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Patronage of seventeenth-century music consisted of... a) wealthy patrons who hired musicians for their private chapels b) wealthy patrons and churches c) wealthy patrons, churches, and public performances of operas and concerts d) secular patronage only, with wealthy patrons and public concerts supporting musicians who had formerly been employed by the Church e) public patronage only, with public opera houses and public concerts replacing private patronage and Church patronage c) wealthy patrons, churches, and public performances of operas and concerts The term "Baroque" was first applied to... a) overly ornate embellishments in architecture b) Monteverdi's style of composition c) basso continuo d) unprepared dissonance e) arts based on values from ancient Greece a) overly ornate embellishments in architecture The term "Baroque" is now applied to... a) arts from ca. 1550-1700 b) arts from ca. 1600-1750 c) arts from ca. 1650-1800 d) any artwork with dramatic impact e) arts based on values from ancient Greece b. arts from ca. 1600-1750 In Baroque music, "affections" can be defined as... a) the Church's belief that god's love was called forth with the proper performance of vocal music b) a theoretical idea set forth in Monteverdi's manifesto, printed by his brother, and distributed on the streets of Venice in a pamphlet war against Artusi c) scientific theory of attraction and repulsion that explained the harmonic pull between tonic and dominant tonalities d) the belief that a man could persuade a woman to love him based on his excellent performance of madrigals e) the spirits or "humors believed to harbor emotions, and which could be brought into balance with contrasting moods of music e) the spirits or "humors believed to harbor emotions, and which could be brought into balance with contrasting moods of music Monteverdi called his approach to composition... a) doctrine of affections b) nuove musiche c) Florentine camerata d) seconda practica e) baroque d) seconda practica Artusi criticized Monteverdi's "Cruda Amarilli" because it a) violated Zarlino's counterpoint rules b) had too many madrigalisms c) didn't reflect the meaning of the text d) used too many accidentals e) mixed voices and instruments a) violated Zarlino's counterpoint rules The texture of Baroque music is marked by... a) equality of voices b) a return tot he focus on the tenor voice, with the others embellishing it c) a polarity between bass and treble lines d) chordal settings e) unaccompanied solo singing c) a polarity between bass and treble lines The concertato medium consisted of... a) two treble instruments plus a keyboard b) one bass instrument, such as a viol, plus a keyboard or lute c) a consort of viols d) one bass instrument and one treble instrument e) a mixed grouping of voices and instruments e) a mixed grouping of voices and instruments Which of these statements is true of the role of improvisations in Baroque music? a) Everything was written out, with no room for improvisation b) The accompaniment and the melody were written, but performers could embellish the melody c) The melody was written out and followed exactly, but the accompaniment was improvised d) Part of the accompaniment was written out, the rest improvised, and the melody could be embellished d) Part of the accompaniment was written out, the rest improvised, and the melody could be embellished The text for an opera is called a(n)... a) lyrical poem b) libretto c) pastoral d) ritornello e) intermedio b) libretto Which of the following statements best describes the Renaissance antecedents of opera? a) There was no staged music before opera, but dance songs sometimes included dialogue b) Opera arose directly from the madrigal cycle without other influences c) Opera represents the secularization of mystery plays that depict biblical stories d) There were several genres that included some of the elements of opera d) There were several genres that included some of the elements of opera The earliest opera plots were based on... a) historical events b) mythological characters and events c) current events d) comedic mishaps e) plays by contemporary playwrights b) mythological characters and events The Florentine Camerata was... a) a traveling band of musicians and actors who brought music and theater to small-town audiences b) members of the cathedral in Florentine who were frustrated with their limited repertoire c) a group of scholars in Florence who discussed literature, science, and the arts d) a theater in Florence that produced plays, spectacles, and ballets c) a group of scholars in Florence who discussed literature, science, and the arts Monody is the modern term for... a) the use of repeated pitches over a sustained chord b) plays with sung dialogue c) instrumental passages that depict the emotional