Fundamentals of Music-Unit 2 Exam

Fugue

A_______ is a musical for that originated in the Baroque era, and in it polyphonic texture is the most important aspect of it.

An___________is a passage of free, non-indentical counterpoints found in a fugue.

Episode

___________ is important for music because it is important for listening to a musical piece

Focus

minuet

__________ is a moderate dance in triple meter, though actually danced in patterns of six steps, with no upbeat but with highly symmetrical phrasing

____________ is the German word for the hymn of the Lutheran church; hence a simple religious melody to be sung by the congregation

chorale

The three movements for chorus from Bach's cantata Wachet auf, ruft uns die Stimme are based on the text and melody of a sixteenth-century a. fugue. b. recitative. c. madrigal. d. aria. e. chorale

e. chorale.

_________ is a note, usually in the bass, sustained or continually repeated for a period of time while the harmonies change around it

pedal point

b. the principal opera house of Milan, Italy.

"La Scala" is a. a scenic plan in Italian opera involving a succession of separate elements such as a slow aria, a recitative, and a fast concluding aria. b. the principal opera house of Milan, Italy. c. a celebrated female opera singer; a prima donna. d. the name given to the political movement that promoted the liberation and unification of Italy in the mid-nineteenth century. e. the nickname of Marie Duplessis, the woman who served as the model for Violetta in La traviata

When was 5th Harmony created?

10th century AD

c. style of singing that features the beautiful tone and brilliant technique of the human voice.

Bel canto is a a. genre of Spanish song and dance, with guitar accompaniment, often used in Italian operas to suggest an exotic locale or situation. b. celebrated female opera singer. c. style of singing that features the beautiful tone and brilliant technique of the human voice. d. scenic plan in Italian opera involving a succession of separate elements such as a slow aria, a recitative, and a fast concluding aria. e. musical comedy originating in Italy with spoken dialogue, tuneful songs, and topical humor.

d. Aside from the term, there is no difference.

How is verismo different from "realistic opera"? a. Realistic opera uses heroic characters, whereas verismo features characters from the lower classes. b. Realistic opera uses piano accompaniment, whereas verismo uses orchestral accompaniment. c. Realistic opera uses spoken dialogue, whereas verismo uses recitative. d. Aside from the term, there is no difference. e. Unlike realistic opera, verismo uses sentimental and idealistic themes.

c. Wagner viewed the work as a fairy tale, a harmless fantasy that had no relevance to contemporary life.

Identify the ERRONEOUS statement about the Ring cycle. a. Wagner wrote not only the music, but the librettos as well. b. It is set in the smoky mists of primeval time, in a land of gods, river nymphs, dwarfs, giants, dragons, and sword-wielding heroes. c. Wagner viewed the work as a fairy tale, a harmless fantasy that had no relevance to contemporary life. d. It is a set of four operas. e. It is a single continuous epic, drawing on the tales of German mythology.

b. Bizet based his famous Habanera on a well-known French tango melody.

Identify the INCORRECT statement about Carmen. a. The chromatic melody conveys the ambiguous and evasive traits of Carmen's personality. b. Bizet based his famous Habanera on a well-known French tango melody. c. The opera is set in Spain, but sung in French. d. Many of the famous arias are based on the popular songs, folksongs, and flamenco melodies of Spain. e. The opera had a rough start: critics called the libretto "obscene," his producers asked Bizet to tone down the more lurid aspects of the drama, women of the chorus threatened to strike because they were asked to smoke and fight on stage, and, overall, the opera was shocking for the Parisian audiences of the day.

b. In spite of all the difficulties that are thrown in their path, the lovers—Violetta and Alfredo—overcome all obstacles and live happily ever after.

Identify the INCORRECT statement about Verdi's La traviata. a. The title means literally "The Woman Gone Astray." b. In spite of all the difficulties that are thrown in their path, the lovers—Violetta and Alfredo—overcome all obstacles and live happily ever after. c. Verdi based the libretto on a play written by Alexandre Dumas, the son of the famous author. d. Verdi composed the work in Paris in 1853. e. The character of Violetta was based on the life of a real person, Marie Duplessis

d. He was refused entrance into the Conservatory of Leipzig because they considered him too old to teach.

Identify the INCORRECT statement about Wagner. a. Paris opera houses were completely indifferent to his efforts, and he was reduced to poverty. b. He was largely self-taught in musical matters. c. After working as an opera director in several small German towns, he moved to Paris hoping to launch his career. d. He was refused entrance into the Conservatory of Leipzig because they considered him too old to teach. e. He spent time in prison for nonpayment of debts.

b. His last opera was unfinished when he died from throat cancer.

Identify the biographical statement about Verdi that is WRONG. a. In his later years he became wealthy and retired to his country estate; he composed only when the subject was personally interesting or the monetary remuneration was of staggering proportions. b. His last opera was unfinished when he died from throat cancer. c. He based his final two operas on Shakespearean dramas, and his last opera was composed when he was almost eighty years old. d. He became a leader in the movement for Italian independence, and his name served as a political slogan ("Vittorio Emanuele Re d'Italia"). e. He was rejected for admission to the Conservatory of Music in Milan because they thought he was old and lacking in keyboard skills.

b. all of these choices.

Identify the correct answer for recitativo accompagnato. a. recitative accompanied by the orchestra rather than the continuo b. all of these choices. c. Verdi used it in his operas. d. used to narrate the action e. allows the action to flow smoothly from recitative to aria without a jarring change of texture

c. The orchestra sounds like the strumming of a big guitar.

Identify the trait that is NOT typical of Wagner's music dramas. a. There is near total absence of ensemble singing. b. They avoid melodic repetition, symmetry, and regular cadences. c. The orchestra sounds like the strumming of a big guitar. d. They are a seamless flow of undifferentiated solo singing and declamation. e. They employ long, non-repetitive melodies.

e. Cuba

In which country did the habanera originate? (Clue: The name is similar to that of the country's capital city.) a. Argentina b. Madagascar c. Morocco d. The Netherlands e. Cuba

d. Are you kidding? This is Romantic opera.

In which opera does the soprano live to a happy old age with her lover? a. Verdi, La traviata b. Bizet, Carmen c. Wagner, Tristan und Isolde d. Are you kidding? This is Romantic opera. e. Puccini, La bohème

What can studying music help you do better in terms of cognition?

It can help you process information better.

What principal governs Barque fugues?

Progressive Expansion, a musical idea continually added to during a fugue

composed six of his nine symphonies.

The "heroic" period is when Beethoven

b. leitmotif

The ________ is a brief, distinctive unit of music designed to represent a character, object, or idea; a term applied to the motives in Wagner's music dramas. a. Singspiel b. leitmotif c. music drama d. Liebestod e. Nibelungen

How did French composers react to Richard Wagner?

They made their music more simpler

According to Adon Shorr, what defines how a type of music is boring?

