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1. The Baroque Period spanned the years:
a. 1200–1450.
b. 1400–1550.
c. 1600–1750.
d. 1700–1800.
ANS: C PTS: 1 REF: Page: 98
TOP: Prelude: The Late Baroque Period MSC: Global Perspectives: African Ostinato Forms
2. An instrument from the Baroque period that has been revived is the:
a. harpsichord.
b. clarinet.
c. piano.
d. violin.
ANS: A PTS: 1 REF: Page: 98
TOP: Prelude: The Late Baroque Period MSC: Global Perspectives: African Ostinato Forms
3. Much of the Baroque music heard today is from the late Baroque era, which spanned the years:
a. 1600–1750.
b. 1700–1750.
c. 1750–1850.
d. 1650–1750.
ANS: B PTS: 1 REF: Page: 98
TOP: Prelude: The Late Baroque Period MSC: Global Perspectives: African Ostinato Forms
4. Who are the two most important composers of the late Baroque period?
a. Johann Sebastian Bach and Georg Philipp Telemann
b. Antonio Vivaldi and Johann Sebastian Bach
c. George Frideric Handel and Antonio Vivaldi
d. Johann Sebastian Bach and George Frideric Handel
ANS: D PTS: 1 REF: Page: 98
TOP: Prelude: The Late Baroque Period MSC: Global Perspectives: African Ostinato Forms
5. Historians might speak of the Baroque period as the:
a. Age of Absolutism.
b. ars nova.
c. Age of Classicism.
d. Age of Literature.
ANS: A PTS: 1 REF: Page: 98
TOP: Absolutism and the Age of Science
MSC: Global Perspectives: African Ostinato Forms
6. Which best describes the dualism found in Baroque art and music?
a. recitative versus aria
b. pomp and extravagance versus system and calculation
c. church music versus secular music
d. systematic extravagance versus calculated pomp
ANS: B PTS: 1 REF: Page: 99
TOP: Absolutism and the Age of Science
MSC: Global Perspectives: African Ostinato Forms
7. Who was the leading monarch in the Age of Absolutism?
a. Elizabeth I of England
c. King Phillip of Spain
b. Cosimo de' Medici of Florence d. Louis XIV of France
ANS: D PTS: 1 REF: Page: 99 TOP: Art and Absolutism
MSC: Global Perspectives: African Ostinato Forms
8. The purpose of art in the Age of Absolutism was:
a. to share personal feelings with the general populace.
b. to demonstrate scientific absolutes.
c. to impress and overwhelm.
d. to protest the influence of the church.
ANS: C PTS: 1 REF: Page: 100 TOP: Art and Absolutism
MSC: Global Perspectives: African Ostinato Forms
9. Which is true of music in the Age of Absolutism?
a. Monarchs had no control over music.
b. Music functioned at least partly to flatter the nobility who paid for it.
c. Absolutely no emotional display was allowed in Baroque music.
d. Only emotion mattered in music; control was not important.
ANS: B PTS: 1 REF: Page: 101 TOP: The Music of Absolutism
MSC: Global Perspectives: African Ostinato Forms
10. Opera arose around the year:
a. 1600.
b. 1603.
c. 1637.
d. 1650.
ANS: A PTS: 1 REF: Page: 102 TOP: Art and Theatricality
MSC: Global Perspectives: African Ostinato Forms
11. Which characteristic of Baroque theater made it appealing to Baroque audiences and composers of opera?
a. the deep, quiet spirituality
b. the slapstick comedy
c. the display of strong emotions
d. the realistic, down-to-earth topics and characters
ANS: C PTS: 1 REF: Page: 102 TOP: Art and Theatricality
MSC: Global Perspectives: African Ostinato Forms
12. Which best describes rhythm in the Baroque era?
a. It became less regular.
b. It became more regular.
c. Bar lines disappeared.
d. Meters changed frequently and often were unidentifiable.
ANS: B PTS: 1 REF: Page: 104 TOP: Science and Music
MSC: Global Perspectives: African Ostinato Forms
13. Which best describes the musical depiction of emotion in the late Baroque era?
a. Emotions were expressed freely and naturally.
b. A piece of music was performed differently each time; the performer expressed what he or she felt at the moment.
c. Emotional display was kept at a minimum, as a reaction to the Renaissance musical style.
d. Emotions were scientifically categorized, and musical expression of emotions was systematized into techniques and devices.
