CHAPTER 20: Musical Taste and Style in the Enlightenment

MULTIPLE CHOICE

1. Which best describes the political situation of eighteenth-century Europe?

a. under the command of one ruling power
b. countries became extremely individualized and separate
c. dominated by centralized states with large militaries
d. countries did not seek to expand their territories and influence
e. in a state of peace, remaining war- and revolution-free
2. What was one economic change in the eighteenth century?
a. the urban middle class rose in numbers
b. the urban middle class declined in wealth
c. the urban middle class declined in social prominence
d. the aristocracy gained power and importance
e. the poor benefited from the progress that helped the high classes
3. Johann Joachim Quantz argued that ideal music
a. appealed to specific audiences because of its nationalistic traits
b. appealed primarily to amateurs because of its simplistic traits
c. appealed to wide audiences because of its distinctive nationalistic traits
d. appealed to wide audiences because it blended nationalistic traits
e. appealed primarily to professionals because of its intellectual traits
4. The philosophes of the Enlightenment were mainly
a. social reformers d. religious leaders
b. composers e. dissenters
c. philosophers
5. During the eighteenth century, musicians increasingly depended on whom for support?
a. churches d. city governments
b. courts e. private patrons
c. the public
6. Public concerts usually attracted what kind of audience?
a. the well-to-do, because concert tickets were expensive
b. all classes, because public concerts were funded by aristocratic patrons and therefore free
c. aristocrats, because public concerts were viewed as social, not musical, events
d. the middle class, because the nobility had their own private concerts
e. the lower classes, because public concerts were free and intended to reach those who could
not afford private concerts
7. Judging from public concert advertisements, programs usually lasted about how long in the eighteenth
century?
a. half an hour d. three hours
b. one hour e. six hours
c. two hours
8. The end of the eighteenth century saw a growing preference for opera in which language?
a. Italian d. Spanish
b. German e. the vernacular
c. French
CHAPTER 20: Musical Taste and Style in the Enlightenment

MULTIPLE CHOICE

1. Which best describes the political situation of eighteenth-century Europe?

a. under the command of one ruling power
b. countries became extremely individualized and separate
c. dominated by centralized states with large militaries
d. countries did not seek to expand their territories and influence
e. in a state of peace, remaining war- and revolution-free
2. What was one economic change in the eighteenth century?
a. the urban middle class rose in numbers
b. the urban middle class declined in wealth
c. the urban middle class declined in social prominence
d. the aristocracy gained power and importance
e. the poor benefited from the progress that helped the high classes
3. Johann Joachim Quantz argued that ideal music
a. appealed to specific audiences because of its nationalistic traits
b. appealed primarily to amateurs because of its simplistic traits
c. appealed to wide audiences because of its distinctive nationalistic traits
d. appealed to wide audiences because it blended nationalistic traits
e. appealed primarily to professionals because of its intellectual traits
4. The philosophes of the Enlightenment were mainly
a. social reformers d. religious leaders
b. composers e. dissenters
c. philosophers
5. During the eighteenth century, musicians increasingly depended on whom for support?
a. churches d. city governments
b. courts e. private patrons
c. the public
6. Public concerts usually attracted what kind of audience?
a. the well-to-do, because concert tickets were expensive
b. all classes, because public concerts were funded by aristocratic patrons and therefore free
c. aristocrats, because public concerts were viewed as social, not musical, events
d. the middle class, because the nobility had their own private concerts
e. the lower classes, because public concerts were free and intended to reach those who could
not afford private concerts
7. Judging from public concert advertisements, programs usually lasted about how long in the eighteenth
century?
a. half an hour d. three hours
b. one hour e. six hours
c. two hours
8. The end of the eighteenth century saw a growing preference for opera in which language?
a. Italian d. Spanish
b. German e. the vernacular
c. French
 9. Eighteenth-century public concert programs show that who was more important than composers?
a. librettists d. administrators
b. performers e. advertisers
c. audience
10. What contributed to the growing prestige of purely instrumental music?
a. nationalistic practices and themes in music
b. the idea of music as a universal language
c. a lack of communication among regions
d. the desire to depict a single emotion without words
e. a decline in available training for singers
11. How were private concerts normally funded?
a. by aristocratic sponsors d. by the government
b. by the audience e. by the church
c. by the performers
12. As a result of the founding in 1726 of the Academy of Ancient Music,
a. students learned how to play ancient instruments and music
b. other establishments concerned with the subject were formed
c. audiences rejected music of the past and preferred contemporary music
d. concerts of music from the past became increasingly popular
e. composers revived ancient composition styles
13. The galant style became popular for all of the following reasons except
a. it was considered “natural” d. it focused more on counterpoint
b. it was easily understood e. it focused more on melody
c. it followed Enlightenment ideas
14. Which would not have been an effective way to advertise a public concert?
a. word of mouth d. handbills
b. invitations e. newspapers
c. posters
15. What was one result of music as a leisure activity?
a. uninterested audience members
b. a split between social classes
c. the development of informed listeners
d. a decline in the number of public concerts
e. the establishment of amateur groups
16. Which eighteenth-century musical technique is a reaction against the complexity of Baroque music?
a. melodies in short phrases over spare accompaniment
b. melodies in long phrases over spare accompaniment
c. melodies in short phrases over lush accompaniment
d. melodies in long phrases over lush accompaniment
e. melodies in long phrases with no accompaniment
17. Where did the galant style originate?
a. in French operas d. in German operas
b. in Italian operas e. in French concertos
c. in French dance suites
18. In the 1700s, the Concert spirituel was a
a. new type of sacred music
b. popular choir
c. treatise that argued music was a gift from God
 d. concert series that fostered the development of the symphony
e. gathering of church officials to discuss sacred music
19. How did eighteenth-century musical values relate directly to central ideas of the Enlightenment?
a. an emphasis on the natural
b. traditional religion was a main influence
c. allusions to the supernatural
d. observation of nature was not important
e. complexity and artifice were preferred
20. Which is a quality one would expect to hear in Classic-period music?
a. a single idea or emotion in a section
b. no contrasts in style, texture, or mood
c. a theme that “spins out” one emotion
d. long phrases that develop the same material
e. contrasting moods in a movement
21. Harmony in the galant style
a. changes frequently and irregularly
b. stresses the subdominant
c. is found in rhythmically sustained values
d. has a slower harmonic rhythm that punctuates melodic segments
e. does not punctuate or articulate phrases
22. Which is not an example of periodicity?
a. melodic flow broken into fragments
b. distinct two- or four-measure phrases
c. sequential repetition as a principal device
d. frequent cadences with varied repetition
e. relating segments of melody to the whole
23. What allowed for more possibilities of contrast in the new music of the eighteenth century?
a. long lyrical melodic lines
b. a single mood for a theme or movement
c. chamber works for woodwinds only
d. differences in melodic and harmonic material according to its function in the form
e. continuous and quick harmonic rhythms
24. New styles in the eighteenth century placed musical focus on
a. harmony d. form
b. texture e. rhythm
c. melody
25. Which of the following is not an example of the hierarchy of cadences?
a. weak cadences mark internal phrases
b. the strongest cadences mark the ends of phrases
c. weak cadences mark closing phrases
d. strong cadences mark closing periods
e. the strongest cadences mark the ends of movements
TRUE/FALSE

