a. music sung on the solfeggio syllables
b. music changed on nonsense syllables
c. music sung on the syllable la
d. text set to one note per syllable
a. influence the politics and social structure of the day.
b. heighten the expressivity of the texts they set and to elevate music beyond language.
c. make a living by selling and printing music.
d. express individuality and one’s strong personal ideas through dynamic contrast.
a. caused the text to be lost in the harmony.
b. allowed the performers to project the text with great clarity.
c. was very different from the homophonic texture of the Gregorian Chants.
d. made Satan appear even more frightening.
a. funded by the individual composer.
b. funded by the church or by a wealthy patron.
c. written by the nobility, who were the only educated class.
d. plain and written on inexpensive paper.
a. a comedy.
b. a dramatized allegory of Good versus Evil.
c. a dramatized Mass.
d. based upon the writings of Charlemagne.
a. several voices and instruments with harmony.
b. one instrument playing alone.
c. readings by Pope Gregory I.
d. melody sung without accompaniment.
a. exploring religious and political debates.
b. funding their budgets through public shows and concerts.
c. projecting their cultural power and impressing subjects and visitors.
d. educating their young in the schools.
a. printed in Italy or the Frankish empire.
b. approved by Pope Gregory.
c. written by hand.
d. written by the nobility.
a. experienced visions and revelations and directed the life of a thriving convent.
b. Considered herself a channel through which the Holy Spirit spoke to humankind.
c. was the first woman to receive permission from a pope to write on theology.
d. all of the above in addition to writing on medicine, plants, and the lives of saints.
a. monophonic in texture.
b. homophonic in texture.
c. Polyphonic in texture.
d. only B and C.
a. the Greco-Roman Period.
b. the Medieval Era.
d. the Pre-Christian Era.
a. several notes are sung to one syllable
b. a single syllable is sung to a long (scalar) descent
c. a single syllable is sung consecutively and repeatedly to different melodies
d. a single melody is repeated three or more times in a row
a. the Crusades and heroism.
c. the pastoral life, dancing, and secular entertainment.
d. religion and sacred works
a. It was well suited for performance in the large resonant spaces of the medieval churches.
b. It is always polyphonic in texture.
c. The melodies tend to move stepwise with a narrow range of pitches.
d. It conveys a calm, otherworldly quality and enhances the meaning of the words.
a. well-defined note values and many instrumental works.
b. orchestras and chamber ensembles.
c. homophonic and free-style textures.
d. polyphonic and monophonic textures.
a. Disjunct and lively.
b. Flowing, largely conjunct.
c. based on scales of the medieval modes.
d. both B and C.
a. Mary Lowell.
c. Alicia de lo Rocha.
d. Hildegard of Bingen.
a. start of the first Crusades in 1095.
b. conquest of the New World.
c. fall of the Western Roman Empire in 476.
d. Protestant Reformation
a. wrote many elaborate harmonies and polyphonic works.
b. developed and enormous repertory of plainchant.
c. were highly paid for their work in developing the Mass.
d. were not priests or monks, but troubadours.
a. pantomimes his part.
b. shouts his lines.
c. is heard offstage playing the viol.
d. plays the pan pipes.
a. is a type of counterpoint in which one voice introduces each new theme and is answered by other voices that enter in succession as it continues to sing.
b. is a rhythm device that enabled the singers to stay together during long polyphonic works.
c. was only used briefly during the Renaissance era, and was not accepted very well.
d. is a type of counterpoint in which one voice introduces each new theme and then drops out completely as it is answered in succession by other voices.
b. spiritual matters.
c. the powers of human reason and individuality.
d. the government and group dynamics.
a. any form of music appropriate for worship.
b. singing in a hushed manner because one is in church.
c. men taking their hats off in church.
d. unaccompanied choral music or any unaccompanied singing.
a. but they had to check all of the copyright laws.
b. at a reasonable price.
c. if they pledged to donate the oldest son to a singing school.
d. at a very expensive price.
a. the “rebirth” of human creativity, exploration, and individualism.
c. war and death.
d. orchestras touring extensively in Europe.
a. would have nothing to do with the arts, thinking them to be “sissy.”
b. cultivated knowledge and experience in the full range of arts and sciences.
c. helped with the housework and child care.
d. traveled to the New World at least three times.
a. the political statements hidden in their works.
b. the artful imitation of emotion.
c. the loudness of the music.
d. using no emotion in the music.
