Music An Appreciation Brief 8th Edition Roger Kamien Test Bank 1

Part IV - The Baroque Period
Music An Appreciation Brief 8th

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Part IV
The Baroque Period
Multiple Choice Questions
1. The word baroque has at various times meant all of the following except
A. elaborately ornamented.
B. flamboyant.
C. bizarre.
D. naturalistic.
The word baroque has at various times meant bizarre, flamboyant, and elaborately
ornamented. Naturalism is a concept more relevant during the Renaissance.
Bloom's: Understand
Learning Objective: Recall characteristics of the period in which the baroque style of music flourished
4-1
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2. Modern historians use the term baroque to indicate

A. a particular style in the arts, involving action and movement.
B. a period of decline in the arts.
C. a class of musical instruments that no longer function.
D. a scientific movement popular in the seventeenth century.
Modern historians use the term baroque to describe a period in which action and movement
were guiding principles.
Bloom's: Understand
4-2
3. All of the following were baroque painters except

A. Gian Lorenzo Bernini.
B. Isaac Newton.
C. Peter Paul Rubens.
D. Rembrandt van Rijn.
Isaac Newton was primarily a physicist and mathematician.
Bloom's: Remember
4. Baroque painters exploited their materials to expand the potential of ____________ to

create totally structured worlds.
A. color
B. ornament and detail
C. depth
D. All answers are correct.
Form and structure were primary goals to baroque artists and, as such, they explored all of the
above areas to create.
Bloom's: Understand
5. Baroque style flourished in music during the period

A. 1000-1250.
B. 1250-1450.
C. 1450-1600.
D. 1600-1750.
The Baroque period lasted from 1600 to 1750.
Bloom's: Remember
Learning Objective: Identify the baroque period and its phases
4-3
6. The baroque style was well suited to the

A. merchants.
B. aristocracy.
C. sea explorers.
D. commoners.
The baroque style was very well suited to the wishes of the aristocracy, who matched their
desire for luxury to the elaborate and ornamented structures of baroque art.
Bloom's: Understand
7. The two giants of baroque composition were George Frideric Handel and
A. Johann Christian Bach.
B. Johann Sebastian Bach.
C. Giovanni Gabrieli.
D. Galileo Galilei.
George Frideric Handel and Johann Sebastion Bach were towering figures in baroque music.
Bloom's: Remember
Learning Objective: Recall leading composers of the baroque period
8. All of the following were major baroque composers except

A. Pierluigi da Palestrina.
B. Claudio Monteverdi.
C. Antonio Vivaldi.
D. Arcangelo Corelli.
Pierluigi da Palestrina (ca. 1525-1594) was a composer during the Renaissance period.
Bloom's: Remember
4-4
9. Which of the following statements is not true?

A. Baroque art is a complex mixture of rationalism, sensuality, materialism, and spirituality.
B. The late baroque period was one of the most revolutionary periods in music history.
C. Early baroque composers favored homophonic texture over the polyphonic texture typical
of Renaissance music.
D. Regardless of form, baroque music often features contrasts between elements of sound.
The late baroque period was one of refinement, not of revolutionary progress (the early
baroque is known for being revolutionary).
Bloom's: Understand
10. The early baroque was characterized by

A. elaborate counterpoint.
B. homophonic texture.
C. development of the standardized orchestra.
D. diffusion of the style into every corner of Europe.
Composers of the early baroque favored homophonic textures in contrast to the elaborate
polyphony of the late Renaissance.
Bloom's: Understand
11. The early baroque period spanned the years

A. 1567-1643.
B. 1640-1690.
C. 1600-1640.
D. 1690-1750.
The early baroque period lasted from 1600-1640.
Bloom's: Remember
4-5
12. Monteverdi, an early baroque composer, strove to create music that was
A. difficult to perform.
B. passionate and dramatic.
C. extremely complex.
D. placid and smooth.
Composers in the early baroque, such as Monteverdi, strove to create unprecedented passion
and dramatic contrast in their works.
Bloom's: Understand
13. The early and late baroque periods differed in that composers in the late baroque
A. favored polyphonic texture.
B. favored homophonic texture.
C. used extremely complex harmonies.
D. favored purely instrumental music.
One of the major differences between the early and late baroque periods was the preference in
musical textures: composers in the early baroque favored homophony while those in the late
baroque favored polyphony.
Bloom's: Understand
14. The middle baroque was characterized by

A. elaborate counterpoint.
B. homophonic texture.
C. the development of the standardized orchestra.
D. a diffusion of the style into every corner of Europe.
The middle baroque is associated mostly with the diffusion of the style into every corner of
Europe.
Bloom's: Understand
4-6
15. The middle baroque period spanned the years

A. 1567-1643.
B. 1640-1690.
C. 1600-1640.
D. 1690-1750.
The middle phase of the baroque lasted from 1640-1690.
Bloom's: Remember
16. Composers in the middle baroque phase favored writing compositions for instruments of
the ____________ family.
A. brass
B. violin
C. percussion
D. woodwind
Instrumental pieces for the violin became extremely popular during the middle baroque
period.
Bloom's: Remember
17. By about ____________, major or minor scales were the tonal basis of most
compositions.
A. 1500
B. 1600
C. 1690
D. 1750
By around 1690, at the end of the middle baroque period, major and minor scales became the
tonal basis of most compositions.
Bloom's: Remember
4-7
18. Instrumental music became as important as vocal music for the first time in the
____________ period.
A. Renaissance
B. early baroque
C. middle baroque
D. late baroque
During the late baroque period, instrumental music became as important as vocal music.
Bloom's: Remember
19. The late baroque period spanned the years

A. 1567-1643.
B. 1640-1690.
C. 1600-1640.
D. 1690-1750.
The late baroque period lasted from 1690 to 1750.
Bloom's: Remember
20. Affections in baroque usage refers to

