O A. a soprano solo voice and a drone.
O B. a choir of mixed voices and a drone.
O C. a solo tenor voice, a pipe organ, and a lute.
C D. one solo female voice, a female choir, and a drone.



WRONG7. What is the texture of "Columba aspexit," excluding the instrumental accompaniment?
C A. monophony
O B. homophony
O C. imitative polyphony
O D. nonimitative polyphony



WRONG8. Which does not change throughout "Columba aspexit"?
O A. the pitch
O B. the melody
O C. the rhythm
C D. the instrumental accompaniment



WRONG9. Which changes provide contrast in "Columba aspexit"?
O A. changes in the tempo
O B. changes in instrumentation
C C. changes from the soloist to a group of singers
O D. changes from long, drawn-out notes to short, quick notes in the rhythm



WRONG10. Who composed "La dousa votz"?
O A. Hildegard of Bingen
C B. Bernart de Ventadorn
O C. Guillaume de Machaut
O D. Pérotin



WRONG11. What type of selection is "La dousa votz"?
C A. troubadour song
O B. plainchant
O C. sequence
O D. trouvère song



WRONG12. The performing forces in "La dousa votz" are a:
O A. male vocal soloist, a choir, and a drum.
O B. female vocal soloist, a plucked stringed instrument, and a choir.
O C. female vocal soloist, a recorder, and a drum.
C D. male vocal soloist and a plucked stringed instrument.



WRONG13. The form of "La dousa votz" can be described as having:
O A. one main melody recurring with variations.
C B. several stanzas in an a a' b form.
O C. no real structure; it is free-flowing.
O D. several tunes, each sung twice, with one single tune at the end.



WRONG14. Which is true about the rhythm of "La dousa votz"?
O A. There is no identifiable meter.
O B. The tempo changes frequently.
O C. The meter is triple.
C D. The meter is duple.



WRONG15. "La dousa votz" is ________ in nature.
O A. sacred
O B. operatic
C C. secular
O D. theatrical



WRONG16. "Alleluia. Diffusa est gratia" was written by:
C A. Pérotin.
O B. Léonin.
O C. Josquin Desprez.
O D. Guillaume Dufay.



WRONG17. When was "Alleluia. Diffusa est gratia" written?
C A. c. 1200
O B. c. 1100
O C. c. 900
O D. c. 700



WRONG18. The performing forces in "Alleluia. Diffusa est gratia" are:
C A. male voices, unaccompanied.
O B. an organ and a solo male voice.
O C. a bowed stringed instrument and a solo male voice.
O D. a mixed choir, unaccompanied.



WRONG19. Which textures do you hear in "Alleluia. Diffusa est gratia"?
O A. monophony, then imitative polyphony, then homophony
C B. monophony, then organum, then monophony
O C. homophony, then monophony, then homophony
O D. organum, then homophony, then organum



WRONG20. Which is true of the rhythm of "Alleluia. Diffusa est gratia"?
O A. The meter is compound triple, then simple duple, then free.
O B. The tempo is slow throughout the selection.
C C. The meter is free, then compound duple, then free.
O D. The meter is a slow simple duple throughout the selection, with syncopation.



WRONG21. Which is true of the relative speed of the upper and lower voices during the organum section of "Alleluia. Diffusa est gratia"?
O A. All the voices move together.
C B. The higher voices move more quickly than the lower voices.
O C. The higher voices move more slowly than the lower voices.
O D. The relative speeds of the upper and lower voice parts change constantly, for variety.



WRONG22. Which does not contribute to the contrast between sections in "Alleluia. Diffusa est gratia"?
O A. meter
O B. texture
O C. tempo
C D. performing forces



WRONG23. "Alleluia. Diffusa est gratia" is ________ in nature.
O A. secular
O B. operatic
C C. sacred
O D. theatrical



WRONG24. The composer of "Quant en moy," is:
C A. Guillaume de Machaut.
O B. Hildegard of Bingen.
O C. Phillippe de Vitry.
O D. Bernart de Ventadorn.



WRONG25. The performing forces in "Quant en moy" are:
O A. a choir and a lute.
O B. two high vocal soloists.
O C. a high vocal soloist, a recorder, and a viol.
C D. two high vocal soloists and a viol.



WRONG26. Which do you hear in "Quant en moy"?
C A. hocket
O B. chordal accompaniment
O C. variation of theme
O D. modulation



WRONG27. What contributes to the light mood of "Quant en moy"?
O A. the harmony
O B. the small vocal range used
C C. the rhythms
O D. the performing forces



WRONG28. The Middle Ages, or medieval era, covers the time period of the:
C A. fifth century to the fourteenth and fifteenth centuries.
O B. twelfth century to the fifteenth and sixteenth centuries.
O C. ninth and tenth centuries to the fourteenth and fifteenth centuries.
O D. fourth and fifth centuries to the twelfth and thirteenth centuries.



WRONG29. The early history of Western music was dominated by:
O A. troubadours.
C B. the Christian church.
O C. trouvères.
O D. motets.



WRONG30. During the early Middle Ages, the institution(s) that preserved written records of its culture, including music, was/were the:
O A. secular court.
O B. great urban libraries.
C C. Christian Church.
O D. group of landowners in each locale.



WRONG31. Most of the music of medieval times was preserved for us in musical notation that was written down by:
O A. kings and queens.
O B. professional instrumentalists.
O C. amateur singers and instrumentalists.
C D. members of religious orders.



WRONG32. The type of music most likely to be written down in the Middle Ages was:
O A. music of the troubadours and trouvères.
O B. the standard repertory of the concert hall.
C C. religious music.
O D. music for weddings, parties, and other festivities involving the middle class.



WRONG33. The eight daily services in cathedrals and monasteries were known collectively as:
O A. the Mass.
C B. the Divine Office.
O C. plainchant sequence.
O D. organum.



WRONG34. The single-line melodies of the early Christian Church are known as:
C A. plainchant.
O B. madrigals.
O C. chansons.
O D. Masses.



WRONG35. Which is not a characteristic of plainchant?
O A. It is monophonic.
C B. It is strongly rhythmic.
O C. It is unaccompanied.
O D. It is sung in Latin.



WRONG36. Another term for Gregorian chant is:
O A. troubadour song.
O B. motet.
O C. madrigal.
C D. plainchant.



WRONG37. Who is traditionally associated with collecting and codifying the chants of the church?
O A. Léonin
O B. Pérotin
C C. Pope Gregory I
O D. Guillaume de Machaut



WRONG38. Gregorian chant was organized around A.D.:
O A. 400.
C B. 600.
O C. 800.
O D. 1000.



WRONG39. Gregorian chant is so named because Pope Gregory I:
C A. organized the chants.
O B. commissioned the chants.
O C. composed all of the chants.
O D. established a particular singing style to be used with the chants.



WRONG40. The role of a chant in church services was the determining factor in the chant's:
O A. texture.
O B. mode.
C C. genre.
O D. tempo and meter.



WRONG41. Music for the Mass was ________, and music for the daily Office was ________.
C A. complex; simpler
O B. simple; more complex
O C. simple; also simple
O D. complex; also complex



WRONG42. Which two characteristics do all plainchants share?
O A. All are in triple meter and use minor tonality.
O B. All have polyphonic texture and are unaccompanied.
C C. All are nonmetrical and use medieval modes.
O D. All have homophonic texture and use medieval modes.



WRONG43. A medieval mode is:
O A. a musical interlude between two parts of the Mass.
O B. a style of melodic writing.
O C. one of the services in the Divine Office.
C D. one of a system of scales.



WRONG44. Which is not a medieval mode?
O A. Dorian
O B. Lydian
C C. Grecian
O D. Phrygian



WRONG45. The medieval modes were traced back to ancient:
O A. Rome.
C B. Greece.
O C. Egypt.
O D. Israel.



WRONG46. On which musical element is the artistic effect of plainchant based?
C A. melody
O B. rhythm
O C. texture
O D. harmony



WRONG47. "Viri Galilaei" is an example of a(n):
C A. Gregorian Introit.
O B. estampie.
O C. late medieval sequence.
O D. troubadour song.



WRONG48. "Viri Galilaei" would most likely have been used:
C A. in the Divine Office.
O B. at the beginning of the Mass for the Ascension.
O C. at a royal coronation.
O D. for courtly entertainment.



WRONG49. "Columba aspexit" is an example of medieval:
O A. sacred polyphony.
C B. sacred monophony.
O C. secular polyphony.
O D. secular monophony.



WRONG50. Hildegard of Bingen lived in the ________ century.
O A. ninth
O B. tenth
O C. eleventh
C D. twelfth



WRONG51. Hildegard's music is a product of:
O A. biblical texts and her own plainchants.
C B. her own poetry and her own plainchants.
O C. biblical texts and Gregorian chant.
O D. her own poetry and Gregorian chant.



WRONG52. The subject of "Columba aspexit" is:
C A. praise for Saint Maximinus.
O B. unrequited love.
O C. the coming of spring.
O D. praise for Saint Francis of Assisi.



