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MULTIPLE CHOICE 1.Who composed “O magnum mysterium”? a.Giovanni Gabrielic.Henry Purcell b.Claudio Monteverdid.Arcangelo Corelli 2.What

MULTIPLE CHOICE 1.Who composed “O magnum mysterium”? a.Giovanni Gabrielic.Henry Purcell b.Claudio Monteverdid.Arcangelo Corelli 2.What is the genre of “O magnum mysterium”? a.Massc.madrigal b.motetd.pavan 3.The style heard in “O magnum mysterium” is typical of music from: a.seventeenth-century Paris.c.seventeenth-century Venice. b.sixteenth-century London.d.sixteenth-century Rome. 4.Which compositional technique do you hear in “O magnum mysterium”? a.isorhythmc.plainchant paraphrase b.hocketd.echoing choirs 5.What are the performing forces in “O magnum.
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MULTIPLE CHOICE 1.Who composed “O magnum mysterium”? a.Giovanni Gabrielic.Henry Purcell b.Claudio Monteverdid.Arcangelo Corelli 2.What
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MULTIPLE CHOICE 1.The Baroque Period spanned the years: a.1200–1450.c.1600–1750. b.1400–1550.d.1700–1800. 2.An instrument from the

MULTIPLE CHOICE 1.The Baroque Period spanned the years: a.1200–1450.c.1600–1750. b.1400–1550.d.1700–1800. 2.An instrument from the Baroque period that has been revived is the: a.harpsichord.c.piano. b.clarinet.d.violin. 3.Much of the Baroque music heard today is from the late Baroque era, which spanned the years: a.1600–1750.c.1750–1850. b.1700–1750.d.1650–1750. 4.Who are the two most important composers of the late Baroque period? a.Johann Sebastian Bach and Georg Philipp.
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MULTIPLE CHOICE 1.The Baroque Period spanned the years: a.1200–1450.c.1600–1750. b.1400–1550.d.1700–1800. 2.An instrument from the
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  16.Which symbol name indicates that a note should be raised

  16.Which symbol name indicates that a note should be raised one half step? a.sharpc.staccato b.flatd.ledger line 17.Which symbol name indicates that a note should be lowered one half step? a.sharpc.staccato b.flatd.ledger line 18.Which symbol is used to cancel a previous sharp or flat? a.staccato dotc.ledger line b.natural signd.clef 19.What is used to indicate that certain sharps or flats are.
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  16.Which symbol name indicates that a note should be raised
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MULTIPLE CHOICE 1.If you think of musical notation as a graph,

MULTIPLE CHOICE 1.If you think of musical notation as a graph, the vertical aspect represents: a.volume.c.time. b.pitch.d.instruments. 2.If you think of musical notation as a graph, the horizontal aspect represents: a.volume.c.time. b.pitch.d.instruments. 3.Which notational device shortens the time value of a note by one-half? a.dotc.slur b.flagd.tie 4.Flags on musical notes can be connected into horizontal: a.stems.c.beams. b.ties.d.slurs. 5.Short silences in the music are.
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MULTIPLE CHOICE 1.If you think of musical notation as a graph,
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  41.Which accurately describes the Baroque treatment of meter? a.Meter became more

  41.Which accurately describes the Baroque treatment of meter? a.Meter became more accepted; bar lines came into use. b.Meter disappeared; bar lines disappeared. c.Meter became more and more blurred with increased polyphony. d.Meter was no longer necessary now that recitatives were popular. 42.The term basso continuo: a.refers to an extended style of singing for men in the.
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  41.Which accurately describes the Baroque treatment of meter? a.Meter became more
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  11.Which does not change throughout “Columba aspexit”? a.pitchc.rhythm b.melodyd.instrumental accompaniment 12.Which changes provide

  11.Which does not change throughout “Columba aspexit”? a.pitchc.rhythm b.melodyd.instrumental accompaniment 12.Which changes provide contrast in “Columba aspexit”? a.changes in tempo b.changes in instrumentation c.changes from the soloist to a group of singers d.changes from long, drawn-out notes to short, quick notes in the rhythm 13.Who composed “La dousa votz”? a.Hildegard of Bingenc.Guillaume de Machaut b.Bernart de Ventadornd.Pérotin 14.What type of selection.
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  11.Which does not change throughout “Columba aspexit”? a.pitchc.rhythm b.melodyd.instrumental accompaniment 12.Which changes provide
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  11.Which characteristic of Baroque theater made it appealing to Baroque