A. the nobility's manner of deportment.
B. the doctrine of universal brotherhood.
C. terraced dynamics.
D. emotional states or moods of music.
Baroque music usually expresses a mood or emotional state, known as affections.
Bloom's: Understand
Learning Objective: Summarize characteristics of baroque music
4-8
21. A baroque musical composition usually expresses ____________ within the same
movement.
A. one basic mood
B. a wide variety of moods
C. constantly changing moods
Baroque compositions usually express one mood per movement, allowing for changes in
mood over multiple movements.
Bloom's: Understand
22. The baroque principle of ____________ may be temporarily suspended in vocal music
when drastic changes of emotion in a text inspires corresponding changes in the music.
A. basso continuo
B. unity of mood
C. terraced dynamics
Changing meanings sometimes resulted in corresponding changes in the moods of a

movement in a baroque vocal piece.
Bloom's: Remember
23. The compelling drive and energy in baroque music are usually provided by
A. a bawdy text.
B. complex harmonic progressions.
C. repeated rhythmic patterns.
D. the high dynamic level.
The drive and energy associated with baroque music comes from the repetition of rhythmic
patterns.
Bloom's: Understand
4-9
24. Baroque melodies often are

A. elaborate and ornamental.
B. easy to sing and remember.
C. impossible to play.
D. short and simple.
Like much of baroque art, compositional melodies were often elaborate and feature complex
ornamentations.
Bloom's: Understand
25. Baroque melodies give the impression of

A. balance and symmetry.
B. being carelessly composed.
C. tonal vagueness.
D. dynamic expansion.
Baroque melodies (and even whole works) were carefully crafted to give an impression of
expansion and evolution, as in a fugal work.
Bloom's: Understand
26. Melodic sequence refers to

A. a composition by Vivaldi.
B. a preferred method of tuning an instrument.
C. the successive repetition of a musical idea at higher or lower pitches.
D. the pedagogical steps in learning to play an instrument.
A melodic sequence is a successive repetition of a musical idea at higher or lower pitches,

adding momentum to a piece.
Bloom's: Remember
4-10
27. A characteristic often found in baroque melodies is

A. one long continuous phrase with long sustained notes.
B. one short phrase followed by continuous repetition of the same phrase.
C. a symmetrical frame with two long phrases of equal length.
D. a short opening phrase followed by a longer phrase with an unbroken flow of rapid notes.
A baroque melody is usually comprised of a short opening phrase followed by a longer phrase
with an unbroken flow of rapid notes.
Bloom's: Understand
28. Terraced dynamics refers to

A. a gradual change from soft to loud.
B. a gradual change from loud to soft.
C. the sudden alternation from one dynamic level to another.
D. dynamics that are not written in the music but added by the performer.
A sudden shift in dynamic level is a technique called terraced dynamics.
Bloom's: Remember
29. In the baroque era, dynamics consisted mainly of sudden alterations between loud and soft
called
A. cantus firmus.
B. terraced dynamics.
C. basso continuo.
D. basso ostinato.
A sudden shift in dynamic level is a technique called terraced dynamics.
Bloom's: Remember
4-11
30. The main keyboard instruments of the baroque period were the organ and the
A. clavichord.
B. harpsichord.
C. piano.
D. accordion.
The organ and the harpsichord were the main keyboard instruments used during the baroque
period. The clavichord was a baroque instrument but was used less frequently because of its
weak volume.
Bloom's: Remember
Learning Objective: Recognize keyboard instruments of the baroque period
31. A popular keyboard instrument in which sound was produced by means of brass blades
striking the strings was the
A. clavichord.
B. harpsichord.
C. basso continuo.
D. organ.
The clavichord produced sound by means of brass blades striking the strings, allowing for a
dynamic range.
Bloom's: Remember
Learning Objective: Recognize keyboard instruments of the baroque period
32. The most characteristic feature of baroque music is its use of

A. gradual dynamic changes.
B. monophonic texture.
C. basso continuo.
D. simple singable melodies.
The basso continuo (sometimes just continuo) was the most characteristic feature of baroque
music. It is a form of instrumental accompaniment that is usually played by at least two
instruments: a keyboard instrument and a low melodic instrument.
Bloom's: Remember
Learning Objective: Recall the use of chords and basso continuo in baroque music
4-12
33. A bass part together with numbers that specify the chords to be played above it is called
A. figured bass.
B. sequenced bass.
C. basso profundo.
D. counterpoint.
The notation of the bass part, with numbers (figures) is called a figured bass. The numbers
specify only basic chords, not the exact way in which the chords should be played.
Bloom's: Remember
Learning Objective: Recall the use of chords and basso continuo in baroque music
34. The orchestra evolved during the baroque period into a performing group based on
instruments of the ____________ family.
A. violin
B. woodwind
C. brass
D. percussion
The evolution of the modern orchestra began with the grouping of strings (instruments of the
violin family).
Bloom's: Remember
Learning Objective: Identify features of the baroque orchestra
35. The word movement in music normally refers to

A. music for the ballet.
B. a piece that sounds fairly complete and independent but is part of a larger composition.
C. the rising and falling of the melodic contour.
D. the rhythm of a piece.
In music, the use of the word movement is meant to describe a piece that sounds fairly
complete and independent but is part of a larger composition.
Bloom's: Remember
Learning Objective: Know what a movement is in a musical composition
4-13

A. A large court during the baroque might employ more than eighty performers, including the
finest opera singers of the day.
B. Audiences in the baroque period were most anxious to hear old familiar favorites, and did
not care for new music.
C. In Italy, music schools were often connected with orphanages.
D. Church musicians in the baroque period earned lower pay and had less status than court
musicians.
The baroque period in music was one of revolution and audiences were eager to hear new
musical trends.
Bloom's: Remember
37. A large court during the baroque period might employ about ____________ performers.
A. 18
B. 24
C. 80
D. 120
As royalty grew, so did their patronage of the arts. A large court during the baroque period
could employ as many as eighty performers, including the finest opera singers of the day.
Bloom's: Remember
4-14
38. The music director of a baroque court was usually not responsible for
A. supervising and directing the musical performances.
B. composing much of the music desired.
C. the discipline of the other musicians.
D. publicity in reaching an audience.
The music director of a baroque court had many duties, including supervising and directing
performances, composing new works, and disciplining musicians. They were not, however
responsible for publicity.
Bloom's: Remember
39. Frederick the Great, king of Prussia, was a

