Final- Music History

Term
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The main secular vernacular genre of sixteenth-century Spain was __________.
a. cancionero
b. cantiga
c. villancico
d. madrigal
e. frottola
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Terms in this set (56)
The main secular vernacular genre of sixteenth-century Spain was __________.
a. cancionero
b. cantiga
c. villancico
d. madrigal
e. frottola
c. villancico
The frottola was __________.
a. a folklike homophonic secular song in Italian
b. a folklike homophonic secular song in Spanish
c. a folklike homophonic sacred song in Latin
d. a highly developed polyphonic secular song in French
e. a dance type with quick rhythms and triple meter
a. a folklike homophonic secular song in Italian
The poet whose work inspired composers of sixteenth-century Italy was __________.
a. Shakespeare
b. Milton
c. Petrarch
d. Machaut
e. Ovid
c. Petrarch
The sixteenth-century Italian madrigal developed from the __________.
a. fourteenth-century madrigal
b. frottola
c. English madrigal
d. motet
e. villancico
d. motet
By the middle of the sixteenth century, the typical Italian madrigal was written for __________.
a. four voices
b. five or more voices
c. voice plus lute
d. instrumental ensembles
e. keyboard instrument
b. five or more voices
Texts for early madrigals sometimes used metaphor to allude to __________.
a. biblical stories
b. sexual matters
c. the names of famous poets
d. political topics of the day
e. the nobleman for whom the poem was written
b. sexual matters
The leading madrigal composer in the middle of the sixteenth century was __________.
a. Pietro Bembo
b. Juan del Encina
c. Jacques Arcadelt
d. Cipriano de Rore
e. Carlo Gesualdo
d. Cipriano de Rore
Which of the following statements is true of women's participation in madrigal performance and composition?
a. Women were not permitted to compose, sing, or hear madrigals.
b. Women were often in the audience when madrigals were performed, but did not perform or compose them.
c. Women performed madrigals but none had the musical training to compose them.
d. Women both performed and composed madrigals, though not in equal numbers to men.
e. Women were the equal of men in the composition and performance of madrigals.
d. Women both performed and composed madrigals, though not in equal numbers to men.
The Concerto delle Donne was __________.
a. a group of women who played viols and recorders in consorts
b. a group of women renowned for their singing at noble courts
c. an academy that met to discuss ways to set poetry to music
d. an orchestra maintained by the Countess of Donne
e. a collection of music singable by all-women's groups
b. a group of women renowned for their singing at noble courts
Gesualdo is known for __________.
a. writing a treatise on counterpoint based on Willaert's style
b. composing frottole with interesting rhythmic patterns
c. being the the only member of the pope's chapel to compose madrigals
d. spending most of his career as the maestro di capella at San Marco in Venice
e. killing his wife and her lover when he discovered them together in bed
e. killing his wife and her lover when he discovered them together in bed
Which composer is known for his/her songs depicting such things as a battle and birds? a. Willaert b. Sermisy c. Casulana d. Janequin e. LeJeuned. JanequinWhich composer is known for composing French songs in a style similar to the frottola? a. Willaert b. Sermisy c. Casulana d. Janequin e. LeJeuneb. SermisyThe main feature of musique mesurée was __________. a. the artificial assignment of long and short values to vowel sounds b. an interest in using meter to express emotion c. extremely polyphonic textures with each voice using a different meter d. the translation of Italian madrigals into the French language e. extreme chromaticism, used for expressing emotionb. an interest in using meter to express emotionHans Sachs is known for what achievement? a. He translated a collection of Italian madrigals into German. b. He published a collection of lieder using moveable type. c. He was the best known Meistersinger. d. He was the first German to serve in the Mantuan court. e. He applied techniques of metrical psalm-setting to secular music.c. He was the best known Meistersinger.Which of the following statement best describes the polyphonic Lied of the mid-sixteenth century? a. Audiences lost all interest in it, so composers turned to other genres. b. Composers incorporated concepts developed in the Academy of Poetry and Music. c. English-language airs were translated and passed off as original German compositions. d. Although German continued to be the language of the Lied, composers were strongly influenced by the madrigal. e. A revivalist movement among Lutherans banned all secular music, but the elite continued to cultivate it behind closed doors.d. Although German continued to be the language of the Lied, composers were strongly influenced by the madrigal.Musica Transalpina was a collection of __________. a. music theory treatises translated from the Greek b. motets that had been turned into madrigals c. German songs that had been translated into English d. Italian madrigals that had been translated into English e. English madrigals that had been translated into Italiand. Italian madrigals that had been translated into EnglishThe