  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 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. 13.Which.
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  11.Which characteristic of Baroque theater made it appealing to Baroque
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  36.The single-line melodies of the early Christian church known as: a.plainchant.c.chansons. b.madrigals.d.Masses. 37.Another

  36.The single-line melodies of the early Christian church are known as: a.plainchant.c.chansons. b.madrigals.d.Masses. 37.Another term for Gregorian chant is: a.troubadour song.c.madrigal. b.motet.d.plainchant. 38.Who is traditionally associated with collecting and codifying the chants of the church? a.Léoninc.Pope Gregory I b.Pérotind.Guillaume de Machaut 39.The role of a chant in church services defines the chant's: a.texture.c.genre. b.mode.d.tempo and meter. 40.Which is not a characteristic of.
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  36.The single-line melodies of the early Christian church known as: a.plainchant.c.chansons. b.madrigals.d.Masses. 37.Another
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  71.Pavans often paired with: a.galliards.c.madrigals. b.jigs.d.other pavans. 72.The pavan in ________ meter, and

  71.Pavans are often paired with: a.galliards.c.madrigals. b.jigs.d.other pavans. 72.The pavan is in ________ meter, and the galliard is in ________ meter. a.duple; duple b.duple; compound duple c.duple; triple d.compound duple; compound triple 73.What makes it easy for the dancers to keep their places in “Daphne”? a.the polyphony b.the distinct endings to the phrases c.the instrumental accompaniment d.the text 74.Will Kemp was: a.the composer of.
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  71.Pavans often paired with: a.galliards.c.madrigals. b.jigs.d.other pavans. 72.The pavan in ________ meter, and
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  31.Opera began in: a.London around 1500.c.Paris around 1200. b.Rome around 1450.d.Florence around

  31.Opera began in: a.London around 1500.c.Paris around 1200. b.Rome around 1450.d.Florence around 1600. 32.In the early Baroque period, composers subdivided choirs in order to exploit more: a.sonorous effects.c.word painting. b.complex textures.d.austere moods. 33.Which texture gained prominence in seventeenth-century Venice? a.monophonyc.imitative polyphony b.homophonyd.non-imitative polyphony 34.Musical form in the early Baroque period was becoming: a.less concerned with structure. b.more influenced by classical Greek.
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  31.Opera began in: a.London around 1500.c.Paris around 1200. b.Rome around 1450.d.Florence around
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  61.How many vocal parts did Palestrina use in the Gloria

  61.How many vocal parts did Palestrina use in the Gloria of the Pope Marcellus Mass? a.twoc.six b.fourd.eight 62.Which is true of the evolution of the motet over the centuries? a.The motet has changed a great deal over the centuries. b.The motet has stayed the same over the centuries. c.The motet appeared in the medieval period, changed.
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  61.How many vocal parts did Palestrina use in the Gloria
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  56.Which composer was the first one whose music was attacked

  56.Which composer was the first one whose music was attacked for being too radical? a.Andrea Gabrielic.Arcangelo Corelli b.Henry Purcelld.Claudio Monteverdi 57.Who is known as “the last great madrigalist and the first great opera composer”? a.Arcangelo Corellic.Claudio Monteverdi b.Henry Purcelld.Giovanni Gabrieli 58.During which phase of Monteverdi's career did he compose The Coronation of Poppea? a.It was late in.
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  56.Which composer was the first one whose music was attacked
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  61.Who considered to be the greatest English composer of the

  61.Who is considered to be the greatest English composer of the Baroque period? a.George Frideric Handelc.William Byrd b.Thomas Morleyd.Henry Purcell 62.Purcell wrote the first English examples of which genre? a.madrigalc.sonata b.Massd.secular songs 63.What was the source for Dido and Aeneas? a.the Bible b.the Aeneid, by Virgil c.a Shakespearean play d.an original play he wrote earlier in his career 64.“Remember me, but.
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  61.Who considered to be the greatest English composer of the
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  6.The melodic high point of “In paradisum” the word: a.Lazaro.c.aeternam. b.Angelorum.d.paradisum. 7.Who composed