WRONG53. Which composition is a plainchant sequence?
O A. "Quant en moy"
O B. "La dousa votz"
O C. "Alleluia. Diffusa est gratia"
C D. "Columba aspexit"



WRONG54. Which is true of the way early music was notated?
C A. Tempo was not indicated in the score.
O B. Instruments were indicated for accompaniments.
O C. Solos and choral sections were indicated in the score.
O D. Specific notes were not indicated in the score.



WRONG55. Which is true about the sources of artistic and political influence over the course of the Middle Ages?
O A. The Christian Church remained the only influence.
O B. Kings and barons completely took over the influence once enjoyed by the Christian Church.
C C. Kings and barons gained influence, but the Christian Church retained some power.
O D. The middle class rose and took over artistic influence.



WRONG56. The troubadours, trouvères, and Minnesingers date back to the ________ centuries.
O A. eleventh and twelfth
C B. twelfth and thirteenth
O C. thirteenth and fourteenth
O D. eleventh through the fourteenth



WRONG57. Who were the medieval poet-musicians of southern France?
C A. troubadours
O B. trouvères
O C. Léonin and Pérotin
O D. Minnesingers



WRONG58. Which was not a function of secular music in medieval court life?
O A. accompaniment for dancing and banquets
C B. accompaniment for devotional and worship services
O C. accompaniment for ceremonial occasions and tournaments
O D. accompaniment for military campaigns and troops



WRONG59. Which was not a subject reflected in the poems of the troubadours and trouvères?
O A. crusaders' songs
O B. laments for dead princes
C C. religious praise
O D. love, or lack thereof



WRONG60. Which type of musician does not fit with the others?
O A. troubadour
O B. trouvère
C C. jongleur
O D. Minnesinger



WRONG61. Which is a "dawn song"?
O A. pastourelle
O B. jongleur
O C. estampie
C D. alba



WRONG62. Which is true of Bernart de Ventadorn?
C A. He had a humble background but worked for Queen Eleanor of Aquitaine, wife of Henry II.
O B. He was born a prince but later became a priest-composer.
O C. He had a humble background but ended his life as a bishop, working for Pope Gregory I.
O D. He was the first major composer of plainchant.



WRONG63. Which characteristic makes "La dousa votz" different from "Columba aspexit"?
O A. "La dousa votz" is sung.
O B. "La dousa votz" is sacred.
O C. "La dousa votz" is medieval in style.
C D. "La dousa votz" is secular.



WRONG64. The meaning of the text of "La dousa votz" involves:
O A. admiration of a saint.
O B. contentment in love.
C C. betrayal in love.
O D. the joys of springtime.



WRONG65. The few surviving medieval court dances are called:
O A. sequences.
C B. estampies.
O C. albas.
O D. sequences.



WRONG66. Which is not a characteristic of estampies?
O A. They are unassuming one-line pieces repeated many times in varied forms.
O B. They served as music for dancing.
C C. They are in simple duple meter.
O D. They are in triple meter.



WRONG67. The earliest type of polyphony, dating from around A.D. 900 was:
O A. the isorhythmic motet.
O B. plainsong.
C C. organum.
O D. the sequence.



WRONG68. The early compositional style consisting of a plainchant melody with another melody sung simultaneously to the same words is called:
O A. monophony.
C B. organum.
O C. a Gregorian chant.
O D. estampie.



WRONG69. Early polyphony had its beginnings at:
O A. St. Stephen's Cathedral in Vienna.
O B. the Vatican.
O C. Winchester Abbey, England.
C D. Notre Dame Cathedral in Paris.



WRONG70. The two great composers of the Notre Dame school were:
O A. Guillaume Dufay and Josquin Desprez.
C B. Léonin and Pérotin.
O C. Hildegard of Bingen and Bernart de Ventadorn.
O D. Guillaume de Machaut and Phillippe de Vitry.



WRONG71. "Alleluia. Diffusa est gratia" was composed for:
O A. a Christmas festival.
O B. middle-class home entertainment.
O C. the birthday of Pope Gregory I.
C D. the birthday of the Virgin Mary.



WRONG72. What happened to polyphonic music during the thirteenth century?
O A. It became more and more closely linked with church services.
O B. It became more and more popular as middle-class family entertainment.
C C. It became more and more removed from church services.
O D. It became more and more monophonic.



WRONG73. The medieval polyphonic form that resulted from the addition of texts to the upper parts while retaining the Gregorian chant in the lower part is called the:
C A. motet.
O B. Mass.
O C. madrigal.
O D. estampie.



WRONG74. Music of the Notre Dame School was later referred to as:
O A. ars nova.
C B. ars antiqua.
O C. the new school.
O D. the isorhythmic school.



WRONG75. In Western music, the period from about 1300 to 1400 was the period of:
O A. plainsong.
O B. early experiments in polyphony.
O C. the first flowering of polyphony at Notre Dame.
C D. ars nova.



WRONG76. One of the chief characteristics of the late medieval motet is:
O A. surprising cadences.
O B. the jarring use of dissonance.
C C. intricate and complex rhythmic combinations.
O D. smooth, regular rhythms and brief melodies.



WRONG77. Which does not pertain to the Notre Dame school?
O A. ars antiqua
C B. ars nova
O C. organum
O D. Pérotin



WRONG78. An outstanding composer of the French ars nova was:
C A. Guillaume de Machaut.
O B. Pérotin.
O C. Hildegard of Bingen.
O D. Pope Gregory I.



WRONG79. Guillaume de Machaut composed in the ________ century.
O A. twelfth
O B. thirteenth
C C. fourteenth
O D. fifteenth



WRONG80. Machaut was not only a composer; he was also a:
O A. dancer.
O B. prince.
O C. lawyer.
C D. poet.



WRONG81. "Quant en moy" is a:
O A. Gregorian chant.
C B. motet.
O C. sequence.
O D. troubadour song.



WRONG82. Which part has the plainchant fragment in "Quant en moy"?
C A. the viol
O B. the higher voice
O C. the lower voice
O D. the recorder



WRONG83. The text of "Quant en moy" involves:
O A. life at court in medieval Europe.
C B. romantic love.
O C. God's love and mercy to humankind.
O D. honoring a saint.



WRONG84. The polyphonic technique in which the melodies in each stanza change while the complex rhythms are repeated is called:
O A. rhythmic isolation.
C B. isorhythm.
O C. isotonicism.
O D. estampie.



WRONG85. The hocket is a device that:
O A. assigned metrical values to plainchant.
O B. was used in the Cathedral of Notre Dame in the composition of sequences.
C C. allowed for fast interplay between voices in motets.
O D. allowed for the even division between soloists and choirs in the singing of sequences.



WRONG86. Which piece contains a hocket?
O A. "Columba aspexit"
O B. "La dousa votz"
O C. "Alleluia. Diffusa est gratia"
C D. "Quant en moy"



WRONG87. Which is not based on a chant melody?
O A. "Columba aspexit"
C B. "La dousa votz"
O C. "Alleluia. Diffusa est gratia"
O D. "Quant en moy"



WRONG88. The musics of the world show some parallels. Two of them are:
O A. mode and harmony.
C B. function and technique.
O C. notation and polyphony.
O D. tone color and texture.



WRONG89. Qur'anic recitation is thought of as ________ the sacred text.
C A. reading
O B. dancing
O C. singing
O D. acting



WRONG90. Like Gregorian chant, Qur'anic recitation is:
C A. monophonic, nonmetric.
O B. homophonic, metric.
O C. monophonic, metric.
O D. polyphonic, nonmetric.



WRONG91. The special singer who calls the faithful to worship is called:
O A. lead tenor
O B. chanter
O C. soloist
C D. muezzin



WRONG92. The term for Hawai'ian prayer songs is:
O A. adhan.
C B. mele pule.
O C. musiqi.
O D. hula.



WRONG93. All traditional Hawai'ian song, like Gregorian chant and Qur'anic recitation are:
O A. polyphonic.
C B. monophonic.
O C. metrical.
O D. modal.



WRONG94. Hawai'ian mele pule is nearly:
O A. polyphonic.
O B. homophonic.
C C. monotonal.
O D. dissonant.



WRONG95. What is heard in the mele pule is a clear, almost sobbing vibrato, called:
O A. rasping.
O B. lei.
O C. monotony.
C D. i'i.



WRONG96. Which is true of "Ave maris stella"?
C A. It is a homophonic setting of a Gregorian hymn.
O B. It is a polyphonic setting of plainchant.
O C. It is a monophonic chant.
O D. It is a plainchant sequence.



WRONG97. In "Ave maris stella," which stanzas consist of the unembellished plainchant?
O A. 2, 3, and 4
C B. 1, 3, and5
O C. 2, 4, and 6
O D. 3 and 5



WRONG98. In which stanzas of "Ave maris stella" do you hear the composer's own music?
O A. 2, 3, and 4
O B. 1, 2, and 3
O C. 1, 3, and 5
C D. 2, 4, and 6



WRONG99. In which voice(s) during "Ave maris stella" do you hear the hymn tune in paraphrase, with extra notes?
O A. the lowest voice
O B. the lowest and middle voices
C C. the highest voice
O D. the middle voice



WRONG100. What are the performing forces in "Ave maris stella"?
O A. solo male voice
O B. solo male voice alternating with male choir
C C. a choir of high and low voices
O D. a female choir



WRONG101. The composer of Pange lingua is:
C A. Josquin Desprez.
O B. Guillaume Dufay.
O C. Giovanni Pierluigi da Palestrina.
O D. Thomas Weelkes.



