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Baroque Study

True/FalseIndicate whether the statement is true or false.

____ 1. The Baroque era was an age of political freedom and democracy.

____ 2. Amateur music making at home was popular during the Baroque era.

____ 3. Religion remained a driving force behind power struggles in the Baroque era.

____ 4. England’s power diminished during the seventeenth century.

____ 5. The eastern seaboard of the United States and parts of coastal Canada were settled in the seventeenth century largely by Roman Catholics.

____ 6. The transition from Renaissance to Baroque was characterized by the change from polyphonic to homophonic texture in music.

____ 7. The new Baroque style of vocal music for one singer with instrumental accompaniment was known as monophony.

____ 8. The basso continuo was performed only by a chordal instrument.

____ 9. While playing the basso continuo, musicians in the Baroque era improvised on the figured bass.

____ 10. One of the most significant changes in music history occurred during the Baroque era: the transition from medieval church modes to major-minor tonality.

____ 11. Baroque music often features a steady, vigorous beat throughout.

____ 12. Baroque composers used dissonance for emotional intensity and color.

____ 13. A characteristic of Baroque music is its constant fluctuation of dynamics.

____ 14. In the Baroque era, music centered on frequent changes of mood.

____ 15. In Baroque instrumental music, each piece (or movement) reflected a single mood, or affection.

____ 16. During the Baroque era, some boy singers were castrated to preserve the high register of their voices, allowing them to sing high-pitched operatic roles.

____ 17. Improvisation played little or no part in Baroque musical practice.

____ 18. During the Baroque era, women began entering the ranks of professional musicians, both as composers and performers.

____ 19. During the Baroque period, composers showed an interest in the music of other cultures.

____ 20. Because of colonization, much of Mexico and northeastern Canada is Protestant.

____ 21. In opera, the lyric melodies that release emotional tension are called recitatives.

____ 22. A sinfonia is a short instrumental passage that facilitates scene changes.

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____ 23. The subjects of early Baroque operas were generally people from real life and dealt with real-life situations.

____ 24. The plot of Monteverdi’s The Coronation of Poppea concerns a love triangle between Nero, Poppea, and Seneca.

____ 25. In seventeenth-century England, the masque was a popular type of aristocratic entertainment that combined vocal and instrumental music with poetry and dance.

____ 26. Purcell’s Dido and Aeneas was first performed at the girls’ boarding school where he taught.

____ 27. Dido’s lament, from Purcell’s Dido and Aeneas, is a da capo aria.

____ 28. The aria “When I am laid in earth” is unified by a descending chromatic-scale ground bass.

____ 29. In London, Handel composed operas in Italian.

____ 30. The opera Rinaldo, by George Frideric Handel, is based on an idealized story of the First Crusade.

____ 31. The plot of Handel’s Rinaldo centers on the Moorish invasion of Jerusalem.

____ 32. The Italian secular cantata is a genre for solo singers with instrumental accompaniment.

____ 33. The earliest cantatas were short, secular works in Italian.

____ 34. Barbara Strozzi was probably trained as a courtesan, in singing, lute playing, and writing poetry.

____ 35. Barbara Strozzi’s participation in a Venetian academy of the intellectual elite was a typical role for women in this era.

____ 36. Strozzi’s Begli occhi is characterized by a homogeneous texture with a steady, unchanging beat and meter.

____ 37. A cantata must be written on a religious or sacred theme.

____ 38. Bach completed just over one hundred cantatas in his lifetime.

____ 39. A chorale is a hymn tune associated with German Protestantism.

____ 40. Johann Sebastian Bach lived a short, unhappy life and had no children.

____ 41. During his lifetime, Johann Sebastian Bach was primarily known as a great organist.

____ 42. Bach’s Passions are musical settings of the account of the Crucifixion by one of the four Evangelists.

____ 43. All movements of Bach’s Cantata No. 80 make use of the chorale tune A Mighty Fortress Is Our God.

____ 44. The oratorio was a dramatic, staged work with elaborate scenery and costumes.

____ 45. The role of the chorus was especially important in the oratorio.

____ 46. Handel’s career as a composer was virtually over when, at age fifty-two, he suffered a stroke from which he never recovered.

____ 47. Handel wrote his oratorio Messiah over a period of four years.

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____ 48. The libretto for Handel’s oratorio Messiah is a compilation of verses from the Bible.

