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Music History


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
Created by: 1363424888
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