Music History Chapter 13 Quiz
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laughingbear16 on January 30, 2011
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Terms | Definitions |
|---|---|
 The term "baroque" first took on a positive meaning in the:a) seventeenth century b) eighteenth century c) nineteenth century d) twentieth century | c) nineteenth century |
| The following instrument was not commonly used as a continuo instrument: a) theorbo b) harpsichord c) organ d) violin | d) violin |
| The term "baroque" was first applied in reference to the musical period between 1600 and 1750 in the mid-: a) seventeenth century b) eighteenth century c) nineteenth century d) twentieth century | d) twentieth century |
| The first public opera house, established in 1637, was built in: a) Milan b) Florence c) Venice d) Rome | c) Venice |
| Basso continuo fell out of use by the end of the: a) seventeenth century b) eighteenth century c) nineteenth century d) twentieth century | b) eighteenth century |
| "Method for Learning How to Draw the Passions," a seventeenth-century essay, which labeled the affections and illustrated the corresponding facial expressions, was written by a) Charles Le Brun b) Gian Lorenzo Bernini c) Giovanni Artusi d) Claudio Monteverdi | a) Charles Le Brun |
| The first public concert in which attendants paid admission was held in 1672 in the following country: a) England b) France c) Italy d) Germany | a) England |
| The Baroque style in art, music, and architecture began in: a) England b) France c) Italy d) Germany | c) Italy |
| The central impulse of Baroque music, art, and architecture is: a) refinement b) dramatization c) balance and proportion d) contemplation | b) dramatization |
| Baroque composers believed that music should be: a) void of any emotion, focusing instead on the numerical relationships between rhythm and pitch b) used as a means of expressing and arousing emotions in the listener c) used as a means of arousing only spiritual and reverent emotions in the listener d) used only as an accompaniment to support poetry and/or religious cantering | b) used as a means of expressing and arousing emotions in the listener |
| The Passion of the Souls, a seventeenth-century treatise that analyzed and catalogued the affections, was published by a) Giovanni Gabrieli b) Charles Le Brun c) Rene Descartes d) Giulio Strozzi | c) Rene Descartes |
| The first complete theoretical formulation of the tonal system was introduced by: a) Charles Le Brun b) Johann Sebastian Bach c) Jean-Philippe Rameau d) Claudio Monteverdi | c) Jean-Philippe Rameau |
| According to Monteverdi, the prima practica referred to: a) a new type of polyphony employed by seventeenth-century musicians b) a sixteenth-century style of vocal polyphony c) an idealistic type of vocal polyphony that every composer should strive for d) a type of vocal polyphony, employed in early madrigals, which fell out of use at the close of the fifteenth century | b) a sixteenth-century style of vocal polyphony |
| According to Monteverdi, music in the seconda practica: a) has to follow rules and thus dominates the text b) serves to heighten the effect and rhetorical power of the text c) is of utmost importance, so composers should limit or avoid text d) serves as a mere accompaniment to spoken or sung text | b) serves to heighten the effect and rhetorical power of the text |
| Basso continuo is best described as: a) a system of notation in which all parts are written out b) a system of notation in which the melody and bass line are written out and performers are expected to fill in the inner parts c) a system of notation in which the lower parts are written out and performers are expected to improvise a melody d) a system of notation in which the upper voices are written out and performers are expected to improvise a bass line | b) a system of notation in which the melody and bass line are written out and performers are expected to fill in the inner parts |
| This seventeenth-century practice combines voices with instruments playing different parts: a) cantilena style b) concertato style c) polychoral style d) continuo style | b) concertato style |
| The use of bar lines to demarcate measures first occurred in the: a) first decade of the seventeenth century b) mid-seventeenth century c) last decade of the seventeenth century d) first decade of the eighteenth century | b) mid-seventeenth century |
| Basso continuo composition led to the consideration of consonant sounds: a) as chords b) as intervals above the bass c) as intervals above the tenor d) as the intervallic relationship between the top two voices | a) as chords |
| Chromaticism during and after the mid-seventeenth century: a) was used only as an experimental compositional technique b) was only used in the measures directly leading to a cadential point c) was used freely within an orderly scheme d) was avoided in instrumental music but was freely used in vocal compositions within an orderly scheme | c) was used freely within an orderly scheme |
| During the seventeenth century, performers were expected to: a) follow the composition exactly as it was composed in the written score b) improvise chords, melodies, and ornamentation within the notated score c) improvise refrains before and after each section of the notated score d) improvise an introductory section outlining the cantus firmus | b) improvise chords, melodies, and ornamentation within the notated score |
| Brief formulas such as trills, turns, and appoggiaturas, are known as: a) ornaments b) variations c) figurations d) divisions | a) ornaments |
| An extended embellishment added to create a free and elaborate paraphrase of the notated line is a/an: a) ornament b) cadenza c) division d) figure | c) division |
| An elaborate passage added to an aria by the singer is a/an: a) cadenza b) recitative c) intermedio d) arioso | a) cadenza |
| The following theorist criticized Claudio Monteverdi's madrigal "Cruda Amarilli" for needlessly breaking the rules of counterpoint: a) Giovanni Maria Artusi b) Giulio Cesere Monteverdi c) Giulio Caccini d) Thomas Hobbes | a) Giovanni Maria Artusi |
| During the seventeenth century, the following country replaced Spain as the predominant power on the continent, leading to its music being imitated widely throughout Europe: a) Germany b) Austria c) France d) England | c) France |
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