WRONG102. The performing forces in Pange lingua consist of a:
O A. solo high voice.
O B. choir of high voices.
O C. solo tenor and a mixed choir.
C D. choir of high and low voices.



WRONG103. The composer used the melody of the plainsong hymn ________ as the basis of Pange lingua.
O A. "Qui tollis"
O B. "Kyrie eleison"
O C. "Gloria"
C D. "Pange lingua"



WRONG104. What do you hear after the brief plainchant section in Pange lingua?
C A. a point of imitation
O B. a hocket
O C. an isorhythmic section
O D. a sequence



WRONG105. The composer of Pange lingua uses plainchant to open:
O A. each section of the Kyrie.
C B. the first section of the Kyrie.
O C. the middle section, or "Christe."
O D. the "Qui tollis" section.



WRONG106. What type of composition is Pange lingua?
O A. a motet
O B. a madrigal
O C. a chanson
C D. a Mass



WRONG107. Which parts of the larger work are included in Pange lingua?
C A. Kyrie and Gloria
O B. Credo and Kyrie
O C. Pange and lingua
O D. first and second verses



WRONG108. What is the predominant texture of Pange lingua?
O A. monophony
O B. homophony
C C. imitative polyphony
O D. nonimitative polyphony



WRONG109. The composer of Pope Marcellus is:
O A. Josquin Desprez.
C B. Giovanni Pierluigi da Palestrina.
O C. Thomas Weelkes.
O D. anonymous.



WRONG110. The performing forces in Pope Marcellus consist of:
O A. voices and organ.
O B. voices and brass instruments.
O C. voices and string instruments.
C D. voices alone.



WRONG111. Pope Marcellus is a:
O A. madrigal.
O B. motet.
C C. Mass.
O D. chanson.



WRONG112. What is the predominant texture of Pope Marcellus?
O A. monophony
O B. imitative polyphony
O C. nonimitative polyphony
C D. homophony



WRONG113. How does Pope Marcellus differ from the Pange lingua Mass?
O A. It uses fewer voices and more solos are heard.
O B. It is more polyphonic; it has many points of imitation.
C C. It uses more voices and alternates choirs; it is more homophonic.
O D. It uses a different text than that used in the Pange lingua Mass.



WRONG114. The purpose of Pope Marcellus was to:
O A. provide dance music.
O B. entertain nobility.
O C. entertain the public.
C D. worship God.



WRONG115. "As Vesta Was from Latmos Hill Descending" is a:
C A. madrigal.
O B. Mass.
O C. motet.
O D. plainchant sequence.



WRONG116. The text of "As Vesta Was from Latmos Hill Descending" involves:
O A. worship of God.
C B. Queen Elizabeth and mythological figures.
O C. a celebration of the birthday of the Virgin Mary.
O D. unrequited love.



WRONG117. "As Vesta Was from Latmos Hill Descending" demonstrates:
O A. isorhythm.
O B. hocket.
O C. plainchant sequence.
C D. word painting.



WRONG118. The performing forces in "As Vesta Was from Latmos Hill Descending" consist of:
O A. a male choir.
O B. two choirs in alternation.
C C. male and female vocal soloists.
O D. a female choir.



WRONG119. "Daphne" is a:
O A. pavane.
C B. galliard.
O C. jig.
O D. stylized dance.



WRONG120. The performing forces in "Daphne" consist of:
C A. early violins.
O B. early violins and lute.
O C. recorders, early violins, and harpsichord.
O D. organ and early violins.



WRONG121. The texture of "Daphne" is:
O A. monophonic.
C B. homophonic.
O C. polyphonic.
O D. monophonic, then polyphonic.



WRONG122. The meter of "Kemp's Jig" is:
C A. duple.
O B. triple.
O C. compound duple.
O D. compound triple.



WRONG123. What is the form of "Kemp's Jig"?
O A. a b a repeated several times
O B. a a b b c c repeated several times
C C. a a b repeated several times
O D. a a' a" a''' and so on



WRONG124. The purpose of "Kemp's Jig" is:
O A. praising Queen Elizabeth.
O B. celebrating a biblical birthday.
O C. use in a church service.
C D. listening enjoyment.



WRONG125. The process by which Renaissance composers freely embellished plainchant melodies for use in their compositions is known as:
O A. harmonization.
X B. improvisation.
C C. paraphrase.
O D. elaboration.



WRONG126. In the early Renaissance, composers concentrated on the ________ rather than the ________ of the plainchant melodies used.
O A. form; melody
C B. sonority; authoritarian intellectual aspects
O C. imitative and nonimitative polyphony; melody
O D. intellectual elements; sensuous aspects



WRONG127. In medieval music the plainchant melody was in the ________ voice, but in the early Renaissance it moved to the ________ voice.
C A. lowest; highest
O B. highest; lowest
O C. lowest; middle
O D. middle; highest



WRONG128. What was the new, preferred texture of early Renaissance music?
O A. monophony
O B. imitative polyphony
O C. nonimitative polyphony
C D. homophony



WRONG129. What is the result of having all voices move in simple chord patterns?
C A. plainchant harmonization
O B. a motet
O C. a polyphonic Mass
O D. a madrigal



WRONG130. Where is the birthplace of Dufay (and many other important composers of his day) and where did he spend his career?
O A. London; Paris
C B. northern France near Flanders; Italy
O C. southern France; Munich
O D. Italy; northern France near Flanders



WRONG131. In church music, a short tune sung through many stanzas of text is a:
O A. motet.
O B. Mass.
O C. madrigal.
C D. hymn.



WRONG132. Dufay's "Ave maris stella" is:
O A. an estampie.
O B. a madrigal.
C C. a harmonized hymn.
O D. part of a polyphonic Mass.



CORRECT133. Dufay is best known for his:
O A. madrigals and motets.
O B. instrumental dance pieces.
X C. polyphonic Masses and plainchant harmonizations.
O D. Gregorian chants and hymns.



WRONG134. The most important of the daily church services was the:
O A. Office.
C B. Mass.
O C. proper.
O D. vespers.



WRONG135. The polyphonic Mass was standardized into the five-part form by about:
O A. 1200.
O B. 1350.
O C. 1400.
C D. 1450.



WRONG136. The five sections of the polyphonic Mass are:
O A. Kyrie, Eleison, Christe, Eleison, Kyrie.
C B. Kyrie, Gloria, Credo, Sanctus, Agnus Dei.
O C. Kyrie, Gloria, Cantus, Sanctus, Agnus Dei.
O D. Kyrie, Gloria, Communion, Sanctus, Agnus Dei.



WRONG137. Which is not a movement of the Mass?
O A. Credo
O B. Sanctus
C C. Cantus
O D. Gloria



WRONG138. The great, large-scale compositional challenge of the Renaissance was musical unification of:
O A. the church.
C B. the Mass.
O C. the motet.
O D. plainchant harmonizations.



WRONG139. The "High Renaissance" style began around:
O A. 1350
O B. 1400
O C. 1450
C D. 1500



WRONG140. Which two techniques were blended to form the compositional style for the Mass, the motet, and the chanson in the High Renaissance?
C A. imitative counterpoint and homophony
O B. monophony and harmonization
O C. nonimitative polyphony and monophony
O D. imitative counterpoint and polyphony



WRONG141. How did polyphony change from the beginning to the end of the fifteenth century?
O A. It disappeared.
O B. It started out imitative and ended nonimitative.
C C. It started out nonimitative and ended imitative.
O D. Polyphony did not change throughout the century.



WRONG142. In terms of texture, High Renaissance composers:
O A. focused on the horizontal aspects of music at the expense of the vertical aspects.
C B. used polyphonic lines in such a way that a chordal quality was maintained.
O C. focused on the vertical aspects of music at the expense of the horizontal aspects.
O D. turned their attention away from polyphonic and chordal writing and focused on monophony.



WRONG143. The musical term for "voices alone" is:
O A. strophic.
O B. isorhythmic.
O C. cantus.
C D. a cappella.



WRONG144. The preferred tone color of the High Renaissance style was:
O A. stringed instruments and voice.
O B. organ and voice.
O C. brass and organ with voice.
C D. voices alone.



WRONG145. How can rhythm in the High Renaissance style be characterized?
O A. Music usually was in a clear triple meter.
C B. Rhythm was unaccented and fluid, with no identifiable meter.
O C. Rhythm was energetic, but with constantly changing meters.
O D. Rhythm was complex, featuring techniques such as isorhythm.



