Question 1

An early seventeenth-century aria was an elaborate piece for a virtuoso singer with orchestral accompaniment.

Accepted Answer

False

Question 2

Giovanni de' Bardi was most important to music as a patron of the arts and intellectual discourse.

Accepted Answer

True

Question 3

Concertato scoring always required at least two different types of instruments or voice(s) and instrument(s).

Accepted Answer

True

Question 4

Vincenzo Galilei rejected both the formal rules of sixteenth-century counterpoint and the earlier madrigalists' methods of interpreting texts in their music

Accepted Answer

True

Question 5

In the early seventeenth century composers developed monody, which consisted of a text set monophonically for a single voice.

Accepted Answer

False

Question 6

The Passions of the Soul was a series of madrigals composed by Vincenzo Galilei to illustrate the proper approach to musical expression.

Accepted Answer

False

Question 7

Claudio Monteverdi coined the term seconda pratica to explain the difference between an earlier style of melodic writing and the modern style.

Accepted Answer

False

Question 8

Elaborate ornamentation characterizes all seventeenth-century art, literature, and music.

Accepted Answer

False

Question 9

An early seventeenth-century madrigal for solo singer resembled a sixteenth-century polyphonic madrigal in its approach to musical form.

Accepted Answer

True

Question 10

Seventeenth-century art was based on the promotion of irrational emotionalism.

Accepted Answer

False

Question 11

Monteverdi used the term stile concitato to designate any use of contrasting instrumental timbres for contrasting musical functions.

Accepted Answer

False

Question 12

Because of its ecclesiastical position Rome did not become involved in the development of opera.

Accepted Answer

False

Question 13

Trio texture in the seventeenth century could employ four performers.

Accepted Answer

True

Question 14

Claudio Monteverdi composed madrigals, songs with continue accompaniment, and operas, but he never worked in the field of church music.

Accepted Answer

False

Question 15

The invention of opera around 1600 was the first time music had been employed in a dramatic context.

Accepted Answer

False

Question 16

The term bel canto in the seventeenth century referred to a florid, virtuosic style of singing.

Accepted Answer

False

Question 17

In the early seventeenth century the terms aria and cantata might have been used to refer to the same piece.

Accepted Answer

True

Question 18

The testo was a university examination required of all student composers in the seventeenth-century Italy.

Accepted Answer

False

Question 19

A chorale partita was one part of a four-part chorale setting.

Accepted Answer

False

Question 20

The three-part division of musical styles in the seventeenth century did not explicitly include instrumental music.

Accepted Answer

True

Question 21

German organ music is called "free" when it does not depend on use of a chorale melody.

Accepted Answer

True

Question 22

French orchestral scoring in the second half of the seventeenth century tended to be denser than that of other countries.

Accepted Answer

True

Question 23

Sheer virtuosity and the demands of the singers were so important in the Italian opera that Rationalism had no effect on the genre in the late seventeenth century.

Accepted Answer

False

Question 24

The serious musico-dramatic works of Lully were not termed opera seria by the composer.

Accepted Answer

True

Question 25

The fugue is the strictest form used in seventeenth-century keyboard music.

Accepted Answer

False

Question 26

As they had in the case of the madrigal, English composers quickly imitated the Italians in the field of opera.

Accepted Answer

False

Question 27

Henry Purcell's career led him to work in both secular and sacred music genres.

Accepted Answer

True

Question 28

The Italian opera opened with the same type of instrumental overture as did opera in France.

Accepted Answer

False

Question 29

A suite could be regarded as an exploration of a series of contrasting affections.

Accepted Answer

True

Question 30

In the seventeenth century official academies were established to control the various disciplines in Italy.

Accepted Answer

Flase

Question 31

French opera critics engaged in several heated arguments about the style of their national opera during the course of the eighteenth century.

Accepted Answer

True

Question 32

Bach never wrote an opera.

Accepted Answer

True

Question 33

Bach's Musical Offering was dedicated to the Leipzig city council, to show the composer's gratitude for their support of the city's music program.

Accepted Answer

False

Question 34

Handel's oratorios are examples of oratorio volgare.

Accepted Answer

True

Question 35

Alexandre-Jean-Joseph Le Riche de la Poupliniere made his greatest contribution to the history of music as an opera librettist.

Accepted Answer

False

Question 36

Italian opera audiences regarded the bass voice as appropriate to serious opera but not to comedy.

Accepted Answer

False

Question 37

Handel abandoned the da capo aria structure in his works.

Accepted Answer

False

Question 38

Because he did not travel beyond a firly small portion of Germany, Bach did not come under the influence of styles from other countries.

Accepted Answer

True

Question 39

Parody was an important technique for creating music in the eighteenth century.

Accepted Answer

True

Question 40

Italian opera not only was successful in its native area but also spread to other parts of Europe.

Accepted Answer

True

Music History

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