____ 49. Handel’s Messiah opens with an Italian overture in three-part (A-B-A) form.

____ 50. The texture of “Glory to God in the highest” remains imitative throughout.

____ 51. The “Hallelujah Chorus” is the climax of the Easter section of Messiah.

____ 52. The Baroque period was the first in which instrumental music was comparable in importance to vocal music.

____ 53. Baroque composers, like their Renaissance counterparts, generally did not specify instrumentation.

____ 54. Stradivarius was a famous Baroque violin maker each of whose instruments are worth millions of dollars today.

____ 55. The three main keyboard instruments of the Baroque were the harpsichord, organ, and piano.

____ 56. The strings of a harpsichord are plucked by quills.

____ 57. The harpsichord is incapable of crescendo and diminuendo.

____ 58. The clavichord was a popular instrument for the home.

____ 59. Today, Baroque music is played exclusively on modern instruments.

____ 60. Corelli’s trio sonatas served as models for the establishment of the church and chamber sonata.

____ 61. The trio sonata is so named because it is performed by only three instrumentalists.

____ 62. The most common instrumentation for a Baroque trio sonata was solo violin and basso continuo.

____ 63. The term trio sonata refers to the number of parts, or musical lines, rather than the number of players.

____ 64. Corelli’s Trio Sonata in D major follows the standard tempo scheme of slow-fastslow-fast typically used for the church sonata, or sonata da chiesa, of the Baroque.

____ 65. Scarlatti laid the foundation for modern violin technique with his unaccompanied violin sonatas.

____ 66. Antonio Vivaldi became known as “the red priest” because of his fanatical religious beliefs.

____ 67. Vivaldi lived in Venice, where he taught music at a girls’ school.

____ 68. Vivaldi’s solo concertos typically had four movements.

____ 69. In The Four Seasons, Vivaldi based each concerto on a sonnet.

____ 70. The solo instruments in Bach’s Brandenburg Concerto No. 2 are the trumpet, flute, oboe, and violin.

____ 71. Bach’s concertos are more contrapuntal than those of Vivaldi.

____ 72. The orchestra plays a prominent role in the 2nd movement of Bach’s Brandenburg Concerto No. 2.

____ 73. The standard Baroque suite consists of a variety of international dance types.

____ 74. A sonata da camera was usually a suite of stylized dance movements.

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____ 75. A sonata da chiesa is defined as a suite of stylized dance movements.

____ 76. Handel’s Water Music was performed without continuo instruments when played outdoors.

____ 77. Telemann’s Tafelmusik includes French style orchestral suites.

____ 78. The Hornpipe from Handel’s Water Music is in A-B-A form.

____ 79. Jean-Joseph Mouret died a celebrated, wealthy artistic hero.

____ 80. The French rondeau led directly to the rondo of the eighteenth century.

____ 81. The chaconne is a variation form based on a repeated succession of harmonies.

____ 82. The French overture is composed in three sections.

____ 83. The prelude originated in improvisation on keyboard instruments.

____ 84. Bach’s chorale prelude A Mighty Fortress Is Our God is based on a well known Lutheran chorale tune.

____ 85. J. S. Bach’s chorale prelude A Mighty Fortress Is Our God was composed during the last few years of the composer’s life.

____ 86. A fugue is a form exclusively for solo keyboard performance.

____ 87. A fugue is a contrapuntal composition in which a single subject is the focal point.

____ 88. At the beginning of a fugue, the countersubject is stated alone.

____ 89. In a fugue, the device in which the theme is imitated in close succession is known as stretto.

____ 90. Bach’s The Art of Fugue was scored for strings.

____ 91. In The Art of Fugue, Bach includes musical reference to his own name.

____ 92. As a reaction to the grandiose gesture of the Baroque, the Rococo style was a miniature and ornate art aimed at enchantment of the senses.

____ 93. Empfindsamkeit was the first major classical movement that shunned emotions.

____ 94. Although J. S. Bach had twenty children, none of them became musicians.

____ 95. The War of the Buffoons was between those who favored French court opera and the proponents of Italian comic opera.