a. written for an intimate setting such as a small room with a small group of instruments.
b. just like Gregorian Chant.
c. composed by those awaiting execution in the chamber.
d. written by Sir Walter Chamber.
a. a really bad concert.
b. a concerto written for the horn de grosso on the solo part.
c. big concerto with multiple instruments.
d. concerto with many dissonant sections.
a. is twice as long as any others
b. was first performed while Handel was in prison.
c. uses an orchestra.
d. does not really have characters and a plot and also contains New Testament material.
a. emergence of opera.
b. use of safe milk for drinking.
c. use of acoustic tiles and early stereo effects.
d. use of stringed instruments.
a. a festival by the mineral water spas.
b. the christening ceremony of a Duke’s child.
c. the musical Cinderella.
d. a party hosted by King George I on the River Thames.
a. only nobility were allowed to play the organ.
b. of its use in the castles.
c. of its size, power, and variety of tone.
d. of the gold, ivory, and rich woods from which it is constructed
a. restored a greater sense of balance between text and music.
b. made all of the voices sound the same.
c. was boring to the listeners.
d. blended the church modes into a new type of harmony.
a. financial condition of the aristocracy.
b. extravagant and even bizarre qualities of the music.
c. condition of many of the instruments of the day.
d. broken nature of the arpeggiated chords in keyboard accompaniments.
a. Muslim, Catholic, and Protestant.
b. Catholic, Lutheran, and Anglican.
c. Buddist, Catholic, and Liturgical Bohemians.
d. Southern Baptist, Mormon, and non-denominational.
a. impresarios filled their opera houses by hiring the same musicians to perform Oratorio.
b. musical form know as opera died out.
c. performers moved on to Eastern cultures where they could still perform.
d. opera performers protested and performed in the streets.
a. English is a challenging language when it comes to rhyme.
b. it is difficult to create translations that retain the sense of the original and mesh well with the composer’s music
c. words are sounds in their own right and we would not be hearing it as the composer intended.
d. it is impossible to create an opera in English that can be easily understood because of all of the American consonants and dialects, so it is best to keep it in other languages.
a. vocal works written to meet a need in a scheduled program.
b. compositions written to order for various programs in the church year.
c. a concert presented that has a printed program.
d. an instrumental work that is in some way associated with a story, event, or idea.
a. two high voices and one basso continuo.
b. three high voices written in very close harmony.
c. any combination of instruments and voices.
d. two basso continuo instruments and one recorder.
a. energy and motion, virtuosity and ornamentation.
b. no new musical advances.
c. stillness and slow paced music.
d. imbalance and dull, dreary architecture.
a. a fugal confrontation because it presents the idea to be questioned.
b. the open presentation because it presents the theme for the first time.
c. the coda because it begins and ends the presentation.
d. a fugal exposition because it exposes the main idea of the work.
a. a small group of philosophers, musicians, and poets who met in Florence to consider reviving the synthesis of music and drama as it had been done in the ancient Greek culture
b. a group of housewives who overheard their children acting out stories with music and shared this practice with their composer husbands.
c. nothing in particular; it just came about one day as a form of entertainment since they were all quite restless and bored without the modern day conveniences of television, movies, and radio.
d. someone uncovering a copy of Hildegard von Bingen’s play.
a. a shaum solo.
b. all three basic textures of music.
c. Handel himself singing the final Hallelujah.
d. soloists echoed by a chorus.
a. alternating the organ with the full orchestra.
b. alternating sections for soloists with sections for the full orchestra.
c. improvisation and the blues scale.
d. using puppets (such as Punchinello) to act out the program during the music.
a. thought that the work was too long and walked out after the second act.
b. was moved by the beauty and majesty of the music and stood in respect.
c. became tired of sitting and stood near the end of the oratorio.
d. fell asleep, snoring loudly, causing the work to be an instant failure.
a. never traveled outside of Germany.
b. composed both opera and oratorio.
c. never wrote any works for orchestra.
d. composed only sacred works
a. possessed both the high range of a woman’s voice and the physical power of a man’s voice.
b. were an unnatural phenomenon and barbaric by today’s standards.
c. often came from impoverished households where the families had given consent for their sons to have the opportunity to be among the highest paid performers of the day.
d. all of the above.
a. the fact that the music they were about to hear was new and not a cherished and respected masterwork (much like “today’s music” concerts).
b. people regarded the opera as a social event.
c. they were a lower class and did not know how to act.
d. both a and b.