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.
 d. concert series that fostered the development of the symphony
e. gathering of church officials to discuss sacred music
19. How did eighteenth-century musical values relate directly to central ideas of the Enlightenment?
a. an emphasis on the natural
b. traditional religion was a main influence
c. allusions to the supernatural
d. observation of nature was not important
e. complexity and artifice were preferred
20. Which is a quality one would expect to hear in Classic-period music?
a. a single idea or emotion in a section
b. no contrasts in style, texture, or mood
c. a theme that “spins out” one emotion
d. long phrases that develop the same material
e. contrasting moods in a movement
21. Harmony in the galant style
a. changes frequently and irregularly
b. stresses the subdominant
c. is found in rhythmically sustained values
d. has a slower harmonic rhythm that punctuates melodic segments
e. does not punctuate or articulate phrases
22. Which is not an example of periodicity?
a. melodic flow broken into fragments
b. distinct two- or four-measure phrases
c. sequential repetition as a principal device
d. frequent cadences with varied repetition
e. relating segments of melody to the whole
23. What allowed for more possibilities of contrast in the new music of the eighteenth century?
a. long lyrical melodic lines
b. a single mood for a theme or movement
c. chamber works for woodwinds only
d. differences in melodic and harmonic material according to its function in the form
e. continuous and quick harmonic rhythms
24. New styles in the eighteenth century placed musical focus on
a. harmony d. form
b. texture e. rhythm
c. melody
25. Which of the following is not an example of the hierarchy of cadences?
a. weak cadences mark internal phrases
b. the strongest cadences mark the ends of phrases
c. weak cadences mark closing phrases
d. strong cadences mark closing periods
e. the strongest cadences mark the ends of movements
TRUE/FALSE