A. flutist.
B. general.
C. composer.
Continuing the Renaissance tradition of learning many arts and sciences, Frederick the Great
was, among other things, a general, flautist, and composer.
Bloom's: Remember
40. The position of the composer during the baroque period was that of
A. a free agent working on commissions.
B. an equal to the nobility, based on merit.
C. a high-class servant with few personal rights.
D. a low-class wandering minstrel.
As prestigious as a composer might be, they were still servants to the nobility and had to curry
favor with the aristocracy.
Bloom's: Remember
Learning Objective: Explain how composers were an integral part of baroque society
4-15
41. In the baroque period, the ordinary citizen's opportunities for hearing music usually came
from the
A. corner tavern.
B. church.
C. concert hall.
D. court.
Although the court was responsible for the commissions and performances of much new
music, most common people heard music in the church.
Bloom's: Remember
42. In Italy, music schools were often connected with

A. orphanages.
B. courts of the nobility.
C. public schools.
D. universities.
In Italy, music schools were often connected with orphanages; the word conservatory comes
from the Italian for orphans' home.
Bloom's: Remember
43. During the baroque period, _________ were not allowed to be employed as music
directors.
A. sons of musicians
B. orphans
C. commoners
D. women
During the baroque period, women were not permitted to be employed as music directors or
as instrumentalists in court or opera orchestras.
Bloom's: Remember
4-16
44. A concerto grosso most often has ____________ movement(s).

A. one
B. two
C. three
D. four
A concerto grosso most often consists of three movements: fast, slow, fast.
Bloom's: Remember
Learning Objective: Discuss the baroque concerto grosso form and ritornello form
45. The large group of players in a concerto grosso is known as the

A. concertino.
B. orchestra.
C. soloists.
D. tutti.
The tutti is a large group of players that contrast with a smaller group in a concerto grosso.
Bloom's: Remember
46. The concerto grosso most often has three movements whose tempo markings are
A. fast, slow, fast.
B. fast, fast, slow.
C. slow, fast, slow.
D. slow, slow, fast.
The concerto grosso is usually divided into three movements whose contrasting tempos are
fast, slow, fast.
Bloom's: Remember
4-17
47. The first and last movements of the concerto grosso are often in ____________ form.
A. theme and variations
B. sonata
C. ritornello
D. ternary
Ritornello form was foundational for the baroque concerto grosso and usually formed the
basis for the first and third movements.
Bloom's: Remember

A. A concerto grosso normally involves two to four soloists, and anywhere from eight to
twenty or more musicians for the tutti.
B. A concerto grosso presents a contrast of texture between the tutti and the soloists, who
assert their individuality and appeal for attention through brilliant and fanciful melodic lines.
C. A concerto grosso normally involves a large group of soloists accompanied by an equal
number of supporting players.
D. The first and last movements of concerti grossi are often in ritornello form, a form that
features the alternation between tutti and solo sections.
The appeal of the concerto grosso is in the contrast of a large group of musicians against a
small ensemble; the two sections are never equal in number.
Bloom's: Understand
4-18
49. The solo instruments in Bach's Brandenburg Concerto No. 5 are the ____________,
violin, and harpsichord.
A. trumpet
B. cello
C. flute
D. oboe
Bach's Brandenburg Concerto No. 5 uses a flute, violin, and a harpsichord as the solo
instruments.
Bloom's: Apply
Learning Objective: Know the structure of the orchestra for performing a concerto grosso
50. Bach's Brandenburg Concerto No. 5 is unusual in that

A. it consists of a single movement.
B. it consists of four movements.
C. it gives a solo role to the harpsichord.
D. the first movement is not in typical ritornello form.
The Brandenburg Concerto no. 5 unusually features the harpsichord as a solo instrument.
Bloom's: Apply
Learning Objective: Know the structure of the orchestra for performing a concerto grosso
51. A musical ornament consisting of the rapid alternation of two tones that are a whole or
half step apart is a
A. trill.
B. shake.
C. blurb.
D. wobble.
A trill is an ornament consisting of the rapid alternation of two tones that are a whole or half
step apart.
Bloom's: Remember
4-19
52. A type of polyphonic composition based on one main theme is a

A. subject.
B. concerto.
C. episode.
D. fugue.
A fugue is a polyphonic composition based on one main theme, called a subject.
Bloom's: Remember
Learning Objective: Describe the main elements of a fugue
53. The main theme of a fugue is called the

A. answer.
B. subject.
C. countersubject.
D. episode.
The main theme of a fugue is called the subject, which can be manipulated and varied in
many ways throughout the composition.
Bloom's: Remember
54. When the subject of a fugue is presented in the dominant scale, it is called the
A. answer.
B. countersubject.
C. episode.
D. stretto.
In a fugue, when a second voice introduces the subject in the dominant scale, it is known as
the answer.
Bloom's: Remember
4-20
55. In many fugues, the subject in one voice is constantly accompanied in another voice by a
different melodic idea called a(n)
A. answer.
B. countersubject.
C. episode.
D. stretto.
In some fugues, a different melodic idea, called the countersubject, constantly accompanies
the subject in another voice.
Bloom's: Remember
56. Transitional sections of a fugue that offer either new material or fragments of the subject
or countersubject are called
A. answers.
B. episodes.
C. preludes.
D. strettos.
In between presentations of the subject in a fugue, composers create transitional passages

called episodes, which are either comprised of new material or fragments of previous
material.
Bloom's: Remember
4-21
57. ____________ is a musical procedure in which a fugue subject is imitated before it is

