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MUS101 Test 3
The Baroque Era
Question | Answer |
---|---|
Barbara Strozzi published more arias than any other male singer-composer in her times. | True |
Barbara Strozzi was | probably the illegitimate daughter of the Venetian poet Giulo Strozzi. |
Chiara Margarita Cozzolani was a nun at the convent of St. Radegonda in | Milan |
Chiara Margarita Cozzolani and Barbara Strozzi are unique in that | they both published music in their lifetimes. |
Cozzolani’s Magnificat closes with a particular prayer of praise to God called the | doxology |
Cozzolani’s Magnificat is sung in which language? | Latin |
During the Baroque era, the Catholic Church offered a wide variety of options for women to express their spirituality. | False |
Many women composers in the Baroque era felt a particularly strong affinity with which biblical character? | the Virgin Mary |
Music has often been a means for marginalized people to voice their perspective. | True |
Music was not a part of the life of nuns in convents in the Baroque era. | False |
On whom did Augustinian priest Filippo Picinelli lavish praise in 1670? | the nuns of St. Radegonda of Milan |
In times such as the Baroque era, when women had few choices in their lives, what was the only honorable alternative to marriage? | entering a convent |
Priests and monks were brought in to convents to sing the lower parts in polyphonic music. | False |
It has been suggested that Barbara Strozzi | was a courtesan. |
Sleepyhead, Cupid! is sung in which language? | Italian |
The Baroque era offered few musical possibilities for creative women. | True |
The form of Sleepyhead, Cupid! is | All possible answers. ternary a da capo aria A-B-A |
The music of Chiara Margarita Cozzolani was | published during her lifetime and circulated beyond the convent. |
The text setting of Strozzi’s Sleepyhead, Cupid! includes | word-painting. |
The themes of Barbara Strozzi’s arias often focus on | the theme of love. |
Which best describes the performing forces of Cozzolani’s Magnificat? | two double choirs, soloists, and organ continuo |
Which describes Barbara Strozzi’s performing opportunities? | She performed in the exclusive male academies of Venice. |
Which of the following did NOT take place at the convent of St. Radegonda when Cozzolani was there? | The nuns adhered to the church ban on singing polyphony. |
Which of the following is a type of music dedicated to the Virgin Mary? | Magnificat |
Who was Chiara Margarita Cozzolani? | All possible answers. a musician a Benedictine nun a composer |
A ground bass is heard only at the beginning of Dido’s aria. | False |
A hornpipe is | All possible answers. often associated with sailors. characterized by a Scotch snap. characterized by a short-long rhythm. |
An aria is characterized by | tuneful and highly emotive melodies. |
At the time Monteverdi wrote the opera The Coronation of Poppea, what type of opera houses were opening in Venice? | public |
Between scenes of an opera the orchestra may play | sinfonias. |
Despite being composed in England, Purcell’s opera Dido and Aeneas has an Italian text. | False |
Dido and Aeneas is one of the earliest, and most famous, Italian operas. | False |
Dido and Aeneas was first presented by | a group of girls at a boarding school. |
Who of the following was an early composer of Italian opera? | Monteverdi |
How is grief musically depicted in Dido’s Lament? | with a descending, chromatic bass line |
In Baroque opera, what seemingly happens to the time during an aria? | time stops |
In the aria, Dido sings "Remember me, but ah! forget my fate." What was her fate? | to die |
The _______ was an English entertainment that combined music and poetry. | masque |
The most important new genre of the Baroque era was | opera |
The bass line that opens and unifies Dido’s Lament is called a(n) | ground bass. |
The libretto for Purcell’s opera, Dido and Aeneas, is based on | Virgil’s Aeneid. |
The new Italian opera was embraced in all Western European countries. | False |
The opening of Act II of Dido and Aeneas begins with a sprightly tune in the style of a | hornpipe |
The principal components of opera include arias, recitatives, overtures, and | choruses |
The text of an opera is known as a | libretto |
What is the musical style of the opening line "Thy hand, Belinda; darkness shades me"? | recitative |
Where was Purcell employed when he wrote Dido and Aeneas? | He was a music teacher at a girls’ school. |
Which is NOT a true statement about Baroque opera? | Baroque opera aims to depict events realistically. |
Which is NOT true of an overture? | It is generally played as an introduction and again between scenes. |
Why does Dido sing a lament at the end of Purcell’s opera? | Aeneas has left her. |
Which statement about Johann Sebastian Bach’s career is NOT true? | Bach had an international career. |
Bach composed in all genres except | opera |
Bach wrote many of his most important works for which instrument? | organ |
Bach’s Cantata No. 140 is sung in what language? | German |
For what religious occasion was the cantata Wachet auf (Sleepers Awake) written? | the end of the church year |
For which church did J. S. Bach write his cantatas? | Lutheran |
Four sons of Bach’s nineteen children were leading composers of the next generation. | True |
In regard to the cantatas by J. S. Bach, which statement is NOT true? | Bach’s church cantatas are single-movement works. |
In the Lutheran tradition, the cantata was performed along with the Gospel reading, sermon, and prayers | on most Sundays of the church year. |
In the last movement of Bach’s Cantata No. 140 | the chorale melody is heard in the soprano line. |
Martin Luther and fellow reformer John Calvin believed only priests who were trained singers should participate in church music-making. | False |
