2023 Exam 3 Flashcards
(174 cards)
1
Q
Although this term originally meant abnormal, bizarre, and exaggerated, it now has a more positive meaning.
A
Baroque
2
Q
harmonic system that uses major and minor keys
A
tonality
3
Q
composers add flat or sharp signs or numbers over the staff
A
figured bass
4
Q
from the Italian “to reach agreement,” combining instruments and voices
A
concertato style
5
Q
broke voice-leading rules to express the text
A
Seconda Practice
6
Q
melody and bass line are notated; inner parts are not
A
bass continuo
7
Q
True/False
During the 1600s, rulers, cities, and aristocratic families often supported music and the arts as a way of competing for prestige.
A
True
8
Q
How did Baroque artists, poets, and musicians evoke theatricality in their works?
A
by using contrasts, color, and motion to arouse feelings
9
Q
True/False
Composers in the 1600s sought to portray their personal feelings rather than general emotional states.
A
False
10
Q
a large lute with extra bass strings
A
Theorbo
11
Q
playing the basso continuo part
A
realization
12
Q
musical interludes performed between acts of a play
A
Intermedi
13
Q
men who, as children, were surgically castrated to prevent puberty from changing their voices
A
Castrati
14
Q
a verse play with interspersed music, often with an idyllic rural setting and mythological characters
A
Pastoral Drama
15
Q
In the early 1600s, new styles in art, architecture, and music began in which country?
A
Italy
16
Q
True/False
During the Baroque era, the musical score was regarded as an outline that could be adapted, added to, or altered.
A
True
17
Q
The primary purpose of the basso continuo part is to
A
accompany
18
Q
The practice of basso continuo reflects what trend that occurred around 1600?
A
increased emphasis on the melody and bass lines
19
Q
True/False
Early opera composers blended current musical genres with ideas about ancient Greek music and plays.
A
True
20
Q
Composers in the seventeenth and early eighteenth centuries would describe their works as
A
operating within the modal system, although to modern listeners they sound tonal.
21
Q
True/False
Scholars as well as musicians were crucial to the development of opera.
A
True
22
Q
In music, the Baroque period lasted from approximately
A
1600 to 1750
23
Q
True/False
In comparison to Peri’s operas, Monteverdi’s operas drew on an even wider range of contrasting styles and genres.
A
True
24
Q
Which of the following did not contribute to the evolution of tonality?
A
sudden rejection of past musical practices
25
True/False
Musicians working in the early 1600s knew that they were creating music in new ways.
True
26
Opera originated around
1600
27
This group intently studied the writings of the ancient Greeks about music.
the Florentine Camerata
28
What important step for opera happened in 1637?
The first public opera house opened.
29
All of the following conditions fostered the development of opera in Venice except:
Religious restrictions were vigorously enforced.
30
The practice of creating castrati developed because
women were not allowed to sing in Catholic churches or on stage in Rome.
31
Vincenzo Galilei argued that which musical technique created contradictory impressions and obscured the meaning of a text?
Polyphony
32
Which of the following was a prolific composer of dramatic music who worked in Florence in the mid-1600s?
Francesca Caccini
33
Ground refers to what type of bass movement?
a repeating pattern
34
During the early 1600s, a piece in an improvisatory style often was called a
tocatta
35
True/False
Girolamo Frescobaldi was one of the first composers of international renown to focus primarily on instrumental music, and keyboard music in particular.
True
36
In the 1630s and 1640s, Heinrich Schütz focused on the small-scale rather than the large-scale sacred concerto _______
For economic reasons: a lack of funds due to the Thirty Years’ War and the corresponding lack of available musicians.
37
Ritornello refers to
a recurring instrumental interlude.
38
Which of the following refer(s) to pieces based on a traditional bass line or harmonic progression?
chaconne and passacaglia
39
True/False
In improvisatory works by Frescobaldi, the performer may play sections in any order he or she chooses.
True
40
True/False
Theatrical styles of music were not permitted in Christian church services.