  6.The melodic high point of “In paradisum” is on the word: a.Lazaro.c.aeternam. b.Angelorum.d.paradisum. 7.Who composed “Columba aspexit”? a.Guillaume de Machautc.Pope Gregory I b.Hildegard of Bingend.not known 8.Which structure do you hear in “Columba aspexit”? a.a number of tunes sung twice, with one single tune at the end b.the same tune sung over and over with slight changes each.
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  6.The melodic high point of “In paradisum” the word: a.Lazaro.c.aeternam. b.Angelorum.d.paradisum. 7.Who composed
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  46.The musical term for “voices alone” is: a.strophic.c.cantus. b.isorhythmic.d.a cappella. 47.The preferred tone

  46.The musical term for “voices alone” is: a.strophic.c.cantus. b.isorhythmic.d.a cappella. 47.The preferred tone color of the High Renaissance style was: a.stringed instruments and voice. b.organ and voice. c.brass instruments and organ with voice. d.voice alone. 48.How can rhythm in the High Renaissance style be characterized? a.Music usually was in a clear triple meter. b.Rhythm was unaccented, fluid, and shifting. c.Rhythm was.
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  46.The musical term for “voices alone” is: a.strophic.c.cantus. b.isorhythmic.d.a cappella. 47.The preferred tone
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  31.In the early Renaissance, composers concentrated the ________ rather than

  31.In the early Renaissance, composers concentrated on the ________ rather than the ________ of the plainchant melodies used. a.form; melody b.sonority; authoritarian function c.imitative and non-imitative polyphony; melody d.intellectual elements; sensuous aspects 32.In medieval music the plainchant melody was in the ________ voice, but in the early Renaissance it moved to the ________ voice. a.lowest; highestc.lowest;.
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  31.In the early Renaissance, composers concentrated the ________ rather than
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MULTIPLE CHOICE 1.Which true of “Ave maris stella”? a.It a homophonic setting

MULTIPLE CHOICE 1.Which is true of “Ave maris stella”? a.It is a homophonic setting of a Gregorian hymn. b.It is a polyphonic setting of a plainchant. c.It is a monophonic chant. d.It is a plainchant sequence. 2.In “Ave maris stella,” which stanzas consist of unembellished plainchant? a.2, 3, and 4c.2, 4, and 6 b.1, 3, and 5d.3 and.
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MULTIPLE CHOICE 1.Which true of “Ave maris stella”? a.It a homophonic setting
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  26.The canzona opens with: a.three repeated notes. b.three repeated chords. c.a theme that

  26.The canzona opens with: a.three repeated notes. b.three repeated chords. c.a theme that begins very slowly. d.a theme that begins with long leaps followed by running sixteenth notes. 27.The balletto and corrente are dances related by their: a.contrasting keyboards.c.bass lines. b.similar meters.d.attention to variation. 28.The balletto and corrente contrast strongly in their: a.contrasting keyboards.c.bass lines. b.homophonic texture.d.meters. 29.What was the most.
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  26.The canzona opens with: a.three repeated notes. b.three repeated chords. c.a theme that
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  6.Who composed the Pange lingua Mass? a.Josquin Desprezc.Giovanni Pierluigi da Palestrina b.Guillaume

  6.Who composed the Pange lingua Mass? a.Josquin Desprezc.Giovanni Pierluigi da Palestrina b.Guillaume Dufayd.Thomas Weelkes 7.The performing forces in Pange lingua consist of a: a.solo high voice.c.solo tenor and a mixed choir. b.choir of high voices.d.choir of high and low voices. 8.The composer used the melody of the plainsong hymn ________ as the basis of the Pange.
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  6.Who composed the Pange lingua Mass? a.Josquin Desprezc.Giovanni Pierluigi da Palestrina b.Guillaume
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  36.Where did the Gabrielis work? a.St. Peter's Basilica in Romec.St. Mark's