Too easy and too hard

b. castrato

Which term would NOT have been applied to a star female singer during the nineteenth century? a. bel canto soprano b. castrato c. diva d. prima donna

b. a genre of traditional Spanish song and dance, infused with gypsy elements

What is flamenco? a. a genre of popular urban song and dance originating in Cuba and Argentina in the nineteenth century; it is marked by a duple meter with syncopation after the first beat and a slow, sensuous style b. a genre of traditional Spanish song and dance, infused with gypsy elements c. a large pink bird with long legs and webbed feet d. a piece of early jazz in which a distinctive rhythm, with syncopation, is established in the opening bars e. an Afro-Cuban dance-song that came to prominence in the nineteenth century, marked by a repeating bass and a repeating, syncopated rhythm

a. Die Walküre (The Valkyrie) refers to the underwater maidens who protect the precious golden ring of power.b. It is the second of the four Ring dramas.

Which answer does NOT apply to Die Walküre? a. Die Walküre (The Valkyrie) refers to the underwater maidens who protect the precious golden ring of power.b. It is the second of the four Ring dramas. b. It features the famous, and exciting, "Ride of the Valkyries." c. It exploits the rich sound of the nineteenth-century orchestra. d. Within the drama, Wagner employs more than 30 leitmotifs.

c. a term used to describe Wagner's mature operas

Which answer is most appropriate to "music drama"? a. a style of singing developed in the nineteenth century that features the beautiful tone and brilliant technique of the human voice b. all of these choices c. a term used to describe Wagner's mature operas d. a late nineteenth-century opera in which the subject matter concerns the unpleasant realities of everyday life e. an opera on a light, often domestic, subject, with tuneful melodies, comic situations, and a happy ending

d. Edgar Allen Poe

Which artist or author did NOT reflect the traits of realism in his or her work? a. Charles Dickens b. J.-F. Millet c. Vincent van Gogh d. Edgar Allen Poe

d. Puccini

Which composer wrote verismo operas? a. Verdi b. Rossini c. Bizet d. Puccini e. Wagner

d. Bizet, Carmen

Which composition is the first important realistic opera? a. Leoncavallo, Pagliacci b. Wagner, Tristan und Isolde c. Puccini, Tosca d. Bizet, Carmen e. Verdi, La traviata

e. a happy ending

Which of the following is rarely seen in realistic opera? a. poverty b. physical abuse c. industrial exploitation d. crime e. a happy ending

b. During the middle years of his career he traveled throughout Europe, residing in Paris whenever he was not supervising a production of one of his operas.

Which statement about Puccini is WRONG? a. He achieved his first triumph at the age of thirty-five and further successes followed in rapid succession. b. During the middle years of his career he traveled throughout Europe, residing in Paris whenever he was not supervising a production of one of his operas. c. After graduating from the Milan Conservatory, he lived in poverty for a decade while struggling to develop a distinctive operatic style. d. After he became famous and wealthy, he grew a bit complacent, composing less frequently. e. Generations of his family had been composers and musicians: his father and grandfather had composed operas, and earlier ancestors composed religious music for the local cathedral.

d. Puccini adapted Wagner's principles of music drama to writing this opera.

Which statement about Puccini's La bohème is WRONG? a. There is a stark contrast between the dreary stage setting and the transcendental beauty of the music. b. The realism of the opera rests in the setting of the drama and its characters. c. There is not much character development in the opera. Instead, the focus is on the glorious sound of the human voice d. Puccini adapted Wagner's principles of music drama to writing this opera. e. It is Puccini's most famous opera.

d. His primary interest was in writing music that glorified the potential of the human voice.

Which statement about Wagner is WRONG? a. His artistic theories have inspired extreme reactions, ranging from adoration to hatred. b. With few exceptions, he composed only opera. c. He realized the dream of a distinct, national German operatic tradition. d. His primary interest was in writing music that glorified the potential of the human voice. e. His operas are of a monumental scope, containing moments of grandeur unmatched by any other composer.

d. Funds from the composer's devoted admirers throughout Europe poured in unsolicited to finance its construction.

Which statement does NOT apply to the Bayreuth Festival Theater? a. Wagner had the theater built because producers were reluctant to mount the Ring cycle due to its massive scope and fantastical subject material. b. Only Wagner's compositions are performed in this theater. c. The composer is buried near the theater on the grounds of his villa. d. Funds from the composer's devoted admirers throughout Europe poured in unsolicited to finance its construction. e. It is still controlled by Wagner's descendants today.

trio

__________ is an ensemble, vocal or instrumental, with three performers; also, a brief, self-contained composition contrasting with a previous piece, such as a minuet or a polonaise; originally the trio was performed by only three instruments

serenade

__________ is an instrumental work for a small ensemble originally intended as a light entertainment in the evening

Identify the INCORRECT statement regarding Mozart's life in Vienna during the 1780s. a. He was responsible for an orchestra that was never larger than twenty-five musicians and saw to it that all musicians appeared in uniform and followed instructions. b. He composed in the early morning and late afternoon or evening unless prevented by a concert. c. He joined the Freemasons. d. He gave daily piano lessons—mostly to young women—from nine to one. e. He played chamber music with Joseph Haydn, with whom he formed a lasting friendship

a. He was responsible for an orchestra that was never larger than twenty-five musicians and saw to it that all musicians appeared in uniform and followed instructions.

Which statement about the trio is INACCURATE? a. It utilized the same theme as the minuet, but with lighter scoring. b. It is the B section in a minuet and trio movement. c. It was composed in ternary form. d. Originally the texture consisted of three parts, but by the Classical period it could have any number of musical lines. e. It was originally a second minuet.

a. It utilized the same theme as the minuet, but with lighter scoring.

Mozart was born in the town of ________ . a. Salzburg b. Graz c. Bonn d. Rohrau e. Leipzig

a. Salzburg

About half the mature symphonies of Haydn and Mozart have brief introductions before the exposition begins. a. True b. False

a. True

During the Enlightenment, also referred to as the Age of Reason, thinkers gave free rein to the pursuit of truth and the discovery of natural laws. a. True b. False

a. True

In Classical compositions, the rondo is typically light, quick, and jovial in nature. a. True b. False

a. True

Mozart found the system of aristocratic patronage irritating, and after several unpleasant scenes with his patron, he cut himself free and moved to Vienna, determined to make a living as a freelance musician. a. True b. False

a. True

Which section of sonata-allegro form is slow, stately, and filled with ominous or puzzling chords? a. introduction b. exposition c. recapitulation d. coda e. development

a. introduction

Polyphony means "many voices," and here Berlioz creates a sense of growing tumult by adding to the march a strong contrapuntal (polyphonic) line in a. low strings b. high woodwinds c. middle brasses

a. low strings

The new comic opera, called ________ in Italy, was the opera of the middle class. a. opera buffa b. opera seria c. monody d. Singspiel e. chamber opera

a. opera buffa

The period ________ is known as the Classical Period. a. 1700-1850 b. 1750-1820 c. 1770-1900 d. 1685-1750 e. 1475-1600

b. 1750-1820

Due to the physical power required to play the pianoforte, the most common players of the new instrument were professional male musicians. a. True b. False

b. False

Rondo and sonata-allegro were the only two forms invented during the Classical period. a. True b. False

b. False

Identify the term that does NOT apply to the fugue. a. pedal point b. figured bass c. subject d. exposition e. episode

b. figured bass

Which answer correctly describes the rhythm of Classical period music? a. exciting, driving, energized rhythms propel music forward with vigor; "walking" bass creates feeling of rhythmic regularity b. it becomes more stop-and-go; greater rhythmic variety within a single movement c. usually free and flexible with irregular accents, making it difficult to determine the meter; rhythmic ostinatos give feeling of stasis d. rhythms are flexible, often languid, and therefore meter is sometimes not clearly articulated; tempo can slow to a crawl to allow for "the grand gesture" e. vigorous, energetic rhythms; conflicting simultaneous meters (polymeters) and rhythms (polyrhythms) make for temporal complexity

b. it becomes more stop-and-go; greater rhythmic variety within a single movement