ANS: D PTS: 1 REF: Page: 104 TOP: Science and Music
MSC: Global Perspectives: African Ostinato Forms
14. Baroque composers were likely to think of themselves as:
a. artists striving for self-expression.
b. virtuoso performers capable of amazing the ordinary person.
c. craftspeople creating a product on demand.
d. undesirables constantly moving from town to town looking for employment.
ANS: C PTS: 1 REF: Page: 105
TOP: Musical Life in the Early Eighteenth Century
MSC: Global Perspectives: African Ostinato Forms
15. The three main institutions in which Baroque composers could make a living were the:
a. church, the tavern, and the concert hall.
b. church, the opera house, and the court.
c. court, the university, and musical journals.
d. opera house, the theater, and the concert hall.
ANS: B PTS: 1 REF: Page: 105
TOP: Musical Life in the Early Eighteenth Century
MSC: Global Perspectives: African Ostinato Forms
16. In the early eighteenth century, court musicians had a better sense of new musical trends than church musicians because:
a. they were required to travel with their employers.
b. they studied composition with their employers.
c. they periodically took time to refine their skills.
d. they studied past compositional techniques.
ANS: A PTS: 1 REF: Page: 105
TOP: Musical Life in the Early Eighteenth Century
MSC: Global Perspectives: African Ostinato Forms
17. Which is true of the Baroque treatment of rhythm?
a. There are no bar lines, so meter is not important.
b. The beat tends to be unsteady and unpredictable.
c. Certain instruments, such as the harpsichord, emphasize a clear, steady beat and meter.
d. The harmonic rhythm tends to be unsteady and unpredictable.
ANS: C PTS: 1 REF: Page: 107 TOP: Rhythm
MSC: Global Perspectives: African Ostinato Forms
18. A tendency in Baroque music to change chords at every measure or some set interval is called
a:
a. marching bass.
b. harmonic rhythm.
c. ground bass.
d. continuo.
ANS: B PTS: 1 REF: Page: 107 TOP: Rhythm
MSC: Global Perspectives: African Ostinato Forms
19. Baroque dynamics generally:
a. change with the harmonic rhythm.
b. get gradually louder and softer throughout a movement.
c. stay the same throughout a movement.
d. get louder and softer according to the emotions of the performer.
ANS: C PTS: 1 REF: Page: 107 TOP: Dynamics
MSC: Global Perspectives: African Ostinato Forms
20. Baroque music is often very adaptable and changeable with regard to which musical element?
a. rhythm
b. texture
c. harmony
d. tone color
ANS: D PTS: 1 REF: Page: 108 TOP: Tone Color
MSC: Global Perspectives: African Ostinato Forms
21. Which instrument group formed the core of the Baroque orchestra?
a. strings
b. woodwinds
c. brass
d. percussion
ANS: A PTS: 1 REF: Page: 108 TOP: The Baroque Orchestra
MSC: Global Perspectives: African Ostinato Forms
22. The orchestra of the court of Louis XIV was called the:
a. “Opera Orchestra of the Sun King.”
b. “Twenty-Four Violins of the King.”
c. “Royal Festival Orchestra.”
d. “Versailles Philharmonic.”
ANS: B PTS: 1 REF: Page: 108 TOP: The Baroque Orchestra
MSC: Global Perspectives: African Ostinato Forms
23. Which phrase best describes Baroque melodies?
a. simple lines
b. symmetrical and graceful
c. complex and appearing in sequences
d. brief motives
ANS: C PTS: 1 REF: Page: 108–09
TOP: Melody MSC: Global Perspectives: African Ostinato Forms
24. Ornamentation is the practice of:
a. improvising changes in the beat.
b. improvising melodic extras in the music.
c. wearing highly decorative costumes in operas.
d. improvising changes to the words of an aria.
ANS: B PTS: 1 REF: Page: 109 TOP: Ornamentation
MSC: Global Perspectives: African Ostinato Forms
25. The standard texture of much Baroque music is:
a. monophonic.
b. homophonic.
c. non-imitative.
d. polyphonic.
ANS: D PTS: 1 REF: Page: 110 TOP: Texture
MSC: Global Perspectives: African Ostinato Forms
26. In Baroque music, the continuo, or basso continuo, is the:
a. lowest voice part in polyphonic vocal music.
b. lowest instrument in the orchestra that plays continuously.
c. chordal instrument.
d. bass part that is linked to a series of chords.
