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0% (1 out of 336 correct) |
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| 1. |
The composer of "Viri Galilaei" is:
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| 2. |
The performing forces of "Viri Galilaei" are:
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| 3. |
How would you characterize the mood of "Viri Galilaei"?
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| 4. |
The composer of "Columba aspexit" is:
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| 5. |
Which structure do you hear in "Columba aspexit"?
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| 6. |
The performing forces in "Columba aspexit" consist of:
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| 7. |
What is the texture of "Columba aspexit," excluding the instrumental accompaniment?
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| 8. |
Which does not change throughout "Columba aspexit"?
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| 9. |
Which changes provide contrast in "Columba aspexit"?
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| 10. |
Who composed "La dousa votz"?
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| 11. |
What type of selection is "La dousa votz"?
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| 12. |
The performing forces in "La dousa votz" are a:
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| 13. |
The form of "La dousa votz" can be described as having:
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| 14. |
Which is true about the rhythm of "La dousa votz"?
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| 15. |
"La dousa votz" is ________ in nature.
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| 16. |
"Alleluia. Diffusa est gratia" was written by:
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| 17. |
When was "Alleluia. Diffusa est gratia" written?
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| 18. |
The performing forces in "Alleluia. Diffusa est gratia" are:
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| 19. |
Which textures do you hear in "Alleluia. Diffusa est gratia"?
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| 20. |
Which is true of the rhythm of "Alleluia. Diffusa est gratia"?
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| 21. |
Which is true of the relative speed of the upper and lower voices during the organum section of "Alleluia. Diffusa est gratia"?
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| 22. |
Which does not contribute to the contrast between sections in "Alleluia. Diffusa est gratia"?
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| 23. |
"Alleluia. Diffusa est gratia" is ________ in nature.
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| 24. |
The composer of "Quant en moy," is:
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| 25. |
The performing forces in "Quant en moy" are:
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| 26. |
Which do you hear in "Quant en moy"?
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| 27. |
What contributes to the light mood of "Quant en moy"?
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| 28. |
The Middle Ages, or medieval era, covers the time period of the:
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| 29. |
The early history of Western music was dominated by:
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| 30. |
During the early Middle Ages, the institution(s) that preserved written records of its culture, including music, was/were the:
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| 31. |
Most of the music of medieval times was preserved for us in musical notation that was written down by:
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| 32. |
The type of music most likely to be written down in the Middle Ages was:
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| 33. |
The eight daily services in cathedrals and monasteries were known collectively as:
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| 34. |
The single-line melodies of the early Christian Church are known as:
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| 35. |
Which is not a characteristic of plainchant?
|
| 36. |
Another term for Gregorian chant is:
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| 37. |
Who is traditionally associated with collecting and codifying the chants of the church?
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| 38. |
Gregorian chant was organized around A.D.:
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| 39. |
Gregorian chant is so named because Pope Gregory I:
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| 40. |
The role of a chant in church services was the determining factor in the chant's:
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| 41. |
Music for the Mass was ________, and music for the daily Office was ________.
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| 42. |
Which two characteristics do all plainchants share?
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| 43. |
A medieval mode is:
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| 44. |
Which is not a medieval mode?
|
| 45. |
The medieval modes were traced back to ancient:
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| 46. |
On which musical element is the artistic effect of plainchant based?
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| 47. |
"Viri Galilaei" is an example of a(n):
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| 48. |
"Viri Galilaei" would most likely have been used:
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| 49. |
"Columba aspexit" is an example of medieval:
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| 50. |
Hildegard of Bingen lived in the ________ century.
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| 51. |
Hildegard's music is a product of:
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| 52. |
The subject of "Columba aspexit" is:
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| 53. |
Which composition is a plainchant sequence?
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| 54. |
Which is true of the way early music was notated?
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| 55. |
Which is true about the sources of artistic and political influence over the course of the Middle Ages?
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| 56. |
The troubadours, trouvères, and Minnesingers date back to the ________ centuries.
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| 57. |
Who were the medieval poet-musicians of southern France?
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| 58. |
Which was not a function of secular music in medieval court life?
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| 59. |
Which was not a subject reflected in the poems of the troubadours and trouvères?
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| 60. |
Which type of musician does not fit with the others?
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| 61. |
Which is a "dawn song"?