One of the major achievements of the nineteenth century was the expansion of the symphony orchestra. Hector Berlioz was a master orchestrator—a musician adept at assigning the music to just the right orchestral instrument, according to sound quality and color. He was also a pioneer in writing program music. The following questions ask you to consider how Berlioz depicts the events of a march and an execution mainly through orchestral color and a few other tricks of the composer's trade. Berlioz, who grew up during the Napoleonic Wars, shows that he had the sound of a military marching band in mind by orchestrating this passage primarily for a. percussion and strings b. percussion and brass c. brass and woodwinds

b. percussion and brass

In rondo form, the A sections are called a. ritornellos. b. refrains. c. rows. d. rondeaux. e. repetitions.

b. refrains.

Identify the statement that correctly describes the harmonic style of the era. a. dissonance no longer must move to consonance but may move to another dissonance; sometimes there is no audible tonal center (atonality) b. the harmonic rhythm varies dramatically, creating a dynamic flux and flow; simple chordal harmonies made more active by "Alberti" bass c. functional chord progressions govern harmonic movement—harmony moves purposefully from one chord to the next d. clearly defined chord progressions begin to develop; tonality reduced to major and minor keys e. greater use of chromaticism makes the harmony richer and more colorful; sudden shifts to remote chords for expressive purposes

b. the harmonic rhythm varies dramatically, creating a dynamic flux and flow; simple chordal harmonies made more active by "Alberti" bass

Liszt's recitals were innovative in that a. he was generally the only artist on the program. b. he placed the piano parallel with the line of the stage. c. All of these choices. d. he played from memory. e. he performed dazzling feats of virtuosity.

c. All of these choices.

All of the following statements regarding the early years of Mozart are accurate EXCEPT this: a. He was born in Salzburg, Austria. b. He wrote his first symphonies by the age of eight c. His father served as court composer to Joseph II of Austria, and later gave composition lessons to Beethoven d. His father was the author of a best-selling book on learning the play the violin. e. By the age of six he was playing the piano, violin, and organ, as well as composing.

c. His father served as court composer to Joseph II of Austria, and later gave composition lessons to Beethoven

Which composers are representative of the Classical period? a. Bach, Handel, Telemann, and Vivaldi b. Debussy, Ravel, and Fauré c. Mozart, Haydn, Beethoven, and Schubert d. Josquin, Palestrina, Byrd, and Lasso e. Dvo?ák, Tchaikovsky, Musorgsky, and Puccini

c. Mozart, Haydn, Beethoven, and Schubert

In which manner did Romantic composers typically use rhythm? a. Rhythms are vigorous and energetic; conflicting simultaneous meters (polymeters) and rhythms (polyrhythms) make for temporal complexity. b. It departs from a regular, driving pattern to become more stop-and-go, and there is greater rhythmic variety within a single movement. c. Tempo is cut loose from the restraints of a regular beat and can fluctuate greatly (rubato). d. Exciting, driving, energized rhythms propel music forward with vigor; "walking" bass creates feeling of rhythmic regularity. e. Rhythm is usually free and flexible with irregular accents, making it difficult to determine the meter; rhythmic ostinatos give a feeling of stasis rather than movement. Hide Feedback

c. Tempo is cut loose from the restraints of a regular beat and can fluctuate greatly (rubato).

From 1781 until his death in 1791, Mozart lived almost exclusively in which city? a. Paris b. Bonn c. Vienna d. London e. Salzburg

c. Vienna

Phrases that are dependent upon each other to produce a complete musical idea are called ________ and ________ . a. conjunct, disjunct b. diatonic, chromatic c. antecedent, consequent d. tonic, dominant e. major, minor

c. antecedent, consequent

What does rubato mean? a. a musical process in which all of the lines or parts move in the same direction, and at the same intervals, for a period of time; the opposite of counterpoint b. in musical notation, a tempo mark indicating "as fast as possible" c. the Italian word for "robbed"; in musical notation, an expression mark indicating that the performer may take great liberties with the tempo d. the Italian word for "return" or "refrain"; a short musical passage invariably played by the full orchestra e. in musical notation, a tempo mark indicating a slowing down of the tempo

c. the Italian word for "robbed"; in musical notation, an expression mark indicating that the performer may take great liberties with the tempo

An "etude" is a. a slow, lyrical piece, or movement within a larger instrumental work, much favored by composers of the Romantic period. b. a fast dance of Polish origins in triple meter with an accent on the second beat. c. a slow, introspective type of music, usually for piano, with rich harmonies and poignant dissonances that convey the mysteries of the night. d. a short, one-movement composition designed to improve a specific aspect of a performer's technique. e. a slow, elegant dance in triple meter with a strong accent on the second beat.

d. a short, one-movement composition designed to improve a specific aspect of a performer's technique.

What new feature was added to the piano during the nineteenth century? a. an internal frame made of cast iron b. thicker steel strings c. multiple pedals d. all of these choices e. felt-covered hammers

d. all of these choices

Which definition is correct for "Alberti bass"? a. a bass line that moves at a moderate pace, mostly in equal note values and often stepwise up or down the scale b. a numerical shorthand that tells the player which unwritten notes to fill in above the written note c. a motive or phrase in the bass that is repeated again and again d. instead of having the pitches of a chord sound all together, the notes are played in succession to provide a continual stream of sound e. a popular, triple-meter dance of the late eighteenth and nineteenth centuries

d. instead of having the pitches of a chord sound all together, the notes are played in succession to provide a continual stream of sound

How did composers treat melody during the Classical period? a. larger leaps, wider range, and more chromaticism reflect the influence of virtuosic solo singing; melodic patterns idiomatic to particular musical instruments emerge; introduction of melodic sequence b. melodies are rarely tuneful or singable; they often twist and turn in rapidly undulating patterns c. wide-ranging, disjunct lines are often chromatic and dissonant; angularity is accentuated through of octave displacement d. short, balanced phrases create tuneful melodies; more vocal than instrumental in character e. long singable lines with powerful climaxes and chromatic inflections for expressiveness

d. short, balanced phrases create tuneful melodies; more vocal than instrumental in character

Identify the correct definition of "modified strophic form." a. the repetition of the melody at successively higher or lower degrees of the scale b. a popular song form in which the middle stanza is substantially altered, resulting in an ABA' pattern c. music that exhibits no obvious repetitions or overt musical form from beginning to end d. the repetitive form is modified briefly to accommodate a particularly expressive word or phrase in the text e. a form in which the music is repeated anew for each successive stanza

d. the repetitive form is modified briefly to accommodate a particularly expressive word or phrase in the text

Which statement does NOT apply to Symphony No. 94, the "Surprise"? a. The second movement is in theme and variations form. b. It was first performed in London in 1792. c. It is Haydn's most celebrated composition. d. The audience cheered the second movement, demanding an encore. e. The style conveys an introspective mood of tragedy and despair

e. The style conveys an introspective mood of tragedy and despair.