What was one of Martin Luther’s most important and lasting contributions to Western culture? | the idea that musical worship belongs to the congregation |
The Lutheran chorale Wachet auf is in "bar form," which is respresented as _____. | A-A-B |
The energetic instrumental idea that recurs several times between the vocal statements in the first movement of J. S. Bach’s Cantata No. 140 is a | ritornello |
The first movement of Bach’s Cantata No. 140 is a(n) | chorale fantasia. |
The fourth movement of Bach’s Cantata No. 140 features the tenor section singing in unison. | True |
The libretto of Bach’s cantata Wachet auf | All possible answers. is based on a biblical text. urges Lutherans to prepare themselves spiritually for the second coming of Christ. is the parable of the Wise and Foolish Virgins. |
How many movements are there in J. S. Bach’s Cantata No. 140 Wachet auf? | seven |
Which describes the chorale melody as it is heard in the fourth movement of Bach’s cantata Wachet Auf? | The tenors sing the chorale melody in unison. |
Which describes the performing forces of a cantata? | soloists, chorus and orchestra |
Which is a true statement regarding the music of J. S. Bach? | Bach achieved unrivalled mastery of contrapuntal composition. |
Which of the following applies to the definition of a cantata? | All possible answers. solos arias, recitatives, and choruses multimovement work orchestral accompaniment |
Which voices sing the melody in a homorhythmic performance of a Lutheran chorale? | sopranos |
Who of the following wrote the chorale text and tune for Wachet auf (Sleepers, Awake)? | Philipp Nicolai |
________ were weekly hymns created by Luther and his followers for their congregations to sing by composing (or sometimes recycling) simple and memorable melodies. | Chorales |
The Royal Academy of Music was founded for the purpose of producing Italian opera. | True |
Handel and J. S. Bach met often and collaborated on musical works. | False |
Handel composed in all genres except opera. | False |
Handel found great success living and working in | London, England. |
Handel spent his entire career in Germany. | False |
Handel’s Messiah was premiered in | Dublin, Ireland. |
Handel’s oratorios | All possible answers. quickly became popular. appealed to the English public. were designed to turn a profit. |
Handel’s oratorios combined elements of all of the following EXCEPT | German opera. |
How is the oratorio similar to opera? | They both feature arias, recitatives, and choruses. |
In what language is Handel’s Messiah sung? | English |
Handel created the English oratorio for all of the following reasons EXCEPT which one? | King George I commissioned him to write oratorios |
Early oratorios | All possible answers. were performed in public meeting places. spread the messages of the Catholic faith. were meant to be a moral alternative to opera. |
The Baroque oratorio evolved out of events that took place during the Counter-Reformation. | True |
The libretto for Handel’s Messiah features biblical verses from both the Old and New Testaments. | True |
The oratorio was generally based on | a biblical story. |
The word "oratorio" is derived from which? | an Italian word meaning "place of prayer" |
What is the genre of "Rejoice greatly"? | da capo aria |
Where was Handel born? | Halle, Germany |
Where was Handel buried? | Westminster Abbey, London |
Which describes the texture of the "Hallelujah Chorus" from Handel’s Messiah? | alternating between homorhythmic and polyphonic textures |
Which genre is Handel said to have invented? | English oratorio |
Which is NOT true of the Baroque oratorio? | It used scenery, acting, and costumes, just like opera. |
Which statement does NOT apply to the texts for Handel’s Messiah? | The libretto was written by religious leaders. |
Which term means an instrumental refrain? | ritornello |
Which vocal form took its name from the Italian word for "place of prayer"? | oratorio |
A heterophonic effect is many people singing | slight variants of the same melody simultaneously. |
A religious choral composition in English designed for congregational singing, though it could also be sung in the home or among friends, is called | an anthem. |
Where did William Billings live and work? | Boston |
Billings adhered strictly to European compositional methods. | False |
Billings’s David’s Lamentation is complex and challenging to sing. | False |
Colonists in New England participated in congregational hymn singing. | True |
Conservative Puritan leaders | believed polyphonic singing was scandalous. |
In what language is Billings’s David’s Lamentation sung? | English |
Singing schools in Colonial America began in the | 1720s |
Sometimes Billings’s songs mixed sacred texts and political references. | True |
The intent of the process of lining-out was to create unison congregational singing. | True |
The practice of lining-out allowed singers who did not read music notation to participate in congregational music-making. | True |
The seventeenth-century system in which New England church leaders sang each line of a psalm and the congregation repeated it back is called | lining-out. |
The text of David’s Lamentation recalls King David’s grief upon losing | his son Absalom. |
What is the form of Billings’s David’s Lamentation? | A-B-B |
What is the genre of Billings’s David’s Lamentation? | anthem |
What is the predominant texture of Billings’s David’s Lamentation? | homophony |
What system did the Puritans employ for singing psalms in church? | lining-out |
When many people are singing the same melody at the same time, but each singer is modifying the tune slightly, the resulting texture is known as | heterophony |
Which of the following are William Billings’s contributions to American music history? | All possible answers. contributing songs to the cause of independence from Great Britain emphasizing the institutional importance of music cultivating a tradition of American psalmody |