a. many schools for training women to compose music.
b. only organist positions in the churches available for women composers.
c. many opportunities for women composer.
d. virtually no professional prospects for women composers.
a. had to obey the rules of the church and not try to be too showy.
b. were out of luck because all of the music was written for ensembles.
c. were expected to embellish the parts written for them.
d. were expected to strictly follow the notes on their score, with no changes.
a. demands of the composer’s patron.
b. ritornello principle.
c. harpsichord as soloist.
d. percussion section.
a. musically very similar to an opera, but is unstaged and based on a sacred topic.
b. not at all like an opera, and is only performed during Lent.
c. performed totally a cappella.
d. a genre that was banned due to the theatrics in the church and does not exist today.
a. did not allow instruments.
b. spent large sums of money on lavish decorations and powerful organs.
c. were thrifty and used little of their resources for the arts.
d. hosted frequent opera concerts.
a. churches and royal courts remained important centers of culture.
b. theaters and concert halls open to the paying public began to flourish for the first time on a widespread scale.
c. Vienna was the musical center of Europe.
d. all of the above
a. music that has been banned by the Emperor.
b. performers with elaborate hairstyles.
c. comic opera.
d. libretto based upon the lives of animals.
a. lived in Athens for most of his life and sang for Caesar’s funeral.
b. wrote only opera and oratorios.
c. was poor and unknown throughout his lifetime.
d. worked for a royal family (The Esterhazys).
a. after a town in Massachusetts
b. to honor the mayor of Boston
c. after the city he was born in
d. to honor the writer of the text
a. the birth of Jazz.
b. a tremendous growth in amateur music making at home.
c. the downfall of Haydn’s career.
d. a move back to the basics of Gregorian Chant.
c. 1750 – 1800.
a. is generally harmonically unstable.
b. presents themes and transforms them so that they are different from the original hearing.
c. falls between the exposition and recapitulation.
d. all of the above.
a. trumpet, French horn, tuba, viola.
b. violin 1, flute, bass clarinet, violin 2.
c. oboe, bassoon, English horn, cello.
d. violin 1, violin 2, viola, cello
a. could name five British generals in one song
b. was financially successful throughout his life
c. went on the “midnight ride” of 1775 with Paul Revere
d. taught himself to compose
a. steam engine, the cotton gin, and the principle of manufacturing based on interchangeable parts
b. telephone, the electric guitar, and the radio.
c. car, hearing aids, and portable heaters.
d. printing press, the polio vaccine, and principles based on the works of Hildegard of Bingen.
a. a sequence of sixteenth notes in the tonic key.
b. a long trill.
c. a rest longer than two measures.
d. the highest possible note on his instrument.
a. to be played only in the palace.
b. hats are required.
c. “from the head,” or “from the top.”
d. to end.
a. Vivaldi and Mozart.
b. Gilbert and Sullivan.
c. Martini and Rossi.
d. Haydn and Mozart
a. Exposition, Reposition, Disposition, and Content.
b. Theme, Chord, Texture, and Analysis.
c. Exposition, Development, Recapitulation, and Coda.
d. Chocolate, Vanilla, Strawberry, and Tutti Frutti.
a. the variety of these musical ideas within a given movement.
b. his use of too many notes.
c. his use of Gregorian chant in every composition.
d. the new instruments that he invented.
a. New York, NY.
b. Lexington, TN.
c. Vienna, Austria.
d. Tokyo, Japan.
a. balance, clarity, and naturalness.
b. imbalance, lack of form, and unnatural elements.
c. dissonance, polyrhythm, and vague interpretations.
d. life, liberty, and the pursuit of happiness.
a. the fugue.
b. call and response.
c. the twelve tone series.
d. sonata form.
a. a three-movement work for solo instrument and orchestra.
b. the name of one of Bach’s 20 children.
c. a woodwind instrument.
d. a composition for strings and brass, but no woodwinds.
a. she was not talented.
b. she died at the age of 12.
c. professional outlets for women composers were virtually nonexistent during the Classical Era.
d. her mother demanded that she stay at home and learn to cook.
a. flexibility of using various timbre instruments, including the banjo and saxophone.
b. presentation, development, and resolution of multiple themes within a single movement.
c. composer to switch between choral and instrumental sections within a single movement.
d. listeners to sing along on familiar themes.
a. from Italy.
b. a quiet, shy person.
c. a child prodigy.
d. a composer of mainly string quartet and piano works.