What is the correct definition of the "symphonic (tone) poem"? a. a one-movement work, usually in sonata-allegro form, that encapsulates in music the essential dramatic events of an opera or play; many are performed today at concerts without the opera or play b. music inserted between the acts or during important scenes of a play to add an extra dimension to the drama c. instrumental music free of a text or any pre-existing program d. a light musical interlude intended to separate and thus break the mood of two more serious, surrounding movements or scenes e. a one-movement work for orchestra that gives musical expression to the emotions and events associated with a story, play, political event, or personal experience Hide Feedback

e. a one-movement work for orchestra that gives musical expression to the emotions and events associated with a story, play, political event, or personal experience

The "pianoforte" is a. a general term for all keyboard instruments including the harpsichord, organ, and piano. b. a keyboard instrument that produces sound by depressing a key that drives a lever upward and forces a pick to pluck a string. c. a piano outfitted with screws, bolts, washers, erasers, and bits of felt and plastic to transform the instrument from a melodic one to a percussive one. d. the transformation and reduction to the great staff of an orchestral score so that it can be played at the piano. e. the original name of the piano.

e. the original name of the piano.

According to Howard Goodall, what were some of the key points that were covered in making an opera during the 19th century?

1. The debil has the best tunes 2. All fun fair 3. First impressions matter 4. Symphonic poem 5. Serial thriller 6. No determination 7. Richard Wagner style

e. The title "Pathétique" was intended to suggest French manners and moods.The title "Pathétique" was intended to suggest French manners and moods.(The slow introduction is suggestive of Beethoven's style of improvisation. It requires more technical skill than any previous piano sonata. Beethoven supplied the title himself. The composer performed the sonata frequently in the homes and palaces of Viennese aristocracy.)

All of the following statements about the "Pathétique" Sonata are correct EXCEPT for which one? a. Beethoven supplied the title himself. b. The slow introduction is suggestive of Beethoven's style of improvisation. c. The composer performed the sonata frequently in the homes and palaces of Viennese aristocracy. d. It requires more technical skill than any previous piano sonata. e. The title "Pathétique" was intended to suggest French manners and moods.

What sets Handel apart from Bach?

Handel was a musical entrepreneur

e. It is based on a text written by Voltaire, the Enlightenment philosopher.

Identify the INCORRECT statement about Ode to Joy. a. Beethoven worked on the melody for the poem for nearly twenty years. b. The text praises the concept of the universal brotherhood of humanity. c. When setting the text, Beethoven chose a simple, direct melody—one that anyone can sing. d. The melody provides a theme for a magnificent set of variations in his Ninth Symphony. e. It is based on a text written by Voltaire, the Enlightenment philosopher.

The Austrian emperor asked Beethoven to change the title from "Bonaparte" to "Eroica"; Beethoven complied, but demanded an extra fee

Identify the phrase that does NOT apply to the "Eroica" symphony. a.) The work was double the length of Haydn's symphonies. b.)It was originally composed to honor Napoleon Bonaparte.c.) It is filled with shocking rhythmic effects and orchestral gestures.d.) More than any single orchestral work, it changed the historical direction of the symphony.e.) The Austrian emperor asked Beethoven to change the title from "Bonaparte" to "Eroica"; Beethoven complied, but demanded an extra fee

Who primarily created Nationalist music in Europe and how was it created?

It was created bu the middle class musicians who took folk music into orchestra

What was believed to be a key influence in American opera style?

Native American Music

Who was deemed the architect of modern musical theater?

Richard Wagner

Which country produced popular orchestra tunes after Richard Wagner and what style grew from there?

Russia and Modernism

minor

What is the mode of this excerpt from the introduction to Beethoven's "Pathétique" Sonata?

Which statement does NOT apply to Beethoven's Symphony No. 5? a. It is the first symphony to use theme and variations form as one of its movements. b. It is the first symphony to employ motivic unity between all four movements. c. The four movements convey a sense of psychological progression. d. The rhythm of the opening dominates the entire symphony. e. Beethoven is said to have described its principal motive as Fate knocking at the door.

a. It is the first symphony to use theme and variations form as one of its movements.

With Beethoven's ________ , the genre moved from one played by amateur performers in their homes to become standard repertoire for professional musicians. a. rondos b. piano sonatas c. piano trios d. symphonies e. string quartets

b. piano sonatas

All of the above. It was written in despair over his impending deafness.-It is part last will and testament, and part artistic manifesto.-Its name derives from the village where Beethoven wrote the document.-In the document, Beethoven admits that he considered suicide but that his dedication to art (music) held him back from taking such a step.

Which statement about Beethoven's Heiligenstadt Testament is correct? a. It is part last will and testament, part artistic manifesto. b. It was written in despair over his impending deafness. c. All of these choices d. In the document he admits that he considered suicide, but that his dedication to art (music) held him back from such a step. e. Its name derives from the village where Beethoven wrote the document.

It is the first symphony to use theme and variations form as one of its movements.(The four movements convey a sense of psychological progression. The rhythm of the opening dominates the entire symphony. It is the first symphony to employ motivic unity between all four movements. Beethoven is said to have described its principal motive as Fate knocking at the door.)

Which statement does NOT apply to Beethoven's Symphony No. 5?

piano sonatas

With Beethoven's __________, the genre moved from one played by amateur performers in their homes to become standard repertoire for professional musicians.

A Chorale

_______ is a a spiritual melody or religious folksong of the Lutheran Church.

Cantata

________ is a genre in which a soloist sang about some aspect of romance or a mythological story.

walking bass

__________ is a bass line that moves at a moderate pace, mostly in equal note values, and often stepwise up or down the scale

consequent phrases

___________ are the answering, second phrase of a two-part melodic unit that brings a melody to a point of repose and closure

Church Cantata

___________ is a many-faceted sacred work including arias, ariosos, and recitatives performed by vocal soloists, and chorus, and a small accompanying orchestra.

triplet

___________ is a rhythmic pattern in which three beats or pulses substitute for one or more units of two beats or pulses

Fugue

___________ means flight in within Baroque styled music.

Alberti bass

____________ is when the notes are played in succession to provide a continual stream of sound

Canon

_________is a standard repertoire and a contrapuntal form in which the individual voices enter and each in turn duplicates exactly the melody that the first voice played or sang

ternary form (ABA)

_________is a three-part musical form in which the third section is a repeat of the first, hence ABA

Chapter 9 describes the standardization of instrumental forms into four (sometimes three) movements, with certain forms typically providing structure within each movement. The text also describes the influence of the rising middle class on music ("democratization" of music). Now, blend these two lines of development—musical form and public preferences—to evaluate the following statements. Which statement has a DISTORTED view of music and society in the late eighteenth century? a. Late eighteenth-century audiences did not care about musical form. They wanted only to hear song-like tunes and virtuosic instrumentalists. These preferences removed any incentive for composers to be innovative in creating musical form. By 1795, almost all sonata-allegro music was in theme and variations form and played by solo violinists. b. The growing middle-class audiences of the late eighteenth century were enthusiastic about solo performers, especially if the soloist's performance was enhanced by an accompanying orchestra. Composers met this popular demand by turning away from the Baroque concerto grosso, with its small ensemble of soloists, to the solo concerto. c. Learning to play a piano sonata was part of the edification of young women; most often the string and wind instruments were played by men. d. Amateur musicians who played string instruments at home wanted to play music that had the rich harmony of the orchestra as well as agile melodic passages that challenged their technical abilities. String quartets were published for such amateurs to purchase and play at home.

a. Late eighteenth-century audiences did not care about musical form. They wanted only to hear song-like tunes and virtuosic instrumentalists. These preferences removed any incentive for composers to be innovative in creating musical form. By 1795, almost all sonata-allegro music was in theme and variations form and played by solo violinists.