WRONG146. Which was not an important element of the High Renaissance style?
C A. isorhythm
O B. clear declamation
O C. elaboration
O D. composed homophony



WRONG147. Who was the first master of the High Renaissance style?
O A. Thomas Weelkes
C B. Josquin Desprez
O C. Guillaume Dufay
O D. Giovanni Pierluigi da Palestrina



WRONG148. Josquin composed works in which genre(s)?
O A. stylized dance
O B. motet, chanson, and madrigal
O C. plainchant and madrigal
C D. Mass, motet, and chanson



WRONG149. The text of the Kyrie section of the Pange lingua Mass is:
C A. Kyrie eleison, Christe eleison, Kyrie eleison.
O B. Kyrie, Eleison, Christe.
O C. Gloria patri, qui tollis peccata mundi.
O D. Pange lingua, Kyrie eleison, Christe eleison.



WRONG150. Points of imitation are used extensively in:
O A. "As Vesta Was from Latmos Hill Descending."
C B. the Kyrie from the Pange lingua Mass.
O C. "Kemp's Jig."
O D. "Daphne."



WRONG151. A point of imitation is:
O A. the beginning of each movement in a polyphonic Mass.
O B. a cadence point where the polyphony comes together to form homophonic chords.
C C. a passage of imitative polyphony using one musical motive and one phrase of text.
O D. the place where the second voice enters in a passage of imitative polyphony.



WRONG152. A characteristic of High Renaissance music, as heard in the Pange lingua Mass, is the textural alternation of ________ and ________.
O A. imitative polyphony; nonimitative polyphony
O B. monophony; homophony
O C. points of imitation; monophony
C D. homophony; imitative polyphony



WRONG153. Renaissance composers were inspired to explore the power of music to express human feelings. Their inspiration came from the:
O A. church.
O B. court.
C C. ancient Greeks.
O D. ancient Egyptians.



WRONG154. The first style period in which composers tried to set words to music in a natural and clear way was:
O A. ancient Greece.
O B. the Middle Ages.
O C. the early Renaissance.
C D. the High Renaissance.



WRONG155. The style of setting words to music using rhythms that approximate human speech is called:
C A. declamation.
O B. imitative.
O C. word painting.
O D. isorhythmic.



WRONG156. What is the device used by Renaissance composers to depict in music the words or ideas of a text?
O A. a cappella
C B. word painting
O C. cantus firmus
O D. isorhythm



WRONG157. Word painting was developed in the ________ century.
O A. fourteenth
O B. fifteenth
C C. sixteenth
O D. seventeenth



WRONG158. Palestrina, Lassus, Victoria, and Byrd embraced the High Renaissance style of composition and worked, respectively, in:
C A. Rome, Munich, Rome and Madrid, and England.
O B. Venice, Rome, Madrid, and England.
O C. Rome, Munich, Madrid, and England.
O D. Rome and Madrid, Munich, Venice, and England.



WRONG159. The most convincing and diplomatic composer of Roman Catholic Church music during the Counter-Reformation was:
O A. Fabritio Caroso.
C B. Giovanni Pierluigi da Palestrina.
O C. Josquin Desprez.
O D. Thomas Weelkes.



WRONG160. Homophonic texture and avoidance of long, elaborate phrases composed on one syllable of text characterize the music of:
O A. Josquin Desprez.
O B. Guillaume Dufay.
C C. Giovanni Pierluigi da Palestrina.
O D. Pérotin.



WRONG161. Why was the motet more attractive to sixteenth-century composers than the Mass?
O A. Polyphony was allowed in the motet, but not in the Mass.
C B. The motet allowed for different texts, but the Mass always had the same text.
O C. The motet was secular, and the Mass was religious.
O D. The motet was in the High Renaissance homophonic style, whereas the Mass was usually polyphonic.



WRONG162. Which is true about the evolution of the motet over the centuries?
C A. The motet changed a great deal over the centuries.
O B. The motet stayed the same over the centuries.
O C. The motet started in the medieval period, changed to a simpler form in the early Renaissance, then changed back to its more intellectual form by the end of the Renaissance.
O D. The motet began in the early Renaissance and changed drastically during that era.



WRONG163. The Italian madrigal dates from about:
O A. 1500.
C B. 1530.
O C. 1560.
O D. 1600.



WRONG164. A short piece of music set to a one-stanza poem of a secular nature with each part sung typically by one singer, and having alternating sections of homophony and polyphony, is a:
O A. motet.
O B. pavane.
C C. madrigal.
O D. galliard.



WRONG165. The anthology of madrigals in honor of Queen Elizabeth that was compiled in 1601 was called:
O A. Celeste Giglio.
O B. "As Vesta Was from Latmos Hill Descending."
O C. "Veni Creator Spiritus."
C D. The Triumphs of Oriana.



WRONG166. The most significant difference between the Italian madrigal and the English madrigal is that Italian madrigals are ________ and English madrigals are ________.
C A. in Italian; in English
O B. polyphonic; homophonic
O C. homophonic; polyphonic
O D. religious in nature; secular



WRONG167. Thomas Weelkes wrote madrigals in:
O A. Latin.
O B. Italian.
C C. English.
O D. French.



WRONG168. Contrary to Renaissance style trends, which composer wrote much instrumental music?
O A. Thomas Weelkes
O B. Giovanni Pierluigi da Palestrina
O C. Josquin Desprez
C D. William Byrd



WRONG169. A stylized dance is one that:
O A. was used only by nobility, specifically at court functions.
O B. used up-to-date dance steps.
C C. was made more elaborate so that musical elements are more important.
O D. combines homophony and polyphony in a way that was typical of the High Renaissance style of composition.



WRONG170. One aspect of "Kemp's Jig" that leads to dance stylization is:
O A. unusual instrumentation.
O B. the association with dancing in the theater.
O C. predictable cadence points.
C D. irregular cadence points.



WRONG171. Which was the most widespread of Renaissance instrumental genres?
O A. the madrigal
C B. dance music
O C. organ music
O D. instrumental music used to accompany voices in church



WRONG172. The pavane and galliard were:
O A. types of Renaissance chansons.
O B. forms used in Renaissance Masses.
C C. types of Renaissance dance music.
O D. forms used in madrigals.



WRONG173. Pavanes are often paired with:
C A. galliards.
O B. jigs.
O C. madrigals.
O D. other pavanes.



WRONG174. The pavane is in ________ meter, and the galliard is in ________ meter.
O A. duple; duple
O B. duple; compound duple
C C. duple; triple
O D. compound duple; compound triple



WRONG175. What makes it easy for the dancers to keep their places in "Daphne"?
O A. the polyphony
C B. the clear cadences ending the phrases
O C. the instrumental accompaniment
O D. the text



WRONG176. Will Kemp was:
O A. the composer of "Kemp's Jig."
O B. a famous Elizabethan violinist.
O C. a composer of music for Shakespeare's plays.
C D. an actor in Shakespeare's plays.



WRONG177. The first great phase of European expansion into other parts of the world was from ________ to ________.
O A. 1780, 1820
O B. 1680, 1720
O C. 1580, 1620
C D. 1480, 1620



WRONG178. Earlier travels by non-Europeans include the great Islamic scholar and explorer Ibn Battuta, as well as:
O A. Vasco da Gama.
C B. Cheng Ho.
O C. Bartolomeu Dias.
O D. Lao Tse.



WRONG179. Reports from European explorers, missionaries and merchants included descriptions of music such as:
O A. Argentinian polkas.
O B. Andean antiphons and sequences.
C C. spiritual songs of Tupi Indians of Brazil.
O D. Hawai'ian mele pule chants.



WRONG180. It was the ________ explorers who told of the ________ of Indonesia.
C A. Dutch, gamelans
O B. Aztec, sackbuts
O C. English, song and dance
O D. Chinese, Noh opera



WRONG181. A Spanish missionary in 1530 wrote about the Aztecs' way of beginning a dance by:
O A. playing a gong.
C B. softly beating a cymbal.
O C. softly blowing whistles.
O D. singing a long elaborate chant.



WRONG182. Two main drums of an Aztec ceremony were played with:
O A. tiles and ropes.
O B. ceremonial sticks.
O C. rattles and gourds.
C D. hands and mallets.



WRONG183. The use of music for worship in Mexico is:
O A. only for special days.
O B. rare.
C C. very widespread.
O D. occasional.



WRONG184. The words for some of the Mexicans' songs were in their native language ________.
C A. Nahuatl
O B. Basque
O C. Bantu
O D. Incan



WRONG185. The harmonic style, originating possibly in England, which introduced a more 'homophonic' sound to early Renaissance music, is called:
O A. isorhythm
C B. fauxbourdon
O C. conductus
O D. seligheit



WRONG186. The English composer who travelled with the Duke of Bedford to France was named:
C A. John Dunstable
O B. Guillaume Dufay
O C. Giles Binchois
O D. Lionel Power



WRONG187. The Duke of Bedford was fighting the army of:
O A. The King of France
O B. The Duke of Provence
O C. Eleanor of Aquitaine
C D. Joan of Arc



WRONG188. The Renaissance frottola called "El Grillo" (The Cricket) was composed by:
O A. Guillaume Dufay
O B. Giovanni Pierluigi da Palestrina
C C. Josquin des Prez
O D. Heinrich Isaacs



WRONG189. The composer of "Viri Galilaei" is:
O A. Guillaume de Machaut.
O B. Hildegard of Bingen.
O C. Pope Gregory I.
C D. not known.