completed.
A. Augmentation
B. Diminution
C. Retrograde
D. Stretto
When a subject is imitated in another voice before it has completed in the original voice, the
technique is known as stretto. This procedure creates an effect of flight, wherein one voice
constantly tries to catch up to another.
Bloom's: Remember
58. A ____________ is a single tone, usually in the bass, that is held while the other voices
produce a series of changing harmonies against it.
A. pedal point
B. pitch
C. basso continuo
D. basso ostinato
Pedal point, another technique common in fugues, involves holding a single tone, usually in
the bass, while other voices change harmonies against it.
Bloom's: Remember
4-22
59. Turning the subject of a fugue upside down, or reversing the direction of each interval, is
called
A. inversion.
B. stretto.
C. retrograde.
D. countersubject.
One way in which a fugue subject can be varied is inversion, a process in which the subject is
turned upside down or reversed.
Bloom's: Remember
60. Presenting the subject of a fugue from right to left, or beginning with the last and
proceeding backward to the first note, is called
A. inversion.
B. stretto.
C. augmentation.
D. retrograde.
One way in which a fugue subject can be varied is retrograde, a technique in which the
subject is reversed (it begins with the last note and proceeds backwards to the first).
Bloom's: Remember
61. Presenting the subject of a fugue in lengthened time values is called

A. inversion.
B. augmentation.
C. retrograde.
D. diminution.
One way in which a fugue subject can be varied is augmentation, a technique in which the
original time values of the subject are lengthened.
Bloom's: Remember
4-23
62. Presenting the subject of a fugue in shortened time values is called

A. inversion.
B. augmentation.
C. retrograde.
D. diminution.
One way in which a fugue subject can be varied is diminution, a technique in which the
original time values of the subject are shortened in length.
Bloom's: Remember
63. Very often an independent fugue is introduced by a short piece called a(n)
A. overture.
B. prelude.
C. concerto.
D. pedal point.
A prelude is a short piece that composers often used to introduce a fugue.
Bloom's: Remember
64. An ____________ is a play, set to music, sung to orchestral accompaniment, with

scenery, costumes, and action.
A. overture
B. opera
C. aria
D. ensemble
A drama that is sung to orchestral accompaniment is known as opera. Opera incorporates

music, acting, scenery, and costumes to create a total theatrical experience.
Bloom's: Remember
Learning Objective: Recognize the elements of opera
4-24
65. The text, or book, of a musical dramatic work is called the

A. form.
B. libretto.
C. story.
D. score.
The libretto is the text upon which an opera is based. An opera is usually a collaboration
between the composer and the librettist, or dramatist.
Bloom's: Remember

A. Voice categories in opera are divided more finely than in other musical genres.
B. Operas may contain spoken dialogue, but most are sung entirely.
C. Opera soloists must create a wide variety of characters, and so need acting skills as well as
vocal artistry.
D. In opera, the terms ensemble and chorus are synonymous.
There are several key differences between an ensemble and the chorus in an opera. The
ensemble is usually smaller, consisting of three or more singers, while a chorus is bigger.
Further, the ensemble is comprised of key characters who are singing about their feelings,
thoughts, etc. whereas a chorus is comprised of background people who create a general
atmosphere and comment on the action.
Bloom's: Understand
4-25
67. A song for solo voice with orchestral accompaniment is called a/an
A. aria.
B. duet.
C. ensemble.
D. stretto.
The aria, a song for solo voice with orchestral accompaniment, is often the main attraction for
opera fans.
Bloom's: Remember
68. ____________ refers to a vocal line that imitates the rhythms and pitch fluctuations of
speech.
A. Aria
B. Profondo
C. Recitative
D. Ensemble
Whereas an aria is intensely melodic, a recitative is more akin to talking, imitating the
rhythms and pitch fluctuations of speech.
Bloom's: Remember
69. A ____________ is a singer with a low range who usually takes comic roles.
A. tenor
B. basso buffo
C. basso profundo
D. buffoon
A basso buffo is a singer who takes more comedic roles, often having the ability to sing very
rapidly.
Bloom's: Remember
4-26
70. A ____________ is a singer with a very low range and powerful voice, who usually takes
roles calling for great dignity.
A. tenor
B. basso buffo
C. basso profundo
D. lyric tenor
A basso prodondo singer has a very low range (below the tenor range) and is often used for
roles that require great dignity.
Bloom's: Remember
71. A(n) ____________ is a musical number for two solo voices with orchestral
accompaniment.
A. aria
B. ensemble
C. duet
D. chorus
A duet is a piece for two solo singers, with orchestral accompaniment. An ensemble involves
three or more singers.
Bloom's: Remember
72. A(n) ____________ is an operatic number involving three or more leading singers.
A. aria
B. ensemble
C. duet
D. chorus
An ensemble composition is an opera number that involves three or more solo singers.
Bloom's: Remember
4-27
73. The ____________ is the person who beats time, indicates expression, cues in musicians,
and controls the balance among instruments and voices.
A. prima donna
B. prompter
C. concertmaster
D. conductor
The conductor shapes the entire work during a performance, setting tempo, cueing singers and
musicians, and controlling orchestral balance.
Bloom's: Remember
74. An ____________ is an orchestral composition performed before the curtain rises on a

dramatic work.
A. overture
B. aria
C. opera
D. opening
The overture is the opening piece in an opera, performed before the curtain rises and used to
establish the overall dramatic mood.
Bloom's: Remember
75. Members of the Camerata wanted to create a new vocal style based on the
A. music of the ancient Greek tragedies.
B. glories of their aristocratic patrons.
C. organum of the Middle Ages.
D. polyphonic madrigal.
The Camerata were a small group of nobles, poets, and composers who met in Florence and
who wanted to create a new vocal style modeled on the music of ancient Greek tragedy.
Bloom's: Remember
Learning Objective: Know the special characteristics of opera in the baroque era
4-28
76. 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.
The Camerata believed that the Greek dramas had been sung throughout in a style that was
midway between melody and speech. When the members of the Camerata were creating their
works, they wanted to simulate this style, creating a vocal line that follows the rhythms and
pitch fluctuations of speech.
Bloom's: Remember
77. 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.
The producers of early baroque opera looked back to the ancient Greek cultures for material.
Very rarely did they set an opera to contemporary events.
Bloom's: Remember
4-29