False
41
What is the primary difference between the oratorio and the sacred concerto?
presence or absence of narrative elements
42
True/False
Barbara Strozzi was one of the most prolific composers of chamber music in the early 1600s.
True
43
What musical technique became associated with laments during the early Baroque era?
repetition of a stepwise descent that spans a fourth
44
Which of the following best describes the difference between a canzona and a sonata in the early seventeenth century?
Sonatas are more idiomatic and expressive; canzonas are formal and abstract.
45
Why does Heinrich Schütz use dissonance in Saul, was verfolgst du mich?
to reflect the meaning of the text
46
Which of these genres is not based on a biblical or religious text?
madrigal
47
True/False
Giovanni Gabrieli’s Sonata pian’ e forte was one of the first compositions that designated specific instruments in the printed parts.
True
48
Barbara Strozzi is primarily known for
composing and publishing her vocal works.
49
True/False
The repeating bass patterns used by early Baroque composers built upon well-established musical traditions.
True
50
Which composer studied in Italy and then established Germany as a center of musical activity in Europe?
Heinrich Schütz
51
What does the increase of printed music for instruments alone during the seventeenth century indicate?
The status and independence of instrumental music were changing.
52
What was the primary aim of church music in the seventeenth century?
to communicate the church’s message effectively to the people
53
The stile antico (“old style”) is associated primarily with which musical technique?
Counterpoint
54
In what context was the stile antico most likely to be heard in the middle of the seventeenth century?
church music
55
Large-scale sacred concertos were often written for what occasions?
feast days in large churches
56
Oratorios are so called because they originally
were performed in a separate building known as the oratory.
57
French harpsichord music absorbed many characteristics of music written for what instrument?
Lute
58
True/False
Jean-Baptiste Lully’s influence on music faded rapidly after his death.
False
59
Which of the following is not a reason why pupils were instructed in music at the Pio Ospedale della Pietà?
to prepare them for careers in music
60
Why was Anna Renzi important?
She was a talented and charismatic performer whose career set the standard for later sopranos.
61
French Baroque music employed ______________ to emphasize important notes and give melodies shape.
agréments (ornaments)
62
Which of the following is not true of Antonio Vivaldi’s concerto writing?
He wrote nonidiomatic solo lines.
63
True/False
The style brisé (“broken style”) employs frequent register shifts and therefore relies on the listener’s imagination to hear continuity among the various lines.
True
64
Colonization led to the dissemination of what dance from Central America?
Sarabande
65
Why were the arts, especially dance, so important during the reign of Louis XIV?
Louis XIV used the arts to establish his authority.
66
True/False
Most dance music written for solo keyboard or lute was not intended to accompany dancing, but instead to please the performer or entertain a small audience.
True
67
Elegance and restraint characterized ______ music during the 1600s, while more florid ornamentation and overt showmanship characterized _______ music of the time.
French
Italian
68
True/False
Most church trio sonatas consist of three movements.
False
69
How did string music at the French court in the 1600s influence the development of the modern orchestra?
It featured instruments from the violin family with more than one player per part.
70
“There is a prodigy who . . . sings at sight the most difficult music. She accompanies herself . . . on the harpsichord, which she plays in an inimitable manner.” Whom does this describe?
Elisabeth-Claude Jacquet de La Guerre
71
True/False
During the seventeenth century, fugues were written both as independent pieces and as sections within pieces.
True
72
How did the French approach to ornamentation differ from that of musicians in other countries? In general, ornaments in French music were
notated more precisely.
73
Public concerts were invented in which country?
England
74
Which of the following was not typically included in a suite?
tarantella
75
Longer forms in instrumental music that convey direction and progression became possible due to which musical advancement by Arcangelo Corelli in the second half of the seventeenth century?
Tonality
76
Why was Corelli called the first major composer whose reputation rested exclusively on instrumental music?
He developed sonata forms and the progression of functional harmony in instrumental music.