state of a character d) all accompanied solo singing of the early seventeenth century e) seemingly plain compositions intended to be embellished d) all accompanied solo singing of the early seventeenth century The composer of the first operas in Italy was... a) Mei b) Peri c) Bardi d) Galilei e) Rinuccini b) Peri The poet who wrote the text for some of the first operas was... a) Mei b) Peri c) Bardi d) Galilei e) Rinuccini e) Rinuccini The scholar whose study of ancient Greek texts led him to believe that all Greek plays had been sung was... a) Mei b) Peri c) Bardi d) Galilei e) Rinuccini a) Mei Monteverdi developed "stile concitato" to depict... a) scenes of extreme sadness b) joyous sentiments c) agitation d) dialogue e) transitions between two emotional states c) agitation The style of monody in which a solo singer sings speechlike dialogue to the accompaniment of simple chords is... a) aria b) arioso c) recitative d) intermedio e) dialogo c) recitative Arioso is best defined as... a) a compositional style aimed at showing off a singer's virtuosity b) an instrumental interlude in the middle of an aria c) a series of fast, repeated pitches intended to portray agitation d) instrumental imitation of aria style e) a singing style midway between aria and recitative e) a singing style midway between aria and recitative In Rome, roles for high voices were sung by... a) professional female singers b) women who had been trained in the church c) boy sopranos d) men who had been castrated as boys e) men who had naturally high voices d) men who had been castrated as boys The first public opera house opened in 1637 in which city? a) Venice b) Florence c) Mantua d) Rome e) Vienna a) Venice Which of the following in NOT true of mid-seventeenth century Italian opera style? a) There was a concentration on solo singing, with more arias per act b) Recitative and aria became highly separated c) Composers used a variety of styles for aria composition d) Divertissements and ballets were a predominant feature d) Divertissements and ballets were a predominant feature Monteverdi's seventh and eighth books of madrigals are best known for... a) compositions in the "prima practica" style b) including madrigals in the concertato medium c) experimental use of techniques that would later show up in his operas d) using texts that were written in Latin instead of Italian b) including madrigals in the concertato medium A repeating bass line used as the basis of variations is called... a) basso continuo b) ostinato bass c) basso seguente d) basso spezzati b) ostinato bass Published the first book of sacred (church) music with basso continuo a) Lodovico Viadana b) Barbara Strozzi c) Lucrezia Vizzana d) Giacomo Carissimi e) Salamone Rossi a) Lodovico Viadana The main composer of Roman oratorios... a) Lodovico Viadana b) Barbara Strozzi c) Lucrezia Vizzana d) Giacomo Carissimi e) Salamone Rossi d. Giacomo Carissimi The Passion was a... a) multi-movement work depicting the last days of Christ b) secular cantata sung in Italian c) genre of Italian court entertainment d) French opera genre that included dancing and large choruses e) libretto that was used for several French operas a) multi-movement work depicting the last days of Christ The following characteristic of Italian opera was not borrowed for use in the oratorio a) instrumental preludes and ritornellos b) staged drama c) arias d) recitatives b) staged drama A serious composition for organ or harpsichord in which one subject is continuously developed in imitation is the a) suite b) variation c) toccata d) ricercare d) ricercare Which of the following statements best describes Schutz's training and career? a) He was the first major composer to be trained and employed exclusively in German-speaking lands b) He received his training in Vienna, then worked in Italy and France before returning to Germany for the remainder of his career c) he studied with Gabrieli in Venice, then worked in Kassel and Dresden d) He learned violin, keyboard, and composition from his father, and succeeded his father in the service of the elector of Hanover e) He studied opera composition with Monteverdi, then composed oratorios in Rome before moving to Germany as a cathedral musician c) he studied with Gabrieli in Venice, then worked in Kassel and Dresden Which of the following statements is true of the effect of the Thirty Years' War on Schutz music? a) The oratorio replaced opera as the favorite genre b) Schutz was forced to composed for smaller ensembles c) Schutz composed for larger ensembles because they gave the impression of economic well-being d) Nationalistic sentiment forced him to give up Italianate elements of his style e) Old Testament stories of Jewish victories in was were the subjects of operas, oratorios, and cantatas b) Schutz was forced to composed for smaller ensembles The main