Music Then And Now By Thomas Forrest Kelly – Test Bank

 

 

To Purchase this Complete Test Bank with Answers Click the link Below

 

https://tbzuiqe.com/product/music-then-and-now-by-thomas-forrest-kelly-test-bank/

 

If face any problem or Further information contact us At tbzuiqe@gmail.com

 

Sample Questions

 

CHAPTER 4: Claudio Monteverdi’s Orfeo

 

MULTIPLE CHOICE

 

1.    Monteverdi is widely considered the earliest master of what dramatic musical genre?

a.	opera	d.	polyphonic mass
b.	motet	e.	plainchant
c.	organum

 

 

ANS:  A                    DIF:    Easy               REF:   pp. 91–92      TOP:   Introduction

MSC:  Applied

 

2.    In the seventeenth century, the region surrounding Mantua was controlled by this family:

a.	Monteverdi	d.	Este
b.	Medici	e.	Ferrara
c.	Gonzaga

 

 

ANS:  C                    DIF:    Medium         REF:   p. 92              TOP:   The Setting: Mantua in 1607

MSC:  Factual

 

3.    Which of the following is NOT a way that seventeenth-century Italian nobles would publicly demonstrate their wealth?

a.	building grand palaces	d.	sponsoring democratic debates
b.	patronizing great artists	e.	traveling widely throughout the region
c.	hosting lavish events

 

 

ANS:  D                    DIF:    Medium         REF:   p. 92              TOP:   The Setting: Mantua in 1607

MSC:  Applied

 

4.    By 1607, Monteverdi had gained broad renown through which of the following activities?

a.	performing as a traveling minstrel	d.	teaching music to wealthy patrons
b.	conducting a well-known ensemble	e.	improvising epic poems
c.	publishing several books of music

 

 

ANS:  C                    DIF:    Hard              REF:   p. 94              TOP:   The Setting: Mantua in 1607

MSC:  Applied

 

5.    To overturn the corrupting of modern art, a group of sixteenth-century Florentine thinkers and artists advocated a return to ideals associated with:

a.	Renaissance motets	d.	pre-Reformation Catholicism
b.	Greek tragedy	e.	Gregorian chant
c.	medieval polyphony

 

 

ANS:  B                    DIF:    Hard              REF:   p. 94

TOP:   The Setting: The Birth of Opera      MSC:  Applied

 

6.    Which of the following is NOT a way that Renaissance music was used in dramatic settings?

a.	as opera
b.	as songs within dramatic plays
c.	as accompaniment to dance performances
d.	as interludes between the acts of a play
e.	as part of elaborate stage spectacles

 

 

ANS:  A                    DIF:    Hard              REF:   p. 94

TOP:   The Setting: The Birth of Opera      MSC:  Applied

 

7.    By focusing on accompanied solo singing, the founders of opera believed that:

a.	the music would confuse listeners
b.	the audience would have difficulty understanding the plot
c.	the music would be less powerful than large choral works
d.	the musical nuances would dramatize the emotional nuances of the text
e.	the music would distort the meaning of the words

 

 

ANS:  D                    DIF:    Medium         REF:   p. 94

TOP:   The Setting: The Birth of Opera      MSC:  Conceptual

 

8.    Which of the following does NOT describe Apollo?

a.	god of the sun	d.	father of Orpheus
b.	god of balance	e.	god of wine
c.	god of music

 

 

ANS:  E                    DIF:    Medium         REF:   pp. 95–96

TOP:   The Setting: The Story of Orpheus MSC:  Factual

 

9.    Which of the following does NOT describe Alessandro Striggio?

a.	prince	d.	diplomat
b.	poet	e.	lawyer
c.	musician

 

 

ANS:  A                    DIF:    Easy               REF:   p. 96

TOP:   The Setting: The Story of Orpheus MSC:  Factual

 

10.  The plot of Orfeo conforms to traditional Greek drama in all of the following ways EXCEPT that:

a.	it ends in tragedy
b.	its hero is a musician
c.	it teaches the audience a lesson about morality and temperance
d.	it focuses on a hero overcoming insurmountable odds
e.	it features a prologue, long poetic speeches, and a chorus

 

 

ANS:  B                    DIF:    Medium         REF:   p. 97

TOP:   The Setting: The Story of Orpheus MSC:  Applied

 

11.  The role of the chorus in Greek tragedy is to:

a.	entertain the audience between acts of the drama
b.	narrate the action of the drama
c.	comment on the drama and provide a moral or lesson
d.	accompany the solo singers on instruments
e.	move silently around the stage

 

 