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| 62. |
Which is true of Bernart de Ventadorn?
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| 63. |
Which characteristic makes "La dousa votz" different from "Columba aspexit"?
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| 64. |
The meaning of the text of "La dousa votz" involves:
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| 65. |
The few surviving medieval court dances are called:
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| 66. |
Which is not a characteristic of estampies?
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| 67. |
The earliest type of polyphony, dating from around A.D. 900 was:
|
| 68. |
The early compositional style consisting of a plainchant melody with another melody sung simultaneously to the same words is called:
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| 69. |
Early polyphony had its beginnings at:
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| 70. |
The two great composers of the Notre Dame school were:
|
| 71. |
"Alleluia. Diffusa est gratia" was composed for:
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| 72. |
What happened to polyphonic music during the thirteenth century?
|
| 73. |
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:
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| 74. |
Music of the Notre Dame School was later referred to as:
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| 75. |
In Western music, the period from about 1300 to 1400 was the period of:
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| 76. |
One of the chief characteristics of the late medieval motet is:
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| 77. |
Which does not pertain to the Notre Dame school?
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| 78. |
An outstanding composer of the French ars nova was:
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| 79. |
Guillaume de Machaut composed in the ________ century.
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| 80. |
Machaut was not only a composer; he was also a:
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| 81. |
"Quant en moy" is a:
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| 82. |
Which part has the plainchant fragment in "Quant en moy"?
|
| 83. |
The text of "Quant en moy" involves:
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| 84. |
The polyphonic technique in which the melodies in each stanza change while the complex rhythms are repeated is called:
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| 85. |
The hocket is a device that:
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| 86. |
Which piece contains a hocket?
|
| 87. |
Which is not based on a chant melody?
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| 88. |
The musics of the world show some parallels. Two of them are:
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| 89. |
Qur'anic recitation is thought of as ________ the sacred text.
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| 90. |
Like Gregorian chant, Qur'anic recitation is:
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| 91. |
The special singer who calls the faithful to worship is called:
|
| 92. |
The term for Hawai'ian prayer songs is:
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| 93. |
All traditional Hawai'ian song, like Gregorian chant and Qur'anic recitation are:
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| 94. |
Hawai'ian mele pule is nearly:
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| 95. |
What is heard in the mele pule is a clear, almost sobbing vibrato, called:
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| 96. |
Which is true of "Ave maris stella"?
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| 97. |
In "Ave maris stella," which stanzas consist of the unembellished plainchant?
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| 98. |
In which stanzas of "Ave maris stella" do you hear the composer's own music?
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| 99. |
In which voice(s) during "Ave maris stella" do you hear the hymn tune in paraphrase, with extra notes?
|
| 100. |
What are the performing forces in "Ave maris stella"?
|
| 101. |
The composer of Pange lingua is:
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| 102. |
The performing forces in Pange lingua consist of a:
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| 103. |
The composer used the melody of the plainsong hymn ________ as the basis of Pange lingua.
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| 104. |
What do you hear after the brief plainchant section in Pange lingua?
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| 105. |
The composer of Pange lingua uses plainchant to open:
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| 106. |
What type of composition is Pange lingua?
|
| 107. |
Which parts of the larger work are included in Pange lingua?
|
| 108. |
What is the predominant texture of Pange lingua?
|
| 109. |
The composer of Pope Marcellus is:
|
| 110. |
The performing forces in Pope Marcellus consist of:
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| 111. |
Pope Marcellus is a:
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| 112. |
What is the predominant texture of Pope Marcellus?
|
| 113. |
How does Pope Marcellus differ from the Pange lingua Mass?
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| 114. |
The purpose of Pope Marcellus was to:
|
| 115. |
"As Vesta Was from Latmos Hill Descending" is a:
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| 116. |
The text of "As Vesta Was from Latmos Hill Descending" involves:
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| 117. |
"As Vesta Was from Latmos Hill Descending" demonstrates:
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| 118. |
The performing forces in "As Vesta Was from Latmos Hill Descending" consist of:
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| 119. |
"Daphne" is a:
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| 120. |
The performing forces in "Daphne" consist of:
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| 121. |
The texture of "Daphne" is:
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| 122. |
The meter of "Kemp's Jig" is:
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| 123. |
What is the form of "Kemp's Jig"?