WRONG190. The two styles of organum are sustained-note and _________.
O A. monophonic
C B. discant
O C. motet
O D. Notre-Dame School



WRONG191. The direct precursor of motet, stemming from clausulae, is called the ______________.
O A. hymn
O B. chant
O C. conductus
O D. pre-motet



WRONG192. Elizabethan instrumental music is noted for its profundity, depth, and subtlety.
O A. True
C B. False



WRONG193. In the history of music the period from 1600 to 1750 is known as the period.
O A. medieval
O B. Renaissance
C C. Baroque
O D. Classical



WRONG194. Which is not an instrument from the Baroque period that has recently been revived?
C A. piano
O B. recorder
O C. harpsichord
O D. high trumpet



WRONG195. Much of the Baroque music we hear today is from the "late Baroque" era, which spanned the years:
O A. 1600 to 1750.
C B. 1700 to 1750.
O C. 1750 to 1850.
O D. 1650 to 1750.



WRONG196. Who are the two most important composers of the late Baroque period?
O A. Johann Sebastian Bach and Georg Philipp Telemann
O B. Antonio Vivaldi and Johann Sebastian Bach
O C. George Frideric Handel and Antonio Vivaldi
C D. Johann Sebastian Bach and George Frideric Handel



WRONG197. Which term is not usually applied to the period 1600 to 1750?
C A. Age of Exploration
O B. Age of Absolutism
O C. Baroque Period
O D. Age of Science



WRONG198. Which best describes the dualism found in Baroque art and music?
O A. recitative versus aria and arioso
C B. extravagance versus system and calculation
O C. church music versus secular music
O D. systematic extravagance versus calculated pomp



WRONG199. Who was the leading monarch in the Age of Absolutism?
O A. Elizabeth I of England
O B. Cosimo de' Medici
O C. the pope
C D. Louis XIV of France



WRONG200. Which is not true of the Age of Absolutism?
O A. Monarchs had great control over the arts.
O B. The arts functioned at least partly to flatter nobility.
C C. Absolutely no emotional display was allowed in Baroque music.
O D. The arts exhibited control along with extravagance.



WRONG201. Opera arose around the year:
C A. 1600.
O B. 1603.
O C. 1637.
O D. 1650.



WRONG202. Which was a characteristic of Baroque theater that made it appealing to Baroque audiences and composers of opera?
O A. the deep, quiet spirituality of the theater
O B. the slapstick comedy of the stage
C C. the display of strong emotions in drama
O D. the down-to-earth, realistic topics and characters



WRONG203. Which best describes rhythm in the Baroque era?
O A. It became less regular.
C B. It became more regular.
O C. Bar lines disappeared.
O D. Meters changed frequently and often were unidentifiable.



WRONG204. Which best describes the musical depiction of emotion in the late Baroque era?
O A. Emotions were expressed freely and naturally.
O B. A piece of music was performed differently each time; the performer expressed what he or she felt at the moment.
O C. Emotional display was kept at a minimum, as a reaction to the Renaissance musical style.
C D. Emotions were scientifically categorized and musical expression of emotion was systematized into techniques and devices.



WRONG205. The Baroque composer was considered by contemporaries to be:
O A. an artist, striving for self-expression.
O B. a virtuoso performer, capable of amazing the ordinary person.
C C. a craftsperson, creating a product on demand.
O D. an undesirable, constantly moving from town to town looking for employment.



WRONG206. The three main institutions where Baroque composers could make a living were the:
O A. church, the tavern, and the concert hall.
C B. church, the opera house, and the court.
O C. court, the university, and musical journals.
O D. opera house, the theater, and the concert hall.



WRONG207. Which is not part of the job description of a Baroque church musician?
C A. composing short operas for the entertainment and flattery of the clergy
O B. composing music for voices and instruments for religious services
O C. conducting the choir and playing the organ
O D. teaching in the choir school of the church



WRONG208. Which is not true of the Baroque treatment of rhythm?
O A. There is usually a regular, identifiable meter.
C B. There are no bar lines, so meter is not important.
O C. Certain instruments, such as the harpsichord, emphasize a clear, steady beat and meter.
O D. The harmonic rhythm is generally steady and predictable.



WRONG209. Baroque dynamics generally:
O A. change with the harmonic rhythm.
O B. get gradually louder and softer throughout a movement.
C C. stay the same throughout a movement.
O D. get louder and softer according to the emotions of the performer.



WRONG210. Baroque music is often very adaptable and changeable with regard to one musical element. This element is:
O A. rhythm.
O B. texture.
O C. harmony.
C D. tone color.



WRONG211. Which instrument family formed the core of the Baroque orchestra?
C A. strings
O B. woodwinds
O C. brass
O D. percussion



WRONG212. The orchestra of the court of Louis XIV was called the:
O A. "Opera Orchestra of the Sun King."
C B. "Twenty-Four Violins of the King."
O C. "Royal Festival Orchestra."
O D. "Versailles Philharmonic."



WRONG213. Which best describes Baroque melodies?
O A. simple lines
O B. symmetrical and graceful
C C. complex and appearing in sequences
O D. brief motives



WRONG214. The standard texture of much Baroque music is:
O A. monophonic.
O B. homophonic.
O C. nonimitative.
C D. polyphonic.



WRONG215. The continuo, or basso continuo, is the:
O A. lowest voice part in polyphonic vocal music.
O B. lowest instrument in the orchestra that plays continuously.
O C. chordal instrument in Baroque music.
C D. bass line and continuous chords in Baroque music.



WRONG216. Which two instruments would most likely have played the basso continuo part in a Baroque composition?
O A. flute and violin
O B. violin and cello
C C. cello and harpsichord
O D. lute and violin



WRONG217. The numerical shorthand below the basso continuo notes indicating the content of chords to be played is called:
O A. ground bass.
C B. figured bass.
O C. ground figures.
O D. concerto grosso.



WRONG218. How did Baroque composers view the use of emotion in their compositions?
C A. They isolated emotions, analyzed them, and portrayed them as consistently as possible.
O B. They revealed their own emotions directly in their compositions.
O C. They allowed only subtle emotional display in their work.
O D. They left all emotion out of the music, knowing that the performer would provide an emotional rendition of this intellectual style of music.



TEXT219. Define baroque. What is the source of this word? When was the word baroque applied to the music of this period, and in what spirit?

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TEXT220. Alessandro Scarlatti, Antonio Vivaldi, Francois Couperin, Jean Philippe Rameau, Domenico Scarlatti, and Georg Philipp Telemann were important composers in the late Baroque period. Give their respective countries of employment.

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TEXT221. Explain the "divine right of kings" and name a king to which this right seemed to apply. Relate this concept to the Age of Absolutism.

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TEXT222. Explain how science affected both art and ordinary life in the Baroque era.

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TEXT223. Describe the extent to which the monarchy of the "Sun King" influenced music, the visual arts, and architecture in his country and elsewhere.

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TEXT224. Describe the types of music and the musical forces demanded in the courts of nobility in the Age of Absolutism.

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TEXT225. Describe two purposes of opera in the Age of Absolutism.

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TEXT226. Explain the theatrical quality of the Baroque play as it related to and inspired opera of the time.

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TEXT227. Explain the impact that improved tuning had on composers.

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TEXT228. Describe the change in the use of harmony in the late Baroque era.

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TEXT229. How did composers approach form in the late Baroque era?

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TEXT230. Describe the scientific approach to emotional expression in music in the late Baroque era.

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TEXT231. Describe the way the career of a composer was viewed in the Baroque era.

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TEXT232. Name and describe the three main institutions where a Baroque composer could make a living. Contrast the probable quality of life of composers in each institution.

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TEXT233. Characterize the Baroque use of rhythm. Refer to walking bass, meter, and harmonic rhythm in your answer.

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TEXT234. Define harmonic rhythm.

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TEXT235. How did Baroque composers and performers use dynamics?

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TEXT236. Briefly describe the two ways Baroque composers approached and used tone color.

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TEXT237. Briefly describe the early Baroque orchestra as typified in the court of Louis XIV.

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TEXT238. Name the keyboard instruments of the Baroque orchestra. For which type of music was each used?

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TEXT239. Describe the basic Baroque orchestra and explain the difference between this and the "festive" Baroque orchestra. When might the festive orchestra be called on to play?

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TEXT240. Characterize Baroque melody. Refer to musical elements such as pitch range, rhythm, ornamentation, length, and use of sequence.

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TEXT241. Is it generally easier to sing typical Baroque melodies, or to play them on instruments? Explain.

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TEXT242. Is Baroque music primarily simple or complex in texture? Describe instances in which Baroque music is polyphonic and ways in which it is homophonic.

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TEXT243. Define basso continuo. Refer to instrumentation and figured bass in your answer.

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TEXT244. Briefly describe the functions of the left and right hands of a continuo keyboard player.

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TEXT245. Briefly explain the way Baroque harmony is "polarized."

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TEXT246. Discuss the patronage system that existed in the Baroque era.

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TEXT247. What two nonmusical factors were influential in making Baroque forms so clear and regular?

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TEXT248. Characterize the Baroque depiction of emotion in music. Was it realistic or exaggerated? How?