ANS: D PTS: 1 REF: Page: 110–11
TOP: The Continuo MSC: Global Perspectives: African Ostinato Forms
27. Which two instruments would most likely have played the basso continuo in a Baroque composition?
a. flute and violin
b. violin and cello
c. cello and harpsichord
d. lute and violin
ANS: C PTS: 1 REF: Page: 111 TOP: The Continuo
MSC: Global Perspectives: African Ostinato Forms
28. The numerical shorthand below the basso continuo notes indicating the content of the chords to be played is called:
a. ground bass.
b. figured bass.
c. ground figures.
d. concerto grosso.
ANS: B PTS: 1 REF: Page: 111 TOP: The Continuo
MSC: Global Perspectives: African Ostinato Forms
29. How did Baroque composers view the use of emotion in their compositions?
a. They isolated emotions, analyzed them, and portrayed them as consistently as possible.
b. They revealed their own emotions directly in their compositions.
c. They allowed only subtle emotional displays in their work.
d. They left all emotion out of the music, knowing that the performer would provide an emotional rendition of it.
ANS: A PTS: 1 REF: Page: 113
TOP: The Emotional World of Baroque Music
MSC: Global Perspectives: African Ostinato Forms
1. Define baroque. What is the source of this word? When was the word baroque applied to the music of this period, and in what spirit?
ANS: Answers may vary
PTS: 1 REF: Page: 98 TOP: Prelude: The Late Baroque Period
MSC: Global Perspectives: African Ostinato Forms
2. Alessandro Scarlatti, Antonio Vivaldi, François Couperin, Jean-Philippe Rameau, Domenico Scarlatti, and Georg Philipp Telemann were important composers in the late Baroque period. Name their respective countries of employment.
ANS: Answers may vary
PTS: 1 REF: Page: 98 TOP: Prelude: The Late Baroque Period
MSC: Global Perspectives: African Ostinato Forms
3. Explain the “divine right of kings” and name a king to whom this right seemed to apply. Relate this concept to the Age of Absolutism.
ANS: Answers may vary
PTS: 1 REF: Page: 98 TOP: Absolutism and the Age of Science
MSC: Global Perspectives: African Ostinato Forms
4. Explain how science affected both art and ordinary life in the Baroque era.
ANS: Answers may vary
PTS: 1 REF: Page: 98–99 TOP: Absolutism and the Age of Science
MSC: Global Perspectives: African Ostinato Forms
5. Describe the extent to which the monarchy of “the Sun King” influenced music, the visual arts, and architecture in his country and elsewhere.
ANS: Answers may vary
PTS: 1 REF: Page: 99–100
MSC: Global Perspectives: African Ostinato Forms
TOP: Art and Absolutism
6. Describe the types of music and the musical forces demanded in the courts of nobility in the Age of Absolutism.
ANS: Answers may vary
PTS: 1 REF: Page: 101–02
MSC: Global Perspectives: African Ostinato Forms
TOP: The Music of Absolutism
7. Describe two purposes of opera in the Age of Absolutism.
ANS: Answers may vary
PTS: 1 REF: Page: 102 TOP: The Music of Absolutism
MSC: Global Perspectives: African Ostinato Forms
8. Explain the theatrical quality of the Baroque play as it related to and inspired opera of the time.
ANS: Answers may vary
PTS: 1 REF: Page: 102 TOP: Art and Theatricality
MSC: Global Perspectives: African Ostinato Forms
9. Explain the impact of improved tuning on composers in the Baroque era.
ANS: Answers may vary
PTS: 1 REF: Page: 103–04 TOP: Science and Music
MSC: Global Perspectives: African Ostinato Forms
10. Describe the change in the use of harmony in the late Baroque era.
ANS: Answers may vary
PTS: 1 REF: Page: 104 TOP: Science and Music
MSC: Global Perspectives: African Ostinato Forms
11. How did composers approach form in the late Baroque era?
ANS: Answers may vary
PTS: 1 REF: Page: 104 TOP: Science and Music
MSC: Global Perspectives: African Ostinato Forms
12. Describe the scientific approach to emotional expression in music in the late Baroque era.
ANS: Answers may vary
PTS: 1 REF: Page: 104 TOP: Science and Music
MSC: Global Perspectives: African Ostinato Forms
13. Describe the way a career as a composer was viewed in the Baroque era.
ANS:
Answers may vary
PTS: 1 REF: Page: 105 TOP: Musical Life in the Early Eighteenth Century MSC: Global Perspectives: African Ostinato Forms
14. Name and describe the three main institutions in which a Baroque composer could make a living. Contrast the probable quality of life of composers in each institution.