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| 124. |
The purpose of "Kemp's Jig" is:
|
| 125. |
The process by which Renaissance composers freely embellished plainchant melodies for use in their compositions is known as:
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| 126. |
In the early Renaissance, composers concentrated on the ________ rather than the ________ of the plainchant melodies used.
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| 127. |
In medieval music the plainchant melody was in the ________ voice, but in the early Renaissance it moved to the ________ voice.
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| 128. |
What was the new, preferred texture of early Renaissance music?
|
| 129. |
What is the result of having all voices move in simple chord patterns?
|
| 130. |
Where is the birthplace of Dufay (and many other important composers of his day) and where did he spend his career?
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| 131. |
In church music, a short tune sung through many stanzas of text is a:
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| 132. |
Dufay's "Ave maris stella" is:
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| 133. |
Dufay is best known for his:
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| 134. |
The most important of the daily church services was the:
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| 135. |
The polyphonic Mass was standardized into the five-part form by about:
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| 136. |
The five sections of the polyphonic Mass are:
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| 137. |
Which is not a movement of the Mass?
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| 138. |
The great, large-scale compositional challenge of the Renaissance was musical unification of:
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| 139. |
The "High Renaissance" style began around:
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| 140. |
Which two techniques were blended to form the compositional style for the Mass, the motet, and the chanson in the High Renaissance?
|
| 141. |
How did polyphony change from the beginning to the end of the fifteenth century?
|
| 142. |
In terms of texture, High Renaissance composers:
|
| 143. |
The musical term for "voices alone" is:
|
| 144. |
The preferred tone color of the High Renaissance style was:
|
| 145. |
How can rhythm in the High Renaissance style be characterized?
|
| 146. |
Which was not an important element of the High Renaissance style?
|
| 147. |
Who was the first master of the High Renaissance style?
|
| 148. |
Josquin composed works in which genre(s)?
|
| 149. |
The text of the Kyrie section of the Pange lingua Mass is:
|
| 150. |
Points of imitation are used extensively in:
|
| 151. |
A point of imitation is:
|
| 152. |
A characteristic of High Renaissance music, as heard in the Pange lingua Mass, is the textural alternation of ________ and ________.
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| 153. |
Renaissance composers were inspired to explore the power of music to express human feelings. Their inspiration came from the:
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| 154. |
The first style period in which composers tried to set words to music in a natural and clear way was:
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| 155. |
The style of setting words to music using rhythms that approximate human speech is called:
|
| 156. |
What is the device used by Renaissance composers to depict in music the words or ideas of a text?
|
| 157. |
Word painting was developed in the ________ century.
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| 158. |
Palestrina, Lassus, Victoria, and Byrd embraced the High Renaissance style of composition and worked, respectively, in:
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| 159. |
The most convincing and diplomatic composer of Roman Catholic Church music during the Counter-Reformation was:
|
| 160. |
Homophonic texture and avoidance of long, elaborate phrases composed on one syllable of text characterize the music of:
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| 161. |
Why was the motet more attractive to sixteenth-century composers than the Mass?
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| 162. |
Which is true about the evolution of the motet over the centuries?
|
| 163. |
The Italian madrigal dates from about:
|
| 164. |
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:
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| 165. |
The anthology of madrigals in honor of Queen Elizabeth that was compiled in 1601 was called:
|
| 166. |
The most significant difference between the Italian madrigal and the English madrigal is that Italian madrigals are ________ and English madrigals are ________.
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| 167. |
Thomas Weelkes wrote madrigals in:
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| 168. |
Contrary to Renaissance style trends, which composer wrote much instrumental music?
|
| 169. |
A stylized dance is one that:
|
| 170. |
One aspect of "Kemp's Jig" that leads to dance stylization is:
|
| 171. |
Which was the most widespread of Renaissance instrumental genres?
|
| 172. |
The pavane and galliard were:
|
| 173. |
Pavanes are often paired with:
|
| 174. |
The pavane is in ________ meter, and the galliard is in ________ meter.
|
| 175. |
What makes it easy for the dancers to keep their places in "Daphne"?
|
| 176. |
Will Kemp was:
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| 177. |
The first great phase of European expansion into other parts of the world was from ________ to ________.
|
| 178. |
Earlier travels by non-Europeans include the great Islamic scholar and explorer Ibn Battuta, as well as:
|
| 179. |
Reports from European explorers, missionaries and merchants included descriptions of music such as:
|
| 180. |
It was the ________ explorers who told of the ________ of Indonesia.
