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Test Bank For Concise History of Western Music 5th by Hanning Full Download
Test Bank For Concise History of Western Music 5th by Hanning Full Download
MULTIPLE CHOICE
2. Ritornello refers to
a. a recurring instrumental interlude. d. movement by step.
b. ABA form. e. rapid reiteration of a single note.
c. strophic variation form.
ANS: A DIF: Easy REF: 201 TOP: Vocal Chamber Music
MSC: Factual
3. All of the following are characteristic of Giovanni Gabrieli’s large-scale sacred concertos except
a. large polychoral ensembles. d. a unified compositional style.
b. instruments with diverse timbres. e. organs.
c. multiple soloists.
ANS: D DIF: Medium REF: 205 TOP: Catholic Sacred Music
MSC: Factual
4. What is the primary difference between the oratorio and the sacred concerto?
a. compositional style
b. performing forces
c. nationality of composer
d. subject matter
e. presence or absence of narrative elements
ANS: E DIF: Medium REF: 205 | 207-08 TOP: Catholic Sacred Music
MSC: Applied
5. What musical technique became associated with laments during the early Baroque era?
a. repetition of an ascending tetrachord
b. repetition of a stepwise descent that spans a fourth
c. concitato genere
d. polychoral writing
e. circle-of-fifths root movement
ANS: B DIF: Medium REF: 203 TOP: Vocal Chamber Music
MSC: Factual
6. Why does Heinrich Schütz use dissonance in Saul, was verfolgst du mich?
a. to break the rules of counterpoint
b. to increase the difficulty for the singers
c. to reflect the meaning of the text
d. to emphasize the harshness of the stile moderno
e. to demonstrate German avant-garde techniques
ANS: C DIF: Easy REF: 209-11 TOP: Lutheran Church Music
MSC: Applied
9. All of the following are traits of the air de cour in the early 1600s except
a. homophonic texture. d. syllabic text-setting.
b. diatonic harmonies. e. lute accompaniment.
c. through-composition.
ANS: C DIF: Difficult REF: 204 TOP: Vocal Chamber Music
MSC: Factual
10. What is the general name for a repeating pattern in the lowest voice of a composition?
a. basso continuo d. fugue
b. cantus-firmus variation e. figured bass
c. basso ostinato
ANS: C DIF: Easy REF: 202 TOP: Vocal Chamber Music
MSC: Factual
12. Which composer studied in Italy and then established Germany as a center of musical activity in
Europe?
a. Samuel Scheidt d. Jan Pieterszoon Sweelinck
b. Heinrich Schütz e. Dieterich Buxtehude
c. Luigi Rossi
ANS: B DIF: Easy REF: 208 | 210 | 212
TOP: Lutheran Church Music| Heinrich Schütz (1585-1672) MSC: Conceptual
13. What was the primary aim of church music in the seventeenth century?
a. to promote artistic appreciation and development among parishioners
b. to bring pleasure to the listener
c. to maintain a pure and recognizably sacred style
d. to fill the silent gaps in church services
e. to communicate the church’s message effectively to the people
ANS: E DIF: Medium REF: 205 TOP: Catholic Sacred Music
MSC: Conceptual
14. The stile antico (“old style”) is associated primarily with which musical technique?
a. unprepared dissonances d. word-painting
b. chromaticism e. counterpoint
c. improvisation
ANS: E DIF: Easy REF: 205 TOP: Catholic Sacred Music
MSC: Factual
15. At the end of his career, Heinrich Schütz advocated that composers
a. return to setting Latin sacred texts.
b. focus on theatrical styles that incorporate basso continuo.
c. continue to study and use counterpoint.
d. not use so many dissonances.
e. write more organ music based on modes.
ANS: C DIF: Medium REF: 209
TOP: Vignette: Schütz Advocates a Balance of Old and New Styles
MSC: Conceptual
16. Which composer is best known today for his or her Latin oratorios?
a. Alessandro Grandi d. Luigi Rossi
b. Giacomo Carissimi e. Barbara Strozzi
c. Orazio Benevoli
ANS: B DIF: Easy REF: 208 TOP: Catholic Sacred Music
MSC: Factual
18. In what context was the stile antico most likely to be heard in the middle of the seventeenth century?
a. chamber music d. solo music
b. dance music e. church music
c. theater music
ANS: E DIF: Medium REF: 205 TOP: Catholic Sacred Music
MSC: Applied
19. Large-scale sacred concertos were often written for what occasions?
a. rulers’ birthdays d. feast days in large churches
b. commemorative events e. public parades
c. public celebrations
ANS: D DIF: Easy REF: 205 | 207 TOP: Catholic Sacred Music
MSC: Conceptual
21. In the 1600s, most people probably encountered the newer vocal styles during
a. public concerts.
b. private parties.
c. operas.
d. church services.
e. public celebrations involving the nobility.