  36.Where did the Gabrielis work? a.St. Peter's Basilica in Romec.St. Mark's Basilica in Venice b.Westminster Abbey in Londond.the opera house in Venice 37.“O magnum mysterium” was written for: a.Christmas.c.Pentecost. b.Easter.d.Epiphany. 38.The Baroque period spans the years: a.1600–1700.c.1400–1750. b.1600–1750.d.1450–1650. 39.The original meaning of baroque was: a.a piece of music broken into several sections. b.plainchant. c.a small, perfectly shaped pearl. d.a large, irregularly shaped pearl. 40.In.
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  36.Where did the Gabrielis work? a.St. Peter's Basilica in Romec.St. Mark's
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  6.Which best describes the dualism found in Baroque art and

  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 7.Who was the leading monarch in the Age of Absolutism? a.Elizabeth I of Englandc.King Phillip of Spain b.Cosimo de' Medici of Florenced.Louis XIV of France 8.The purpose.
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  6.Which best describes the dualism found in Baroque art and
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  51.The text of the Kyrie section of the Pange lingua

  51.The text of the Kyrie section of the Pange lingua Mass is: a.“Kyrie eleison, Christe eleison, Kyrie eleison.” b.“Kyrie, Eleison, Christe.” c.“Gloria patri, qui tollis peccata mundi.” d.“Pange lingua, Kyrie eleison, Christe eleison.” 52.Points of imitation are used extensively in: a.“As Vesta Was from Latmos Hill Descending.” b.the Kyrie from the Pange lingua Mass. c.“Kemp's Jig.” d.“Daphne.” 53.What is a.
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  51.The text of the Kyrie section of the Pange lingua
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  36.Dufay's “Ave maris stella” is: a.an estampie.c.a harmonized hymn. b.a madrigal.d.part of

  36.Dufay's “Ave maris stella” is: a.an estampie.c.a harmonized hymn. b.a madrigal.d.part of a polyphonic Mass. 37.Dufay is best known for his: a.madrigals and motets. b.instrumental dance pieces. c.polyphonic Masses and plainchant harmonizations. d.Gregorian chants and hymns. 38.The most important service of the Christian liturgy was: a.the Office.c.the proper. b.the Mass.d.vespers. 39.There are ________ standard sections of the polyphonic Mass. a.fourc.six b.fived.seven 40.Which is not.
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  36.Dufay's “Ave maris stella” is: a.an estampie.c.a harmonized hymn. b.a madrigal.d.part of
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  11.Measures separated by vertical: a.stems.c.beams. b.flags.d.bar lines. 12.In the time signature, the top

  11.Measures are separated by vertical: a.stems.c.beams. b.flags.d.bar lines. 12.In the time signature, the top number indicates: a.how many beats are in each measure. b.what kind of note represents a beat. c.the speed at which the music should be played. d.the key in which the music should be played. 13.How are the pitches of the diatonic scale named in.
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  11.Measures separated by vertical: a.stems.c.beams. b.flags.d.bar lines. 12.In the time signature, the top
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  66.In the Baroque period, dance music gained popularity because of: a.the

  66.In the Baroque period, dance music gained popularity because of: a.the increased popularity of liturgical dance in the church. b.commissions from royalty to compose dance music for festive occasions. c.the way ballet was used in opera. d.its popularity with the rising middle class. 67.A set of dances collected from an opera or ballet is called.
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  66.In the Baroque period, dance music gained popularity because of: a.the
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  66.The anthology of madrigals in honor of Queen Elizabeth that

  66.The anthology of madrigals in honor of Queen Elizabeth that was compiled in 1601 is called: a.Celeste Giglio. b.“As Vesta Was from Latmos Hill Descending.” c.“Veni Creator Spiritus.” d.The Triumphs of Oriana. 67.The most significant difference between the Italian madrigal and the English madrigal is that Italian madrigals are ________ and English madrigals are ________. a.in.
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  66.The anthology of madrigals in honor of Queen Elizabeth that
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  21.How can you tell when the aria portion of the

  21.How can you tell when the aria portion of the final scene of Dido and Aeneas has begun? a.The rhythm settles into a regular meter. b.The rhythm is suddenly irregular. c.The chorus comes in. d.A vocal duet begins. 22.In which section of the final scene of Dido and Aeneas do you hear a ground bass? a.recitativec.arioso b.chorusd.aria 23.When.
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  21.How can you tell when the aria portion of the
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  76.A keyboard genre that means “touched” in Italian a: a.corrente.c.canzona. b.passacaglia.d.toccata. 77.The genre