ANS:  C                    DIF:    Medium         REF:   p. 97

TOP:   The Setting: The Story of Orpheus MSC:  Factual

 

12.  A large spectacle such as an opera requires the coordination of a number of disparate resources. Which of the following was NOT a part of the preparations for Orfeo’s premiere?

a.	contracting singers
b.	building a stage and sets
c.	designing costumes
d.	hiring instrumentalists
e.	promoting the performance and selling tickets

 

 

ANS:  E                    DIF:    Hard              REF:   p. 97

TOP:   The Performance: Preparations       MSC:  Factual

 

13.  Which of the following resources have historians NOT used in attempting to understand the circumstances of Orfeo’s premiere?

a.	Monteverdi’s diary
b.	the duke of Mantua’s payroll records
c.	letters between the Gonzaga brothers
d.	Monteverdi’s score, with his annotations included
e.	surviving building projects from the Mantuan Prefect of the Ducal Fabric

 

 

ANS:  A                    DIF:    Hard              REF:   p. 97

TOP:   The Performance: Preparations       MSC:  Applied

 

14.  A castrato is:

a.	a six-string lute
b.	a male singer castrated before his voice changes
c.	a craftsman who builds sets for dramatic performances
d.	a type of Italian wine
e.	a song for two singers

 

 

ANS:  B                    DIF:    Easy               REF:   p. 99

TOP:   The Performance: Preparations       MSC:  Factual

 

15.  Because of the circumstances of his employment at Mantua, Monteverdi composed Orfeo as:

a.	an a cappella choral work
b.	a modest, intimate piece for a small group of performers
c.	a religious statement
d.	a richly textured score with a large instrumental ensemble
e.	a work for instruments without voices

 

 

ANS:  D                    DIF:    Easy               REF:   p. 100

TOP:   The Performance: The Instruments MSC:  Applied

 

16.  What was one compositional technique that Monteverdi used to ensure that audience attention would remain focused on the vocalists?

a.	a small mixed group of instruments would play continuously
b.	the full instrumental ensemble would play throughout
c.	instrumental solos would play in intricate counterpoint to vocal melodies
d.	the ensemble would sit quietly during vocal solos
e.	no melodic instruments would play while characters are singing

 

 

ANS:  E                    DIF:    Hard              REF:   p. 100

TOP:   The Performance: The Instruments MSC:  Applied

 

17.  In his opera Orfeo, Monteverdi provided chordal shorthand notation for the instrumental accompanists, This type of notation is known as:

a.	tablature	d.	recitativo accompagnato
b.	polyphony	e.	toccata
c.	figured bass

 

 

ANS:  C                    DIF:    Medium         REF:   p. 101

TOP:   The Performance: The Voice and Its Accompaniment    MSC:  Factual

 

18.  Which of the following is NOT a characteristic of operatic songs, or arias?

a.	frequent repetition of text
b.	regular phrasing
c.	steady rhythm
d.	rhythms and phrasing that follow the natural contours of speech
e.	strophic form

 

 

ANS:  D                    DIF:    Hard              REF:   pp. 101–102

TOP:   The Performance: The Voice and Its Accompaniment    MSC:  Applied

 

19.  The room in which Orfeo was premiered was:

a.	a temporary theater constructed in one of the Gonzaga palace’s larger halls
b.	a hall built expressly for musical performances
c.	an outdoor space that also housed livestock
d.	a theater-in-the-round intended for dramatic performances
e.	a room deep in the private residence of the palace

 

 

ANS:  A                    DIF:    Medium         REF:   p. 102

TOP:   The Performance: Saturday, February 24, 1607              MSC:  Factual

 

20.  The staging of Orfeo’s premiere likely included all of the following EXCEPT:

a.	a flying mechanical cloud
b.	elaborate pyrotechnic effects
c.	a small proscenium stage
d.	dramatic lighting effects produced by candles and mirrors
e.	sets painted with images of trees, hills, and a river

 

 

ANS:  B                    DIF:    Medium         REF:   p. 103

TOP:   The Performance: Saturday, February 24, 1607              MSC:  Applied

 

21.  How does the scenery change in Act 3 of Orfeo? How does the music reflect that change?

a.	The scene changes to night; contrasted by light, airy textures.
b.	The scene changes to the indoors; the intimate setting is reflected by a significant reduction in instrumental parts.
c.	The scene changes to evening; strings perform a stylized drinking song.
d.	The scene changes to Apollo’s cloud; a pair of recorders perform a duet to reflect Apollo’s perfect balance between heart and mind.
e.	The scene changes to the dark marshes of the underworld; the instrumentation changes to emphasize dark and buzzy timbres.