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.
Although the Camerata looked back to the Greek cultures for inspiration, they could only
guess at what the ancient music sounded like; there were no actual manuscripts to study.
Bloom's: Remember
79. 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.
The first public opera house opened in Venice in 1637 and anyone with the price of admission
could attend an opera performance.
Bloom's: Remember
Learning Objective: Recall the origins of opera
4-30
80. The earliest opera that has been preserved is Jacopo Peri's
A. Euridice.
B. Orfeo.
C. Nerone.
D. Arsace.
Euridice, by Jacopo Peri, was first performed in Florence in 1600 and is the earliest opera that
has been preserved.
Bloom's: Remember
Learning Objective: Recall the origins of opera
81. The stage machinery of baroque opera

A. was very primitive.
B. bordered on the colossal.
C. was nonexistent.
D. replaced set designs.
The stage machinery of baroque opera bordered on the colossal, including moving ships and
boulders, gods that descended from the clouds or rode across the sky.
Bloom's: Remember
82. 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.
Castrati were prized performers during the early baroque, frequently receiving the highest
fees of all musicians. They were men who were castrated early on in life and had the ability to
combine the lung power of a man with the vocal range of a woman.
Bloom's: Remember
4-31
83. Speechlike melody accompanied only by a basso continuo is called

A. basso ostinato.
B. accompanied recitative.
C. secco recitative.
D. congregational singing.
A musical number in which a performer sings a speechlike melody accompanied by only a

continuo is called a secco recitative. When the singer is accompanied by the whole orchestra,
it is called an accompanied recitative.
Bloom's: Remember
84. A typical baroque operatic form was the da capo aria in ABA form in which the singer
A. would make a literal repetition of the opening A section after the B section.
B. was expected to embellish the returning melody with ornamental tones.
C. would insert recitatives between the sections for added variety.
D. would improvise new words for the returning A section.
Baroque performers were often expected to musically embellish, or add ornamentation, to

melodies. In a da capo aria, the singer was expected to add these embellishments during the
returning A section.
Bloom's: Understand
4-32
85. Embellishments are

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.
Embellishments in the baroque period were improvised ornamental tones, which added to a
written melody. Performers in the seventeenth and eighteenth centuries were expected to
know how to add these embellishments.
Bloom's: Remember
86. 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.
Claudio Monteverdi, who lived from 1567-1643, spent most of his career at St. Mark's church
in Venice, Italy.
Bloom's: Remember
87. 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.
Monteverdi introduced both pizzicato and tremolo techniques into his music, used to evoke
angry and warlike feelings.
Bloom's: Remember
4-33
88. To achieve intensity of expression, Monteverdi used ____________ with unprecedented

freedom and daring.
A. skips
B. texts
C. consonances
D. dissonances
Monteverdi symbolized the baroque desire to produce intense emotions and excitement,
achieving this intensity through liberal and daring use of dissonances.
Bloom's: Remember
89. Monteverdi's vocal music ordinarily was supported by a ____________ and other
instruments.
A. bassoon
B. trumpet
C. basso continuo
D. string bass
The basso continuo was a fundamental element to baroque music, including Monteverdi's
vocal music.
Bloom's: Remember
90. 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
Orpheus descends into Hades to bring his beloved Eurydice back to life.
Bloom's: Remember
Learning Objective: Analyze Orfeo by Monteverdi
4-34

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.
As popular as Monteverdi was, only three of his twelve operas have been preserved.
Bloom's: Remember
Learning Objective: Analyze Orfeo by Monteverdi

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. Dido, in Virgil's epic poem that Purcell used as the basis for his opera Dido and Aeneas,
was queen of Carthage.
Far from being unknown, Purcell was acclaimed as the greatest English composer of his day.
Bloom's: Remember
4-35
93. The respect given Henry Purcell by his fellow Englishmen is evidenced by his burial in
A. Potter's Field.
B. Westminster Abbey.
C. Buckingham Palace.
D. Canterbury Cathedral.
Purcell, who died at thirty-six, was buried beneath the organ in Westminster Abbey, the
highest of honors for an English musician.
Bloom's: Remember
94. ____________ 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
Basso ostinato, or ground bass, is a repeated musical idea in the bass over which melodies
change and evolve.
Bloom's: Remember
95. 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.
Dido and Aeneas was composed by Henry Purcell.
Bloom's: Remember
4-36
96. 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.
Purcell wrote Dido and Aeneas for students at a girls' boarding school; the work was intended
to display the student's accomplishments.
Bloom's: Remember
97. The sonata originated in

A. the Netherlands.
B. Germany.
C. France.
D. Italy.
The sonata originated in Italy but quickly spread to Germany, England, and France during the
seventeenth century.
Bloom's: Remember
Learning Objective: Recognize the baroque sonata
98. Baroque trio sonatas usually involve ____________ performers.

A. two
B. three
C. four
D. five
The term "trio sonata" is slightly misleading because it usually involves four instrumentalists:
two high instruments for the melodies and two instruments for the basso continuo.
Bloom's: Remember
4-37
99. 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.
Sometimes composers differentiated between the sonata da chiesa (church sonata), which had
a dignified character and was suitable for sacred performance; and the sonata da camera
(chamber sonata), which was more dancelike and was intended for performance at court.
Bloom's: Remember
100. 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.
The sonata da camera (chamber sonata), was dancelike and was intended for performance at
court, as opposed to the sonata da chiesa, which was intended for performance at church.
Bloom's: Remember
101. Corelli spent most of his adult life in

A. Venice.
B. Florence.
C. Rome.
D. Paris.
Corelli studied in Bologna but spent most of his adult life in Rome. He was friend and music
director to Cardinal Ottoboni, in whose palace he lived. There he mingled with the intellectual
and aristocratic elite of Rome.
Bloom's: Remember
Learning Objective: Recall details of Arcangelo Corelli's life and works
4-38
102. Corelli advanced violin technique by introducing chords and