Who was Lorenzo da Ponte? a. Mozart's principal librettist during the 1780s b. the archbishop of Salzburg who didn't recognize Mozart's genius and treated him like a hired servant c. a Venetian adventurer whose life provided the model for Leporello in Mozart's opera Don Giovanni d. the author of the play The Marriage of Figaro e. all of these choices

a. Mozart's principal librettist during the 1780s

Beethoven initially made his living in Vienna as a concert pianist, and in order to be acceptable to polite society he bought new clothes, found a wigmaker, and took dancing lessons a. True b. False

a. True

Don Giovanni is implicitly critical of the aristocracy, and Mozart and da Ponte danced quickly to stay one step ahead of the imperial censor before production. a. True b. False

a. True

Don Giovanni is not the kind of guy you would want your daughter to date. a. True b. False

a. True

Spurred on by economic self-interest and the principles of Enlightenment philosophers, the middle class of France and America rebelled against the monarchy. a. True b. False

a. True

The "oratorio" is a. a large-scale genre of sacred music involving an overture, arias, recitatives, and choruses, but performed, whether in a theater or a church, without costumes or scenery. b. the most important religious music of the German Lutheran church, incorporating singing for spiritual reflection and as accompaniment to sacred acts. c. an art form that involves music, poetry, drama, and scenic design. d. a composition for choir or larger chorus setting a religious, devotional, or solemn text; often sung a cappella. e. the text of an opera.

a. a large-scale genre of sacred music involving an overture, arias, recitatives, and choruses, but performed, whether in a theater or a church, without costumes or scenery.

Identify the response that most accurately applies to "The Emperor's Hymn." a. it was written to honor the Emperor and came to serve as the Austrian national anthem b. a work commissioned by Napoleon as a public relations ploy to gain acceptance for his rule over the Austrian people c. the tune served as the basis for a theme and variations form in the second movement of Symphony No. 94, the "Surprise," an unexpected present to the Austrian emperor d. all of these choices e. inspired by the popularity of the Marseillaise, Mozart composed the melody to express the patriotic sentiment of the Austrian people

a. it was written to honor the Emperor and came to serve as the Austrian national anthem

Which idea did NOT emerge during the Enlightenment? a. the importance of communicating passion no matter what sort of imbalance, contradiction, or formal inconsistency might result b. philosophers pursued rational scientific, philosophical, and political beliefs c. renewed interest in democratic government d. a new appreciation for such middle-class values as honesty, common sense, and hard work e. the principles of social justice, equality, religious tolerance, and freedom of speech

a. the importance of communicating passion no matter what sort of imbalance, contradiction, or formal inconsistency might result

Which activity was NOT a part of Bach's duties as Cantor of Saint Thomas Church? a. to write concertos for weekly concerts by the school's orchestra, highlighting the skills of his most talented pupils b. to compose music for ceremonies at the university c. to play the organ for all funerals d. to teach Latin grammar to the choir boys e. to provide new music for each Sunday and religious holiday

a. to write concertos for weekly concerts by the school's orchestra, highlighting the skills of his most talented pupils

Which of the following statements is true about Beethoven's music? a. All of these choices b. Beethoven embraced the use of Classical forms and genres in his music, but the spirit of his music is one that foreshadows the musical style of the Romantic era. c. Although Beethoven rejected the use Classical forms (sonata-allegro, rondo, and theme and variations), he honored the use of Classical genres (symphony, sonata, concerto, string quartet, and opera). d. Although Beethoven used Classical forms (sonata-allegro, rondo, and theme and variations), he rejected the use of Classical genres (symphony, sonata, concerto, string quartet, and opera).

b. Beethoven embraced the use of Classical forms and genres in his music, but the spirit of his music is one that foreshadows the musical style of the Romantic era.

The twentieth-century musicologist Paul Henry Lang wrote of the "elemental necessity of [Beethoven's] soul to rise above the individual." Reflect on what you have read about Beethoven's personality. Which of the following statements interprets Lang's observation most completely? a. Beethoven saw himself as a self-supporting composer who had to outwit his publishers, or his noble music would not rise above mere commercial popularity. b. Beethoven the individual had a number of problems in his personal life: an abusive father in childhood, nonaristocratic social standing, and deafness by age forty. But, driven by an "elemental necessity," he combined musical craft with inspired vision to compose enduring masterpieces, including the "Eroica" Symphony, the Missa Solemnis, and the Ninth Symphony. c. Beethoven's early years (1770-1802) were based on himself as an individual, on individual students, and on individual wealthy princes. In later life, he rose above a musical career based on individuals and became democratic, composing for the solemn masses of people in Vienna, huddled and yearning to be free. d. Beethoven is little remembered as a music teacher today because, although he had many students in Vienna, none of them could follow his noble example: to rise above the individual.

b. Beethoven the individual had a number of problems in his personal life: an abusive father in childhood, nonaristocratic social standing, and deafness by age forty. But, driven by an "elemental necessity," he combined musical craft with inspired vision to compose enduring masterpieces, including the "Eroica" Symphony, the Missa Solemnis, and the Ninth Symphony.

While Haydn toured Europe to acquire fame and fortune, what actually happened was that his compositions increased in breadth and substance because of his exposure to a wealth of musical styles. a. True b. False

b. False

Which statement about Beethoven's later years is WRONG? a. Because of his deafness he withdrew from society. b. He made two visits to London where he was treated as a celebrity and awarded an honorary degree from Oxford. c. He primarily composed string quartets and piano sonatas. d. He became a well-known eccentric in Vienna, often wandering the streets humming, mumbling, and sometimes composing. e. His music became more remote and inaccessible in style.

b. He made two visits to London where he was treated as a celebrity and awarded an honorary degree from Oxford.

Which response does NOT describe Beethoven's relationship with the Viennese aristocracy? a. One aristocrat put a string quartet at his disposal, while another made it possible for him to experiment with a small orchestra. b. He served as court composer to Joseph II of Austria. c. They all showered him with gifts. d. Three aristocrats established a fund that allowed him to compose without financial worries. e. In spite of their largesse, Beethoven treated aristocrats with audacious independence and rudeness.

b. He served as court composer to Joseph II of Austria.