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| 181. |
A Spanish missionary in 1530 wrote about the Aztecs' way of beginning a dance by:
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| 182. |
Two main drums of an Aztec ceremony were played with:
|
| 183. |
The use of music for worship in Mexico is:
|
| 184. |
The words for some of the Mexicans' songs were in their native language ________.
|
| 185. |
The harmonic style, originating possibly in England, which introduced a more 'homophonic' sound to early Renaissance music, is called:
|
| 186. |
The English composer who travelled with the Duke of Bedford to France was named:
|
| 187. |
The Duke of Bedford was fighting the army of:
|
| 188. |
The Renaissance frottola called "El Grillo" (The Cricket) was composed by:
|
| 189. |
The composer of "Viri Galilaei" is:
|
| 190. |
The two styles of organum are sustained-note and _________.
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| 191. |
The direct precursor of motet, stemming from clausulae, is called the ______________.
|
| 192. |
Elizabethan instrumental music is noted for its profundity, depth, and subtlety.
|
| 193. |
In the history of music the period from 1600 to 1750 is known as the period.
|
| 194. |
Which is not an instrument from the Baroque period that has recently been revived?
|
| 195. |
Much of the Baroque music we hear today is from the "late Baroque" era, which spanned the years:
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| 196. |
Who are the two most important composers of the late Baroque period?
|
| 197. |
Which term is not usually applied to the period 1600 to 1750?
|
| 198. |
Which best describes the dualism found in Baroque art and music?
|
| 199. |
Who was the leading monarch in the Age of Absolutism?
|
| 200. |
Which is not true of the Age of Absolutism?
|
| 201. |
Opera arose around the year:
|
| 202. |
Which was a characteristic of Baroque theater that made it appealing to Baroque audiences and composers of opera?
|
| 203. |
Which best describes rhythm in the Baroque era?
|
| 204. |
Which best describes the musical depiction of emotion in the late Baroque era?
|
| 205. |
The Baroque composer was considered by contemporaries to be:
|
| 206. |
The three main institutions where Baroque composers could make a living were the:
|
| 207. |
Which is not part of the job description of a Baroque church musician?
|
| 208. |
Which is not true of the Baroque treatment of rhythm?
|
| 209. |
Baroque dynamics generally:
|
| 210. |
Baroque music is often very adaptable and changeable with regard to one musical element. This element is:
|
| 211. |
Which instrument family formed the core of the Baroque orchestra?
|
| 212. |
The orchestra of the court of Louis XIV was called the:
|
| 213. |
Which best describes Baroque melodies?
|
| 214. |
The standard texture of much Baroque music is:
|
| 215. |
The continuo, or basso continuo, is the:
|
| 216. |
Which two instruments would most likely have played the basso continuo part in a Baroque composition?
|
| 217. |
The numerical shorthand below the basso continuo notes indicating the content of chords to be played is called:
|
| 218. |
How did Baroque composers view the use of emotion in their compositions?