____ 96. The Beggar’s Opera had little impact on the development of opera in the 18th century.

____ 97. The enormously successful play The Beggar’s Opera presented a picture of life among London’s lower class.

____ 98. John Gay’s The Beggar’s Opera makes use of actual ballads from the popular music of his day.

____ 99. Gluck’s operas reflect a new style of drama and expression.

____ 100. Gluck’s operas are largely indebted to the traditions of French opera.

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Baroque StudyAnswer Section

TRUE/FALSE

1. ANS: F REF: Tenth edition: p. 140 | Shorter edition: p. 116 2. ANS: T REF: Tenth edition: p. 141 | Shorter edition: p. 117 3. ANS: T REF: Tenth edition: p. 142 | Shorter edition: p. 118 4. ANS: F REF: Tenth edition: p. 142 | Shorter edition: p. 118 5. ANS: F REF: Tenth edition: p. 142 | Shorter edition: p. 118 6. ANS: T REF: Tenth edition: p. 143 | Shorter edition: p. 119 7. ANS: F REF: Tenth edition: p. 143 | Shorter edition: p. 119 8. ANS: F REF: Tenth edition: p. 146 | Shorter edition: p. 121 9. ANS: T REF: Tenth edition: p. 146 | Shorter edition: p. 121 10. ANS: T REF: Tenth edition: p. 146 | Shorter edition: p. 121 11. ANS: T REF: Tenth edition: p. 147 | Shorter edition: p. 121 12. ANS: T REF: Tenth edition: p. 147 | Shorter edition: p. 121 13. ANS: F REF: Tenth edition: p. 147 | Shorter edition: p. 121 14. ANS: F REF: Tenth edition: p. 147 | Shorter edition: p. 121 15. ANS: T REF: Tenth edition: p. 147 | Shorter edition: p. 122 16. ANS: T REF: Tenth edition: p. 148 | Shorter edition: p. 122 17. ANS: F REF: Tenth edition: p. 148 | Shorter edition: p. 122 18. ANS: T REF: Tenth edition: p. 148 | Shorter edition: p. 122 19. ANS: T REF: Tenth edition: p. 149 | Shorter edition: p. 123 20. ANS: F REF: Tenth edition: p. 144 | Shorter edition: p. 120 21. ANS: F REF: Tenth edition: p. 150 | Shorter edition: p. 125 22. ANS: T REF: Tenth edition: p. 151 | Shorter edition: p. 125 23. ANS: F REF: Tenth edition: p. 151 | Shorter edition: p. 125 24. ANS: F REF: Tenth edition: p. 152 | Shorter edition: p. N/A 25. ANS: T REF: Tenth edition: p. 156 | Shorter edition: p. 126 26. ANS: T REF: Tenth edition: p. 157 | Shorter edition: p. 127 27. ANS: F REF: Tenth edition: p. 158 | Shorter edition: p. 128 28. ANS: T REF: Tenth edition: p. 158 | Shorter edition: p. 128 29. ANS: T REF: Tenth edition: p. 161 | Shorter edition: p. 128 30. ANS: T REF: Tenth edition: p. 161 | Shorter edition: p. N/A 31. ANS: F REF: Tenth edition: p. 161 | Shorter edition: p. N/A 32. ANS: T REF: Tenth edition: p. 163 | Shorter edition: p. 130 33. ANS: T REF: Tenth edition: p. 163 | Shorter edition: p. 130 34. ANS: T REF: Tenth edition: p. 163 | Shorter edition: p. 130 35. ANS: F REF: Tenth edition: p. 163 | Shorter edition: p. 131 36. ANS: F REF: Tenth edition: p. 166 | Shorter edition: p. 131 37. ANS: F REF: Tenth edition: p. 166 | Shorter edition: p. 133 38. ANS: F REF: Tenth edition: p. 166 | Shorter edition: p. 133 39. ANS: T REF: Tenth edition: p. 167 | Shorter edition: p. 133 40. ANS: F REF: Tenth edition: p. 167 | Shorter edition: p. 134

