Introduction to Music Fall 2019 TEST UNIT 2: Take-home Short Answer

This document contains the solutions to a take-home short answer test for an Introduction to Music course, likely at the college level. The test covers a wide range of topics, including opera, Baroque and Classical music, musical forms, and key composers. It includes definitions of musical terms such as 'aria', 'fugue', 'basso continuo', 'da capo aria', and 'sonata form'. The assignment explores the characteristics of different genres, such as opera buffa and church cantata, and requires knowledge of specific works like Monteverdi's Orfeo, Handel's Messiah, and Mozart's operas. Furthermore, it examines the works of composers such as Bach, Vivaldi, Haydn, and Mozart, and requires understanding of the historical context of the Baroque and Classical periods. The solutions provide answers to questions about composers, forms, and musical concepts.

Introduction to Music Name
Fall 2019
TEST UNIT 2: Take-home short answer portion (75 pts)
Complete, slip under my office door (Liberal Arts rm. 1110) by NOON, THURSDAY,
NOV. 15.
You may work together, and use the classroom during class time Thursday.
But do your own work. Answer the following questions in the spaces provided.
1. Baritone Type of vocal music in opera that
is used for action, and uses only basso continuo accompaniment.
2. Atlanta's opera Operatic equivalent of a
soliloquy, showing the inner struggle of one main character; has definite
meter and tempo. A song, in essence.
3. Arias Type of vocal music that includes
several main characters.
4. Choir Type of vocal music that is sung
by a large group of people, such as peasants or soldiers.
5. king Arthur “Stock” type of the above (no. 4) that is sung
in honor of a king or
emperor, that is part of the drama but also metaphorically is for the
aristocrat patron of opera.
5. Diegetic music Term indicating
music in an opera (or film) suggesting actual singing in the drama, often
accompanied by pizzicato strings imitating a lute or guitar.
6. Zhenitba Type of ending of an
internal act, particularly in comic operas, were several problems are
introduced and resolved, but something is left unresolved.
7. Fugue Type of vocal piece especially
popular in Baroque opera, that
conveys extreme sadness, e.g. “When I am Laid in the Earth” from Purcell’s
Dido and Aeneas.
8. Basso continuo Musical variation
form often used for such a piece (no. 8), that is based upon a repeated bass
line, e.g. “When I am Laid in the Earth” from Purcell’s Dido and Aeneas.
9. Polyphonic Musical texture that was
used in (and led to) early Baroque opera, of a vocal melody accompanied by a

bass instrument and an instrument that could play chords (e.g., theorbo,
harpsichord, lute), together playing a “figured bass.”
10. 1607 Year Monteverdi composed Orfeo
12._ Liturgical drama Genre name for dramas that are not acted out, and
usually on a biblical
topic, e.g. Handel’s Messiah.
13. Libretto Text for an opera.

14. Requiem Mass Mass for the Dead.
15. Opera buffa Genre name for comic Italian
operas at the end of the 18th century with completely or nearly completely comic
characters.
16. Idomeneo What is the
title of the Mozart opera we studied that exemplifies this genre? (n0. 15.)
17. Così fan Tutte Name of the librettist
Mozart worked with on the above to opera (no. 16).
18. 1598 Year that opera (no. 16) was first performed.
19. sopranist A male soprano, such as usually played heroic roles in
Baroque opera.
20. tenor Operatic role type in Classical opera,
where a boy is played by a female soprano or mezzo soprano.
21. Monarchs and greek gods Name of a character
in a Mozart opera that demonstrates this type of role (no.20)
22. Church cantata Dramatic musical genre used in
Lutheran liturgy; over 200 composed by J.S. Bach, e.g. “Ein feste Burg ist unser Gott” BWV
80.
23. A mighty fortress is our god Term for a German
hymn tune and text, such as Bach used for the structural basis of the above genre (no. 22),
e.g. the tune “Ein feste Burg, ist unser Gott.”
24. medival music The use of a pre-existing tune by
writing it in long notes in one voice, around which other new music is written; Bach often
uses this technique in middle movements of the genre answered above (no. 22).
25. keyboard music Style of music that was considered
“old” in Bach’s day, where there are no separate instrumental parts to accompany voices,
but instruments might be used to double voice parts; Bach often used this style in last
movements of the above genre (no. 22).
26. Brandenburg Concertos, the Goldberg Variations
Type of post Bach held 1708-17.

