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Baroque Unit Test, Exercises of Music

University of Connecticut (UConn) - WaterburyMusic

George Frideric Handel and Johann Sebastian Bach are two giants of Baroque

Typology: Exercises

2021/2022

Uploaded on 02/03/2022

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Name _______________________________ Music Appreciation
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Practice Test: Baroque
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Practice Test: Baroque

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Part 3 : Listening

Using your listening packet. Identify each piece that you hear.

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1. Bach: Brandenburg Concerto No. 5 in D Major , 1st^ movement

2. Bach: Organ Fugue in G Minor (Little Fugue)

3. Monteverdi: Tu se morta (You are dead) from Orfeo

4. Purcell: Dido’s Lament from Dido and Aeneas

5. Bach: Suite No. 3 in D Major: Air , 2nd^ movement

6. Bach: Suite No. 3 in D Major: Bourée , 4 th^ movement

7. Bach: Cantata No. 140: Awake, a Voice Is Calling Us, 1 st^ movement

8. Handel: Hallelujah Chorus from Messiah

9. Vivaldi: La Primavera (1st^ movement) from The Four Seasons

10. Bach: Prelude and Fugue in c minor

11. Handel: Comfort Ye from Messiah

12. Handel: Ev’ry Valley from from Messiah

13. Handel: For Unto Us a Child is Born from Messiah

  1. The early and late baroque periods differed in that composers in the early baroque A. favored homophonic texture B. favored purely instrumental music C. favored polyphonic texture D. used extremely complex harmonies
  2. Composers in the middle baroque phase favored writing compositions for instruments of the __________ family. A. percussion B. woodwind C. violin D. brass
  3. Instrumental music became as important as vocal music for the first time in the ___________ period. A. middle baroque B. Renaissance C. late baroque D. early baroque
  4. Which statement below would not accurately describe the Baroque Doctrine of the Affections? A. It assigned specific meanings to designated keys, tempos, rhythmic patterns, and even intervals. B. It was developed by Baroque theorists and composers. C. It helped composers to reflect emotional states or moods of music. D. It was the doctrine of universal brotherhood
  5. A baroque musical composition usually expresses ___________ within the same movement. A. constantly changing moods B. one basic mood C. a wide variety of moods D. any of the above
  6. Baroque melodies often are A. impossible to play B. short and simple C. easy to sing and remember D. elaborate and ornamental
  7. Terraced dynamics refers to A. the sudden alternation from one dynamic level to another B. a gradual change from soft to loud C. dynamics that are not written in the music but added by the performer D. a gradual change from loud to soft
  8. The main keyboard instruments of the baroque period were the organ and the A. accordion B. piano C. clavichord D. harpsichord
  1. A bass part together with numbers (figures) that specify the chords to be played above it, characteristic of the baroque, is called A. counterpoint B. basso continuo C. harpsichord D. basso profundo
  2. The orchestra evolved during the baroque period into a performing group based on instruments of the ____________ family. A. percussion B. brass C. violin D. woodwind
  3. A section that sounds fairly complete and independent but is part of a larger composition is called a A. phrase B. sentence C. movement D. song
  4. The music director of a baroque court was usually not responsible for A. supervising and directing the musical performances B. composing much of the music desired C. the discipline of the other musicians D. publicity in reaching an audience
  5. The position of the composer during the baroque period was that of A. a high-class servant with few personal rights B. a free agent working on commissions C. a low-class wandering minstrel D. an equal to the nobility, based on merit
  6. A concerto grosso most often has ______________ movement(s). A. four B. three C. one D. two
  7. The large group of players in a concerto grosso is known as the A. soloists B. tutti C. orchestra D. concertino
  8. The concerto grosso most often has three movements whose tempo markings are A. slow, slow, fast B. fast, slow, fast C. fast, fast, slow D. slow, fast, slow
  1. Presenting the subject of a fugue in shortened time values is called A. retrograde B. inversion C. diminution D. augmentation
  2. Very often an independent fugue is introduced by a short piece called a(n) A. concerto B. overture C. pedal point D. prelude
  3. An _________ is a play, set to music, sung to orchestral accompaniment, with scenery, costumes, and action. A. aria B. overture C. ensemble D. opera
  4. The text, or book, of a musical dramatic work is called the A. story B. text C. score D. libretto
  5. A song for solo voice with orchestral accompaniment is called A. duet B. solo C. aria D. ensemble
  6. __________ refers to a vocal line that imitates the rhythms and pitch fluctuations of speech. A. recitative B. aria C. ensemble D. duet
  7. Castrati A. were male singers who had been castrated before puberty B. received the highest fees of any musicians C. combined the lung power of a man with the vocal range of a woman D. all of the above
  8. Orpheus goes to Hades in the hope of bringing ___________ back to life. A. Oriana B. Eurydice C. Phyllis D. Persephone
  1. Dido and Aeneas , which many consider to be the finest opera ever written to an English text, was composed by A. George Frideric Handel B. Jeremiah Clarke C. Henry Purcell D. Claudio Monteverdi
  2. The sonata in the baroque period was a composition in several movements for A. two to four instruments B. a solo instrument C. one to eight instruments D. three solo instruments
  3. Vivaldi was famous and influential as a virtuoso A. lutenist B. violinist C. opera singer D. harpsichordist
  4. Although all the movements of a baroque suite are in the same key, they differ in A. national origin B. tempo C. meter D. all of the above
  5. Which of the following is not a part of the baroque suite? A. gigue B. sarabande C. allemande D. waltz
  6. A __________ is a hymn tune for congregational use. A. song B. chorale C. cantata D. chorale prelude
  7. A large-scale composition for chorus, vocal soloists, and orchestra, usually set to a narrative biblical text, is called A. recitative B. chorale C. oratorio D. aria
  8. Oratorio differs from opera in that it has no A. vocal soloists B. orchestral accompaniment C. acting, scenery, or costumes D. choral part

