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選擇題 3
選擇題 3
MULTIPLE CHOICE
1. Italian comic opera strongly influenced the new musical style of the eighteenth century.
2. In the eighteenth century, shared aspects such as humanity and culture mattered more than national
differences.
CHAPTER 21: Opera and Vocal Music in the Early Classic Period
MULTIPLE CHOICE
1. If you were to attend a dramatic performance at a public theatre in the early 1700s that was sung
throughout, had six or more singing characters, and had a contemporary plot centered around ordinary
people, it would be an
a. improvisation in commedia dell’arte style
b. opera seria
c. opera rusticana
d. opera buffa
e. intermezzo
2. This example appears to be
11. Beginning in the 1720s and 1730s, composers of Italian operas began to use contrasting musical ideas
within A and B sections of arias to
a. surprise audiences d. express a succession of moods
b. depict waning emotions e. keep performers satisfied
c. construct through-composed arias
12. Why were serious plots more common in the opéra comique in France in the later part of the
eighteenth century?
a. they were in vogue with the aristocracy, and became important at the Théâtre de l’Opéra
Comique in Paris
b. audiences tired of Italian and English comic operas
c. they touched on social issues that arose during the years before and during the French
Revolution
d. serious operas were less likely to be freshly composed, and contained well-known arias
e. in serious opera, the ariettes offered more opportunity for Italianate ornamentation, which
had grown popular in France
13. If you were to hear an aria from a ballad opera, it probably would
a. use da capo form
b. use a familiar tune from a folk or popular song
c. contain mostly original, through-composed music
d. have sections sung in other languages
e. use speechlike vocal lines
14. What is one reason that Singspiel became an important genre in Germany?
a. it was a vehicle for singers to perform ornamentation and other vocal pyrotechnics
b. composers adapted imported elements, recitatives for dialogue in particular
c. it was unfamiliar and new, which created new audiences for the genre
d. German playwrights translated and adapted English Ballad operas into German
e. it achieved great renown in musical circles and was played by professional musicians in
concerts
15. Which of the following is not true of reform opera?
a. composers sought to make it more “natural” with more varied structures and less
ornamentation
b. composers alternated recitative and arias more flexibly to move action forward more
quickly and realistically
c. composers used accompanied recitative and ensembles less frequently
d. composers made the orchestra more important, particularly for depicting scenes and
evoking moods
e. composers reinstated the use of chorus
16. Gluck supervised the production of his operas and wanted singers, both soloists and the chorus, to
a. move more realistically and think of themselves as actors
b. draw attention to the text by standing still while singing
c. express the text through colorful and extensive ornamentation
d. draw attention to the orchestral material through coordinated gestures
e. display the agility of their voices
17. The preface to the score of ____________explains the goals of operatic reformers in the mid-1700s.
a. Orfeo ed Euridice d. Alceste
b. Iphigénie en Tauride e. Armide
c. Iphigénie en Aulide
18. Composers published many songs for home performance in different countries, reflecting the
a. rise of professional pianists
b. increased use of guitar for accompaniment
c. change in quality and quantity of professional performers who sang at people’s homes
d. growing presence of composers who were unable or unwilling to write opera or large-
scale church works
e. growing interest in amateur music-making
19. Which of the following is not a typical characteristic of German Lieder in the 1700s?
a. opportunity for virtuosic display
b. strophic, lyric poetry
c. melodies that were easy, even for untrained singers
d. accompaniment that was subordinate to vocal line
e. composition style that aimed to please the performer and the listener
20. Songs of the late eighteenth century are infrequently performed today, yet they embody the ideals of
the Enlightenment because they
a. feature clear, direct melodies
b. frequently use word-painting
c. express feelings indirectly
d. match the accents and moods of each stanza of the text
e. feature difficult and virtuosic accompaniments
21. ____________ church musicians employed the musical idioms of opera, such as orchestral
accompaniments, da capo arias, accompanied recitatives, and choruses, to express the text and inspire
listeners in worship services.
