Name: ________________________ Class: ___________________ Date: __________

ID: A

Baroque Study True/False Indicate whether the statement is true or false. ____

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

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

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

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

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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.

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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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Name: ________________________

ID: A

____ 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. 2

Name: ________________________

ID: A

____ 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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Name: ________________________

ID: A

____ 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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ID: A

Baroque Study Answer Section TRUE/FALSE 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. 32. 33. 34. 35. 36. 37. 38. 39. 40.

ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS:

F T T F F T F F T T T T F F T T F T T F F T F F T T F T T T F T T T F F F F T F

REF: REF: REF: REF: REF: REF: REF: REF: REF: REF: REF: REF: REF: REF: REF: REF: REF: REF: REF: REF: REF: REF: REF: REF: REF: REF: REF: REF: REF: REF: REF: REF: REF: REF: REF: REF: REF: REF: REF: REF:

Tenth edition: p. 140 | Shorter edition: p. 116 Tenth edition: p. 141 | Shorter edition: p. 117 Tenth edition: p. 142 | Shorter edition: p. 118 Tenth edition: p. 142 | Shorter edition: p. 118 Tenth edition: p. 142 | Shorter edition: p. 118 Tenth edition: p. 143 | Shorter edition: p. 119 Tenth edition: p. 143 | Shorter edition: p. 119 Tenth edition: p. 146 | Shorter edition: p. 121 Tenth edition: p. 146 | Shorter edition: p. 121 Tenth edition: p. 146 | Shorter edition: p. 121 Tenth edition: p. 147 | Shorter edition: p. 121 Tenth edition: p. 147 | Shorter edition: p. 121 Tenth edition: p. 147 | Shorter edition: p. 121 Tenth edition: p. 147 | Shorter edition: p. 121 Tenth edition: p. 147 | Shorter edition: p. 122 Tenth edition: p. 148 | Shorter edition: p. 122 Tenth edition: p. 148 | Shorter edition: p. 122 Tenth edition: p. 148 | Shorter edition: p. 122 Tenth edition: p. 149 | Shorter edition: p. 123 Tenth edition: p. 144 | Shorter edition: p. 120 Tenth edition: p. 150 | Shorter edition: p. 125 Tenth edition: p. 151 | Shorter edition: p. 125 Tenth edition: p. 151 | Shorter edition: p. 125 Tenth edition: p. 152 | Shorter edition: p. N/A Tenth edition: p. 156 | Shorter edition: p. 126 Tenth edition: p. 157 | Shorter edition: p. 127 Tenth edition: p. 158 | Shorter edition: p. 128 Tenth edition: p. 158 | Shorter edition: p. 128 Tenth edition: p. 161 | Shorter edition: p. 128 Tenth edition: p. 161 | Shorter edition: p. N/A Tenth edition: p. 161 | Shorter edition: p. N/A Tenth edition: p. 163 | Shorter edition: p. 130 Tenth edition: p. 163 | Shorter edition: p. 130 Tenth edition: p. 163 | Shorter edition: p. 130 Tenth edition: p. 163 | Shorter edition: p. 131 Tenth edition: p. 166 | Shorter edition: p. 131 Tenth edition: p. 166 | Shorter edition: p. 133 Tenth edition: p. 166 | Shorter edition: p. 133 Tenth edition: p. 167 | Shorter edition: p. 133 Tenth edition: p. 167 | Shorter edition: p. 134 1

ID: A 41. 42. 43. 44. 45. 46. 47. 48. 49. 50. 51. 52. 53. 54. 55. 56. 57. 58. 59. 60. 61. 62. 63. 64. 65. 66. 67. 68. 69. 70. 71. 72. 73. 74. 75. 76. 77. 78. 79. 80. 81. 82. 83. 84. 85. 86.

ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS:

T T F F T F F T F F T T F T F T T T F T F F T T F F T F T T T F T T F T T T F T T F T T F F

REF: REF: REF: REF: REF: REF: REF: REF: REF: REF: REF: REF: REF: REF: REF: REF: REF: REF: REF: REF: REF: REF: REF: REF: REF: REF: REF: REF: REF: REF: REF: REF: REF: REF: REF: REF: REF: REF: REF: REF: REF: REF: REF: REF: REF: REF:

Tenth edition: p. 167 | Shorter edition: p. 134 Tenth edition: p. 169 | Shorter edition: p. N/A Tenth edition: p. 170 | Shorter edition: p. 136 Tenth edition: p. 175 | Shorter edition: p. 139f Tenth edition: p. 175 | Shorter edition: p. 140 Tenth edition: p. 176 | Shorter edition: p. 140 Tenth edition: p. 177 | Shorter edition: p. 141 Tenth edition: p. 178 | Shorter edition: p. 141 Tenth edition: p. 178 | Shorter edition: p. 141 Tenth edition: p. 178 | Shorter edition: p. N/A Tenth edition: p. 178 | Shorter edition: p. 142 Tenth edition: p. 182 | Shorter edition: p. 144 Tenth edition: p. 183 | Shorter edition: p. 145 Tenth edition: p. 183 | Shorter edition: p. 145 Tenth edition: p. 184 | Shorter edition: p. 146 Tenth edition: p. 184 | Shorter edition: p. 146 Tenth edition: p. 184 | Shorter edition: p. 146 Tenth edition: p. 184 | Shorter edition: p. 146 Tenth edition: p. 184 | Shorter edition: p. 146 Tenth edition: p. 185 | Shorter edition: p. N/A Tenth edition: p. 185 | Shorter edition: p. 147 Tenth edition: p. 185 | Shorter edition: p. 147 Tenth edition: p. 185 | Shorter edition: p. 147 Tenth edition: p. 186 | Shorter edition: p. N/A Tenth edition: p. 187 | Shorter edition: p. 147 Tenth edition: p. 190 | Shorter edition: p. 148 Tenth edition: p. 190 | Shorter edition: p. 148 Tenth edition: p. 190 | Shorter edition: p. 147 Tenth edition: p. 191 | Shorter edition: p. 148 Tenth edition: p. 195 | Shorter edition: p. N/A Tenth edition: p. 195 | Shorter edition: p. N/A Tenth edition: p. 195 | Shorter edition: p. N/A Tenth edition: p. 197 | Shorter edition: p. 151 Tenth edition: p. 198 | Shorter edition: p. 147 Tenth edition: p. 198 | Shorter edition: p. 147 Tenth edition: p. 198 | Shorter edition: p. 153 Tenth edition: p. 198 | Tenth edition: p. 199 | Shorter edition: p. 154 Tenth edition: p. 201 | Shorter edition: p. N/A Tenth edition: p. 201 | Shorter edition: p. 155 Tenth edition: p. 204 | Shorter edition: p. N/A Tenth edition: p. 204 | Shorter edition: p. 157 Tenth edition: p. 204 | Tenth edition: p. 204 | Shorter edition: p. N/A Tenth edition: p. 204 | Shorter edition: p. N/A Tenth edition: p. 205 | Shorter edition: p. 158 2

ID: A 87. 88. 89. 90. 91. 92. 93. 94. 95. 96. 97. 98. 99. 100.

ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS:

T F T F T T F F T F T T T T

REF: REF: REF: REF: REF: REF: REF: REF: REF: REF: REF: REF: REF: REF:

Tenth edition: p. 205 | Shorter edition: p. 158 Tenth edition: p. 205 | Shorter edition: p. 158 Tenth edition: p. 206 | Shorter edition: p. 159 Tenth edition: p. 207 | Shorter edition: p. 159 Tenth edition: p. 207 | Shorter edition: p. 161 Tenth edition: p. 209 | Shorter edition: p. 162 Tenth edition: p. 210 | Shorter edition: p. 163 Tenth edition: p. 210 | Shorter edition: p. 163 Tenth edition: p. 211 | Shorter edition: p. 164 Tenth edition: p. 211 | Shorter edition: p. 163f Tenth edition: p. 211 | Shorter edition: p. N/A Tenth edition: p. 211 | Shorter edition: p. 163 Tenth edition: p. 214 | Shorter edition: p. 164 Tenth edition: p. 214 | Shorter edition: p. 164

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