Part 2: Matching

A. Johann Sebastian Bach

B. George Frideric Handel

C. Henry Purcell

D. Claudio Monteverdi

E. Antonio Vivaldi

50. Composer ________________________

 Italian 1567- 1643

 organist, violinist

 composed over 250 pieces including

madrigals, operas, masses, and motets.

51. Composer ________________________

 English 1659- 1695

 leading English composer of the Baroque

 also wrote music for plays

 wrote mainly vocal works

52. Composer ________________________

 Italian 1678- 1741

 Leading Italian composer of the late

Baroque

 Master of the Concerto

 used ritornello form, 3 movement

structure, cadenzas

 virtuoso violinist, contributed to violin

technique

 wrote mainly concertos but also wrote

cantatas, church music, and instrumental

pieces

 his music stressed wide leaps,

syncopation, frequent use of 7th^ chords

 studied with his father and in the church

 composer, violinist, harpsichordist, and

teacher

53. Composer ________________________

 German 1685- 1750

 regarded as the consummate master of

Baroque styles, genres, and structural

principles

 great master of counterpoint

 composer, teacher, organist, and violinist

 composed over 300 cantatas, masses,

passions, oratorios, keyboard pieces,

sonatas, suites, and concertos

 fused traditional and contemporary styles

and forms as well as many national forms

 from a family of professional musicians

(6 generations)

54. Composer ________________________

 German-English 1685- 1759

 Major force in English music

 great composer of dramatic music

including opera & oratorio

 organ virtuoso with a wondrous gift for

improvisation

 violist and composer

 composed more than 40 operas, 35

oratorios, 40 sonatas, many concertos,

cantatas, and suites

PRACTICE TEST ANSWER KEY

1. D

2. D

3. D

4. A

5. B

6. C

7. A

8. A

9. C

10. C

11. D

12. B

13. D

14. A

15. D

16. B

17. C

18. C

19. D

20. A

21. B

22. B

23. B

24. B

25. A

26. D

27. A

28. A

29. C

30. C

31. D

32. C

33. D

34. A

35. D

36. C

37. A

38. D

39. B

40. C

41. C

42. B

43. D

44. D

45. D

46. C

47. C

48. C

49. B

50. D

51. C

52. E

53. A

54. B