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Q:
Where did Handel's Messiah receive its premiere? A. London B. Ireland C. Austria D. Venice
Q:
Handel's oratorios are usually based on ______. A. the Old Testament B. Greek mythology C. the New Testament D. Roman history
Q:
Handel is associated with the __________ period. A. late Renaissance B. early baroque C. late baroque D. late Classical
Q:
Handel's Messiah is an example of ______. A. an oratorio B. an opera C. musical theater D. a song
Q:
Handel's __________ features the aria, Pianger la sorte mia (I shall mourn my fate), and is one of his most frequently performed operas today. A. Giulio Cesare (Julius Caesar) B. The Messiah C. Orfeo D. La Traviata
Q:
Handel spent the major portion of his life in ______. A. Germany B. England C. Italy D. Ireland
Q:
George Frideric Handel was born in 1685, the same year as ______. A. Johann Sebastian Bach B. Arcangelo Corelli C. Claudio Monteverdi D. Antonio Vivaldi
Q:
Oratorios first appeared in ______. A. Germany B. England C. Italy D. France
Q:
Sections of an oratorio are usually connected together by means of ______. A. a narrator's recitatives B. choruses C. duets D. arias
Q:
What is a major difference between a cantata and an oratorio? A. An oratorio is based on international dances. B. An oratorio is not intended for religious services. C. An oratorio features solo singers. D. An oratorial is based on biblical stories.
Q:
In addition to being a composer and opera impresario, Handel was a virtuoso ______. A. violinist B. organist C. cellist D. trumpeter
Q:
The ____________ in an oratorio is especially important and serves either to comment on or to participate in the drama. A. minister B. chorus C. orchestra D. vocal soloist
Q:
The first oratorios were based on ______.
A. Greek mythology
B. contemporary literature
C. Greek and Roman literature
D. stories from the Bible
Q:
Oratorio differs from opera in that it has no ______. A. orchestral accompaniment B. acting, scenery, or costumes C. choral part D. vocal soloists
Q:
A large-scale composition for chorus, vocal soloists, and orchestra, usually set to a narrative biblical text, is called a(n) ______.
A. chorale
B. aria
C. recitative
D. oratorio
Q:
138. Which of the following statements is not true? A. Oratorios first appeared in England. B. Oratorio differs from opera in that it has no acting, scenery, or costumes. C. An oratorio is a large-scale composition for chorus, vocal soloists, and orchestra, usually set to a narrative text. D. The first oratorios were based on stories from the Bible.
Q:
137. Which of the following statements is not true? A. Lutheran chorales were tunes that had often been adapted from folk songs and Catholic hymns. B. In a sense, the cantata was a sermon in music that reinforced the minister's sermon. C. When chorale melodies were harmonized for church choirs, the tune was assigned to the tenors. D. The cantata of Bach's day might last 25 minutes and contain several different movements, including choruses, recitatives, arias, and duets.
Q:
In their use of aria, duet, and recitative, Bach's cantatas closely resembled the ____________ of the time. A. suites B. operas C. concertos D. sonatas
Q:
A sung piece, or choral work with or without vocal soloists, usually with orchestral accompaniment, is the ______.
A. cantata
B. chorale prelude
C. concerto grosso
D. sonata
Q:
The principal means of musical expression in the Lutheran service was the ______. A. church opera B. fugue C. church cantata D. sacred suite
Q:
The ____________ is a short instrumental composition based on a hymn tune to remind the congregation of the hymn's melody. A. suite B. chorale prelude C. sinfonia D. cantata
Q:
Congregational singing of chorales was an important way for people to ______. A. stay awake during long sermons B. participate directly in the service C. learn new music D. All answers are correct.
Q:
The ____________ is a Lutheran congregational hymn tune. A. cantata B. chorale C. chorale prelude D. recitative
Q:
The Lutheran chorale tunes ______.
A. had been adapted from Catholic hymns
B. were composed in the sixteenth and seventeenth centuries
C. had been adapted from folk songs
D. All answers are correct.
Q:
In Bach's day, the Lutheran church service lasted about ____________ hour(s).
A. one
B. two
C. three
D. four
Q:
The French overture has ______. A. two sections: slow-fast B. two sections: fast-slow C. three sections: fast-slow-fast D. one continuous section
Q:
Baroque suites frequently begin with a ______. A. French overture B. gavotte C. gigue D. sarabande
Q:
The various dances of the baroque suite are usually ______. A. polyphonic in texture B. in theme and variation form C. in AABB form D. in ABA form
Q:
In contrast to fugues, baroque suites tended to have ____________ because they were based on dance steps. A. choral singers B. balanced and symmetrical phrases C. melodies in minor keys D. foot stomps and hand claps
Q:
Although all the movements of a baroque suite are in the same key, they differ in ______.
A. meter
B. national origin
C. tempo
D. All answers are correct.
Q:
123. Which of the following statements about baroque suites is not true? A. Baroque suites often begin with a French overture. B. The baroque suite is a musical form exclusive to the orchestra. C. A baroque suite is made up of different movements that are all written in the same key but differ in tempo, meter, and character. D. The various dances of the baroque suite are usually in AABB form.
