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Music History – Questions – Unit IV (Part 1) – Baroque

1. One of the most revolutionary periods in music history was the

A. Renaissance B. early baroque C. middle baroque D. late baroque
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2. The early baroque was characterized by

A. elaborate counterpoint B. homophonic texture C. development of the standardized orchestra D. diffusion of the style into every corner of Europe
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3. The middle baroque was characterized by A. elaborate counterpoint B. homophonic texture C. development of the standardized orchestra D. diffusion of the style into every corner of Europe
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4. A popular keyboard instrument in which sound was produced by means of brass blades striking the strings was the A. clavichord B. harpsichord C. organ D. basso continuo
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5. Affections in baroque usage refers to A. the nobility's manner of deportment B. the doctrine of universal brotherhood C. terraced dynamics D. emotional states or moods of music
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6. In the baroque period, the ordinary citizen's opportunities for hearing music usually came from the A. court B. church C. concert hall D. corner tavern
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7. Frederick the Great, king of Prussia, was a A. flutist B. general C. composer D. all of the above
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8. In Italy, music schools were often connected with A. orphanages B. courts of the nobility C. public schools D. universities
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9. The music director of a court in the baroque period A. supervised and directed the musical performances B. composed much of the music required C. was responsible for the discipline of the other musicians D. all of the above
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10. A large court during the baroque period might employ about ________ performers. A. 18 B. 24 C. 80 D. 120
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11. Most early baroque operas were based on Greek mythology and A. contemporary political events B. contemporary lyric poetry C. contemporary exploration of the new world D. ancient history
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12. Members of the Camerata wanted to create a new vocal style based on the A. music of the ancient Greek tragedies B. glories of their aristocratic patrons C. organum of the Middle Ages D. polyphonic madrigal
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13. A typical baroque operatic form was the da capo aria in ABA form in which the singer A. would make a literal repetition of the opening A section after the B section B. was expected to embellish the returning melody with ornamental tones C. would insert recitatives between the sections for added variety D. improvise new words for the returning A section
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14. The first opera house in Europe to offer entry to anyone with the price of admission opened in 1637 in A. Hamburg B. London C. Rome D. Venice
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15. The members of the Camerata wanted the vocal line of their music to follow

A. standard rules of musical theory B. the rhythms and pitch fluctuations of speech C. the lines of contrapuntal writing D. set metrical and melodic patterns
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16. Speechlike melody accompanied only by a basso continuo is called A. secco recitative B. accompanied recitative C. castrato D. basso ostinato
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17. Embellishments are A. ornamental tones improved by performers B. music created at the same time it is performed C. notes printed in the music that embellish the melody D. obsolete in contemporary performances
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18. A common variation form in the baroque is the _______________ A. Minuet. B. Ground bass or basso ostinato. C. Cantata. D. Figured bass.
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19. Dido and Aeneas, which many people consider the finest opera ever written to an English text, was inspired by ______________. A. Virgil's epic poem the Aeneid. B. Purcell's visit to Greece. C. Homer's Iliad. D. A popular French opera.
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20. Some indication of the acclaim and respect given Purcell by his contemporaries in England can be seen from the fact that he is buried in ______________. A. Hyde Park. B. Notre Dame de Paris. C. Westminster Abbey. D. Buckingham Palace.