A. double stops.
B. pizzicato.
C. col legno.
D. tremolo.
As a teacher, Corelli instructed some of the most eminent musicians of his time and laid the
foundations of modern violin technique. He was one of the first to write double stops and
chords for the violin.
Bloom's: Remember
103. 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
During his time, Corelli was known as a virtuoso violinist, innovating many new techniques.
A report at the time describes his playing, "Whilst he was playing on the violin it was usual
for his countenance to be distorted, his eyes to become as red as fire, and his eyeballs to roll
as in an agony."
Bloom's: Remember
4-39

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.
The trio sonata, somewhat misleadingly, usually involved four musicians: two high
instruments for melodic content and two low instruments for the basso continuo.
Bloom's: Understand
105. 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.
Corelli's Trio Sonata in A Minor, op. 3, no. 10, consists of four movements, all in the same
minor key (although they differ in meter, mood, and tempo).
Bloom's: Apply
106. 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.
Corelli's Trio Sonata in A Minor, Op. 3, No. 10, is written for two violins and basso continuo.
Bloom's: Remember
4-40
107. 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.
The second movement of Corelli's Trio Sonata in A minor is a vigorous allegro, fuguelike,
and in quadruple meter. Fugal second movements were characteristic of baroque trio sonatas.
Bloom's: Understand
108. The theorbo is a(n)

A. bass woodwind instrument similar to the bassoon.
B. electronic instrument whose tone is generated by oscillators.
C. plucked string instrument capable of producing chords as well as a bass line.
D. keyboard instrument suitable for playing basso continuo parts.
A theorbo is a bass lute, capable of producing chords as well as a bass line, and often part of
the basso continuo.
Bloom's: Remember
109. Vivaldi spent most of his life working at an institution for orphaned and illegitimate girls
in
A. Rome.
B. Venice.
C. Florence.
D. Cremona.
Like many well-known baroque composers, Vivaldi spent most of his life working in Venice,
Italy.
Bloom's: Remember
Learning Objective: Recall the life and works of Antonio Vivaldi
4-41

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 Pietà, 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.
Unlike Corelli, who only wrote instrumental music, Vivaldi wrote both instrumental and
vocal music, including religious works, instrumental pieces, and operas.
Bloom's: Remember
111. Some of Vivaldi's instrumental concertos were arranged by

A. Arcangelo Corelli.
B. Johann Sebastian Bach.
C. George Frideric Handel.
D. Claudio Monteverdi.
Bach, a contemporary of Vivaldi and influenced by him, arranged some of his instrumental
concertos for various ensembles.
Bloom's: Remember
112. Vivaldi was famous and influential as a virtuoso

A. harpsichordist.
B. opera singer.
C. lutenist.
D. violinist.
In addition to being a famous composer, Vivaldi was also a virtuoso violin player.
Bloom's: Remember
4-42
113. Vivaldi wrote approximately ____________ concerti grossi and solo concertos.
A. 10
B. 30
C. 95
D. 450
Vivaldi was an immensely prolific composer, writing around 450 concerti grossi and solo
concertos.
Bloom's: Remember
114. A Vivaldi concerto usually has ____________ movements.

A. a variable number of
B. two
C. three
D. four
A Vivaldi concerto typically has three movements: fast, slow, fast.
Bloom's: Remember
4-43

A. So many members of the Bach family were musicians that the name Bach became
synonymous with town musician.
B. Even though Bach was a deeply religious and pious Lutheran, he composed what is
probably the most monumental setting of the Roman Catholic Mass.
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.
Though recognized as the most eminent organist, harpsichordist, improviser, and master of
the fugue, Bach was by no means considered the greatest composer of his day. He was little
known outside Germany, and even his post in Leipzig was offered to him only after two other
noted musicians had turned it down.
Bloom's: Remember
Learning Objective: Recall the biography of Johann Sebastian Bach

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.
Bach created masterpieces in every baroque form except opera. His instrumental music
includes pieces for orchestra, for small groups, and for solo organ, harpsichord, clavichord,
violin, and cello. His vocal music—the bulk of his output— was written mostly for the
Lutheran church and was often based on familiar hymns. His music was complex, full of
polyphony and although he never wrote an opera, he borrowed from the form (arias,
recitatives, and overtures).
Bloom's: Remember
4-44
117. Which of the following about Vivaldi's 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.
The concertos Spring, Summer, Autumn, and Winter are examples of baroque program music,
or instrumental music associated with a story, poem, idea, or scene.
Bloom's: Understand
118. 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. Cöthen.
D. Eisenach.
Bach was the music director at St. Thomas Church, located in Leipzig, for twenty-seven
years.
Bloom's: Remember
119. Of Bach's twenty children, ____________ went on to become well-known composers.

A. two
B. three
C. four
D. five
Four of Bach's children became well-known composers in their own right.
Bloom's: Remember
4-45
120. While at Leipzig, Bach

A. taught organ and composition, gave recitals, and was often asked to judge the construction
of organs.
B. composed close to 450 operas, which he performed at coffee houses.
C. generally avoided church music, concentrating on secular dances for the court nobles.
Bach had an incredible amount of duties to fulfill including: teaching organ and composition,
giving recitals, overseeing organ construction, composing and rehearsing a sacred piece for
each Sunday and holiday of the church year.
Bloom's: Remember
121. Bach was recognized as the most eminent ____________ of his day.
A. organist
B. composer
C. violinist
D. cellist
Bach is most famous for his compositions today, but during his lifetime he was recognized as
a virtuoso and eminent organist.
Bloom's: Remember
122. Bach created masterpieces in every baroque form except

A. opera.
B. concerto.
C. fugue.
D. sonata.
Bach was extremely prolific in all forms of baroque music except for opera.
Bloom's: Remember
Learning Objective: Know the types of musical forms used by J. S. Bach
4-46
123. Bach's personal musical style was drawn from