Which of the following is a collection of music by William Billings? | The New England Psalm Singer |
Which of the following was NOT a direct result of congregations learning musical notation in Colonial America? | increased interest in European plainchant |
Who of the following was NOT a friend of William Billings? | Johann Sebastian Bach |
William Billings lived during the | early years of the American Republic. |
William Billings taught at singing schools. | True |
The Baroque suite is characterized by which of the following? | All answers are correct. Many movements found in the suite are dance types from different countries. It consists of a series of short dance movements. The movements have contrasting tempos and character. |
What is one of two possible forms of the individual movement in a suite? | binary |
What do Stradivari, Guarneri, and Amati have in common? | They were all string instrument makers. |
The first era of Western music history in which instrumental music was a major focus for composers was the | Baroque era. |
The Baroque suite could include dances from | Germany, England, France, and Spain. |
During the Baroque era, string instruments used what material for strings? | gut |
Which of the following were considered “natural instruments”? | trumpet, French horn |
The Baroque suite could include a German dance called a(n) | allemande |
Which of the following wind instruments were made of wood during the Baroque era? | recorder, oboe, flute |
During the Baroque era, which woodwind instrument became associated with a somber mood? | bassoon |
Baroque composers applied the concept of the suite to ________ music. | All answers are correct. solo instrumental orchestral chamber |
The Spanish dance often included in the Baroque suite is the | sarabande |
What is the name of the French dance often included in the Baroque suite? | courante |
The sarabande is a Spanish ________ often included in the Baroque suite. | dance |
Which of the following describes instrumental music in the Baroque era? | Elaborate instrumental music has often been used to convey grandeur on special occasions. The flowering of instrumental music was largely encouraged by wealthy patrons. New technologies made increasingly sophisticated musical instruments possible. |
The allemande is a(n) ________ dance included in the Baroque suite. | German |
The ________ form in a concerto is loosely based on the alternation between orchestral statements and virtuosic passages for the soloist. | ritornello |
In his era, Vivaldi was the greatest and most prolific Italian composer of | concertos |
Which of the following characterizes Vivaldi’s Four Seasons? | All answers shown here. The concertos are structured in three-movement forms. The concertos convey pictorial images. The concertos are based on poems. |
The instrumental form based on the contrast of two dissimilar bodies of sound is called a | concerto |
Antonio Vivaldi was known as the “red priest” for | the color of his hair. |
A ritornello form in a concerto is typically found in | the first and third movements. |
The solo instrument in Spring, from The Four Seasons, is the | violin |
A concerto is an instrumental | genre based on the opposition between two dissimilar bodies of sound, such as a small group of solo instruments and orchestra. |
Which of the following is Vivaldi’s best-known set of concertos? | The Four Seasons |
How many violin concertos did Vivaldi compose? | over 230 |
The typical solo concerto has ________ movements. | three |
Where was the concerto first developed? | Italy |
The Four Seasons is program music because | Vivaldi’s music mirrors the accompanying poems. |
The opening movement of Spring, from The Four Seasons, is in ________ form. | ritornello |
In the first movement, Spring, both the poem and music evoke birds, a stream, and thunder and lightning. | True |
Vivaldi lived and worked in | Venice |
What is an identifying element of a fugue? | contrapuntal motion |
In a fugue, the technique of stating the theme in shorter time values that go faster is called | diminution |
The technique of overlapping statements of the fugue subject, which heighten tension, is called | stretto. |
Which of the following is the title of a set of forty-eight preludes and fugues by Bach? | The Well-Tempered Clavier |
The opening section of a fugue, in which all voices successively present the subject, is called the | exposition |
The harpsichord is different from the piano because | All answers are correct. its tone cannot be sustained like that of the piano. it is not capable of a wide dynamic range. its strings are plucked, rather than struck. |
Which of the following are contrapuntal devices that alter the original subject of a fugue? | All answers are correct. augmentations retrogrades diminutions |
In a fugue, the technique of moving the subject by the same intervals but in the opposite direction is called | inversion |
Who wrote The Well-Tempered Clavier? | Bach |
In a fugue, the technique of stating the pitches of the subject backward is called | retrograde |
Which of the following was an important keyboard instrument during the Baroque? | the organ |
In a fugue, the technique of stating the subject in longer time values is called | augmentation |
What is a toccata? | an improvisatory, free-form keyboard work with highly contrasting musical ideas and tempos |
Bach’s last demonstration of contrapuntal mastery was | The Art of Fugue. |
The exposition of a fugue ends after the subject has been presented in each voice once. | True |
The Well-Tempered Clavier is a collection of forty-eight preludes and fugues. | True |
The fugue is based on the principle of imitation. | True |
The organ has multiple keyboards. | True |