  76.A keyboard genre that means “touched” in Italian is a: a.corrente.c.canzona. b.passacaglia.d.toccata. 77.The genre of keyboard work that emphasizes imitative polyphony is the: a.toccata.c.canzona. b.variation.d.balletto. 78.A keyboard genre based on melodic or harmonic patterns borrowed from vocal music is a: a.set of variations.c.toccata. b.stylized dance.d.canzona. 79.Frescobaldi's balletto and corrente have which formal design? a.a a bc.a b b b.a a b.
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  76.A keyboard genre that means “touched” in Italian a: a.corrente.c.canzona. b.passacaglia.d.toccata. 77.The genre
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  26.What can be heard below the four voices singing the

  26.What can be heard below the four voices singing the main tune of “Sumer Is Icumen In”? a.a plainchant fragment b.two soprano voices c.a bowed stringed instrument d.two low voices repeating “sing cuckoo” 27.Who composed “Dame, de qui toute ma joie vient”? a.Guillaume de Machautc.Philippe de Vitry b.Hildegard of Bingend.Bernart de Ventadorn 28.The performing forces in “Dame, de.
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  26.What can be heard below the four voices singing the
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  11.Which parts of the Mass included in the excerpts from

  11.Which parts of the Mass are included in the excerpts from Pange lingua? a.Kyrie and Gloriac.Pange and lingua b.Credo and Kyried.first and second verses 12.What is the predominant texture of Pange lingua? a.monophonyc.imitative polyphony b.homophonyd.non-imitative polyphony 13.Who composed “Mille regrets”? a.Josquin Desprezc.Giovanni Pierluigi da Palestrina b.Guillaume Dufayd.Thomas Weelkes 14.The polyphonic chanson “Mille regrets” is notable for its: a.use of isorhythms. b.fragments.
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  11.Which parts of the Mass included in the excerpts from
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  31.The Middle Ages, or medieval era, covers the time period

  31.The Middle Ages, or medieval era, covers the time period of the: a.fifth century to the fourteenth and fifteenth centuries. b.twelfth century to the fifteenth and sixteenth centuries. c.ninth and tenth centuries to the fourteenth and fifteenth centuries. d.fourth and fifth centuries to the twelfth and thirteenth centuries. 32.The early history of Western music was.
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  31.The Middle Ages, or medieval era, covers the time period
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  6.The two elements that most bring about the change of

  6.The two elements that most bring about the change of mood in the “Alleluia” section of “O magnum mysterium” are: a.texture and tone color.c.tone color and dynamics. b.harmony and texture.d.tempo and meter. 7.Which describes the use of meter in “O magnum mysterium”? a.There is no discernible meter anywhere. b.The meter is duple throughout. c.The meter is.
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  6.The two elements that most bring about the change of
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  51.In a recitative, the rhythm: a.follows the rhythm of speech. b.follows the

  51.In a recitative, the rhythm: a.follows the rhythm of speech. b.follows the meter. c.is vague, and the text is not important. d.is hidden by polyphony. 52.Which is true of a recitative? a.The plot action stops. b.There is much musical elaboration. c.There is very little accompaniment for the soloist. d.The singer meditates on the dramatic situation at hand. 53.The operatic equivalent.
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  51.In a recitative, the rhythm: a.follows the rhythm of speech. b.follows the
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  16.The performing forces in Pope Marcellus consist of: a.voices and organ.c.voices

  16.The performing forces in Pope Marcellus consist of: a.voices and organ.c.voices and stringed instruments. b.voices and brass instruments.d.voices alone. 17.What is the predominant texture of the “Qui tollis” from the Gloria of the Pope Marcellus Mass? a.monophonyc.non-imitative polyphony b.imitative polyphonyd.homophony 18.How does the “Qui tollis” in Pope Marcellus differ from the “Qui tollis” in Pange lingua? a.It.
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  16.The performing forces in Pope Marcellus consist of: a.voices and organ.c.voices
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  21.The text of “As Vesta Was from Latmos Hill Descending”