27. Germany City where Bach held that post (no. 26).
28. BWV 134a Type of post Bach held 1717-23.

29. Anhalt-kothen City where Bach held that post (no. 28).
30 Die Zeit, die tag und Jahre Macht General category
of types of pieces Bach composed for that post (no.28).
31. Thomaskantore Main type of post Bach held 1723-50.
32. Thomaskirche, Leipzig City where Bach held that post
(no. 31).
33. collegium musicum Title for a civic music ensemble
such as Bach led in the above city;
usually performed at Zimmermann’s Coffee House.
34. subject Term for the main melody in a fugue
35. tonic In an organ fugue, the sections that are stable,
containing the main melody (no. 34) and generally remaining in the same key.
36. Exposition, modulate In an organ fugue, the sections
that alternate with the above (no.
35), which don’t contain the main tune (no. 34) and modulate from one key to another.
37. Antonio Vivaldi Italian Baroque composer of over 400
concertos; taught in a girl’s
orphanage in Venice.
38. The Four Seasons Set of four violin concertos published by the above
composer in 1725, each based on a descriptive sonnet.
39. Da capo aria In a Baroque concerto first movement, the sections
that are stable, recognizable, and played by the ripieno. This is also the term for a
returning instrumental portion of a da Capo aria.
40. Ritornello In a Baroque concerto first movement, the sections that
alternate with the above (no. 39), usually feature the virtuoso soloist(s) and modulate
from one key to another.
41. True True or False (write it in the blank): first movements and third
movements of Baroque concertos are fast and in the tonic key.
42. False True or False (write it in the blank): second movements of Baroque
concertos are fast and in the tonic key.

43. True True or False (write it in the blank): Baroque concertos follow the Sonata
Cycle.

44. Suite Baroque instrumental genre (keyboard or orchestra) that is
based on an overture and dance movements.
45. True True or False (write it in the blank): all movements in the above genre
(no. 44) are in the same key.
46. George Frideric Handel German composer who spent most of his career in
London, who composed a series of pieces in the above genre (no. 44) for a flotilla of the
court of King George I on the Themes in 1717.
47. 1750 Year generally given as the end of the Baroque Era and beginning
of the Classical Era.
48. 1890-1930 Philosophical period associated with the
Classical Era in music.
49. Franz Joseph Haydn Composer who’s live spanned the Classical Era,
and who is considered the “father” of the string quartet and symphony.
50. Esterhazy Family Name of Hungarian family that
employed this composer (no. 49).
51. Haydn's sonata-form movements Scheme/outline of movement expectations for
instrumental music of the Classical era.
52. False True or False (write it in the blank): All movements in the above outline of
movements begin and end in the tonic key.
53. True True or False (write it in the blank): A minuet dance is usually the third
movement in the above movement outline (no. 51).
54. True True or False (write it in the blank): Classical string quartets
usually have four movements.
55. True True or False (write it in the blank): Classical symphonies usually
have four movements.
56. False True or False (write it in the blank): Classical concertos usually have four
movements.
57. Mozart's Eine Kleine Nachtmusik Type of light-hearted piece usually intended for outdoor
performance, e.g. Mozart’s “Eine kleine Nachtmusik.”

58. Cadenza Improvisatory solo towards the end of a first
movement of a Classical concerto.

59. Verbunkos Austrian folk dance used by Haydn in third
movements of symphonies, in juxtaposition to the aristocratic minuet.
60. Trio movement Type of movement based on the minuet, but with
expectations of tempo, meter, and phrase length thwarted in order to create a comic
effect.
Form. Match the following terms with the descriptions below by placing the appropriate letter in
the blank.
There is a chart below to help with questions 61-68.
A. Development F. Rondo L. Theme 1
B. Exposition G. Rounded binary M. Theme 2
C. Minuet H. Sonata allegro N. Theme &
variation
D. Modulation J. Sonata principle O. Transition
E. Recapitulation K. Ternary P. Trio
61. Sonata principle Typical first-movement form in Classical instrumental pieces.
62. Exposition First big section of that form (no. 61), which is repeated.
63. Theme 1 Material in that from (no. 61), in that first section (no. 62), that is in the
tonic key.
64. Recapitulation Middle big section of that form (no. 61), where material
from the first big section (no. 62) is played around with, going through many keys.
65. Development Third big section of that form (no. 61), where material from the first big
section (no. 62) is restated.
66. Rounded binary Material in that form (no. 61) that is first stated in the
“wrong” key (usually the dominant) during the first big section (no. 62), and in the “right”
key (tonic) in the third big section.
67. Modulation The act of doing what is described in no. 66, which is the
fundamental principle of the form identified in no. 61.
68. Theme 2 Material between that identified in no. 63 and no. 66, where a change in key
occurs.
69. Transition The process of changing key.
70. Sonata allegro Three-part movement form, usually seen in third movements of Classical
instrumental pieces. A B A’
71. Trio Theme form that makes up one of the sections of movement form described in
no. 10. ||: a :||: b a’ :||
72. Minuet Triple-metered dance type associated with third movements of Classical
instrumental pieces.
73. Ternary The middle section (B) of the form described in no. 10, usually more subdued
and reduced in material,
and sometimes more “folksy,” compared to the outer sections (A & A’).

74. Theme and variation Movement form often used by Haydn in second
movements, where material is continually played over and over, but altered slightly each
time. T V1 V2 V3, etc.
75. Rondo Movement form associated with finale movements, where a theme from
the beginning returns a number of times, but is separated by other themes, e.g. A B A C A
B A.

Chart to help with questions 61-68:
||: 62? :||: 64? 65? :||
||: 63? 68? 66? Clos. :||: 63? 68? 66? Clos. :||:
||: I—— ?? V————— :||: I——— ?? I———————
I certify that I have done my own work, by signing below.
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