| What did the Florentine Camerata conclude about Ancient Greek tragedy? |
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| Tragedies were sung throughout in performance |
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| The earliest music dramas were first performed around which year? |
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| Which of the following composers contributed in creating the earliest music drama for which music survives? |
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| What is recitar cantando? |
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| A kind of sung speech that imitates the inflections of spoken Italian, later called “recitative” |
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| A crucial stylistic component of Peri’s recitar cantando in L’Euridice is ___________________. |
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| What kind of musical device would you expect to hear in a recitative passage that mentions “dolore” (sorrow/pain)? |
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| Which of the following is NOT one of the three monody types introduced in the early music dramas of Caccini, Peri, and Monteverdi? |
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| How does Monteverdi’s Orfeo expand on the previous music dramas of Peri and Caccini? |
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| He adds instrumental sinfonias, choruses, and ballets to the straight monody passages |
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| What kind of poetry is associated with recitar cantando? |
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| versi sciolti (free verse) |
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| The first instrumental pieces published in the 16th century were composed for the _____________________. |
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| In instrumental music of the 16th century, a stylized dance refers to ____________________. |
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| a dance piece meant to be listened to or enjoyed through playing |
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| Which of the following musical pieces is an intabulation? |
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| Narvaez’s arrangement of “Mille regretz” for vihuela |
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| What is the generic definition of a “canzona”? |
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| a polyphonic piece for instruments |
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| Which of the following best describes the “cori spezzati” phenomenon of the early 17th c.? |
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| Placing choirs of voices and/or instrumental in different positions throughout an acoustical space |
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| What is meant by the term “seconda prattica”? |
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| Polyphony in the chromatic and text-driven style of Gesualdo |
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| What is “new” about Caccini’s Le nuove musiche? |
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| It features madrigals for solo voice and basso conitnuo |
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| A musical texture that features both a bass line and an improvised harmonic accompaniment |
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| What was the driving force behind the creation of music drama in the late 16th c./early 17th c.? |
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| To recreate the powerful experience of ancient Greek tragedy |
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| What year signals the beginning of commercial opera in Italy? |
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| Which of the following operas represents Monteverdi’s contribution to the Venetian style of public commericial opera? |
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| L’incoronazione di Poppea |
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| Which of the following best describes the vocal style of Italian opera and cantata around the middle of the 17th century? |
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| Recurring alternations of recitative, aria, and arioso passages |
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| Arias typically feature _____________________. |
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| Moving instrumental basses with lyrical singing in the vocal part |
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| Which of the following genres represents the “popular” style of 17th century Italian music? |
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| Repeating the bass line of a popular dance while the voice(s) move freely above |
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| In the 17th century, the bass of a passacaglia features ________________________. |
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| A descending tetrachord (4-note pattern)
(e.g. I – vii – vi – V or C – b – a – G) |
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| The two predominant genres of secular vocal music in 17th-century Italy are _____________ and _______________. |
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| What is a cantata as heard and composed in the 17th century? |
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| A secular piece for solo voice and bass continuo |
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| A dramatic religious piece for singers and instrumentaliats with narration and dialogue |
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| How does Carissimi symbolize lamentation in the final chorus of his ortaorio Jephte? |
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| He employs the passacaglia pattern in the minor mode with elaborate suspensions |
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| What kinds of intruments are often featured in early 17th century Italian musical publications? |
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| What is an example of an idiomatic musical passage? |
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| a trombone playing a glissando |
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| A sectional and improvisatory piece for keyboard that explores a series of new motives |
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| Which of the following composers is associated with genres of toccata and ricercare in the early decades of the 17th century? |
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| Which of the following composers is associated with the genre of tragedie en musique in the second half of the 17th century? |
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| Why did some French critics dislike Italian opera when it premiered in France in the 1640s? |
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| It lacked a sense of verisimilitude, or realism on stage |
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| Which of the following musical components is unique to the French tradition of tragedie en musique? |
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| What is the standard form of the ouverture in the tragedie en musique tradition? |
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| A stately march with dotted figures alternating with a fast livelier imitative section |
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| What are two common genres associated with the Italian instrumental tradition from 1650 to about 1730? |
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| According to John Calvin and the doctrine of early Calvinism, the only musical items appropriate for worship are _________________. |
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| To whom do we attribute the establishment of single-impression printing during the 16th century? |
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| What separates the 16th-century Lutheran worship experience from that of the Roman Catholic tradition? |
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| The Lutheran worship service featured congregational singing |
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| In the context of Lutheran worship, what is a chorale? |
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| A melody often sung in unison by the congreation during the worship service |
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| Which of the following best describes the doctrinal and liturgical identity of the Church of England during the reign of Elizabeth I (1558-1603)? |
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| A blend of Protestant and Catholic |
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| What is the Anglican (Church of England) term for a “motet”? |
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| Which of the following musical reforms concerned those deliberating at the Council of Trent? |
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| Reestablishing plainchant as the liturgical focus |
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| 16th-century Italian madrigals are typically ________________. |
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| Which of the following composers is associated with the late 16th century Italian madrigal, featuring an intensely expressive style of text painting? |
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| The earliest genre of secular vocal music published during the 16th century was the ______________________. |
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