  21.The text of “As Vesta Was from Latmos Hill Descending” involves: a.the worship of God. b.Queen Elizabeth and mythological figures. c.a celebration of the birthday of the Virgin Mary. d.unrequited love. 22.“As Vesta Was from Latmos Hill Descending” demonstrates: a.isorhythm.c.a plainchant sequence. b.hocket.d.word painting. 23.The performing forces in “As Vesta Was from Latmos Hill Descending” consist of: a.a male.
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  21.The text of “As Vesta Was from Latmos Hill Descending”
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  26.In Baroque music, the continuo, or basso continuo, the: a.lowest voice

  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. 27.Which two instruments would most likely have played the basso continuo in a Baroque composition? a.flute and violinc.cello and.
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  26.In Baroque music, the continuo, or basso continuo, the: a.lowest voice
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  71.Points of imitation in vocal music led to the development

  71.Points of imitation in vocal music led to the development of the ________ in instrumental music. a.fuguec.stylized dance b.concertod.suite 72.A Baroque composition that treats one melody imitatively is called a: a.suite.c.fugue. b.concerto.d.recitative. 73.Fugues were composed and improvised mainly by: a.singers.c.conductors. b.virtuoso violinists.d.keyboard players. 74.The foremost organ virtuoso of the early seventeenth century was: a.Henry Purcell.c.Andrea Gabrieli. b.Girolamo Frescobaldi.d.Claudio Monteverdi. 75.The keyboard virtuoso.
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  71.Points of imitation in vocal music led to the development
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  21.Which textures do you hear in “Alleluia. Diffusa est gratia”? a.monophony,

  21.Which textures do you hear in “Alleluia. Diffusa est gratia”? a.monophony, then imitative polyphony, then homophony b.monophony, then organum, then monophony c.homophony, then monophony, then homophony d.organum, then homophony, then organum 22.Which is true of the rhythm of “Alleluia. Diffusa est gratia”? a.The meter is compound triple, then simple duple, then free. b.The tempo is slow throughout.
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  21.Which textures do you hear in “Alleluia. Diffusa est gratia”? a.monophony,
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  6.Which notational device lengthens a note by one-half? a.a slur between

  6.Which notational device lengthens a note by one-half? a.a slur between the note and another note b.a beam between the note and another note c.a flag connected to the stem d.a dot to the right of the note 7.A tie connects: a.two notes of different pitches.c.a note with a rest. b.two notes of the same pitch.d.two notes.
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  6.Which notational device lengthens a note by one-half? a.a slur between
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  76.It was the ________ explorers who told of the ________

  76.It was the ________ explorers who told of the ________ of Indonesia. a.Dutch; gamelans b.Aztec; sackbuts c.English; song and dance d.Chinese; Noh opera 77.European missionaries, while amazed at the achievements and complexities of the Aztec and Inca empires, sought to: a.preserve native customs. b.encourage native song and dance, but only in Christian festivals. c.include harvest festivals in the.
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  76.It was the ________ explorers who told of the ________
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  11.In the opening recitative of The Coronation of Poppea, there

  11.In the opening recitative of The Coronation of Poppea, there is: a.no identifiable meter. b.constant duple meter. c.constant triple meter. d.duple meter at first, then triple meter. 12.In the opening recitative of The Coronation of Poppea, which word is repeated in several different ways, sometimes sounding minor, sometimes sounding major? a.dallec.cor b.torneraid.divelle 13.The opening recitative of The Coronation.
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  11.In the opening recitative of The Coronation of Poppea, there
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  41.The great, large-scale compositional challenge of the Renaissance was musical

  41.The great, large-scale compositional challenge of the Renaissance was musical unification of: a.the church.c.the motet. b.the Mass.d.plainchant harmonizations. 42.The High Renaissance style began around: a.1350.c.1450. b.1400.d.1500. 43.Which two techniques were blended to form the compositional style for the Mass, the motet, and the chanson in the High Renaissance? a.imitative counterpoint and homophony b.monophony and harmonization c.non-imitative polyphony and monophony d.imitative.
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  41.The great, large-scale compositional challenge of the Renaissance was musical
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  56.The first style period in which composers tried to set

  56.The first style period in which composers tried to set words to music in a natural and clear way was: a.ancient Greece.c.the Enlightenment. b.the Middle Ages.d.the Renaissance. 57.The style of setting words to music using rhythms that approximate human speech is called: a.declamation.c.word painting. b.imitative.d.isorhythmic. 58.What device did Renaissance composers use to depict in music the.
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  56.The first style period in which composers tried to set
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  16.In the early eighteenth century, court musicians had a better