77
Which of the following is not characteristic of the French overture?
imitative entries in a slow tempo
78
You are a young Italian composer in the late 1600s. To ensure that your opera is a success, you want to
tailor the arias to the leading soprano’s talents and preferences.
79
What was the leading vocal genre in Italy in the late seventeenth century?
Opera
80
In seventeenth-century France, how was a suite normally structured?
an unmeasured prelude followed by a series of dance-inspired movements in varying orders and forms
81
“full”; the larger ensemble in a concerto grosso
ripieno
82
speechlike music accompanied only by basso continuo
simple recitative
83
general name for keyboard in the 1700s
clavier
84
statements of the subject overlap or come in quick succession
stretto
85
uses orchestral outbursts for dramatization
accompanied recitative
86
The action in Handel’s operas develops through what type of music?
Recitatives
87
True/False
Handel wrote generic opera arias without specific singers or their abilities in mind.
False
88
The title Les Goûts-réünis (The Reunited Tastes) reflects Couperin’s approach to composition: he blended _______ national styles in his music.
French and Italian
89
True/False
Rameau wrote a guide to playing the harpsichord that is an important source for performance practice of the French Baroque.
False
90
Bach learned to write concise themes, to clarify the harmonic scheme, and to develop subjects into proportioned structures from which composer?
Vivaldi
91
True/False
The titles of François Couperin’s works often suggest a mood or character.
True
92
______ was famous internationally during his lifetime and was the first composer whose music has never ceased to be performed.
Handel
93
Although Handel is associated with patrons, his operas, oratorios, and publications placed him mainly in the _____ sphere.
Public
94
Which publication established the foundations of tonal theory?
Traité de l’harmonie
95
True/False
Bach’s music was popular and well known during his lifetime.
False
96
What are the modern terms for what Rameau called the fundamental tone and basse fondamentale (fundamental bass)?
root of the chord; chord or root progressions
97
True/False
Reworking, adapting, and rearranging one’s own music or that of another composer were acceptable practices during Bach and Handel’s lifetimes.
True
98
Which of the following is not a technique that Rameau used for dramatic effect in his stage works?
commentary by a narrator
99
True/False
Musicians used a variety of tuning systems in the 1700s.
True
100
The leading composers in Europe in the mid-eighteenth century came from which lands?
German-speaking
101
A _____ is a form of imitative counterpoint based on a single theme or _____
Fugue
Subject
102
Voices enter with this theme in turn; a complete set of entries is referred to as the ______
exposition
103
Normally, this alternates between entries of the theme on the tonic and “answers” on the __________
dominant
104
Why did the music of German composers hold such broad appeal?
Their music synthesized various traditions and musical techniques.
105
What technique found in some of Bach’s chorale preludes reveals the influence of Italian madrigalists?
use of musical figures to symbolize ideas in the original chorale text
106
Why did Bach’s music seem old-fashioned during his lifetime?
New styles from Italian opera were invading Europe.
107
George Frideric Handel invented which genre?
English oratorio
108
What abilities or qualities made Farinelli famous?
vocal range and breath control
109
Why do the genres of Bach’s musical output differ for each city in which he worked?
He composed to fulfill the requirements of the different jobs he held.
110
Change in aesthetics stemming friom enlightenment thinking
Reform
111
A group who met to discuss artistic reform
Arcadian Academy
112
Opera Seria
6-8 characters
Serious
Historical
113
Opera Seria Form
Recit-aria-exit
Clear distinction between recit and aria
114
True/False
Opera seria is didactic
True
115
External stimuli could move the humors, and convey that motion to the soul, where the emotional state would change
Descartes
116
Stylistic Markers of the Baroque Period
Basso Continuo
Recit and monody
unprepared dissonances
117
Conservative theorist working in Bologna
Artusi
118
True/False
Artusi thought music should not be pleasing
False
119
Practice where the text rules or governs how the music should behave
Seconda pratica
120
Affektenlehre
Study of affects
121
Concentration on a single motive, theme, emotion for an entire movement
Homogeneity
122
Who had an enormous impact on sonata composition?