a. Pietist d. Methodist
b. Anglican e. Mennonite
c. Catholic
22. The Stabat Mater by ____________ became one of the most popular and frequently printed musical
works of the century.
a. J. S. Bach d. G. B. Pergolesi
b. C. H. Graun e. Leonardo Vinci
c. C. W. Gluck
23. Congregations in New England were encouraged to read music, which led to the development of
a. singing schools
b. music classes in public schools
c. private piano lessons
d. church choir directors who taught their choirs to read music
e. books that let people teach themselves musical notation
24. Most of William Billings’s compositions were “plain tunes,” but later collections included
____________, pieces that open with a syllabic and homophonic section, feature a passage in free
imitation, and close with voices again in homophony.
a. fancy tunes d. anthems
b. psalm-singer tunes e. fuging tunes
c. continental harmonies
25. William Billings declared independence from normal rules of counterpoint, and wrote that he had
devised a better set of rules. He often used
a. parallel octaves and fifths and open chords without thirds
b. chromaticism
c. dissonances that were resolved unconventionally
d. tritones and other problematic intervals
e. unusual rhythms, including syncopations
CHAPTER 22: Instrumental Music: Sonata, Symphony, and Concerto
MULTIPLE CHOICE
1. Which of the following characteristics shows the influence of vocal music on instrumental music?
a. idiomatic figuration d. homophonic texture
D
b. tonic-dominant tension e. codified formal organization
c. growing importance of woodwinds
ANS: D DIF: Medium REF: 499 TOP: Chapter Introduction
MSC: Applied
3. What term refers to eighteenth-century pianos in order to distinguish them from their later
counterparts?
D a. pianofortes d. fortepianos
b. virginals e. clavichords
c. harpsichords
ANS: D DIF: Easy REF: 500 TOP: Instruments and Ensembles
MSC: Factual
4. What instrument was the most common in homes during the mid- to late-eighteenth century?
a. violin d. flute
B b. piano e. guitar
c. cello
ANS: B DIF: Easy REF: 501 TOP: Instruments and Ensembles
MSC: Factual
5. What was the primary purpose of music for small string ensembles?
a. enjoyment of the performers
b. demonstration of compositional skill
A c. exhibition of virtuoso talent
d. education of young musicians
e. to accompany dancing and other social activities
ANS: A DIF: Medium REF: 501 TOP: Instruments and Ensembles
MSC: Factual
6. Why were keyboard sonatas and small string ensembles common in the eighteenth century?
a. they were made popular by a series of gifted performers, which sparked a sonata craze
b. being able to play the piano or a stringed instrument was expected of members of the
B middle and upper classes
c. these genres were easier to compose and were the first genres taught to aspiring composers
d. the wealthy saved money by hiring a few musicians rather than a full orchestra for their
social events
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e. they were well-suited to being played by professional musicians and their students
ANS: B DIF: Easy REF: 501 TOP: Instruments and Ensembles
MSC: Conceptual
8. Which instrument was not usually included in the late eighteenth-century symphony?
a. bassoon d. timpani
b. flute e. trombone
E c. horn
ANS: E DIF: Medium REF: 502–503 TOP: Instruments and Ensembles
MSC: Factual
9. Which of the following Baroque genres remained in common use throughout the Classic period?
a. fugue d. toccata
b. concerto e. chorale
B c. dance suite
ANS: B DIF: Easy REF: 503 TOP: Genres and Forms
MSC: Factual
11. What is the most common formal structure in the first movement of a sonata by Domenico Scarlatti?
a. expanded binary d. rounded binary
b. simple binary e. balanced binary
巨 c. rondo
ANS: E DIF: Medium REF: 508-509 TOP: Keyboard Music
MSC: Factual
12. What is the primary difference between balanced binary and rounded binary forms?
a. balanced binary repeats the first half of the first section at the end; rounded binary repeats
the second half of the first section
b. balanced binary forms are shorter than rounded binary ones
c. balanced binary has two contrasting types of material; rounded binary has three types
D d. balanced binary repeats only the second half of the first section in the tonic at the end;
rounded binary repeats the entire first section in the tonic
e. balanced binary has two complete I–V–I motions; rounded binary has one large I–V–I