Identify the response that does NOT apply to Beethoven's early biography. a. His father and grandfather were court musicians. b. He toured northern Europe for three years and heard his first two symphonies performed in London when he was only eight years old. c. He was born in Bonn, Germany. d. He displayed great musical talent as a child. e. Hoping to exploit his son as a child prodigy, his father forced Beethoven to practice at all hours.

b. He toured northern Europe for three years and heard his first two symphonies performed in London when he was only eight years old.

All of the following statements are true about Beethoven's legacy EXCEPT: a. His compositions demonstrated how personal expression might expand the confines of Classical form. b. His music is inherently theatrical and perfectly suited to the genre of opera. c. The composer was considered the prophet of Romantic music. d. He introduced the "grand gesture" and made music both grandiose and intensely lyrical. e. He was revered by artists of all types, and subsequent composers measured their worth in comparison to him.

b. His music is inherently theatrical and perfectly suited to the genre of opera.

At several points in Chapter 10, Beethoven is referred to as "a prophet" and "high priest" who "conversed with God." Reflect on what you have learned about composers in Europe from the Middle Ages through Beethoven, and then select the statement below that best describes the role and influence of composers in Western civilization. a. There were no medieval composers. All songs were chant divinely inspired in Pope Gregory the Great and Hildegard of Bingen. With the rise of humanism in the Renaissance, composers emerged; they wrote original polyphony and expressed the meaning of words in music. Beethoven wanted to do more than express words, so he always made his music autobiographical. b. In the Middle Ages, sacred music was for worship of God in the form of liturgy; secular music was about daily life: work, the hunt, love, dancing for amusement. The rise of humanism shifted the focus of musical development to secular music; for example, the Doctrine of Affections elevated to an art form the expression of one's inner emotions and passions. Beethoven combined the medieval liturgical view with the humanist view by composing music that presented virtues and morals as a quasi-religious higher ground to which all people should aspire, thus placing himself in the role of a prophet or priest. c. Medieval music was dominated by the Catholic Church, and most musical progress occurred in France, especially at the Notre Dame Cathedral in Paris. By the eighteenth century, France was not a part of the Holy Roman Empire, and the empire was the seat of musical progress, especially in Vienna. Small wonder, then, that Beethoven, wanting to become a musical priest in the Catholic Church, went to Vienna instead of Paris or London. d. In 1880, the English scholar George Grove wrote that 1450 was the earliest date for which we have any firm knowledge about what music was like. Therefore, Beethoven knew nothing of the Middle Ages. Being highly original, he invented the concept of the composer as a visionary priest who creates inspiring music.

b. In the Middle Ages, sacred music was for worship of God in the form of liturgy; secular music was about daily life: work, the hunt, love, dancing for amusement. The rise of humanism shifted the focus of musical development to secular music; for example, the Doctrine of Affections elevated to an art form the expression of one's inner emotions and passions. Beethoven combined the medieval liturgical view with the humanist view by composing music that presented virtues and morals as a quasi-religious higher ground to which all people should aspire, thus placing himself in the role of a prophet or priest.

In many ways, music in the late eighteenth century was growing and changing in diverse and conflicting directions. Three of the scenarios below represent the complexity of Classical-era music accurately. Which one does NOT? a. The public admired virtuoso instrumentalists and opera singers, yet wanted to make amateur music themselves in their homes. b. The influence of Neoclassical architecture (as seen in Fig. 7.10, the Esterházy palace) caused music to become polyphonic again. Striking chant melodies could be heard in soprano, alto, tenor, and bass parts simultaneously, much like four identical columns on a building. c. The rational thinking of the Age of Reason led to music being listened to quietly and attentively, unless the music had spectacular dynamic effects for orchestra or entertaining affects in an aria satirizing social change. d. Musical form was becoming balanced and symmetrical, but the affects in music were becoming more extreme, more abrupt, even shocking.

b. The influence of Neoclassical architecture (as seen in Fig. 7.10, the Esterházy palace) caused music to become polyphonic again. Striking chant melodies could be heard in soprano, alto, tenor, and bass parts simultaneously, much like four identical columns on a building.

The "heroic" period is when Beethoven a. made his living as a piano virtuoso. b. composed six of his nine symphonies. c. began to lose his sight. d. all of these choices. e. focused on writing piano sonatas and string quartets to the exclusion of almost everything else.

b. composed six of his nine symphonies.

Review the careers of Johann Sebastian Bach and George Frideric Handel. Which of the following statements is the most accurate comparison of the livelihoods, appointments, musical works, and performances of these two composers? a. Bach was a schoolteacher and choir director. His musical works are of educational interest only. Handel was a promoter of Italian opera in an age of English oratorios. b. Bach came from a long line of musical prodigies. This family legacy instilled in him the conviction that he was composing music for the ages. Handel, unfamiliar with aristocratic tastes in music, composed for the public mood, seeking immediate profits. c. Bach worked for courts, towns, and churches, but, although he had a wide reputation as an organ virtuoso, he rarely worked or traveled far from home (central Germany). Handel preferred opera to organ music, and produced in Italy and England operas that he had composed (and later, English oratorios). d. Bach composed secular and religious music continuously, and then sought church choirs and court orchestras to perform it. Handel composed new music only when there was a need, such as a coronation.

c. Bach worked for courts, towns, and churches, but, although he had a wide reputation as an organ virtuoso, he rarely worked or traveled far from home (central Germany). Handel preferred opera to organ music, and produced in Italy and England operas that he had composed (and later, English oratorios).

Which Mozart opera is a German Singspiel? a. all of these choices b. Fidelio c. Die Zauberflöte d. Orfeo e. Don Giovanni

c. Die Zauberflöte

Identify the statement that does NOT apply to Vienna during the late eighteenth century. a. Because it was the only large city for hundreds of miles, the aristocracy congregated there, especially during the winter. b. It boasted a greater percentage of noblemen among its population than did London or Paris. c. It was the largest city in Europe. d. It was the capital of the old Holy Roman Empire. e. Aristocratic patronage attracted musicians from throughout Europe.

c. It was the largest city in Europe.

Identify the INCORRECT statement regarding Handel's oratorios. a. They use the operatic forms of recitative and aria. b. They were basically operas with a religious subject. c. Performances were staged with costumes and scenery. d. They appealed to a large number of religious groups. e. The chorus serves a dual function, sometimes serving as narrator, other times providing moralizing commentary.

c. Performances were staged with costumes and scenery.

Taking Haydn as representative of music of the Classical era, compare Haydn and Beethoven, viewing Beethoven as a composer whose style grew out of the Classical and toward the Romantic. Three of the following statements illustrate this transition in Beethoven's music. Which statement does NOT? a. Haydn wrote minuets for his symphonies which had a jovial mood. He changed their title, "Minuet," to "Scherzo," the Italian word for "joke." Beethoven inherited the scherzo concept from his teacher Haydn but increased the range of emotions and tempos that a scherzo movement could exhibit. b. Haydn wrote tuneful melodies with balanced antecedent and consequent phrases. Beethoven was interested in heroic climaxes, so he wrote only consequent phrases, thus breaking free of the bonds of Classical symmetry and balance. c. The balance and symmetry in Haydn's music could barely contain the teeming emotion in Beethoven's music. d. Haydn composed to please and entertain the listener; Beethoven composed to overwhelm and captivate the listener.

c. The balance and symmetry in Haydn's music could barely contain the teeming emotion in Beethoven's music.