|
| 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? YOUR ANSWER:  The suggested answer is
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| 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. YOUR ANSWER: The suggested answer is
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| 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. YOUR ANSWER: The suggested answer is
|
| Explain how science affected both art and ordinary life in the Baroque era. YOUR ANSWER: The suggested answer is
|
| Describe the extent to which the monarchy of the "Sun King" influenced music, the visual arts, and architecture in his country and elsewhere. YOUR ANSWER: The suggested answer is
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| Describe the types of music and the musical forces demanded in the courts of nobility in the Age of Absolutism. YOUR ANSWER: The suggested answer is
|
| Describe two purposes of opera in the Age of Absolutism. YOUR ANSWER: The suggested answer is
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| Explain the theatrical quality of the Baroque play as it related to and inspired opera of the time. YOUR ANSWER: The suggested answer is
|
| Explain the impact that improved tuning had on composers. YOUR ANSWER: The suggested answer is
|
| Describe the change in the use of harmony in the late Baroque era. YOUR ANSWER: The suggested answer is
|
| How did composers approach form in the late Baroque era? YOUR ANSWER: The suggested answer is
|
| Describe the scientific approach to emotional expression in music in the late Baroque era. YOUR ANSWER: The suggested answer is
|
| Describe the way the career of a composer was viewed in the Baroque era. YOUR ANSWER: The suggested answer is
|
| 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. YOUR ANSWER: The suggested answer is
|
| Characterize the Baroque use of rhythm. Refer to walking bass, meter, and harmonic rhythm in your answer. YOUR ANSWER: The suggested answer is
|
| Define harmonic rhythm. YOUR ANSWER: The suggested answer is
|
| How did Baroque composers and performers use dynamics? YOUR ANSWER: The suggested answer is
|
| Briefly describe the two ways Baroque composers approached and used tone color. YOUR ANSWER: The suggested answer is
|
| Briefly describe the early Baroque orchestra as typified in the court of Louis XIV. YOUR ANSWER: The suggested answer is
|
| Name the keyboard instruments of the Baroque orchestra. For which type of music was each used? YOUR ANSWER: The suggested answer is
|
| 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? YOUR ANSWER: The suggested answer is
|
| Characterize Baroque melody. Refer to musical elements such as pitch range, rhythm, ornamentation, length, and use of sequence. YOUR ANSWER: The suggested answer is
|
| Is it generally easier to sing typical Baroque melodies, or to play them on instruments? Explain. YOUR ANSWER: The suggested answer is
|
| Is Baroque music primarily simple or complex in texture? Describe instances in which Baroque music is polyphonic and ways in which it is homophonic. YOUR ANSWER: The suggested answer is
|
| Define basso continuo. Refer to instrumentation and figured bass in your answer. YOUR ANSWER: The suggested answer is
|
| Briefly describe the functions of the left and right hands of a continuo keyboard player. YOUR ANSWER: The suggested answer is
|
| Briefly explain the way Baroque harmony is "polarized." YOUR ANSWER: The suggested answer is
|
| Discuss the patronage system that existed in the Baroque era. YOUR ANSWER: The suggested answer is
|
| What two nonmusical factors were influential in making Baroque forms so clear and regular? YOUR ANSWER: The suggested answer is
|
| Characterize the Baroque depiction of emotion in music. Was it realistic or exaggerated? How? YOUR ANSWER: The suggested answer is
|
| 249. |
The composer of the Violin Concerto in G is:
|
| 250. |
The Violin Concerto in G was composed between:
|
| 251. |
In the recording of Vivaldi's Violin Concerto in G, the continuo chords are played by a(n):
|
| 252. |
From which country and style period is the Violin Concerto in G?
|
| 253. |
Which do you hear in the first movement of the Violin Concerto in G?
|
| 254. |
The form of the second movement of the Violin Concerto in G is:
|
| 255. |
The main melody of the second movement of the Violin Concerto in G is:
|
| 256. |
Which is not true of the third movement of Vivaldi's Violin Concerto in G?
|
| 257. |
The third movement of the Violin Concerto in G is an example of:
|
| 258. |
The opening melody of Brandenburg Concerto No. 5:
|
| 259. |
The meter of the first movement of Brandenburg Concerto No. 5 is:
|
| 260. |
In the first movement of Brandenburg Concerto No. 5, the mode is:
|
| 261. |
Instruments heard in the first movement of Brandenburg Concerto No. 5 are:
|
| 262. |
What is the form of the first movement of Brandenburg Concerto No. 5?
|
| 263. |
Which instrument(s) is(are) featured in the quiet, central solo section of the first movement of Brandenburg Concerto No. 5?
|
| 264. |
Which instrument plays the cadenza in the first movement of Brandenburg Concerto No. 5?
|
| 265. |
The composer of the Fugue in C-Sharp Major is:
|
| 266. |
Bach's Fugue in C-sharp Major has ________ voice(s).
|
| 267. |
The texture of the first part of the Fugue in C-sharp Major is:
|
| 268. |
The Fugue in C-sharp Major contains:
|
| 269. |
The Air movement of Orchestral Suite No. 3 in D was written for:
|
| 270. |
What is the character of the Air movement of Orchestral Suite No. 3 in D?
