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50 Cards in this Set

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(T/F) Baroque composers of instrumental music were set back by changes in instrumental styles and techniques during the Renaissance.
False
(T/F) The Baroque period was the first time that instrumental music became virtually equal, both in quantity and quality, with vocal music
True
All of the following were characteristic of Baroque music except
- Renaissance forms continued to be used.
-a number of new instrumental forms and styles appeared.
- keyboard music increased in variety and in quantity.
X the lute continued to increase in popularity and importance.
During the Baroque era, the __________ replaced the lute in popularity, and many lute pieces were played on this instrument instead.
harpsichord
The __________ had the ability to produce a variety of timbres, dynamic levels, and pitches, making it suitable for the Baroque taste for drama and contrast
organ
A distinctive feature of Baroque music was the abrupt change of dynamic levels called __________ dynamics.
terraced
The organist was able to achieve terraced dynamics and various sonorities by using any of the following methods except
-changing stops.
-moving from one keyboard to another.
- adding or subtracting the number of voices.
X covering the pipes with dampers.
(T/F) Although more pedals and different stops have been added, the organ has not been "improved" upon since the early eighteenth century.
TRUE
The __________ is an imitative polyphonic composition with three to five melodic lines or "voices."
fugue
(T/F) Since the fugue was originally developed on keyboard instruments, it was never successfully adapted for other instrumental or vocal combinations.
FALSE
The fugue entrances alternate between the tonic and dominant keys, with those in the dominant called the
answer.
The opening section of a fugue, in which the subject entrances are stated, is called the
exposition.
A __________ is a relatively short keyboard piece which may be an independent composition or an introduction to another piece or set of pieces.
prelude
(T/F)Preludes were often paired with more structured works such as the toccata during the late Baroque period.
False
One of Bach's greatest legacies was a set of two volumes of twenty-four preludes and fugues called the __________, which included one prelude and fugue in each major and minor key.
Well-Tempered Clavier
(T/F) In music, the term well-tempered refers to a method of tuning keyboard instruments.
TRUE
The German word clavier is a general term for
keyboard
A religious keyboard composition based upon the melody of a Lutheran chorale is a chorale
prelude
A __________, or "touch piece," is a showy keyboard piece that exploits the technical brilliance or virtuosity of the performer.
Toccato
The toccata was frequently followed in performance by a(n)
fugue
A favorite melodic device of the Baroque period was the use of __________, the repetition of a melodic phrase at different levels of pitch.
sequence
The short sets of stylized dance pieces for lute or keyboard popular during the Renaissance were expanded in the Baroque to multimovement works consisting of several dance pieces, called
suites
The strong bass voice that sounded continuously throughout Baroque ensemble compositions was called the
thoroughbass
Nearly all Baroque music, except for solo lute and keyboard pieces, was accompanied by two or more instruments that performed the bass line and that were called the
continuo.
Keyboard players improvised the inner parts according to the rules of tonality, completing the triad built upon each bass note unless the composer indicated otherwise by using a system of musical shorthand called
figured bass.
When keyboard players improvised the completed harmonies above the figured bass, they were __________ the figured bass.
realizing
What types of instruments were made by the Stradivari and Guarneri families?
violins
(T/F) Baroque violins differed in several respects from the viols of the Renaissance; new methods of construction and new bowing techniques produced a louder sound, pleasing to the romantic taste of the Baroque music lover.
TRUE
The trio sonata was written on three lines of music, but it required at least __________ performers, because of the basso continuo.
four
__________ was famous in his own time as a virtuoso violinist and as an outstanding composer of trio sonatas.
Corelli
(T/F) A concerto grosso is a composition in three movements (slow-fast-slow) for a small group of solo instruments.
FALSE
The three movements of a concerto grosso are arranged
fast-slow-fast.
(T/F) The group of solo instruments in a concerto grosso is called the tutti; the larger orchestral group is called the concertino.
FALSE
The ________ principle of contrasting sonorities formed the basis of the Baroque concerto.
concertato
The most prolific composer of Baroque concertos, including solo concertos as well as concerto grossi, was
Vivaldi.
__________ was ordained a priest, but spent most of his life as a professional musician.
Vivaldi
abrupt changes of dynamic level
terraced dynamics
short independetn or introductory piece for keyboard
prelude
prelude based on a Lutheran chorale melody
chorale prelude
imitative polyphonic composition
fugue
rhapsodic, virtuosic keyboard form
toccata
collection of sylized dance pieces
suite
-the continuous, supporting bass line of a Baroque composition
-also, the instruments accompanying Baroque ensemble compositions, consisting of one or more sustaining instruments and a lute or keyboard
basso continuo
system of musical shorthand by which composers indicated intervals above the bass line with numbers (figures) rather than with notated pitches
figured bass
music for a small instrumental ensemble with one instrument per line of music
chamber music
In the Baroque, a multimovement composition for one or more solo insturments, accompanied by continuo
sonata
mixed ensemble of string, wind, and percussion instruments conceived during the Baroque
orchestra
multimovement composition for orchestra and one solo instrument
solo concerto
a multimovement composition for orchestra plus a small group of solo instruments
concerto grosso
-thematic section
-most often played by the orchestra, that begins a concerto movement
-serves to divide the solo sections, and often returns in its original form at the end of the movement
ritornello