Q:
A two-part collection of preludes and fugues, one in each major and minor key and basic to the repertoire of keyboard players today, is Bach's ______. A. Art of the Fugue B. Well-Tempered Clavier C. St. Matthew Passion D. Brandenburg Concertos
Q:
Sets of dance-inspired instrumental movements are called ______. A. sonatas B. concertos C. suites D. cantatas
Q:
Bach achieves unity of mood in his compositions by using ______. A. homophonic texture B. musical symbolism C. an insistent rhythmic drive D. simple melodic ideas
Q:
Bach's personal musical style was drawn from ______.
A. Italian concertos
B. French dance pieces
C. German church music
D. All answers are correct.
Q:
Bach created masterpieces in every baroque form except ______.
A. opera
B. concerto
C. fugue
D. sonata
Q:
Bach was recognized as the most eminent ____________ of his day. A. organist B. composer C. violinist D. cellist
Q:
While at Leipzig, what did Bach do? A. He taught organ and composition, gave recitals, and was often asked to judge the construction of organs. B. He composed close to 450 operas, which he performed at coffee houses. C. He generally avoided church music, concentrating on secular dances for the court nobles. D. All answers are correct.
Q:
Of Bach's twenty children, ____________ went on to become well-known composers. A. two B. three C. four D. five
Q:
The longest period of Johann Sebastian Bach's professional life was spent as director of music at St. Thomas's Church in ______. A. Rome B. Leipzig C. Cthen D. Eisenach
Q:
Which of the following about Vivaldis La Primavera (Spring) from The Four Seasons is true?
A. It was little known during his life.
B. Louis XV, king of France, detested the piece and banned it from performance.
C. The piece is an example of program music.
D. Was written with a famous Venetian librettist.
Q:
112. Which of the following statements is not true? A. Bach's church music uses operatic forms such as the aria and recitative. B. The bulk of Bach's output is instrumental music. C. Bach created masterpieces in every baroque form except opera. D. Bach's music is unique for its combination of rich harmony and polyphonic texture.
Q:
111. Which of the following statements is not true? A. So many members of the Bach family were musicians that the name Bach became synonymous with town musician. B. Bach was thrown in jail for a month when he tried to leave his employment with the duke of Weimar. C. Bach was recognized as the most eminent composer of his day. D. Bach spent the last twenty-seven years of his life in one of the most important church posts in Germany, that of director of music at St. Thomas Church in Leipzig.
Q:
A Vivaldi concerto usually has ____________ movements. A. a variable number of B. two C. three D. four
Q:
Vivaldi wrote approximately ____________ concerti grossi and solo concertos.
A. 10
B. 30
C. 95
D. 450
Q:
Vivaldi was famous and influential as a virtuoso ______.
A. harpsichordist
B. opera singer
C. lutenist
D. violinist
Q:
Which of the following statements is not true?
A. Some of Vivaldi's instrumental concertos were arranged by J. S. Bach.
B. For most of his life, Vivaldi was a violin teacher, composer, and conductor at the music school of the Piet, an institution for orphaned or illegitimate girls in Venice.
C. Like Corelli, Vivaldi wrote only secular, instrumental music.
D. Vivaldi's solo concertos The Four Seasons are examples of baroque program music, or instrumental music associated with a story, poem, idea, or scene.
Q:
Vivaldi spent most of his life working at an institution for orphaned and illegitimate girls in ______. A. Rome B. Venice C. Florence D. Cremona
Q:
What is the theorbo? A. A bass woodwind instrument similar to the bassoon B. An electronic instrument whose tone is generated by oscillators C. A plucked string instrument capable of producing chords as well as a bass line D. A keyboard instrument suitable for playing basso continuo parts
Q:
Characteristic of baroque trio sonatas, the second movement of Corelli's Trio Sonata in A Minor, Op. 3, No. 10, is ______. A. slow and dignified B. songlike C. fuguelike D. a dance
Q:
Corelli's Trio Sonata in A Minor, Op. 3, No. 10, is scored for ______. A. two violins B. solo violin and orchestra C. two violins and basso continuo D. piano, violin and cello
Q:
Corelli's Trio Sonata in A Minor, Op. 3, No. 10, consists of four short movements, all in the same ______. A. meter B. key C. tempo D. mood
Q:
101. Which of the following statements is not true? A. The trio sonata usually involved three performers, two on high instruments and one on a bass line. B. The sonata da chiesa had a dignified character and was suitable for sacred performance. C. Sonatas were played in palaces, in homes, and even before, during, and after church services. D. The sonata originated in Italy but spread to Germany, England, and France during the seventeenth century.
Q:
In addition to being an important composer, Arcangelo Corelli was also the leading Italian ________ of his time. A. violinist B. organist C. harpsichordist D. flutist
Q:
Corelli advanced violin technique by introducing chords and ______. A. double stops B. pizzicato C. col legno D. tremolo
Q:
Corelli spent most of his adult life in ______.