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WRONG249. The composer of the Violin Concerto in G is:
O A. Johann Sebastian Bach.
O B. Henry Purcell.
C C. Antonio Vivaldi.
O D. Antonio Stradivarius.



WRONG250. The Violin Concerto in G was composed between:
O A. 1600 and 1650.
O B. 1650 and 1700.
C C. 1700 and 1750.
O D. 1750 and 1800.



WRONG251. In the recording of Vivaldi's Violin Concerto in G, the continuo chords are played by a(n):
O A. cello.
O B. bassoon.
O C. violin.
C D. archlute.



WRONG252. From which country and style period is the Violin Concerto in G?
O A. England; Classical
O B. Germany; Baroque
O C. Germany; Renaissance
C D. Italy; Baroque



WRONG253. Which do you hear in the first movement of the Violin Concerto in G?
C A. a contrast between ritornello and solo passages
O B. variation on a melody above a ground bass
O C. subjects and countersubjects
O D. A B A' form



WRONG254. The form of the second movement of the Violin Concerto in G is:
O A. fugue.
C B. variation.
O C. ritornello.
O D. A B A.



WRONG255. The main melody of the second movement of the Violin Concerto in G is:
C A. in the bass.
O B. in the solo violin line.
O C. in the upper part of the orchestra.
O D. passed back and forth between solo and orchestra.



WRONG256. Which is not true of the third movement of Vivaldi's Violin Concerto in G?
C A. It starts with the orchestral ritornello.
O B. It starts with the solo violin.
O C. The second ritornello is not like the main ritornello.
O D. The solo violin line is constantly changing.



WRONG257. The third movement of the Violin Concerto in G is an example of:
O A. a dance suite.
O B. imitative polyphony.
C C. ritornello form.
O D. variation form.



WRONG258. The opening melody of Brandenburg Concerto No. 5:
C A. becomes more and more complicated as it goes along.
O B. is brief and starkly simple.
O C. is in a more difficult meter than the rest of the movement.
O D. is slow and somber.



WRONG259. The meter of the first movement of Brandenburg Concerto No. 5 is:
C A. duple.
O B. triple.
O C. compound duple.
O D. compound triple.



WRONG260. In the first movement of Brandenburg Concerto No. 5, the mode is:
O A. major throughout.
O B. minor throughout.
C C. mostly major with a couple of minor spots.
O D. mostly minor with a couple of major spots.



WRONG261. Instruments heard in the first movement of Brandenburg Concerto No. 5 are:
O A. oboe, organ, and string orchestra.
O B. trumpet, flute, harpsichord, and string orchestra.
C C. flute, violin, harpsichord, and string orchestra.
O D. violin, harpsichord, and string orchestra.



WRONG262. What is the form of the first movement of Brandenburg Concerto No. 5?
O A. passacaglia
O B. fugue
O C. dance suite
C D. ritornello



WRONG263. Which instrument(s) is(are) featured in the quiet, central solo section of the first movement of Brandenburg Concerto No. 5?
C A. flute and violin
O B. harpsichord
O C. flute and harpsichord
O D. violin and harpsichord



WRONG264. Which instrument plays the cadenza in the first movement of Brandenburg Concerto No. 5?
O A. flute
C B. harpsichord
O C. orchestra
O D. violin



WRONG265. The composer of the Fugue in C-Sharp Major is:
O A. Antonio Vivaldi.
O B. Henry Purcell.
O C. George Frideric Handel.
C D. Johann Sebastian Bach.



WRONG266. Bach's Fugue in C-sharp Major has ________ voice(s).
O A. one
O B. two
C C. three
O D. four



WRONG267. The texture of the first part of the Fugue in C-sharp Major is:
O A. monophonic.
O B. homophonic.
C C. imitative polyphony.
O D. nonimitative polyphony.



WRONG268. The Fugue in C-sharp Major contains:
C A. episodes and subject entries.
O B. solo and ritornello passages.
O C. dance movements.
O D. variations over a ground bass.



WRONG269. The Air movement of Orchestral Suite No. 3 in D was written for:
C A. strings only.
O B. woodwinds only.
O C. brass only.
O D. a festive Baroque orchestra.



WRONG270. What is the character of the Air movement of Orchestral Suite No. 3 in D?
O A. peppy and spirited
C B. songlike
O C. grandiose
O D. festive



WRONG271. One characteristic that gives the Air movement of Orchestral Suite No. 3 in D organized momentum is Bach's use of:
O A. imitative counterpoint.
O B. dissonance.
O C. episodes.
C D. sequences.



WRONG272. The meter of the Gavotte movement of Orchestral Suite No. 3 in D is:
C A. duple.
O B. triple.
O C. compound duple.
O D. compound triple.



WRONG273. The brass and timpani in the Gavotte movement of Orchestral Suite No. 3 in D:
O A. provide a lyrical, singing line.
O B. play off the beat.
O C. keep the steady beat.
C D. add a military accent.



WRONG274. The term concerto comes from the Latin word concertare, which indicates in the concerto grosso a:
O A. blending of orchestral sound to avoid contrast.
O B. contest between a soloist and a keyboard instrument.
C C. contest between soloists and orchestra.
O D. contest between two or more choirs.



WRONG275. The concerto and concerto grosso are characterized by:
C A. more contrast than much other Baroque music.
O B. less contrast than much other Baroque music.
O C. about the same amount of contrast as other Baroque music.
O D. almost no contrast at all.



WRONG276. How many movements does a typical concerto have?
O A. one
O B. two
C C. three
O D. four



WRONG277. The term for the initial orchestral melody in a concerto grosso that returns from time to time is:
O A. subject.
O B. episode.
O C. countersubject.
C D. ritornello.



WRONG278. Ritornello form is based on:
O A. constant variation of a ground bass.
C B. a periodic return of a central, homophonic theme.
O C. the alternation of various dance movements.
O D. persistent imitation of a single subject.



WRONG279. A ________ beginning and ________ cadence is typical of the opening ritornello of the first movement of a Baroque concerto.
O A. quiet; a strong final
C B. strong; a strong final
O C. quiet; a quiet
O D. strong; no



WRONG280. The five ritornello sections in the first movement of Vivaldi's Violin Concerto in G are:
C A. all different in some way.
O B. the same each time.
O C. sometimes exact repetitions and sometimes different.
O D. different only in key and harmonies.



WRONG281. The musical term for work is:
O A. aria.
C B. opus.
O C. continuo.
O D. ritornello.



WRONG282. The "Red Priest" who taught music at an orphanage for girls and wrote much of his music for this institution was:
C A. Antonio Vivaldi.
O B. Johann Sebastian Bach.
O C. Arcangelo Corelli.
O D. Claudio Monteverdi.



WRONG283. The Venetian composer Antonio Vivaldi is especially remembered for his:
O A. symphonies.
O B. sonatas.
C C. concertos.
O D. suites.



WRONG284. Which composer copied many pages of Vivaldi's concertos in learning how to write in this genre?
O A. Henry Purcell
O B. Arcangelo Corelli
C C. Johann Sebastian Bach
O D. George Frideric Handel



WRONG285. Which is not a Baroque variation form?
O A. chaconne
O B. ground bass
C C. bourrée
O D. passacaglia



WRONG286. The second movement of Vivaldi's Violin Concerto in G:
O A. is vigorous and brilliant, and in ritornello form.
C B. is slow and gentle, and in variation form.
O C. starts slow, becomes fast, and ends slow, and is in A B A' form.
O D. is in a medium dance tempo, and is in binary form.



WRONG287. How many Brandenburg Concertos did Bach write?
O A. eight
O B. seven
C C. six
O D. five



WRONG288. In Bach's Brandenburg Concerto No. 5, the harpsichord player:
O A. plays solos only.
O B. plays continuo.
C C. plays both solos and continuo.
O D. does not have any part at all.



WRONG289. The ________ was the main instrument on which Bach performed.
O A. violin
C B. organ
O C. trumpet
O D. flute



WRONG290. At the end of his career, Bach:
C A. was regarded as old-fashioned by other composers.
O B. was considered an innovator, musically.
O C. turned his attention from oratorio writing to opera writing.
O D. destroyed many of his earlier compositions.



WRONG291. The collection of forty-eight preludes and fugues by Bach is called:
O A. The Art of Fugue.
O B. the Goldberg Variations.
C C. The Well-Tempered Clavier.
O D. the Brandenburg Concertos.



WRONG292. In Bach's Brandenburg Concerto No. 5, the part where the harpsichord plays improvisatory solo material unaccompanied is called a(n):
O A. ritornello.
O B. episode.
O C. cadence.
C D. cadenza.



WRONG293. The outstanding element of a fugue is:
O A. basso continuo.
O B. word painting.
O C. variations on a ground bass.
C D. systematized imitative polyphony.



WRONG294. The fugue subject is the:
C A. main theme or melody.
O B. story or text on which the fugue is based.
O C. recurring contrasting section.
O D. melody that sometimes accompanies the theme.



WRONG295. The section of a fugue in which all subject entries first occur is the:
O A. subject.
C B. exposition.
O C. countersubject.
O D. episode.