 

 

ANS:  E                    DIF:    Hard              REF:   p. 103

TOP:   The Performance: Saturday, February 24, 1607              MSC:  Conceptual

 

22.  The minimum number of vocalists required to perform Orfeo is:

a.	thirty-one	d.	three
b.	fifteen	e.	twenty
c.	nine

 

 

ANS:  C                    DIF:    Easy               REF:   p. 103

TOP:   The Performance: Saturday, February 24, 1607              MSC:  Factual

 

23.  A Baroque keyboard piece requiring special dexterity and control is known as a:

a.	toccata	d.	deus ex machina
b.	prelude	e.	ritornello
c.	recitative

 

 

ANS:  A                    DIF:    Medium         REF:   pp. 103–104

TOP:   Listening to the Music: Toccata      MSC:  Applied

 

24.  Which of the following musical and dramatic functions is NOT served by the Prologue?

a.	focusing the attention of the audience
b.	announcing the death of Eurydice
c.	introducing the audience to Orpheus
d.	establishing the musical relationship between voices and instruments that will be maintained throughout the opera
e.	introducing the audience to the musical language of recitative

 

 

ANS:  B                    DIF:    Medium         REF:   p. 104

TOP:   Listening to the Music: Toccata      MSC:  Applied

 

25.  A brief instrumental melody that returns between verses of a strophic aria is called a:

a.	toccata	d.	deus ex machina
b.	prelude	e.	ritornello
c.	recitative

 

 

ANS:  E                    DIF:    Medium         REF:   p. 104

TOP:   Listening to the Music: Prologue     MSC:  Factual

 

26.  By utilizing strophic variation in the Prologue to Orfeo, Monteverdi does all of the following EXCEPT:

a.	adapt the accompanimental texture to support the meaning and emotion of the text
b.	change the accompanimental rhythm with each strophe
c.	change the harmony of the later verses
d.	provide variety within a repetitious song structure
e.	accommodate the changing vocal phrasing of the text

 

 

ANS:  C                    DIF:    Medium         REF:   p. 104

TOP:   Listening to the Music: Prologue     MSC:  Applied

 

27.  In Orfeo’s songlike pieces, Monteverdi makes use of all of the following techniques EXCEPT:

a.	symmetrical phrasing of stressed and unstressed syllables
b.	repetition of important text
c.	repetitive rhythmic phrases paired with changing melodic contours
d.	jagged and unexpected phrasing
e.	brief ritornellos to mark separation between verses

 

 

ANS:  D                    DIF:    Hard              REF:   p. 107

TOP:   Listening to the Music: Song: “Vi ricorda”                                 MSC:   Applied

 

28.  Act 2 is marked by a profound stylistic shift in mid-act. What dramatic event spurs this musical change?

a.	Orpheus crosses the river Styx.
b.	The shepherds begin celebrating the joy of springtime.
c.	Orpheus and Eurydice are married.
d.	Orpheus pleas with Charon for entry into the underworld.
e.	Silvia announces that Eurydice has died.

 

 

ANS:  E                    DIF:    Medium         REF:   p. 107

TOP:   Listening to the Music: Song: “Vi ricorda”                                 MSC:   Applied

 

29.  In Orfeo’s recitatives, Monteverdi expresses the meaning of the text through all of the following techniques EXCEPT:

a.	unexpected dissonant intervals
b.	dancelike rhythms
c.	sudden shifts in harmony
d.	word painting
e.	brief repetition to emphasize important text

 

 

ANS:  B                    DIF:    Medium         REF:   p. 107

TOP:   Listening to the Music: Lament: “Tu se’ morta”              MSC:  Applied

 

30.  At the start of “Tu se’ morta,” Monteverdi dramatizes Orpheus’s bitterness and anguish by setting the phrase “You are dead” with what melodic figure?

a.	an ascending diatonic scale	d.	a single, unchanging reciting tone
b.	descending half steps	e.	an ascending octave leap
c.	a highly dissonant diminished 4th

 

 

ANS:  C                    DIF:    Medium         REF:   p. 109

TOP:   Listening to the Music: Lament: “Tu se’ morta”              MSC:  Applied

 

31.  Monteverdi’s technique of mirroring the meaning of the text with specific musical gestures, such as a descending melodic line on the word abysses, is known as:

a.	recitative	d.	word painting
b.	lament	e.	melisma
c.	counterpoint

 

 

ANS:  D                    DIF:    Medium         REF:   p. 109

TOP:   Listening to the Music: Lament: “Tu se’ morta”              MSC:  Factual

 