Triumphs of Oriana was __________. a. a collection of madrigals in honor of Queen Elizabeth b. a set of madrigals depicting an epic translated from Greek c. a treatise by Thomas Morley, in which modern prac tices are seen as triumphing over old-fashioned ones d. a satire that attacks the vogue for all things Italian among the English e. a semi-autobiographical account of a woman composer at the King's courta. a collection of madrigals in honor of Queen ElizabethOne composer known for his lute songs is __________. a. Thomas Morely b. Thomas Weelkes c. Anna Elizabeth Oriana d. William Byrd e. John Dowlande. John DowlandA consort is __________. a. any combination of voices and instruments in a small group b. any combination of instruments in a small group c. any combination of instruments in a large ensemble d. a group of identical instruments e. a group of instruments from the same family, made in different sizesb. any combination of instruments in a small groupThe Renaissance instrument that is related to the modern trombone is the __________. a. recorder b. lute c. sackbut d. viol e. clavichordc. sackbutA plucked string instrument of the Renaissance is the __________. a. recorder b. lute c. sackbut d. viol e. clavichordb. luteIn the sixteenth century, percussion instruments were __________. a. banned by the Council of Trent but used by the military on the battlefield b. limited to bells c. limited to the pipe and tabor d. diverse and refined, but parts were never written out e. specified in scores for the first timed. diverse and refined, but parts were never written outDance music of the Renaissance typically used which form? a. refrain forms borrowed from vocal music, especially the rondeau b. repeated sections of four-measure phrases c. ABAB CBCB ABAB d. two large sections, each repeated, with the first ending on a V and the second ending on the tonic e. a long improvisatory section followed by an imitative sectionb. repeated sections of four-measure phrasesIn the Renaissance, music for dancing was composed for __________. a. liturgical dramas in which dancing played a role b. social dancing for people of aristocratic backgrounds c. the earliest ballets d. young people in Reformation countries, where music's role was to ensure good citizenship and Christian devotion e. refrains between the stanzas of popular songsb. social dancing for people of aristocratic backgroundsWhich of the following was not a popular dance type in the sixteenth century? a. passamezzo b. pavane c. galliard d. minuet e. branle gayd. minuetThe galliard was often paired with the __________. a. passamezzo b. pavane c. galliard d. minuet e. branle gayb. pavaneIntabulation is a notation system used for __________. a. consorts b. instructional books on dance c. rhythmic patterns d. plucked and keyboard instruments e. San Marcod. plucked and keyboard instrumentsWhich of the following was not a type of improvisatory composition?a. consort b. ricercare c. toccata d. prelude e. fantasiaa. consortMusic in an improvisatory style was sometimes notated for __________. a. sackbut b. shawm c. lute d. voice with lute accompaniment e. percussionc. luteGuárdame las vacas is an example of __________. a. a standard air for variations b. a dance in which women stood in the middle of the room while men danced in a circle around them c. a canzona d. a book of pieces for instrumental ensemble e. a song dedicated to Queen Elizabetha. a standard air for variationsWhich of the following techniques became popular among English keyboardists? a. imitation b. variation c. mensuration d. text-painting e. improvisationb. variationThe chief sixteenth-century keyboard genre in improvisatory style was __________. a. canzona b. differencias c. passamezzo d. ricercare e. toccatae. toccataThe Italian form derived from French songs is __________. a. canzona b. differencias c. passamezzo d. ricercare e. toccataa. canzonaThe dance movement usually paired with the saltarello is the __________. a. canzona b. differencias c. passamezzo d. ricercare e. toccatac. passamezzoGabrieli's Sacrae symphoniae were composed for __________. a. consort of viols b. lute c. mixed consort of strings and woodwinds d. two groups of four instruments, with organ accompaniment e. vocal ensemble, but were performed on instrumentsd. two groups of four instruments, with organ accompanimentThe definition of basso seguente is __________. a. an imitative entrance in the bass voice that comes after a statement by a higher voice b. a bass line that doubles the lowest note of an ensemble c. an extra bass viol in a viol consortd. a system for creating variations e. a sympathetic string on lute that doubles the lowest stringb. a bass line that doubles the lowest note of an ensembleThe seventeenth century was an era in which __________. a. people deferred to Church teachings on all matters, including science b. scientists combined deductive reasoning and direct observation for the first time c. scientists used inductive reasoning to justify biblical teaching d. the Church incarcerated scientists on charges of heresy e. scientific theories from China and Japan were brought to Europe via trading routesb. scientists combined deductive reasoning and direct observation for the first timeIn the seventeenth century, __________. a. colonies in the Americas imported villancicos from