WRONG296. A section of a fugue in which new, contrasting material is presented is a(n):
O A. subject.
O B. exposition.
O C. countersubject.
C D. episode.



WRONG297. Which work is composed in all the keys?
O A. Violin Concerto in G, La stravaganza
O B. the Goldberg Variations
C C. The Well-Tempered Clavier
O D. the Brandenburg Concertos



WRONG298. Which is not true of fugue?
O A. It is a kind of texture.
O B. It is a kind of form.
O C. It has voices.
C D. It has a ground bass.



WRONG299. "Stylized" dances were intended for:
O A. dancing.
C B. listening.
O C. accompaniment for singing.
O D. operas.



WRONG300. A Baroque dance suite:
O A. always included the same eight standard dance forms.
O B. maintained the same tempo in all movements.
C C. maintained the same key in all movements, and ended with a fast dance.
O D. used the sonata da camera format.



WRONG301. The typical Baroque dance form can be diagrammed:
C A. a a b b.
O B. a b a.
O C. a b a c a b a.
O D. a b c.



WRONG302. Some Baroque dances, particularly the gavotte and minuet, were grouped in pairs, to create an A B A form. The B section of this form is called the:
O A. episode.
C B. trio.
O C. subject.
O D. ritornello.



WRONG303. The French overture may consist of:
O A. imitative counterpoint interspersed with contrasting episodes.
O B. solo sections alternating with the full orchestral ritornello.
C C. contrasting sections in A B A form.
O D. shorter versions of the main melodies of the opera to come, serving as a preview.



WRONG304. The movement titles of Bach's Orchestral Suite No. 3 in D are:
C A. Overture, Air, Gavotte, Bourrée, Gigue.
O B. Spiritoso e non presto, Largo, Allegro.
O C. Allegro, Affetuoso, Allegro.
O D. Overture, Allegro, Affetuoso, Gigue.



WRONG305. Bach's Orchestral Suite No. 3 in D contains:
O A. subject entries and episodes.
C B. dance pieces.
O C. a contrast between the soloist and the orchestra.
O D. variations over a ground bass.



WRONG306. The Bourrée movement of Orchestral Suite No. 3 in D is the ________ dance in the suite.
O A. most solemn
O B. most complex
C C. lightest
O D. least dancelike



WRONG307. What two instruments are used together in the Bourrée movement of Orchestral Suite No. 3 in D?
O A. cellos and timpani
C B. wind instruments and timpani
O C. strings and timpani
O D. oboes and violins



TEXT308. Describe the two sets of forces in a concerto or concerto grosso. Explain the interplay between them.

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TEXT309. Explain how contrast is an important feature of the concerto and concerto grosso.

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TEXT310. Describe the character and tempo of the movements of a typical concerto.

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TEXT311. Define movement. Describe the way in which various movements in a work can contrast with each other.

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TEXT312. Draw a diagram of a typical ritornello form as found in a Baroque concerto grosso. Describe the function and character of the ritornello sections in this structure.

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TEXT313. Discuss the work of Antonio Vivaldi in terms of what types of pieces are his most famous, for whom his pieces were written, how they are organized, and for what genres and instruments he composed.

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TEXT314. Describe the scheme of the movements of Vivaldi's Violin Concerto in G. Refer to tempo, form, and mood in your answer.

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TEXT315. Explain variation form. Why did Baroque composers emphasize the bass line?

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TEXT316. List the elements that can be altered or varied in variation form.

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TEXT317. Explain how the third movement of Vivaldi's Violin Concerto in G is unusual with regard to internal form.

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TEXT318. Describe the character and tempo of each of the three movements of the Brandenburg Concerto No. 5.

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TEXT319. Briefly discuss the career of Johann Sebastian Bach. Include a discussion of the patronage system.

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TEXT320. List the three main compositions written by Bach at the end of his life and explain the purpose of each.

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TEXT321. Define cadenza and give its usual location in Baroque concertos.

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TEXT322. Define fugue. List and describe the various parts of a fugue.

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TEXT323. Briefly describe The Well-Tempered Clavier. What was the purpose for which Bach wrote it? What does it contain? Refer to form, instrumentation, and keys in your answer.

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TEXT324. Briefly describe four ways in which a fugue subject may be manipulated.

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TEXT325. Define Baroque dance suite. Describe the medium(s) for which such suites were written.

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TEXT326. When shorter dances like the gavotte and minuet were paired to create an A B A form, what was the B section called, and why?

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TEXT327. Diagram a French overture and describe the character of each section.

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WRONG328. The composer of Julius Caesar is:
O A. Johann Sebastian Bach.
C B. George Frideric Handel.
O C. Antonio Vivaldi.
O D. Arcangelo Corelli.



WRONG329. "La giustizia" is from a(n):
O A. oratorio.
O B. Mass.
O C. cantata.
C D. opera.



WRONG330. The first part of "La giustizia" is a(n):
O A. aria.
O B. arioso.
C C. ritornello.
O D. accompanied recitative.



WRONG331. Which describes what happens in "La giustizia" when the aria begins?
C A. The full orchestra plays and the meter is regular.
O B. The full orchestra plays and the chorus comes in.
O C. Only the continuo plays the accompaniment, and the meter is less regular.
O D. Two soloists sing instead of just one.



WRONG332. The performing forces in "La giustizia" are:
O A. one vocal soloist, strings, and trumpet.
C B. one vocal soloist, strings, and continuo.
O C. two vocal soloists, strings, flutes, and continuo.
O D. three vocal soloists, strings, flutes, trumpets, and continuo.



WRONG333. The composer of Messiah is:
O A. Johann Sebastian Bach.
O B. Antonio Vivaldi.
O C. Henry Purcell.
C D. George Frideric Handel.



WRONG334. "There were shepherds" is part of a(n):
O A. opera.
O B. cantata.
C C. oratorio.
O D. Mass.



WRONG335. "There were shepherds" is part of a larger work called:
O A. Julius Caesar
O B. Christmas Oratorio.
C C. Messiah.
O D. Dido and Aeneas.



WRONG336. In terms of accompaniment, the four sections of "There were shepherds" are:
O A. all accompanied.
O B. all secco.
O C. accompanied, secco, secco, accompanied.
C D. secco, accompanied, secco, accompanied.



WRONG337. The performing forces in "There were shepherds" consist of:
O A. one vocal soloist and continuo.
O B. two vocal soloists, strings, and continuo.
C C. one vocal soloist, strings, and continuo.
O D. two vocal soloists, flutes, oboes, trumpets, strings, and continuo.



WRONG338. Which is true of the ending of "Glory to God"?
O A. The loud dynamics of the opening are maintained all the way to the end.
C B. The ending gets quieter and quieter.
O C. The trumpets play a fanfare at the very end.
O D. The chorus becomes quiet and accompanies the strings.



WRONG339. What is/are the texture(s) of the Hallelujah Chorus?
O A. monophony and homophony
C B. monophony, homophony, and polyphony
O C. homophony and polyphony
O D. polyphony and monophony



WRONG340. The performing forces in the Hallelujah Chorus consist of a:
O A. chorus and continuo.
O B. chorus, festive Baroque orchestra, and female soloist.
O C. chorus, continuo, and trumpet.
C D. chorus and festive Baroque orchestra.



WRONG341. "Christ lag in Todesbanden" is part of a(n):
C A. cantata.
O B. chorale.
O C. opera.
O D. Mass.



WRONG342. The composer of "Christ lag in Todesbanden" is:
O A. Antonio Vivaldi.
O B. Henry Purcell.
C C. Johann Sebastian Bach.
O D. George Frideric Handel.



WRONG343. The performing forces of stanza 3 of "Christ lag in Todesbanden" are:
O A. castrato and "festive" Baroque orchestra.
O B. voices and continuo.
O C. baritone voice, viola, and continuo.
C D. tenor voice, violin, and continuo.



WRONG344. Which do you hear in stanza 3 of "Christ lag in Todesbanden"?
O A. variation over a ground bass
C B. gapped chorale tune
O C. recitative
O D. aria



WRONG345. The texture of stanza 4 of "Christ lag in Todesbanden" is:
C A. imitative polyphony.
O B. nonimitative polyphony.
O C. homophony.
O D. monophony.



WRONG346. Which part has the main melody in stanza 4 of "Christ lag in Todesbanden"?
O A. the violin
O B. the tenor voice
O C. the soprano voice
C D. the alto voice



WRONG347. Which do you hear in stanza 7 of "Christ lag in Todesbanden"?
O A. choral fugue
O B. gapped chorale melody
C C. ungapped chorale melody
O D. arioso



WRONG348. Which part has the main melody in stanza 7 of "Christ lag in Todesbanden"?
C A. soprano voice
O B. alto voice
O C. tenor voice
O D. bass voice



WRONG349. The Chorale Prelude of "Christ lag in Todesbanden" is based on a(n):
O A. aria melody.
C B. chorale melody.
O C. recitative.
O D. arioso.



WRONG350. The texture of the Chorale Prelude of "Christ lag in Todesbanden" is:
O A. monophony.
O B. homophony.
C C. polyphony.
O D. polyphony, then homophony.