32.  To add drama to the climax of Orpheus’s plea to Charon, Monteverdi adds a ___________ to the standard basso continuo accompaniment of “Possente spirto.”

a.	quartet of strings	d.	regal
b.	trumpet ensemble	e.	recorder duo
c.	chorus

 

 

ANS:  A                    DIF:    Medium         REF:   p. 111

TOP:   Listening to the Music: Song: “Possente spirto”               MSC:  Factual

 

33.  Although much of the musical and dramatic material of Orfeo was familiar to Monteverdi’s audience, one fundamentally new element was:

a.	choral singing
b.	stile recitative
c.	the tragic plot taken from Greek mythology
d.	refined Italian poetry
e.	the ritornello

 

 

ANS:  B                    DIF:    Medium         REF:   p. 115            TOP:   Orfeo Then and Now

MSC:  Applied

 

34.  Why was Orfeo performed only twice in Monteverdi’s lifetime?

a.	It was a costly and private entertainment.
b.	The public could not understand it.
c.	No one expressed interest in seeing it restaged.
d.	Opera’s popularity was waning.
e.	Monteverdi never published the score.

 

 

ANS:  A                    DIF:    Medium         REF:   p. 115            TOP:   Orfeo Then and Now

MSC:  Conceptual

 

35.  During the ___________ century, Orfeo was finally acknowledged as the first great masterpiece of the operatic tradition.

a.	late seventeenth	d.	twentieth
b.	eighteenth	e.	twenty-first
c.	nineteenth

 

 

ANS:  D                    DIF:    Easy               REF:   p. 116            TOP:   Orfeo Then and Now

MSC:  Factual

 

TRUE/FALSE

 

1.    Monteverdi’s careful attention to the meaning and expression of words is one of the hallmarks of his work.

 

ANS:  T                    DIF:    Easy               REF:   p. 91

TOP:   Claudio Monteverdi (1567–1643)  MSC:  Factual

 

2.    Orfeo was seen by thousands of seventeenth-century patrons, leading to great critical and economic success for Monteverdi.

 

ANS:  F                    DIF:    Easy               REF:   p. 92              TOP:   Introduction

MSC:  Factual

 

3.    Seventeenth-century Italy was a strong, unified republic.

 

ANS:  F                    DIF:    Easy               REF:   p. 92              TOP:   The Setting: Mantua in 1607

MSC:  Applied

 

4.    Mantua was an important cultural and civic center among the northern Italian city-states, owing in large part to its position as a center for trade.

 

ANS:  T                    DIF:    Medium         REF:   p. 92              TOP:   The Setting: Mantua in 1607

MSC:  Applied

 

5.    Giovanni de’ Bardi and his group of Florentine intellectuals believed that Greek choruses were sung but that all other elements of Greek tragedy were spoken.

 

ANS:  F                    DIF:    Medium         REF:   p. 94

TOP:   The Setting: The Birth of Opera      MSC:  Applied

 

6.    The philosophical message at the core of the Orpheus myth is about finding balance between heart and mind.

 

ANS:  T                    DIF:    Easy               REF:   p. 95

TOP:   The Setting: The Story of Orpheus MSC:  Applied

 

7.    The dramatic progress of Orfeo, which would become a standard for later operas, is characterized by nonstop action.

 

ANS:  F                    DIF:    Medium         REF:   p. 97

TOP:   The Setting: The Story of Orpheus MSC:  Applied

 

8.    The cast in Orfeo’s premiere included women.

 

ANS:  F                    DIF:    Easy               REF:   p. 97

TOP:   The Performance: Preparations       MSC:  Factual

 

9.    Monteverdi likely composed Orfeo’s most virtuosic instrumental solos with particular performers in mind.

 

ANS:  T                    DIF:    Easy               REF:   p. 101

TOP:   The Performance: The Instruments MSC:  Applied

 

10.  In her lament in Act 2, “Ahi! Caso acerbo,” the Messenger expresses her grief through her angular, nonrepeated phrasing.

 

ANS:  T                    DIF:    Medium         REF:   p. 102

TOP:   The Performance: The Voice and Its Accompaniment    MSC:  Applied

 

11.  The setting of the first two acts of Orfeo is an outdoor scene, complete with a river and tree-covered rolling hills.