Spain and metric psalmody from England b. colonies in the Americas were still too undeveloped to enjoy European music c. native American and African musical styles overtook European styles, as the vogue for "savage" music replaced the madrigal in Europe. d. colonies in the Americas imported only secular music from Europe e. there was an exchange of musical styles between the European colonists, slaves, and native Americans, resulting in a blended style that would epitomize the Baroquea. colonies in the Americas imported villancicos from Spain and metric psalmody from EnglandPatronage 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 patronagec. wealthy patrons, churches, and public performances of operas and concertsThe 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 valued from ancient Greecea. overly ornate embellishments in architectureThe term Baroque is now applied to __________. a. music from ca. 1550-1700 b. music from ca. 1600-1750 c. music from ca. 1650-1800 d. any artwork with dramatic impact e. arts based on values from ancient Greeceb. music from ca. 1600-1750Seventeenth-century sculpture sought to __________. a. replicate classical aesthetics b. bring flat medieval painting styles to three dimensions c. break down the barriers between art and science d. portray more drama and emotion e. balance contrasting aspectsd. portray more drama and emotionIn 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. a 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 musice. the spirits or "humors" believed to harbor emotions, and which could be brought into balance with contrasting moods of musicMonteverdi called his approach to composition __________. a. doctrine of affections b. nuove musiche c. Florentine camerata d. seconda pratica e. baroqued. seconda praticaArtusi 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 instrumentsa. violated Zarlino's counterpoint rulesTonal organization in the Baroque featured __________. a. the eight church modes b. the twelve church modes c. major and minor tonalities d. a mixture of major, minor, and church modes within the same work e. extreme dissonance, with no tonal focusa. the eight church modesThe texture of Baroque music is marked by __________. a. equality of all voices b. a return to the focus on the tenor voice, with the others embellishing it c. a polarity between bass and treble lines d. chordal settings e. unaccompanied solo singingc. a polarity between bass and treble linesThe instruments of the continuo group usually consist 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 instrumentsb. one bass instrument, such as a viol, plus a keyboard or luteThe 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 instrumentse. a mixed grouping of voices and instrumentsTuning systems in the Baroque era gradually came to favor __________. a. equal temperament b. chromatic temperament c. pure tuning d. just intonation e. mean-tonea. equal temperamentFigured bass is __________. a. a bass line notated with embellishments to equal embellishments in the top voice b. a bass line notated with numbers to indicate chords above it c. a bass viol that has been elaborately carved, usually with references to the patron who commissioned it d. one of the standard chord progressions used in the Baroque era e. a bass line that takes the solo roleb. a bass line notated with numbers to indicate chords above itRealization is __________. a. the process of making emotions in the music seem more "real" through embellishment b. Monteverdi's term for the compositional techniques that Artusi criticized c. taking a standard melody and creating a set of variations for it d. filling in the chords above a bass line according to the numbers above the line e. the return of the tonic after a long chord progressiond. filling in the chords above a bass line according to the numbers above the lineIn modern editions of Baroque music, small notes in a keyboard part indicate __________. a. alternate pitches b. musica ficta c. editorial suggestions to flesh out unnotated parts d. embellishments e. notes to play with a light touch because they are dissonant against the bassd. embellishmentsWhich of these statements is true of the role of improvisation 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. Accompanists improvised the accompaniment based on improvisation in the melody line. d. The melody was written out and followed exactly, but the accompaniment was improvised. e. Part of the accompaniment was written out, the rest improvised, and the melody could be embellishee. Part of the accompaniment was written out, the rest improvised, and the melody could be embellished.In 1722, Rameau developed an influential theory of __________. a. embellishment b. harmony c. affections d. performance practice e. seconda praticab. harmonyWhich of the following statements best describes the use of chromaticism in the Baroque era? a. Chromaticism was used only for expression of strong emotions. b. Chromaticism expressed only emotions at first, but later was used in harmonic exploration. c. Chromaticism was used sparingly, and only when the text called for strong emotions. d. Chromaticism was banned by the Church, and composers respected the ban. e. Chromaticism was used only for modulation to new keys.a. Chromaticism was used only for expression of strong emotions.