motion
ANS: D DIF: Hard REF: 504–506 TOP: Binary Forms
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MSC: Conceptual
13. Where did Domenico Scarlatti spend most of his working life?
a. United Kingdom d. Netherlands
E b. France e. Iberian peninsula
c. Italy
ANS: E DIF: Medium REF: 508 TOP: Keyboard Music
MSC: Factual
14. How is the structure of Domenico Scarlatti’s major-key sonata forms unusual?
a. at the end of the binary form, he repeats only the first half of the first section
b. he includes a short section in minor that emphasizes the arrival of the new key
1 c. although his harmonies are binary in format, his melodies are in variations form
d. he only touches on keys other than tonic without modulating completely
e. his phrases are of an odd length, resulting in uneven periods
ANS: B DIF: Medium REF: 509 TOP: Keyboard Music
MSC: Applied
15. Essay on the True Art of Playing Keyboard Instruments was written by
a. C. P. E. Bach d. J. C. Bach
b. D. Scarlatti e. J. S. Bach
A c. H. C. Koch
ANS: A DIF: Medium REF: 511 TOP: Keyboard Music
MSC: Factual
17. Which composer was known for writing in the empfindsam style?
a. C. P. E. Bach d. Dussek
b. Stamitz e. Koch
A c. Von Dittersdorf
ANS: A DIF: Easy REF: 511 TOP: Keyboard Music
MSC: Factual
19. What was the most prestigious instrumental genre in the late eighteenth century?
a. concerto d. orchestral suite
E b. sonata e. symphony
c. string quartet
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ANS: E DIF: Medium REF: 512 TOP: Orchestral Music
MSC: Conceptual
20. Which of these is not a way in which Sammartini’s Symphony in F Major is typical of early
symphonies?
A a. premiered at a salon party
b. short in duration
c. three-movement form, fast-slow-fast
d. for small string orchestra with basso continuo
e. opening movement follows the classic first-movement form
ANS: A DIF: Medium REF: 513 TOP: Symphony
MSC: Conceptual
21. Who was the first composer to consistently write symphonies with four movements?
a. Dussek d. Von Dittersdorf
c
b. Gossec e. J. C. Bach
c. Stamitz
ANS: C DIF: Medium REF: 514 TOP: Symphony
MSC: Factual
23. Who was one of the first composers of African descent to achieve recognition in Europe?
a. Galuppi d. Gossec
b. Cristofori e. Giustini
c c. Saint-Georges
ANS: C DIF: Medium REF: 515
TOP: Symphony | Symphonie Concertante MSC: Factual
24. Of the following genres, which was considered music for background entertainment rather than
concert music?
a. symphony d. sonata
b. concerto e. orchestral suite
c
c. serenade
ANS: C DIF: Medium REF: 517 TOP: Entertainment Music
MSC: Applied
25. What genre, popular with the Parisian public during the 1700s, combined virtuosic playing with
orchestral sonorities?
a. divertissement d. symphonie concertante
D b. sonata e. rondo
c. orchestral concerto
ANS: D DIF: Medium REF: 514–515 TOP: Symphony
MSC: Applied
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CHAPTER 23: Classic Music in the Late Eighteenth Century
MULTIPLE CHOICE
22. When Mozart moved to Vienna, he earned money by doing all of the following except
a. composing d. performing as a singer
b. teaching e. performing as a pianist
c. publishing
23. Whose music served as a primary model for Mozart’s piano concertos?
a. J. S. Bach d. D. Scarlatti
b. C. P. E. Bach e. Haydn
c. J. C. Bach
24. The middle movements of Mozart’s piano concertos
a. reflect his experience as an opera composer
b. frequently use rondo form
c. frequently use minuet and trio form
d. do not use wind instruments
e. were revised heavily
25. The third movements of Mozart’s piano concertos
a. reflect his experience as an opera composer
b. frequently use rondo form
c. frequently use minuet and trio form
d. do not use wind instruments
e. were revised heavily
TRUE/FALSE