|
| 271. |
One characteristic that gives the Air movement of Orchestral Suite No. 3 in D organized momentum is Bach's use of:
|
| 272. |
The meter of the Gavotte movement of Orchestral Suite No. 3 in D is:
|
| 273. |
The brass and timpani in the Gavotte movement of Orchestral Suite No. 3 in D:
|
| 274. |
The term concerto comes from the Latin word concertare, which indicates in the concerto grosso a:
|
| 275. |
The concerto and concerto grosso are characterized by:
|
| 276. |
How many movements does a typical concerto have?
|
| 277. |
The term for the initial orchestral melody in a concerto grosso that returns from time to time is:
|
| 278. |
Ritornello form is based on:
|
| 279. |
A ________ beginning and ________ cadence is typical of the opening ritornello of the first movement of a Baroque concerto.
|
| 280. |
The five ritornello sections in the first movement of Vivaldi's Violin Concerto in G are:
|
| 281. |
The musical term for work is:
|
| 282. |
The "Red Priest" who taught music at an orphanage for girls and wrote much of his music for this institution was:
|
| 283. |
The Venetian composer Antonio Vivaldi is especially remembered for his:
|
| 284. |
Which composer copied many pages of Vivaldi's concertos in learning how to write in this genre?
|
| 285. |
Which is not a Baroque variation form?
|
| 286. |
The second movement of Vivaldi's Violin Concerto in G:
|
| 287. |
How many Brandenburg Concertos did Bach write?
|
| 288. |
In Bach's Brandenburg Concerto No. 5, the harpsichord player:
|
| 289. |
The ________ was the main instrument on which Bach performed.
|
| 290. |
At the end of his career, Bach:
|
| 291. |
The collection of forty-eight preludes and fugues by Bach is called:
|
| 292. |
In Bach's Brandenburg Concerto No. 5, the part where the harpsichord plays improvisatory solo material unaccompanied is called a(n):
|
| 293. |
The outstanding element of a fugue is:
|
| 294. |
The fugue subject is the:
|
| 295. |
The section of a fugue in which all subject entries first occur is the:
|
| 296. |
A section of a fugue in which new, contrasting material is presented is a(n):
|
| 297. |
Which work is composed in all the keys?
|
| 298. |
Which is not true of fugue?
|
| 299. |
"Stylized" dances were intended for:
|
| 300. |
A Baroque dance suite:
|
| 301. |
The typical Baroque dance form can be diagrammed:
|
| 302. |
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:
|
| 303. |
The French overture may consist of:
|
| 304. |
The movement titles of Bach's Orchestral Suite No. 3 in D are:
|
| 305. |
Bach's Orchestral Suite No. 3 in D contains:
|
| 306. |
The Bourrée movement of Orchestral Suite No. 3 in D is the ________ dance in the suite.
|
| 307. |
What two instruments are used together in the Bourrée movement of Orchestral Suite No. 3 in D?
|
| Describe the two sets of forces in a concerto or concerto grosso. Explain the interplay between them. YOUR ANSWER: The suggested answer is
|
| Explain how contrast is an important feature of the concerto and concerto grosso. YOUR ANSWER: The suggested answer is
|
| Describe the character and tempo of the movements of a typical concerto. YOUR ANSWER: The suggested answer is
|
| Define movement. Describe the way in which various movements in a work can contrast with each other. YOUR ANSWER: The suggested answer is
|
| 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. YOUR ANSWER: The suggested answer is
|
| 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. YOUR ANSWER: The suggested answer is
|
| Describe the scheme of the movements of Vivaldi's Violin Concerto in G. Refer to tempo, form, and mood in your answer. YOUR ANSWER: The suggested answer is
|
| Explain variation form. Why did Baroque composers emphasize the bass line? YOUR ANSWER: The suggested answer is
|
| List the elements that can be altered or varied in variation form. YOUR ANSWER: The suggested answer is
|
| Explain how the third movement of Vivaldi's Violin Concerto in G is unusual with regard to internal form. YOUR ANSWER: The suggested answer is
|
| Describe the character and tempo of each of the three movements of the Brandenburg Concerto No. 5. YOUR ANSWER: The suggested answer is
|
| Briefly discuss the career of Johann Sebastian Bach. Include a discussion of the patronage system. YOUR ANSWER: The suggested answer is
|
| List the three main compositions written by Bach at the end of his life and explain the purpose of each. YOUR ANSWER: The suggested answer is
|
| Define cadenza and give its usual location in Baroque concertos. YOUR ANSWER: The suggested answer is
|
| Define fugue. List and describe the various parts of a fugue. YOUR ANSWER: The suggested answer is
|
| 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. YOUR ANSWER: The suggested answer is
|
| Briefly describe four ways in which a fugue subject may be manipulated. YOUR ANSWER: The suggested answer is
|
| Define Baroque dance suite. Describe the medium(s) for which such suites were written. YOUR ANSWER: The suggested answer is
|
| 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? YOUR ANSWER: The suggested answer is
|
| Diagram a French overture and describe the character of each section. YOUR ANSWER: The suggested answer is
|
| 328. |
The composer of Julius Caesar is:
|
| 329. |
"La giustizia" is from a(n):
|
| 330. |
The first part of "La giustizia" is a(n):
|
| 331. |
Which describes what happens in "La giustizia" when the aria begins?
