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Music History
true/false
Question | Answer |
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An early seventeenth-century aria was an elaborate piece for a virtuoso singer with orchestral accompaniment. | False |
Giovanni de' Bardi was most important to music as a patron of the arts and intellectual discourse. | True |
Concertato scoring always required at least two different types of instruments or voice(s) and instrument(s). | True |
Vincenzo Galilei rejected both the formal rules of sixteenth-century counterpoint and the earlier madrigalists' methods of interpreting texts in their music | True |
In the early seventeenth century composers developed monody, which consisted of a text set monophonically for a single voice. | False |
The Passions of the Soul was a series of madrigals composed by Vincenzo Galilei to illustrate the proper approach to musical expression. | False |
Claudio Monteverdi coined the term seconda pratica to explain the difference between an earlier style of melodic writing and the modern style. | False |
Elaborate ornamentation characterizes all seventeenth-century art, literature, and music. | False |
An early seventeenth-century madrigal for solo singer resembled a sixteenth-century polyphonic madrigal in its approach to musical form. | True |
Seventeenth-century art was based on the promotion of irrational emotionalism. | False |
Monteverdi used the term stile concitato to designate any use of contrasting instrumental timbres for contrasting musical functions. | False |
Because of its ecclesiastical position Rome did not become involved in the development of opera. | False |
Trio texture in the seventeenth century could employ four performers. | True |
Claudio Monteverdi composed madrigals, songs with continue accompaniment, and operas, but he never worked in the field of church music. | False |
The invention of opera around 1600 was the first time music had been employed in a dramatic context. | False |
The term bel canto in the seventeenth century referred to a florid, virtuosic style of singing. | False |
In the early seventeenth century the terms aria and cantata might have been used to refer to the same piece. | True |
The testo was a university examination required of all student composers in the seventeenth-century Italy. | False |
A chorale partita was one part of a four-part chorale setting. | False |
The three-part division of musical styles in the seventeenth century did not explicitly include instrumental music. | True |
German organ music is called "free" when it does not depend on use of a chorale melody. | True |
French orchestral scoring in the second half of the seventeenth century tended to be denser than that of other countries. | True |
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. | False |
The serious musico-dramatic works of Lully were not termed opera seria by the composer. | True |
The fugue is the strictest form used in seventeenth-century keyboard music. | False |
As they had in the case of the madrigal, English composers quickly imitated the Italians in the field of opera. | False |
Henry Purcell's career led him to work in both secular and sacred music genres. | True |
The Italian opera opened with the same type of instrumental overture as did opera in France. | False |
A suite could be regarded as an exploration of a series of contrasting affections. | True |
In the seventeenth century official academies were established to control the various disciplines in Italy. | Flase |
French opera critics engaged in several heated arguments about the style of their national opera during the course of the eighteenth century. | True |
Bach never wrote an opera. | True |
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. | False |
Handel's oratorios are examples of oratorio volgare. | True |
Alexandre-Jean-Joseph Le Riche de la Poupliniere made his greatest contribution to the history of music as an opera librettist. | False |
Italian opera audiences regarded the bass voice as appropriate to serious opera but not to comedy. | False |
Handel abandoned the da capo aria structure in his works. | False |
Because he did not travel beyond a firly small portion of Germany, Bach did not come under the influence of styles from other countries. | True |
Parody was an important technique for creating music in the eighteenth century. | True |
Italian opera not only was successful in its native area but also spread to other parts of Europe. | True |