A. Italian concertos.
B. French dance pieces.
C. German church music.
Bach's musical style was an assimilation of many styles, including Italian concertos, French
dance pieces, and German church music.
Bloom's: Remember
124. 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.
Baroque music leans toward unity of mood, and this is particularly true of Bach, who created
unity of mood by an insistent rhythmic drive.
Bloom's: Understand
125. Sets of dance-inspired instrumental movements are called

A. sonatas.
B. concertos.
C. suites.
D. cantatas.
Suites are compositions for solo instruments, small groups, or orchestra that were inspired by
dances of the day.
Bloom's: Remember
Learning Objective: Enumerate the features of a baroque suite
4-47
126. 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.
Bach's Well-Tempered Clavier is a collection of forty-eight preludes and fugues, two in each
major key and each minor key and was composed to explain and demonstrate a system of
tuning.
Bloom's: Remember
127. 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.
The instrumentation for baroque suites is flexible, including works for solo instruments, small
ensembles, and orchestra.
Bloom's: Understand
4-48
128. Although all the movements of a baroque suite are in the same key, they differ in
A. meter.
B. national origin.
C. tempo.
Baroque suites vary in tempo and meter over the movements in accordance to the dances on
which they are based. The dances that inspired the movements of the suites came from a
variety of countries, including Germany, France, Spain, England, and Ireland.
Bloom's: Understand
129. 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
Baroque suites were influenced by dance and therefore tended to have balanced and
symmetrical phrases of the same length, because formal dancing has a set of steps in one
direction symmetrically balanced by a similar motion in the opposite direction.
Bloom's: Understand
130. 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.
The movements of a baroque suite are usually in two-part form with each section repeated;
that is, in the form AABB.
Bloom's: Remember
Learning Objective: Know several types of dance-inspired movements in baroque music
4-49
131. Baroque suites frequently begin with a

A. French overture.
B. gavotte.
C. gigue.
D. sarabande.
Baroque suites usually begin with a movement that is not dance-inspired, such as the French
overture. The gavotte, gigue, and sarabande are all dances.
Bloom's: Remember
132. The French overture has

A. two sections: slow-fast.
B. two sections: fast-slow.
C. three sections: fast-slow-fast.
D. one continuous section.
The French overture is usually written in two parts. The first part is a slow section with dotted
rhythms that is full of dignity and grandeur. The second section is quick and lighter in mood,
often beginning like a fugue.
Bloom's: Remember
Learning Objective: Know several types of dance-inspired movements in baroque music
133. In Bach's day, the Lutheran church service lasted about ____________ hour(s).
A. one
B. two
C. three
D. four
In Bach's time, the Lutheran church service on Sunday was the social event of the week,
lasting about four hours.
Bloom's: Remember
4-50
134. 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.
Lutheran chorale tunes, written in the sixteenth and seventeenth centuries, were easy to sing
and remember so that the congregation could sing along. They were based on both folk songs
and older Catholic hymns.
Bloom's: Understand
Learning Objective: Discuss the chorale and church cantata during the baroque era
135. The ____________ is a Lutheran congregational hymn tune.

A. cantata
B. chorale
C. chorale prelude
D. recitative
The chorale is a Lutheran congregational hymn tune sung to a German religious text. It is
different from a cantata or recitative in that it does not require professional training to sing the
melodies.
Bloom's: Remember
136. 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.
Congregational singing of chorales was an important way for people to participate directly in
the service. The Protestant service emphasized unity and brotherhood, using the group singing
as a means of bonding.
Bloom's: Understand
4-51
137. 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
The chorale prelude is a short composition based on the hymn tune that reminded the
congregation of the melody and prepared everyone for singing.
Bloom's: Remember
138. The principal means of musical expression in the Lutheran service was the
A. church opera.
B. fugue.
C. church cantata.
D. sacred suite.
The church cantata was the principal musical form in the Lutheran service, lasting up to
twenty-five minutes and including several different movements.
Bloom's: Remember
Learning Objective: Define the cantata
139. 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.
A cantata is a sung piece, usually written for chorus, vocal soloists, organ, and a small
orchestra. The choral prelude, the concerto grosso, and the sonata were all instrumental
pieces, not meant to be sung.
Bloom's: Remember
4-52
140. 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
A church cantata is very similar to an opera, especially in the way it uses arias, recitatives,
and duets. This merging of sacred and secular elements is typical of the baroque style.
Bloom's: Understand

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.
When chorale melodies were harmonized for church choir, the main melody was given to the
top part (usually the soprano) so the congregation could hear it clearly and follow along.
Bloom's: Understand
4-53

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.
Oratorios first appeared in early seventeenth-century Italy as musical dramatizations of

biblical stories. Their name comes from the prayer halls in which they were first performed,
called oratorios.
Bloom's: Remember
Learning Objective: Compare and contrast baroque opera and baroque oratorio
143. 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.
An oratorio is a large-scale composition for chorus, vocal soloists, and orchestra; it is usually
set to a narrative text.
Bloom's: Remember
144. Oratorio differs from opera in that it has no

A. orchestral accompaniment.
B. acting, scenery, or costumes.
C. choral part.
D. vocal soloists.
Oratorios are very similar to operas without the major ingredients of acting, scenery, or
costumes.
Bloom's: Understand
4-54
145. The first oratorios were based on

A. Greek mythology.
B. contemporary literature.
C. Greek and Roman literature.
D. stories from the Bible.
The first oratorios were based on biblical stories (although they were not intended for
religious services). Music based on Greek and Roman myths was more typical of the
Renaissance.
Bloom's: Remember
146. 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
The chorus in an oratorio serves an important role, commenting on and directly participating
in the drama.
Bloom's: Remember
4-55
147. In addition to being a composer and opera impresario, Handel was a virtuoso
A. violinist.
B. organist.
C. cellist.
D. trumpeter.
Like his contemporary Bach, Handel was a virtuoso organist. By the time Handel was nine,
his musical talent was so outstanding that his father permitted him to study with the local
organist. By the age of eleven, Handel was able not only to compose but also to give organ
lessons.
Bloom's: Remember
148. A major difference between a cantata and an oratorio is that an oratorio