|
| 332. |
The performing forces in "La giustizia" are:
|
| 333. |
The composer of Messiah is:
|
| 334. |
"There were shepherds" is part of a(n):
|
| 335. |
"There were shepherds" is part of a larger work called:
|
| 336. |
In terms of accompaniment, the four sections of "There were shepherds" are:
|
| 337. |
The performing forces in "There were shepherds" consist of:
|
| 338. |
Which is true of the ending of "Glory to God"?
|
| 339. |
What is/are the texture(s) of the Hallelujah Chorus?
|
| 340. |
The performing forces in the Hallelujah Chorus consist of a:
|
| 341. |
"Christ lag in Todesbanden" is part of a(n):
|
| 342. |
The composer of "Christ lag in Todesbanden" is:
|
| 343. |
The performing forces of stanza 3 of "Christ lag in Todesbanden" are:
|
| 344. |
Which do you hear in stanza 3 of "Christ lag in Todesbanden"?
|
| 345. |
The texture of stanza 4 of "Christ lag in Todesbanden" is:
|
| 346. |
Which part has the main melody in stanza 4 of "Christ lag in Todesbanden"?
|
| 347. |
Which do you hear in stanza 7 of "Christ lag in Todesbanden"?
|
| 348. |
Which part has the main melody in stanza 7 of "Christ lag in Todesbanden"?
|
| 349. |
The Chorale Prelude of "Christ lag in Todesbanden" is based on a(n):
|
| 350. |
The texture of the Chorale Prelude of "Christ lag in Todesbanden" is:
|
| 351. |
The application of "vocabulary of the emotions" occurs most easily in:
|
| 352. |
The most important genre in Baroque secular vocal music is:
|
| 353. |
The singing style characterized by fast runs and scales, a large pitch range, cadenzas, and virtuosic displays of all sorts is:
|
| 354. |
Opera seria is a style of Baroque opera that originated in:
|
| 355. |
The text of an opera is called the:
|
| 356. |
The technique of declaiming words musically in a heightened theatrical manner is called:
|
| 357. |
A recitative in which only continuo instruments play the accompaniment is called:
|
| 358. |
A recitative with full orchestral accompaniment is called:
|
| 359. |
Castrati generally sang ________ parts.
|
| 360. |
Which is not true of an aria?
|
| 361. |
The musical term for "from the beginning" is:
|
| 362. |
The standard form for the Italian opera aria is ________ form.
|
| 363. |
In da capo form, ornamentation occurs primarily in the ________ section(s).
|
| 364. |
The plot of Julius Caesar offers singers opportunities for:
|
| 365. |
The essence of the text of "La giustizia" involves:
|
| 366. |
Handel composed most of his operas and oratorios in:
|
| 367. |
Handel knew how to follow the tastes of the public in his compositional style. This is shown in his switch from writing ________ to writing ________.
|
| 368. |
Many Baroque operas deal with ancient ________, whereas oratorios deal with ancient ________.
|
| 369. |
Which is not true of an oratorio?
|
| 370. |
In the Baroque era, women were most able to be professional musicians by:
|
| 371. |
One of the most famous singers in Handel's operas was:
|
| 372. |
Handel's most famous oratorio, which is frequently performed today, is:
|
| 373. |
How does Messiah differ from other works of this genre?
|
| 374. |
"There were shepherds" is a(n):
|
| 375. |
What is the message to the shepherds in "There were shepherds"?