ANS: Answers may vary
PTS: 1 REF: Page: 105 TOP: Musical Life in the Early Eighteenth Century
MSC: Global Perspectives: African Ostinato Forms
15. Characterize the Baroque use of rhythm. Refer to marking time, meter, and harmonic rhythm in your answer.
ANS: Answers may vary
PTS: 1 REF: Page: 107 TOP: Rhythm
MSC: Global Perspectives: African Ostinato Forms
16. Define harmonic rhythm.
ANS: Answers may vary
PTS: 1 REF: Page: 107 TOP: Rhythm
MSC: Global Perspectives: African Ostinato Forms
17. How did Baroque composers and performers use dynamics?
ANS: Answers may vary
PTS: 1 REF: Page: 107–08
MSC: Global Perspectives: African Ostinato Forms
TOP: Dynamics
18. Briefly describe the two ways Baroque composers approached and used tone color.
ANS: Answers may vary
PTS: 1 REF: Page: 108 TOP: Tone Color
MSC: Global Perspectives: African Ostinato Forms
19. Briefly describe the early Baroque orchestra as typified in the court of Louis XIV.
ANS: Answers may vary
PTS: 1 REF: Page: 108 TOP: The Baroque Orchestra
MSC: Global Perspectives: African Ostinato Forms
20. Name the keyboard instruments of the Baroque orchestra. For which type of music was each used?
ANS: Answers may vary
PTS: 1 REF: Page: 108 TOP: The Baroque Orchestra
MSC: Global Perspectives: African Ostinato Forms
21. Describe the basic Baroque orchestra and explain the difference between this and the festive Baroque orchestra. When might the festive orchestra be called on to play?
ANS: Answers may vary
PTS: 1 REF: Page: 108 TOP: The Baroque Orchestra
MSC: Global Perspectives: African Ostinato Forms
22. Characterize Baroque melody. Refer to musical elements such as pitch range, rhythm, ornamentation, length, and use of sequence.
ANS: Answers may vary
PTS: 1 REF: Page: 108–09
MSC: Global Perspectives: African Ostinato Forms
TOP: Melody
23. Is it generally easier to sing typical Baroque melodies or to play them on instruments? Explain.
ANS: Answers may vary
PTS: 1 REF: Page: 109 TOP: Melody
MSC: Global Perspectives: African Ostinato Forms
24. Is Baroque music primarily simple or complex in texture? Describe instances in which Baroque music is polyphonic and ways in which it is homophonic.
ANS: Answers may vary
PTS: 1 REF: Page: 110 TOP: Texture
MSC: Global Perspectives: African Ostinato Forms
25. Define basso continuo. Refer to instrumentation and figured bass in your answer.
ANS: Answers may vary
PTS: 1 REF: Page: 110–11
MSC: Global Perspectives: African Ostinato Forms
TOP: The Continuo
26. Briefly describe the functions of the left and right hands of a continuo keyboard player.
ANS: Answers may vary
PTS: 1 REF: Page: 111 TOP: The Continuo
MSC: Global Perspectives: African Ostinato Forms
27. Briefly explain the way Baroque harmony is polarized.
ANS: Answers may vary
PTS: 1 REF: Page: 111 TOP: The Continuo
MSC: Global Perspectives: African Ostinato Forms
28. Discuss the patronage system that existed in the Baroque era.
ANS: Answers may vary
PTS: 1 REF: Page: 111 TOP: Musical Form
MSC: Global Perspectives: African Ostinato Forms
29. What two nonmusical factors were influential in making Baroque forms so clear and regular? In what ways were they influential?
ANS: Answers may vary
PTS: 1 REF: Page: 111–12
MSC: Global Perspectives: African Ostinato Forms
TOP: Musical Form
30. Characterize the Baroque depiction of emotion in music. Was it realistic or exaggerated? Explain.
ANS: Answers may vary
PTS: 1 REF: Page: 112–13
TOP: The Emotional World of Baroque Music
MSC: Global Perspectives: African Ostinato Forms