patron(s) of music in the French Baroque was/were... a) the Cathedral of Notre Dame b) middle-class concert audiences c) competing members of the nobility who ruled over small regions d) Louis XIV e) amateur musicians who purchased published music d) Louis XIV Louis XIV and other members of the nobility took part in performances of which genre? a) the court ballet b) masque c) opera d) zarzuela e) mass a) the court ballet Jean-Baptiste Lully is best known for his contribution to the development of... a) opera b) oratorio c) keyboard music d) music theory e) organ building a) opera An opera by Lully might also be called a(n)... a) ouvrage b) tragedie en musique c) divertissement d) air de cour e) agrement b) tragedie en musique Which of the following statements best describes the form of the French overture? a) three sections in fast-slow-fast order b) a slow opening marked by dotted rhythms, followed by a fast fugal section, with an optional slow closing section c) a fast and fugal section followed by a slow and homophonic section marked by dotted rhythms, with an optional closing section in a fast tempo d) a beginning section that is repeated after a departure into unrelated material in a contrasting key and mood d) a series of melodies drawn from the opera b) a slow opening marked by dotted rhythms, followed by a fast fugal section, with an optional slow closing section The leading composer of church music in France during the late 17th century was... a) Jean-Baptiste Lully b) Jean-Philippe Quinault c) Denis Gaultier d) Cardinal Mazarin e) Marc-Antoine Charpentier e) Marc-Antoine Charpentier "Stile brise," developed by lutenists, was imitated in... a) opera arias b) instrumental movements in French operas c) songs for court performances d) harpsichord music e) ballet movements d) harpsichord music The standard order of movements in seventeenth century French suites was... a) allemande, courante, sarabande, gigue b) pavane, galliard, courante, allemande c) allemande, pavane, courante, gigue d) prelude, pavane, galliard, gigue e) prelude, gavotte, minuet, gigue a) allemande, courante, sarabande, gigue Henry Purcell is best known for composing in which genres? a) English opera, semi-opera, and incidental music for plays b) Italian opera and oratorios c) liturgical music for the Catholic Church d) keyboard music, especially suites in the French style e) ballet a) English opera, semi-opera, and incidental music for plays "La purpura de la rosa" was... a) the first opera produced in the New World b) a collection of zarzuelas that helped spread the genre throughout Europe c) a treatise on composing church music in concertato medium d) an Italian opera that inspired English composers to try their hands at opera e) a type of ornamentation added to cadences a) the first opera produced in the New World The following instrument was not commonly used as a continuo instrument a) theorbo b) harpsichord c) organ d) violin d) violin 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 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) contemplation b) balance and proportion c) dramatization d) refinement c) dramatization The first complete theoretical formulation of the tonal system was introduced by a) Claudio Monteverdi b) Jean-Philippe Rameau c) Johann Sebastian Bach d) Charles Le Brun b) Jean-Philippe Rameau 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 Claudio Monteverdi's first opera, produced in 1607, was... a) Il ritorno d'Ulisse b) L'Arianna c) L'Orfeo d) L'Euridice c) L'Orfeo During the mid-seventeenth century, the most important component of opera in attracting a paying audience was... a) the singer b) the composition c) the composer d) the plot a) the singer The earliest surviving complete opera, produced in 1600, is... a) L'Euridice b) L'Orfeo c) Dafne d) The Liberation of Ruggiero a) L'Euridice The following opera is often considered Monteverdi's masterpiece... a) Il ritorno d'Ulisse b) L'Arianna c) Combattimento di Tancredi e Cholorinda d) L'in coronazione di Poppea d) L'in coronazione di Poppea Modern historians used this term to refer to all styles of late sixteenth century accompanied singing a) aria b) monody c) recitative d) arioso b) monody A sacred genre with one or more soloists accompanied by organ continuo and often by one or two violins was known as a a) large sacred cantata b) large sacred concerto c) small sacred cantata d) small sacred concerto d) small sacred concerto By the mid-seventeenth century, sacred dramatic music that combined narrative, dialogue, and commentary was known as a) liturgical play b) oratorio c) sacred concerto d) dramatic mass b) oratorio The most important composer of toccatas and one of the first to focus his attentions on instrumental music was... a) Alfonso Ferrabosco b) John Coprario c) Johann Froberger d) Girolamo Frescobaldi d) Girolamo Frescobaldi