WRONG351. The application of "vocabulary of the emotions" occurs most easily in:
O A. chamber music.
C B. vocal music.
O C. solo sonatas.
O D. orchestral music.



WRONG352. The most important genre in Baroque secular vocal music is:
O A. the madrigal.
O B. the chanson.
C C. opera.
O D. the motet.



WRONG353. The singing style characterized by fast runs and scales, a large pitch range, cadenzas, and virtuosic displays of all sorts is:
O A. oratorio.
O B. da capo.
O C. arioso.
C D. coloratura.



WRONG354. Opera seria is a style of Baroque opera that originated in:
C A. Italy.
O B. France.
O C. England.
O D. Germany.



WRONG355. The text of an opera is called the:
O A. mot.
O B. word painting.
O C. arioso.
C D. libretto.



WRONG356. The technique of declaiming words musically in a heightened theatrical manner is called:
O A. word painting.
O B. vocabulary of the emotions.
C C. recitative.
O D. aria.



WRONG357. A recitative in which only continuo instruments play the accompaniment is called:
O A. accompanied recitative.
C B. secco recitative.
O C. arioso.
O D. da capo.



WRONG358. A recitative with full orchestral accompaniment is called:
C A. accompanied recitative.
O B. secco recitative.
O C. arioso.
O D. da capo.



WRONG359. Castrati generally sang ________ parts.
C A. soprano or alto solo
O B. soprano or alto chorus
O C. tenor or bass solo
O D. tenor or bass chorus



WRONG360. Which is not true of an aria?
O A. An aria has coherence and musical elaboration.
O B. An aria has a melodic vocal line and generally includes more than continuo as accompaniment.
C C. An aria has no set meter; the meter and melody serve the text first and foremost.
O D. An aria's text often includes repetitions of words or whole poetic phrases.



WRONG361. The musical term for "from the beginning" is:
O A. arioso.
C B. da capo.
O C. a tempo.
O D. allegretto.



WRONG362. The standard form for the Italian opera aria is ________ form.
O A. song
O B. ritornello
O C. binary
C D. da capo



WRONG363. In da capo form, ornamentation occurs primarily in the ________ section(s).
O A. opening A
O B. B
C C. final A
O D. A and B



WRONG364. The plot of Julius Caesar offers singers opportunities for:
O A. showing repose, grace, and control.
C B. strong emotional displays.
O C. a meditative atmosphere in the middle of a church service.
O D. reinforcing a single mood throughout the work.



WRONG365. The essence of the text of "La giustizia" involves:
O A. encouragement in a love affair.
O B. the encouragement of religious behavior.
O C. the discouragement of villainous tyranny and cruelty.
C D. the encouragement of vengeance and justice.



WRONG366. Handel composed most of his operas and oratorios in:
O A. Germany.
C B. England.
O C. Italy.
O D. France.



WRONG367. Handel knew how to follow the tastes of the public in his compositional style. This is shown in his switch from writing ________ to writing ________.
C A. operas; oratorios
O B. string music; woodwind and brass music
O C. oratorios; operas
O D. vocal music; instrumental music



WRONG368. Many Baroque operas deal with ancient ________, whereas oratorios deal with ancient ________.
O A. Greece; Rome
O B. Rome; Greece
C C. Rome; Israel
O D. Israel; Rome



WRONG369. Which is not true of an oratorio?
C A. An oratorio is performed as part of a religious service.
O B. An oratorio is the most operatic of all sacred genres.
O C. An oratorio uses a chorus and soloists, as well as instrumentalists.
O D. Oratorios are not staged, but performed in concert form.



WRONG370. In the Baroque era, women were most able to be professional musicians by:
O A. playing an instrument.
C B. singing.
O C. making instruments.
O D. composing music.



WRONG371. One of the most famous singers in Handel's operas was:
O A. Hildegard of Bingen.
O B. Elisabeth-Claude Jacquet.
O C. Marie de la Guerre.
C D. Faustina Bordoni.



WRONG372. Handel's most famous oratorio, which is frequently performed today, is:
O A. Julius Caesar.
O B. Water Music.
O C. Rodelinda.
C D. Messiah.



WRONG373. How does Messiah differ from other works of this genre?
O A. Messiah uses chorus and soloists.
C B. Messiah does not have characters acting out a story.
O C. Messiah has characters acting out a story.
O D. Messiah is not staged, but is presented in concert form.



WRONG374. "There were shepherds" is a(n):
O A. cantata.
O B. aria.
C C. recitative.
O D. chorus.



WRONG375. What is the message to the shepherds in "There were shepherds"?
C A. the birth of the Christ Child
O B. the resurrection of Christ
O C. the conception of the Christ Child
O D. God's eternal reign



WRONG376. Handel's "Glory to God" is a(n):
O A. aria.
C B. chorus.
O C. recitative.
O D. cantata.



WRONG377. Handel's Hallelujah Chorus is a good example of changing:
O A. tempos.
O B. rhythms.
O C. meters.
C D. textures.



WRONG378. It is customary for audiences to ________ during a performance of the Hallelujah Chorus.
O A. sing
O B. clap
C C. stand up
O D. sit down



WRONG379. The important genre that was used in Lutheran services and that was like a second sermon is called a(n):
O A. oratorio.
O B. motet.
C C. cantata.
O D. chorale.



WRONG380. The preexisting melodies on which much of Lutheran church music is based are:
O A. plainchants.
O B. religious arias.
O C. paraphrases.
C D. chorales.



WRONG381. The person who first organized congregational hymn singing in Protestant churches was:
O A. Johann Sebastian Bach.
O B. George Frideric Handel.
C C. Martin Luther.
O D. Henry Purcell.



WRONG382. What characteristic does each of the sung portions of "Christ lag in Todesbanden" share?
O A. a gapped chorale tune
O B. homophonic texture
O C. monophonic texture
C D. "hallelujah"



WRONG383. Bach's cantata "Christ lag in Todesbanden" is comprised of:
C A. a sinfonia prelude followed by several stanza movements.
O B. several arias and recitatives.
O C. an overture, arias, and several choruses.
O D. three movements, each with a gapped chorale tune.



WRONG384. A Lutheran organ composition incorporating a hymn tune is called:
O A. chorale.
C B. chorale prelude.
O C. sonata da chiesa.
O D. organ fugue.



WRONG385. Another name for chorale prelude is:
C A. organ chorale.
O B. organ fugue.
O C. trio sonata.
O D. chorus.



WRONG386. Bach's collection of 162 short chorale preludes is called:
O A. The Art of Fugue.
C B. "Little Organ Book."
O C. The Well-Tempered Clavier.
O D. Goldberg Variations.



TEXT387. Describe how a Baroque composer might have "painted" the following words musically, to heighten musical expression: "rejoicing," "victory," "high." Refer to as many musical elements as you can in your answer.

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TEXT388. Describe the spectacular elements of Baroque opera.

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TEXT389. Describe coloratura singing.

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TEXT390. Define and discuss the elements of Italian Baroque opera seria.

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TEXT391. Define libretto. What is the term for one who writes libretti?

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TEXT392. Describe what happens in an opera during a recitative. Refer to plot, possible accompaniment styles, meter, melody, and form in your answer.

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TEXT393. Compare and contrast secco recitative and accompanied recitative.

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TEXT394. Define castrato. Briefly describe the role, purpose, and lives of castrati.

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TEXT395. Define da capo. Use letters to diagram da capo form. What happens in the last part of a da capo aria?

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TEXT396. Distinguish between recitative, secco recitative, accompanied recitative, and da capo aria.

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TEXT397. Is the plot of Julius Caesar accurate to the historical account or not, and if not, in what way?

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TEXT398. How does Handel treat emotional display in Julius Caesar?

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TEXT399. Describe the role and importance of the choir in sacred Baroque music.

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TEXT400. Which secular vocal genre influenced sacred Baroque vocal music? Explain.

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TEXT401. Define oratorio. List the features of a typical oratorio.

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TEXT402. Explain the impresario side of Handel's musical career.

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TEXT403. Explain how Handel changed the genre he composed in when the public's tastes changed.

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TEXT404. Briefly explain the career opportunities for women in the Baroque era. How did music offer opportunities for women to work? What were the advantages and disadvantages of such careers?

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TEXT405. Who was Elisabeth-Claude Jacquet? Why was her life unusual? What did she do in music? Who was her sponsor?

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TEXT406. How is Messiah different from other works in this genre?

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TEXT407. Describe the source and story of Messiah.

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TEXT408. Describe the varied role of the chorus in Messiah.

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TEXT409. Distinguish between oratorio and church cantata.

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TEXT410. Describe the church cantata. Compare and contrast the opera and the church cantata in terms of function, setting, staging, purpose, and so on.

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TEXT411. Define chorale. Relate chorales to Lutheran church music and religious Baroque compositions.

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TEXT412. Briefly explain the structure of Bach's cantata "Christ lag in Todesbanden." On what material is the work based?

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TEXT413. Define chorale prelude. At what point in the service might a chorale prelude be played?

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TEXT414. Define Orgelbüchlein. Describe its contents and purpose.

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TEXT415. Discuss how Bach achieves variety in his Orchestral Suite No. 3 in D.

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