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41. ANS: T REF: Tenth edition: p. 167 | Shorter edition: p. 134 42. ANS: T REF: Tenth edition: p. 169 | Shorter edition: p. N/A 43. ANS: F REF: Tenth edition: p. 170 | Shorter edition: p. 136 44. ANS: F REF: Tenth edition: p. 175 | Shorter edition: p. 139f 45. ANS: T REF: Tenth edition: p. 175 | Shorter edition: p. 140 46. ANS: F REF: Tenth edition: p. 176 | Shorter edition: p. 140 47. ANS: F REF: Tenth edition: p. 177 | Shorter edition: p. 141 48. ANS: T REF: Tenth edition: p. 178 | Shorter edition: p. 141 49. ANS: F REF: Tenth edition: p. 178 | Shorter edition: p. 141 50. ANS: F REF: Tenth edition: p. 178 | Shorter edition: p. N/A 51. ANS: T REF: Tenth edition: p. 178 | Shorter edition: p. 142 52. ANS: T REF: Tenth edition: p. 182 | Shorter edition: p. 144 53. ANS: F REF: Tenth edition: p. 183 | Shorter edition: p. 145 54. ANS: T REF: Tenth edition: p. 183 | Shorter edition: p. 145 55. ANS: F REF: Tenth edition: p. 184 | Shorter edition: p. 146 56. ANS: T REF: Tenth edition: p. 184 | Shorter edition: p. 146 57. ANS: T REF: Tenth edition: p. 184 | Shorter edition: p. 146 58. ANS: T REF: Tenth edition: p. 184 | Shorter edition: p. 146 59. ANS: F REF: Tenth edition: p. 184 | Shorter edition: p. 146 60. ANS: T REF: Tenth edition: p. 185 | Shorter edition: p. N/A 61. ANS: F REF: Tenth edition: p. 185 | Shorter edition: p. 147 62. ANS: F REF: Tenth edition: p. 185 | Shorter edition: p. 147 63. ANS: T REF: Tenth edition: p. 185 | Shorter edition: p. 147 64. ANS: T REF: Tenth edition: p. 186 | Shorter edition: p. N/A 65. ANS: F REF: Tenth edition: p. 187 | Shorter edition: p. 147 66. ANS: F REF: Tenth edition: p. 190 | Shorter edition: p. 148 67. ANS: T REF: Tenth edition: p. 190 | Shorter edition: p. 148 68. ANS: F REF: Tenth edition: p. 190 | Shorter edition: p. 147 69. ANS: T REF: Tenth edition: p. 191 | Shorter edition: p. 148 70. ANS: T REF: Tenth edition: p. 195 | Shorter edition: p. N/A 71. ANS: T REF: Tenth edition: p. 195 | Shorter edition: p. N/A 72. ANS: F REF: Tenth edition: p. 195 | Shorter edition: p. N/A 73. ANS: T REF: Tenth edition: p. 197 | Shorter edition: p. 151 74. ANS: T REF: Tenth edition: p. 198 | Shorter edition: p. 147 75. ANS: F REF: Tenth edition: p. 198 | Shorter edition: p. 147 76. ANS: T REF: Tenth edition: p. 198 | Shorter edition: p. 153 77. ANS: T REF: Tenth edition: p. 198 | 78. ANS: T REF: Tenth edition: p. 199 | Shorter edition: p. 154 79. ANS: F REF: Tenth edition: p. 201 | Shorter edition: p. N/A 80. ANS: T REF: Tenth edition: p. 201 | Shorter edition: p. 155 81. ANS: T REF: Tenth edition: p. 204 | Shorter edition: p. N/A 82. ANS: F REF: Tenth edition: p. 204 | Shorter edition: p. 157 83. ANS: T REF: Tenth edition: p. 204 | 84. ANS: T REF: Tenth edition: p. 204 | Shorter edition: p. N/A 85. ANS: F REF: Tenth edition: p. 204 | Shorter edition: p. N/A 86. ANS: F REF: Tenth edition: p. 205 | Shorter edition: p. 158

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87. ANS: T REF: Tenth edition: p. 205 | Shorter edition: p. 158 88. ANS: F REF: Tenth edition: p. 205 | Shorter edition: p. 158 89. ANS: T REF: Tenth edition: p. 206 | Shorter edition: p. 159 90. ANS: F REF: Tenth edition: p. 207 | Shorter edition: p. 159 91. ANS: T REF: Tenth edition: p. 207 | Shorter edition: p. 161 92. ANS: T REF: Tenth edition: p. 209 | Shorter edition: p. 162 93. ANS: F REF: Tenth edition: p. 210 | Shorter edition: p. 163 94. ANS: F REF: Tenth edition: p. 210 | Shorter edition: p. 163 95. ANS: T REF: Tenth edition: p. 211 | Shorter edition: p. 164 96. ANS: F REF: Tenth edition: p. 211 | Shorter edition: p. 163f 97. ANS: T REF: Tenth edition: p. 211 | Shorter edition: p. N/A 98. ANS: T REF: Tenth edition: p. 211 | Shorter edition: p. 163 99. ANS: T REF: Tenth edition: p. 214 | Shorter edition: p. 164 100. ANS: T REF: Tenth edition: p. 214 | Shorter edition: p. 164