 

ANS:  T                    DIF:    Easy               REF:   p. 103

TOP:   The Performance: Saturday, February 24, 1607              MSC:  Factual

 

12.  Apollo rescues Orpheus at the conclusion of the opera to save him from emotional imbalance.

 

ANS:  T                    DIF:    Medium         REF:   p. 103

TOP:   The Performance: Saturday, February 24, 1607              MSC:  Applied

 

13.  The toccata that begins Orfeo is to be played only once, to announce the entrance of the duke.

 

ANS:  F                    DIF:    Easy               REF:   p. 104

TOP:   Listening to the Music: Toccata      MSC:  Factual

 

14.  A pleasing combination of two or more notes sounding together is called a dissonance.

 

ANS:  F                    DIF:    Easy               REF:   p. 109

TOP:   Listening to the Music: Lament: “Tu se’ morta”              MSC:  Applied

 

15.  Stile recitativo and basso continuo, two new techniques explored throughout Orfeo, became hallmarks of the Baroque style.

 

ANS:  T                    DIF:    Easy               REF:   p. 115            TOP:   Orfeo Then and Now

MSC:  Applied

 

SHORT ANSWER

 

1.    A play in which all the characters sing their parts is called a(n) ___________.

 

ANS:

opera

 

DIF:    Easy               REF:   p. 91              TOP:   Introduction   MSC:  Factual

 

2.    The audience present at Orfeo’s premiere was a group of noblemen known as the ___________.

 

ANS:

Accademia degl’Invaghiti, or Academy of the Lovestruck

 

DIF:    Easy               REF:   p. 92              TOP:   Introduction   MSC:  Factual

 

3.    A sixteenth-century Italian noble’s ___________ was made up of the family, colleagues, and administrators supporting the ruler.

 

ANS:

court

 

DIF:    Easy               REF:   pp. 92–93      TOP:   The Setting: Mantua in 1607

MSC:  Factual

 

4.    In Greek myth, Orpheus was the greatest ___________ who ever lived.

 

ANS:

musician

 

DIF:    Easy               REF:   p. 95              TOP:   The Setting: The Story of Orpheus

MSC:  Factual

 

5.    Two performers, one playing a chordal instrument and the other playing a melodic instrument, accompany vocal recitatives as the ___________.

 

ANS:

basso continuo

 

DIF:    Medium         REF:   p. 101

TOP:   The Performance: The Voice and Its Accompaniment    MSC:  Factual

 

6.    Literally translated as “god from a machine,” Apollo’s flying cloud—which might have been utilized in the finale of Orfeo—is referred to as a(n) ___________.

 

ANS:

deus ex machina

 

DIF:    Medium         REF:   p. 103            TOP:   The Performance: Saturday, February 24, 1607

MSC:  Factual

 

7.    A vocal ensemble with several singers performing each part is known as a(n) ___________.

 

ANS:

chorus

 

DIF:    Easy               REF:   p. 103            TOP:   The Performance: Saturday, February 24, 1607

MSC:  Factual

 

8.    A song structure that utilizes a standard melodic contour for multiple verses but changes the specific melody for each verse to fit the text is called  ___________.

 

ANS:

strophic variation

 

DIF:    Medium         REF:   p. 104            TOP:   Listening to the Music: Prologue

MSC:  Applied

 

9.    Striggio sets the most dramatic and virtuosic song of Orfeo, “Possente spirto,” in a classic poetic form of five three-line stanzas and a final four lines. This poetic form is known as a(n)  ___________.

 

ANS:

capitolo

 

DIF:    Medium         REF:   p. 111            TOP:   Listening to the Music: Song: “Possente spirto”

MSC:  Factual

 

10.  A harmonic or melodic figure that ends a phrase with a sense of resolution is called a  ___________.

 

ANS:

cadence

 

DIF:    Easy               REF:   p. 117            TOP:   Terms to Know

MSC:  Factual

 

MATCHING

 

Match each person to the correct description below.

a.	Girolamo Bacchini	d.	Giovanni de’ Bardi
b.	Francesco Rasi	e.	Giovanni Gualberto Magli
c.	Francesco Gonzaga

 

 

1.    Duke of Mantua and primary organizer of Orfeo’s premiere

 

2.    Florentine nobleman and composer who led a series of discussions on trends in Italian art

 

3.    Talented Mantuan vocalist who created the role of Orpheus

 

4.    Castrato composer and priest who sang the role of Eurydice in the premiere of Orfeo

 

5.    Tuscan castrato who traveled to Mantua to sing several female roles in the premiere of Orfeo

 

1.    ANS:  C

 

2.    ANS:  D

 

3.    ANS:  B

 

4.    ANS:  A

 

5.    ANS:  E

 

Match each item to the correct description below.

a.	cornett	d.	harp
b.	regal	e.	violin
c.	trumpet