A. Venice
B. Florence
C. Paris
D. Rome
Q:
A sonata to be played at court, and therefore dancelike in character, was called a ______. A. sonata da camera B. trio sonata C. sonata da chiesa D. tarantella
Q:
A sonata intended to be played in church, and therefore dignified and suitable for sacred performance, was called a ______. A. sonata da camera B. trio sonata C. sonata da chiesa D. basso ostinato
Q:
Baroque trio sonatas usually involve ____________ performers. A. two B. three C. four D. five
Q:
The sonata originated in ______.
A. the Netherlands
B. Germany
C. France
D. Italy
Q:
Henry Purcell's opera Dido and Aeneas was originally written to be performed by ______. A. a church choir B. students at a girls' boarding school C. the sons of merchants D. royal court musicians
Q:
Dido and Aeneas, which many consider to be the finest opera ever written to an English text, was composed by ______. A. Claudio Monteverdi B. Henry Purcell C. George Frideric Handel D. Jeremiah Clarke
Q:
____________ is a musical idea repeated over and over in the bass while melodies above it constantly change. A. Basso ostinato B. Basso profundo C. Basso continuo D. Thoroughbass
Q:
Which of the following statements is not true?
A. Henry Purcell was virtually unknown in his own time, but today is considered England's most significant composer from the Baroque Era.
B. Purcell mastered all the musical forms of late seventeenth-century England, including church music, secular choral music, music for small groups of instruments, songs, and music for the stage.
C. Purcell's music is filled with lively rhythms and a fresh melodic style that captures the spirit of English folk songs.
D. Purcell used a ground bass in Didos Lament.
Q:
89. Which of the following statements is not true? A. Monteverdi's Orfeo, composed in 1607, is considered to be the earliest operatic masterpiece. B. All twelve of Monteverdi's operas are regularly performed in Europe and America. C. Monteverdi creates variety in Orfeo by using many kinds of music, combining recitatives, arias, duets, choruses, and instrumental interludes into one dramatic whole. D. Monteverdi's works form a musical bridge between the sixteenth and seventeenth centuries and greatly influenced composers of the time.
Q:
In the myth of Orpheus, Orpheus goes to Hades in the hope of bringing ____________ back to life. A. Eurydice B. Phyllis C. Persephone D. Oriana
Q:
Monteverdi's vocal music ordinarily was supported by a ____________ and other instruments.
A. bassoon
B. trumpet
C. basso continuo
D. string bass
Q:
To achieve intensity of expression, Monteverdi used ____________ with unprecedented freedom and daring.
A. skips
B. texts
C. consonances
D. dissonances
Q:
To evoke angry or warlike feelings in some of his texts, Monteverdi introduced new orchestral effects, including pizzicato and ______. A. tremolo B. double stops C. sul ponticello D. col legno
Q:
Monteverdi spent the greater part of his career in ______. A. Notre Dame, Paris B. The Duomo, Florence C. St. Mark's, Venice D. the Vatican, Rome
Q:
What are embellishments? A. Ornamental tones not printed in the music that seventeenth- and eighteenth-century performers were expected to add to the melody. B. Music created at the same time it is performed. C. Notes printed in the music that ornament the melody. D. Obsolete in contemporary performances.
Q:
Which statement is true about opera in Venice?
A. It was only for the aristocracy.
B. Between 1637 and 1700 there were seventeen opera houses in Venice.
C. Opera took longer to develop in Venice than other parts of Europe.
Q:
Today, a ______ often sings a castrato part in baroque opera.
A. countertenor
B. basso profundo
C. basso buffo
D. baritone
Q:
Castrati ______.
A. received the highest fees of any musicians
B. combined the lung power of a man with the vocal range of a woman
C. were male singers who had been castrated before puberty
D. All answers are correct.
Q:
The stage machinery of baroque opera _______. A. was very primitive B. bordered on the colossal C. was nonexistent D. replaced set designs
Q:
The earliest opera that has been preserved is Jacopo Peri's ______. A. Euridice B. Orfeo C. Nerone D. Arsace
Q:
The first opera house in Europe to offer entry to anyone with the price of admission opened in 1637 in ______.
A. Hamburg
B. London
C. Rome
D. Venice
Q:
Which of the following statements is not true?
A. Most early baroque operas were based on Greek mythology and ancient history.
B. The members of the Florentine Camerata based their theories on actual dramatic music that had come down to them from the Greeks.
C. The members of the Florentine Camerata wanted to create a new vocal style modeled on the music of ancient Greek tragedy.
D. Polyphony was rejected by the members of the Florentine Camerata because different words sounding simultaneously would obscure the text.
Q:
Most early baroque operas were based on Greek mythology and ______. A. contemporary political events B. lyric poetry C. ancient history D. contemporary exploration of the new world
Q:
The members of the Camerata wanted the vocal line of their music to follow ______. A. standard rules of musical theory B. the rhythms and pitch fluctuations of speech C. the lines of contrapuntal writing D. set metrical and melodic patterns