|
| 376. |
Handel's "Glory to God" is a(n):
|
| 377. |
Handel's Hallelujah Chorus is a good example of changing:
|
| 378. |
It is customary for audiences to ________ during a performance of the Hallelujah Chorus.
|
| 379. |
The important genre that was used in Lutheran services and that was like a second sermon is called a(n):
|
| 380. |
The preexisting melodies on which much of Lutheran church music is based are:
|
| 381. |
The person who first organized congregational hymn singing in Protestant churches was:
|
| 382. |
What characteristic does each of the sung portions of "Christ lag in Todesbanden" share?
|
| 383. |
Bach's cantata "Christ lag in Todesbanden" is comprised of:
|
| 384. |
A Lutheran organ composition incorporating a hymn tune is called:
|
| 385. |
Another name for chorale prelude is:
|
| 386. |
Bach's collection of 162 short chorale preludes is called:
|
| 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. YOUR ANSWER: The suggested answer is
|
| Describe the spectacular elements of Baroque opera. YOUR ANSWER: The suggested answer is
|
| Describe coloratura singing. YOUR ANSWER: The suggested answer is
|
| Define and discuss the elements of Italian Baroque opera seria. YOUR ANSWER: The suggested answer is
|
| Define libretto. What is the term for one who writes libretti? YOUR ANSWER: The suggested answer is
|
| Describe what happens in an opera during a recitative. Refer to plot, possible accompaniment styles, meter, melody, and form in your answer. YOUR ANSWER: The suggested answer is
|
| Compare and contrast secco recitative and accompanied recitative. YOUR ANSWER: The suggested answer is
|
| Define castrato. Briefly describe the role, purpose, and lives of castrati. YOUR ANSWER: The suggested answer is
|
| Define da capo. Use letters to diagram da capo form. What happens in the last part of a da capo aria? YOUR ANSWER: The suggested answer is
|
| Distinguish between recitative, secco recitative, accompanied recitative, and da capo aria. YOUR ANSWER: The suggested answer is
|
| Is the plot of Julius Caesar accurate to the historical account or not, and if not, in what way? YOUR ANSWER: The suggested answer is
|
| How does Handel treat emotional display in Julius Caesar? YOUR ANSWER: The suggested answer is
|
| Describe the role and importance of the choir in sacred Baroque music. YOUR ANSWER: The suggested answer is
|
| Which secular vocal genre influenced sacred Baroque vocal music? Explain. YOUR ANSWER: The suggested answer is
|
| Define oratorio. List the features of a typical oratorio. YOUR ANSWER: The suggested answer is
|
| Explain the impresario side of Handel's musical career. YOUR ANSWER: The suggested answer is
|
| Explain how Handel changed the genre he composed in when the public's tastes changed. YOUR ANSWER: The suggested answer is
|
| 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? YOUR ANSWER: The suggested answer is
|
| Who was Elisabeth-Claude Jacquet? Why was her life unusual? What did she do in music? Who was her sponsor? YOUR ANSWER: The suggested answer is
|
| How is Messiah different from other works in this genre? YOUR ANSWER: The suggested answer is
|
| Describe the source and story of Messiah. YOUR ANSWER: The suggested answer is
|
| Describe the varied role of the chorus in Messiah. YOUR ANSWER: The suggested answer is
|
| Distinguish between oratorio and church cantata. YOUR ANSWER: The suggested answer is
|
| Describe the church cantata. Compare and contrast the opera and the church cantata in terms of function, setting, staging, purpose, and so on. YOUR ANSWER: The suggested answer is
|
| Define chorale. Relate chorales to Lutheran church music and religious Baroque compositions. YOUR ANSWER: The suggested answer is
|
| Briefly explain the structure of Bach's cantata "Christ lag in Todesbanden." On what material is the work based? YOUR ANSWER: The suggested answer is
|
| Define chorale prelude. At what point in the service might a chorale prelude be played? YOUR ANSWER: The suggested answer is
|
| Define Orgelbüchlein. Describe its contents and purpose. YOUR ANSWER: The suggested answer is
|
| Discuss how Bach achieves variety in his Orchestral Suite No. 3 in D. YOUR ANSWER: The suggested answer is
|
symbol have not been graded.