ANS: D DIF: Medium REF: 205 | 207 TOP: Catholic Sacred Music
MSC: Factual
23. Monteverdi, Gabrieli, and Grandi were all associated with what institution?
a. Saint Peter’s Basilica in Rome
b. Saint Mark’s Church in Venice
c. the Dresden court
d. the Mantuan court
e. Christina of Sweden’s court in exile
ANS: B DIF: Easy REF: 205 | 207 TOP: Catholic Sacred Music
MSC: Applied
TRUE/FALSE
1. In the seventeenth century, the stile moderno (“modern style”) completely replaced the stile antico
(“old style”).
4. Barbara Strozzi was one of the most prolific composers of chamber music in the early 1600s.
6. The libretto for Giacomo Carissimi’s Jephte is unusual because it uses only biblical texts.
7. Bernini’s sculptures can be likened to silent operas because they convey action, reaction, and intense
emotional states.
8. In the 1600s, French airs de cour sometimes were performed during ballets.
10. The repeating bass patterns used by early Baroque composers built upon well-established musical
traditions.
SHORT ANSWER
ANS:
It is sacred, with religious subject matter. It is seldom staged, with the action described vocally. It
often uses a narrator, while the chorus assumes different roles (e.g. narrating, meditating, or reflecting
on events, or representing groups of people).
2. Why did Heinrich Schütz focus on the small-scale rather than the large-scale sacred concerto,
especially in the 1630s and 1640s?
ANS:
For economic reasons: a lack of funds due to the Thirty Years’ War and the corresponding lack of
available musicians.
3. What repetitive musical technique does the musical example below employ?
ANS:
Ground bass or basso ostinato
DIF: Medium REF: 202 TOP: Vocal Chamber Music
MSC: Applied
4. In the mid-seventeenth century, a secular work, usually for solo voice or vocal ensemble with
continuo, was referred to as a
ANS:
cantata.
5. What is the purpose of the concitato genere (“excited style”)? What musical technique does it
incorporate? What composer devised it?
ANS:
Its purpose is to convey anger, violent actions, and thoughts. It incorporates the rapid reiteration of a
single note, either vocally or by the strings (tremolo). Monteverdi devised it.
6. How did Giovanni Gabrieli take advantage of the architecture of Saint Mark’s Church in Venice in his
motets and sacred concerti?
ANS:
He composed polychoral works and used multiple choirs. He frequently separated instruments and
choirs into two or more groups, using the opposing choir lofts and the unusual acoustics to achieve
striking antiphonal effects. The church also had multiple organs.
7. What musical form is characterized by repeating the same melody with slight modifications for
successive stanzas of poetry?
ANS:
Strophic form
8. In Jephte, Giacomo Carissimi draws on a variety of musical genres and techniques, both sacred and
secular. List at least four of them.
ANS:
Recitative; aria; polychoral writing; madrigalistic word-painting; laments (or descending tetrachord to
depict lamenting). The contrast between floridity and arioso writing is common
in sacred recitative, and the chorus responds as in a Greek tragedy (similar to early operas).
9. List three traits of Barbara Strozzi’s music that are evident in Lagrime mie.
ANS:
The text is about unrequited love. Strozzi’s music blurs the boundaries between aria and recitative. She
uses word-painting, such as prolonged dissonances and a descending tetrachord (to depict lamenting).
Frequent changes in style depict images and moods expressed in the text. Musical repetition (a refrain)
creates structure.
10. Why was Schütz influenced by Gabrieli and Monteverdi? How does his music reflect their
influence? List two specific techniques.
ANS:
Schütz studied in Venice on two occasions. Among the techniques he adopted from Gabrieli and
Monteverdi are polychoral writing, the use of dissonance to express the text, and the combination of
recitatives, arias, and concerted madrigal styles. He composed large-scale sacred concertos and
adapted techniques from Italian monody to the German language.
MATCHING
Match each composer to the genre for which he or she is best known.
a. Giovanni Gabrieli d. Giacomo Carissimi
b. Alessandro Grandi e. Barbara Strozzi
c. Claudio Monteverdi
1. concerted madrigal
2. large-scale sacred concerto
3. solo cantata
4. solo motet
5. oratorio
1. ANS: C
2. ANS: A
3. ANS: E
4. ANS: B
5. ANS: D
6. ANS: C
7. ANS: E
8. ANS: A
9. ANS: D
10. ANS: B
ESSAY
1. Choose either Italian vocal music or sacred music and explain how composers combined the
innovative and the traditional in their works. Use specific examples.
ANS:
Answers will vary.
2. Compare and contrast opera and oratorio. How is oratorio similar to opera? How does it differ?
Consider musical and dramatic elements, purpose, and performance venues.
ANS:
Answers will vary.