  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. 17.Which is true of the Baroque treatment of rhythm? a.There.
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  16.In the early eighteenth century, court musicians had a better
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  46.Drama set to music is: a.opera.c.a madrigal. b.Greek tragedy.d.a motet. 47.Early Florentine operas

  46.Drama set to music is: a.opera.c.a madrigal. b.Greek tragedy.d.a motet. 47.Early Florentine operas were: a.religious dramas set to music in churches. b.public entertainment on a grand scale. c.court entertainments for events such as royal weddings. d.traveling minstrel shows with Greek tragedies set to music. 48.The first public opera theater was opened in: a.1450.c.1729. b.1581.d.1637. 49.Opera provided the perfect vehicle for the.
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  46.Drama set to music is: a.opera.c.a madrigal. b.Greek tragedy.d.a motet. 47.Early Florentine operas
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  21.Which instrument group formed the core of the Baroque orchestra? a.stringsc.brass b.woodwindsd.percussion 22.The

  21.Which instrument group formed the core of the Baroque orchestra? a.stringsc.brass b.woodwindsd.percussion 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.” 23.Which phrase best describes Baroque melodies? a.simple lines b.symmetrical and graceful c.complex and appearing in sequences d.brief motives 24.Ornamentation is the practice of: a.improvising changes.
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  21.Which instrument group formed the core of the Baroque orchestra? a.stringsc.brass b.woodwindsd.percussion 22.The
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  81.What instrument accompanies the singer in this Gambian song? a.harp b.viol c.kora d.lute 82.The tradition

  81.What instrument accompanies the singer in this Gambian song? a.harp b.viol c.kora d.lute 82.The tradition of a singer accompanying himself on an instrument such as the kora, harp, or lyre is: a.a recent development. b.still popular in Europe today. c.found very far back in history around the Mediterranean Sea. d.rare in cultures around the Mediterranean Sea. 83.In this Gambian song,.
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  81.What instrument accompanies the singer in this Gambian song? a.harp b.viol c.kora d.lute 82.The tradition
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  16.Who composed Dido and Aeneas? a.Giovanni Gabrielic.Henry Purcell b.Claudio Monteverdid.Arcangelo Corelli 17.Dido and

  16.Who composed Dido and Aeneas? a.Giovanni Gabrielic.Henry Purcell b.Claudio Monteverdid.Arcangelo Corelli 17.Dido and Aeneas is a(n): a.Mass.c.motet. b.opera.d.madrigal. 18.Where was Dido and Aeneas composed? a.Italyc.France b.Germanyd.England 19.There are ________ sections in the final scene of Dido and Aeneas: ________. a.two; a recitative (including a short arioso) and an aria b.three; a recitative, an aria, and a chorus c.four; a recitative, an aria,.
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  16.Who composed Dido and Aeneas? a.Giovanni Gabrielic.Henry Purcell b.Claudio Monteverdid.Arcangelo Corelli 17.Dido and
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  26.The texture of “Daphne” is: a.monophonic.c.polyphonic. b.homophonic.d.monophonic, then polyphonic. 27.The meter of “Kemp's

  26.The texture of “Daphne” is: a.monophonic.c.polyphonic. b.homophonic.d.monophonic, then polyphonic. 27.The meter of “Kemp's Jig” is: a.duple.c.compound duple. b.triple.d.compound triple. 28.What is the form of “Kemp's Jig”? a.a b a repeated several timesc.a a b repeated several times b.a a b b c c repeated several timesd.a a? a?? a???, and so on 29.The purpose of “Kemp's Jig” was: a.to praise.
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  26.The texture of “Daphne” is: a.monophonic.c.polyphonic. b.homophonic.d.monophonic, then polyphonic. 27.The meter of “Kemp's
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  16.The form of “La dousa votz” can be described as

  16.The form of “La dousa votz” can be described as having: a.one main melody recurring with variations. b.several stanzas in an a a? b form. c.no real structure; it is free-flowing. d.several tunes, each sung twice, with one single tune at the end. 17.Which is true of the rhythm of “La dousa votz”? a.There is no.
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  16.The form of “La dousa votz” can be described as
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