A "diminished chord" is a. stacking one triad or seventh chord on another so they sound simultaneously. b. a type of chord that the performers hold for a shorter duration. c. a chord made up entirely of minor thirds that produces a tense, unstable sound. d. a chord that gets softer the longer it is held. e. the chord built on the fifth degree of the scale.

c. a chord made up entirely of minor thirds that produces a tense, unstable sound.

The term "pedal point" describes a. a bass line that moves at a moderate pace, mostly in equal note values, and often stepwise up or down the scale. b. a showy passage for the soloist appearing near the end of the movement in a concerto. c. a note, usually in the bass, sustained or continually repeated for a period of time while the harmonies change around it. d. a passage incorporating rapid runs, arpeggios, and snippets of previously heard themes into a fantasy-like improvisation. e. a passage of free, non-imitative counterpoint found in a fugue

c. a note, usually in the bass, sustained or continually repeated for a period of time while the harmonies change around it.

Which response best describes the term "string quartet"? a. the genre of music, usually in four movements, composed for four string instruments b. an instrumental ensemble consisting of a first and second violin, a viola, and a cello c. all of these choices d. a genre of chamber music e. a genre that was developed or "fathered" by Haydn

c. all of these choices

Identify the true statement about Messiah. a. first performed in London, England as part of a charity benefit b. initial performance was for a chorus for 500 voices c. composed in the space of three and a half weeks d. when sung in theaters, the drama was staged with scenery and costumes e. the composition did not become popular until fifty years after Handel's death

c. composed in the space of three and a half weeks

What type of chord accompanies the stabbing of the Commandant in Don Giovanni? a. major triad b. tonic chord c. diminished chord d. dominant chord e. minor triad

c. diminished chord

Which Baroque genre opens with a section called the "exposition"? a. church cantata b. concerto grosso c. fugue d. French overture e. dance suite

c. fugue

The texture of Classical period music is generally a. chordal, homophonic texture predominates; top and bottom lines are the strongest as basso continuo creates a powerful bass to support the melody above. b. homophonic, but dense and rich because of larger orchestra; the sustaining pedal on the piano also adds density. c. homophonic with a thin bass and middle range, hence it is light and transparent. d. mainly monophonic, with emphasis on the solo voice. e. polyphonic texture for four or five lines, though occasional passages of chordal homophonic texture are inserted for variety.

c. homophonic with a thin bass and middle range, hence it is light and transparent.

What is a chorale? a. a showy passage for the soloist appearing near the end of the movement in a concerto b. an introductory, improvisatory-like movement that gives the performer a chance to warm up and sets the stage for a more substantive subsequent movement c. the German word for the hymn of the Lutheran church; hence a simple religious melody to be sung by the congregation d. a multi-movement sacred work including arias and recitatives performed by vocal soloists and a small accompanying orchestra e. a passage of free, non-imitative counterpoint found in a fugue

c. the German word for the hymn of the Lutheran church; hence a simple religious melody to be sung by the congregation

Identify the correct definition of "exposition" in the context of a fugue. a. an introductory, improvisatory-like passage that gives the performer a chance to warm up and sets the stage for the more substantive section that follows b. a showy passage for the soloist appearing near the end of the fugue c. the opening section, in which each voice in turn has the opportunity to present the subject d. the contrapuntal portion of a fugue in which the subject is absent e. the part of the fugue in which modulating passages of free counterpoint alternate with further appearances of the subject

c. the opening section, in which each voice in turn has the opportunity to present the subject

Which statement regarding Köchel (K) numbers is most accurate? a. It is a handy way of identifying multiple works of the same genre that are in the same key. b. Köchel numbers arrange Mozart's works in approximate chronological order. c. Ludwig Köchel, a nineteenth-century musicologist, first published the list. d. All of these choices. e. It is a means of identifying Mozart's compositions.

d. All of these choices.

Which statement does NOT apply to Haydn's String Quartet Opus 76, No. 3, The "Emperor"? a. The famous theme has served as the national anthem of Austria as well as Germany. b. It was written in Vienna during the summer of 1797. c. It is one of the best works of the string quartet genre. d. Haydn disliked composing patriotic music and was embarrassed by the popularity it achieved. e. The second movement is a set of theme and variations on Haydn's famous "Emperor" hymn.

d. Haydn disliked composing patriotic music and was embarrassed by the popularity it achieved.

Which statement does NOT apply to Beethoven's style of playing the piano? a. Those who heard him play remarked on his "superhuman" technique. b. Many who heard him perform were moved to tears by his music. c. He was known to have broken piano strings while performing. d. His career as a virtuoso was cut short due to an injury to his right hand, but he thereafter focused his attention on writing sonatas for left-handed pianists. e. His performance style displayed phenomenal volume, violence, and force.

d. His career as a virtuoso was cut short due to an injury to his right hand, but he thereafter focused his attention on writing sonatas for left-handed pianists.

Which musical tradition was NOT influential in the development of Mozart's musical style? a. Italian vocal b. German polyphony c. French Baroque d. Spanish flamenco e. English choral

d. Spanish flamenco

Which statement about Mozart's Symphony No. 40 in G minor is ERRONEOUS? a. The falling half-step, an interval used throughout the history of music to denote pain and suffering, is an important thematic motive. b. Its style conveys an introspective mood of tragedy and despair. c. The work was first performed in Vienna. d. The sadness in the symphony reflects the composer's difficult personal circumstances—the death of his father and children—during the period immediately preceding the composition of the work. e. It was composed rapidly, along with two other symphonies, during a six-week period in the summer of 1788.

d. The sadness in the symphony reflects the composer's difficult personal circumstances—the death of his father and children—during the period immediately preceding the composition of the work.

Review the list of five ways in which classical music and popular music differ shown in Chapter 1 under "Popular and Classical Music Compared." The era of music presented in Chapter 7 is the "deep background" from which the modern split between classical and popular music emerged. Three of the following four statements describe lines of development in music over the past 250 years. Which statement does NOT? a. In the eighteenth century, music for orchestra and for piano developed many techniques for dynamic expressiveness in rhythm, texture, and combinations of instruments. This language of pure sound continues today in classical music. b. Modern popular songs resemble the ideas of the Doctrine of Affections in that there is usually only one mood or thought in a song's music and lyrics, and songs are expected by modern audiences to be performed with passion. c. The rise of homophonic texture in the Classical era, especially in music for piano, allowed for melodies, either instrumental or sung with lyrics, to be prominent, or to "sound out," in the musical texture. In popular music today, harmony is still homophonic, but more likely to be rendered on the guitar. d. The spoken dialogue and simple songs of comic opera foreshadow the Broadway musical. Modern popular songs, however, have Classical-style antecedent and consequent phrases, which are needed to make melodies long enough for all the lyrics.

d. The spoken dialogue and simple songs of comic opera foreshadow the Broadway musical. Modern popular songs, however, have Classical-style antecedent and consequent phrases, which are needed to make melodies long enough for all the lyrics.