Arcangelo Corelli
123
What are the different sonata types?
Sonata da chiesa (chruch)
Sonata da camera (Chamber)
124
Sonatas with 3 written musical lines
Trio Sonatas
125
Sonatas with two written musical lines
Solo sonatas
126
Corelli's style
Suspensions and sequences (circle of fifths)
Conservative on dissonance
not virtuosic
127
When was the golden age in Germany
1650-1707
128
Which country is known for dance music
France
129
German, Duple, Upbeat
Allemande
130
Triple, Majestic, upbeat, metric ambiguity
Courante
131
Moderately slow, triple, often accented second beat
Sarabande
132
Moderate or fast, often compound meter
Gigue
133
Composer and harpischordist who performed regularly at Louis's court
Elisabeth-Claude Jacquet de la Guerre
134
Instrumental genre modeled on compound motets with continuous imitation and evaded cadences
Ricercare
135
Improvisatory genres
Prelude
Intonazione
Toccata
136
Major, lively, syncopation
Chaconne
137
Minor, smoother rhythms (lament bass)
Passacaglia
138
Halfway between aria and recit style
Arioso
139
mixing instruments, or instruments and voices
Concerted madrigals
140
Sung version of sonata
Cantata
141
Characteristics of Venetian Opera
Paying public audience
longstanding tropes
mix of serious and comic
142
Why was venice a good place for opera to grow?
Prosperous trade city with the wealthy middle class
no courtly culture
tickets available for the middle class
143
Music in between the acts of a spoken play
Intermedio
144
Solo singing and/or madrigals interpolated
Pastoral Plays
145
What was the first opera?
La Dafne
146
Technical developments that helped opera come about
Freedom of harmonic language that was developed in late madrigals
147
Argued that polyphonic madrigal was unfocused
Vincenzo Galilei
148
First person to experiment with writing monody
Galilei
149
French spoken theater, dance, french notation, italian opera
Recipe
150
What were Lully's baroque style plots
mythical, lots of characters, buys/confusing
151
who is the predecessor of modern orchestra?
Lully
152
Leading composer in england in the 17th centurey
Henry Purcell
153
When did public concerts start?
1637 in Venice
154
Vivaldi's concerto types
Solo
Grosso (small ensemble of soloists and the full ensemble)
Ripieno (predecessor of symphonies)
155
Vivaldi concerto movements
3 movements (fast-slow-fast)
156
Musical material that comes back in multiple key areas
Concerto-ritornello form
157
French Opera late 17th century
Lully
changing meter in recit
divertissement
five part writing for strings
french overture
Louis XIV
Blended recit/aria style
158
Mid 18th century french opera
Da capo arias
difficult harmonies and modulations
uses his own music theory
159
Was the English Oratorio sacred
No
160
Cruda Amarilli
By Monteverdi 1605 Madrigal
161
Vedrò 'l mio sol
Caccini 1602 Madrigal
162
Act I, Scene 3 from L'incoronazione di Poppea
Monteverdi 1642 Opera
163
Lagrime mie
Barbara Strozzi 1659 Cantata
164
Saul, was verfolgst du mich
Heinrich Schutz 1632 Oratorio
165
Toccata No. 3
Frescobaldi 1615 Tocatta
166
Sonata IV per il violino per sonar con due corde
Marini 1632 Sonata
167
Sarabande from Suite No. 3 in A Minor
Bach, Sarabande, 1720
168
Trio Sonata in D Major, Op. 3, No. 2, mvt. 1
Crelli 1689 Sonata
169
La Griselda
Vivaldi 1735 Opera
170
Excerpts from Armide
Lully 1689 Opera
171
Dido and Aeneas
Purcell 1689 Opera
172
Concerto for Violin and Orchestra in A Minor, Op. 3, No. 6, mvt. 1
Vivaldi 1711 Concerto
173
Durch Adams Fall (
Bach 1524
174
“V’adoro, pupille” from Giulio Cesare
Handel 1959 Opera