A. is based on international dances.
B. is not intended for religious services.
C. features solo singers.
D. is based on biblical stories.
Both cantatas and oratorios feature solo singers and can be based on biblical stories. The
major difference is that cantatas were exclusively intended for church service on Sunday,
while an oratorio could be performed at any time.
Bloom's: Understand
4-56
149. Sections of an oratorio are usually connected together by means of

A. a narrator's recitatives.
B. choruses.
C. duets.
D. arias.
A narrator, through recitatives, weaves the different sections of an oratorio together into an
overall story.
Bloom's: Understand
150. Oratorios first appeared in

A. Germany.
B. England.
C. Italy.
D. France.
Oratorios first appeared in early seventeenth-century Italy as musical dramatizations of

biblical stories and were performed in prayer halls called oratorios.
Bloom's: Remember
151. George Frideric Handel was born in 1685, the same year as
A. Johann Sebastian Bach.
B. Arcangelo Corelli.
C. Claudio Monteverdi.
D. Antonio Vivaldi.
George Frideric Handel was born in 1685, one month before Johann Sebastian Bach.
Bloom's: Remember
Learning Objective: Recall the biography of George Frideric Handel
4-57
152. Handel spent the major portion of his life in

A. Germany.
B. England.
C. Italy.
D. Ireland.
Although born in Germany, Handel eventually spent most of his working life in England.
Bloom's: Remember
153. Handel's Messiah is an example of

A. an oratorio.
B. an opera.
C. musical theater.
D. a song.
Handel's Messiah is one of the most famous oratorios in all of western classical music.
Bloom's: Apply
Learning Objective: Analyze Handel's Hallelujah Chorus for monophonic; homophonic; and polyphonic textures
154. Handel is associated with the __________ period.

A. late Renaissance
B. early baroque
C. late baroque
D. late Classical
Like Bach, Handel is associated with the late baroque period. This association can be seen in
the composers' types of compositions, aesthetic style, and writing techniques.
Bloom's: Remember
4-58
155. Handel's oratorios are usually based on

A. the Old Testament.
B. Greek mythology.
C. the New Testament.
D. Roman history.
Although Handel's most famous oratorio, Messiah, is based on the New Testament, almost all
of his other oratorios are based on Old Testament stories.
Bloom's: Remember
156. Where did Handel's Messiah receive its premiere?

A. London
B. Ireland
C. Austria
D. Venice
Handel gave the first performance of Messiah in Dublin, Ireland in 1742.
Bloom's: Remember

A. The focus of the Handelian oratorio is usually the chorus.
B. Most of Handel's oratorios are without plot or characters since they were primarily
intended for church use.
C. Messiah, set to a text compiled by Charles Jennings from the Old and New Testaments, is
meditative rather than dramatic like Handel's other oratorios.
D. Handel's oratorios are usually based on the Old Testament.
Handel's oratorios almost always have a strong plot, usually based on stories from the Old
Testament, and emphasize the choral section. As is the nature of an oratorio, they were
intended for nonreligious public consumption, not church services.
Bloom's: Remember
4-59

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Part IV - The Baroque Period

Music An Appreciation Brief 8th

Solution Manual: https://testbankpack.com/p/solution-manual-

Multiple Choice Questions

2. Modern historians use the term baroque to indicate

3. All of the following were baroque painters except

Isaac Newton was primarily a physicist and mathematician.

4. Baroque painters exploited their materials to expand the potential of ____________ to

5. Baroque style flourished in music during the period

The Baroque period lasted from 1600 to 1750.

6. The baroque style was well suited to the

8. All of the following were major baroque composers except

9. Which of the following statements is not true?

10. The early baroque was characterized by

11. The early baroque period spanned the years

The early baroque period lasted from 1600-1640.

14. The middle baroque was characterized by

15. The middle baroque period spanned the years

The middle phase of the baroque lasted from 1640-1690.

19. The late baroque period spanned the years

The late baroque period lasted from 1690 to 1750.

20. Affections in baroque usage refers to

Baroque music usually expresses a mood or emotional state, known as affections.

Changing meanings sometimes resulted in corresponding changes in the moods of a

24. Baroque melodies often are

25. Baroque melodies give the impression of

26. Melodic sequence refers to

A melodic sequence is a successive repetition of a musical idea at higher or lower pitches,

27. A characteristic often found in baroque melodies is

28. Terraced dynamics refers to

A sudden shift in dynamic level is a technique called terraced dynamics.

A sudden shift in dynamic level is a technique called terraced dynamics.

32. The most characteristic feature of baroque music is its use of

35. The word movement in music normally refers to

36. Which of the following statements is not true?

39. Frederick the Great, king of Prussia, was a

42. In Italy, music schools were often connected with

44. A concerto grosso most often has ____________ movement(s).

45. The large group of players in a concerto grosso is known as the

48. Which of the following statements is not true?

50. Bach's Brandenburg Concerto No. 5 is unusual in that

52. A type of polyphonic composition based on one main theme is a

A fugue is a polyphonic composition based on one main theme, called a subject.

53. The main theme of a fugue is called the

In between presentations of the subject in a fugue, composers create transitional passages

57. ____________ is a musical procedure in which a fugue subject is imitated before it is

61. Presenting the subject of a fugue in lengthened time values is called

62. Presenting the subject of a fugue in shortened time values is called

A prelude is a short piece that composers often used to introduce a fugue.

64. An ____________ is a play, set to music, sung to orchestral accompaniment, with

A drama that is sung to orchestral accompaniment is known as opera. Opera incorporates

65. The text, or book, of a musical dramatic work is called the

66. Which of the following statements is not true?

74. An ____________ is an orchestral composition performed before the curtain rises on a

78. Which of the following statements is not true?

81. The stage machinery of baroque opera

83. Speechlike melody accompanied only by a basso continuo is called

A musical number in which a performer sings a speechlike melody accompanied by only a