Which composition is an example of the late Baroque church cantata? a. Dido and Aeneas by Purcell b. The Art of Fugue by Bach c. Messiah by Handel d. Wachet auf, ruft uns die Stimme by Bach e. Orfeo by Monteverdi

d. Wachet auf, ruft uns die Stimme by Bach

In Don Giovanni, the character of Leporello is a. the fiancé of Zerlina. b. the aging father of Donna Anna. c. the judgmental father of Don Giovanni. d. a faithful, though reluctant, servant. e. the lover of Donna Anna.

d. a faithful, though reluctant, servant.

Which response accurately describes the term "sonata"? a. a one-movement orchestral work in three sections (fast-slow-fast) that originated in Italy as an overture to seventeenth century operas b. a slow, lyrical piece, or movement within a larger work, for instruments, or instrument and voice, much favored by composers of the period c. music performed in a small concert hall or private residence with just one performer on each part d. a work, usually in three movements, for keyboard or other solo instrument e. a form that originated in the concerto of the Classical period, in which first the orchestra and then the soloist present the primary thematic material

d. a work, usually in three movements, for keyboard or other solo instrument

Identify the answer that best applies to "fugue." a. it begins with a presentation of a subject in imitation in each part b. it can be played by one or more instruments or sung by voices c. a polyphonic composition for two, three, four, or five parts d. all of these choices e. passages of free counterpoint alternate with appearances of the subject

d. all of these choices

Identify the statement that does NOT apply to the late Baroque church cantata. a. typically provided a commentary on the Gospel text, allowing the congregation to meditate of the word of the Lord b. became the musical core of the Sunday service of the Lutheran church c. performed by vocal soloists, chorus, and a small accompanying orchestra d. since it was a liturgical drama, the singers wore elaborate costumes, but the scenery was minimal due to its church setting e. a multi-movement sacred work including arias and recitatives

d. since it was a liturgical drama, the singers wore elaborate costumes, but the scenery was minimal due to its church setting

"Opera seria" is best defined as a(n) a. opera on a light, often domestic subject, with tuneful melodies, comic situations, and a happy ending. b. small ensemble of at least two instrumentalists that provides a foundation for the melody or melodies above. c. composition in two parts, with an obligatory return to and repeat of the first, resulting in ternary (ABA) form. d. stage work making use of a serious historical or mythological subject, usually in three acts. e. large-scale sacred composition involving an overture, arias, recitatives, and choruses, but sung without scenery or costumes.

d. stage work making use of a serious historical or mythological subject, usually in three acts.

Which statement does NOT apply to Haydn's early years? a. Sent to Vienna to nurture his musical talent at St. Stephen's Cathedral, after ten years as a choirboy he was dismissed when his voice broke. b. Born in a farmhouse about twenty-five miles from Vienna, his life is a "rags-to riches" story. c. During his late teens and early twenties, he eked out a meager living as a free-lance musician. d. His father made wheels for a living but enjoyed making music. e. Because he displayed great musical talent as a child, his father forced the boy to practice at all hours with the intent of exploiting him as a child prodigy.

e. Because he displayed great musical talent as a child, his father forced the boy to practice at all hours with the intent of exploiting him as a child prodigy.

Identify the INACCURATE statement regarding Classical operas. a. Emphasis is placed on natural, realistic characters. b. Composers placed vocal ensembles at the ends of acts. c. Sections of recitative, aria, and chorus flow smoothly from one section to the next. d. Comic operas became more important. e. Recitatives are gradually replaced by arias.

e. Recitatives are gradually replaced by arias.

Identify the ERRONEOUS statement about Handel's oratorio Messiah. a. Divided into three parts, it tells the story of the life of Christ in a general way. b. The libretto is drawn directly from the Old and New Testaments. c. The "Hallelujah" Chorus concludes the second part of the oratorio. d. "He shall feed his flock" is an example of a pastoral aria. e. The nineteen choruses are exclusively simple, homophonic settings of chorales.

e. The nineteen choruses are exclusively simple, homophonic settings of chorales.

What is the correct definition for "Singspiel"? a. a showy passage for the soloist appearing near the end of the movement in a concerto that incorporates rapid runs, arpeggios, and snippets of previously heard themes b. an element derived from comic opera that was especially favored at the ends of acts, replacing the solo "exit aria" c. a society of amateur musicians dedicated to the performance of classical music d. Italian for "symphony," it is a one-movement orchestral work that originated as the overture to seventeenth-century Italian operas e. a German musical comedy with spoken dialogue, tuneful songs, and topical humor

e. a German musical comedy with spoken dialogue, tuneful songs, and topical humor

The best definition for "solo concerto" is: a. an instrumental work for a soloist originally intended as a light entertainment in the evening b. a work, usually in three or four movements, for keyboard or other solo instrument c. a dramatic musical form of the Classical and Romantic periods involving an exposition, development, and recapitulation, with optional introduction and coda d. a solo composition written for talented amateurs to play in their homes either for personal enjoyment or to entertain their friends e. a composition in which an orchestra and a single performer in turn present and develop the musical material in the spirit of harmonious competition

e. a composition in which an orchestra and a single performer in turn present and develop the musical material in the spirit of harmonious competition

Which definition accurately describes the term "sinfonia"? a. a German musical comedy with spoken dialogue, tuneful songs, and topical humor b. a rapid, jovial work in triple meter often used in place of the minuet as the third movement in a string quartet or symphony c. an instrumental work for a small ensemble originally intended as a light entertainment in the evening d. a multi-movement work for solo instrument, or instrument with keyboard accompaniment e. a one-movement orchestral work in three sections (fast-slow-fast) that originated as an overture in seventeenth-century Italian opera

e. a one-movement orchestral work in three sections (fast-slow-fast) that originated as an overture in seventeenth-century Italian opera

Identify the correct definition of "subject." a. a simple religious melody to be sung by the congregation b. a one-movement composition, free in form, originally for solo keyboard but later for instrumental ensemble as well c. a bass line that moves at a moderate pace, mostly in equal note values, and often stepwise up or down the scale d. a short, distinctive melodic figure that stands by itself e. a term for the principal theme in a fugue

e. a term for the principal theme in a fugue

Identify the answer that most appropriately describes the operatic "vocal ensemble." a. allows the plot to unfold more quickly on stage b. consists of three or more characters who simultaneously sing about their individual responses to the dramatic action c. another manifestation of the democratic spirit, and better dramatic sense, of the late eighteenth century d. an element derived from comic opera, it was especially favored at the ends of acts to help spark a rousing conclusion e. all of these choices

e. all of these choices

Which statement about Mozart's compositions and his childhood experiences touring Europe is WRONG? a. He toured northern Europe for three years; his first two symphonies were composed in London when he was eight. b. his first opera, a comedy, was staged in a private home in Vienna when he was twelve c. At the age of six, he played for Empress Maria Theresa. d. He became acquainted with a wealth of musical styles from across the continent. e. as a result of his touring he acquired fame and fortune, and was court composer to Emperor Joseph II from 1780 until his untimely death in 1791

e. as a result of his touring he acquired fame and fortune, and was court composer to Emperor Joseph II from 1780 until his untimely death in 1791