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

a. a recitative from an opera buffa d. a chorus from an opera seria

b. an aria from an opera buffa e. an ensemble from an intermezzo
c. an ensemble from an opera seria
3. ____________ is one of the most famous and successful intermezzi.
a. The Beggar’s Opera d. Orfeo ed Euridice
b. Cleofide e. La serva padrona
c. Le devin du village
4. Which aspect of intermezzi differs from opere serie?
a. the action progressed through alternating recitatives and arias
b. they were performed exclusively at court theaters
c. they employed spoken dialogue and familiar tunes
d. they often had heroic characters and plots that reinforced social hierarchies
e. they often parodied heroic characters and questioned social hierarchies
5. In La serva padrona, why does Pergolesi use orchestrally accompanied recitative while Uberto debates
whether to marry Serpina?
a. using a convention normally reserved for high drama increases the comic effect
b. it avoids contrasting elements and shows the character’s genuine anguish
c. it suggests Uberto’s somber and pensive self-examination
d. it allows for increased development of a single motive throughout the aria that follows
e. it allows Pergolesi to avoid writing an extended da capo aria
6. In a comic opera in the late 1700s, an act would most likely end with
a. a moral to the story sung by the main character
b. a sung thank-you to the audience for attending
c. an elegant aria sung by the lead female character
d. all characters onstage, singing together
e. a love duet between the leading characters
7. Which of the following is not a typical characteristic of Italian comic opera in the mid-1700s?
a. periodic phrasing
b. tuneful melodies
c. sparse accompaniment, often with continuo
d. complex harmonies
e. stylistic contrasts
8. In an opera seria, action progresses through
a. arias and duets
b. choruses that comment upon the drama
c. orchestral interludes
d. large ensembles that include all the characters
e. recitative, either simple or accompanied
9. The musical example shown here demonstrates that
 a. Hasse wrote the ornamentation that he wanted singers to use
b. Hasse used unsteady rhythms in the bass to highlight the melody
c. Hasse wrote violin and flute parts that embellish the melody
d. Hasse preferred that each phrase have a distinctive opening motive
e. Hasse wrote elegant melodies that allow singers to add a variety of ornaments
10. Why did Jean-Jacques Rousseau praise Italian composers’ emphasis on melody?
a. he chose to write his operas in the Italian style and wanted his compositions to receive
positive reviews from critics
b. he thought that layering melodies (counterpoint) was truer to nature because it expressed
multiple ideas and emotions
c. he believed that melody aroused sentiments in the soul
d. he felt that captivating melodies provided the best foundation for complex
accompaniments
e. he believed that the Italian tradition’s equal emphasis on melody and harmony allowed for
greater text expression

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

2. Who invented the pianoforte?

a. Koch d. Wagenseil
c b. Galuppi e. J. S. Bach
c. Cristofori
ANS: C DIF: Easy REF: 500 TOP: Instruments and Ensembles
MSC: Factual

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

7. Your text compares the string quartet to what other activity?

a. dancing d. hosting parties
b. playing cards e. blogging
B c. writing emails
ANS: B DIF: Easy REF: 501–502 TOP: Instruments and Ensembles
MSC: Factual

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

10. Introductory Essay on Composition was written by

a. C. P. E. Bach d. J. C. Bach
b. J. Stamitz e. J. S. Bach
c. H. C. Koch
c
ANS: C DIF: Medium REF: 506 TOP: Sonatas Form | Koch
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

16. Which of the following is not a characteristic of empfindsam style?

a. unusual melodic lines d. nervous rhythms
b. sudden changes in dynamic level e. abrupt changes in harmony
c. regular phrases
c
ANS: C DIF: Medium REF: 511 TOP: Keyboard Music
MSC: Applied

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

18. Which of these genres is not a predecessor of the symphony?

a. string quartet d. church sonata
b. orchestral concerto e. orchestral suite
A c. opera overture
ANS: A DIF: Medium REF: 512–513 TOP: Symphony
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

22. Which genre was designed for composer-performers?

a. sonata d. minuet and trio form
b. quartet and other small ensembles e. symphony
c c. symphonie concertante
ANS: C DIF: Medium REF: 514–515
TOP: Symphony | Symphonie Concertante MSC: Conceptual

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

1. Today Joseph Haydn is best remembered for his

a. operas and oratorios d. string quartets and piano concertos
b. piano sonatas and concertos e. string quartets and symphonies
c. masses and symphonies
2. Haydn spent much of his career
a. in London
b. as a freelance musician
c. working for the Archbishop of Salzburg
d. working for a single noble family
e. at St. Stephen’s Cathedral in Vienna
3. Why is the Esterházy family important for Classic-era music?
a. they employed Mozart when he was young
b. they fired Mozart, which allowed him to go to Vienna
c. they sponsored public concerts, which helped popularize Mozart’s music
d. they fired Haydn, which allowed him to go to London
e. they provided Haydn with job stability and skilled musicians
4. Haydn began his career as
a. a child prodigy
b. a choirboy at a cathedral
c. a freelance violinist
d. an accompanist for a famous voice teacher
e. a music copyist
5. By the 1780s, Haydn had increased the orchestra he composed for from fourteen to ________ players.
a. sixteen d. sixty
b. twenty-five e. seventy
c. forty
6. A baryton is a
a. male singer who often plays comic roles
b. brass instrument
c. string instrument with a set of sympathetic strings
d. pedal on the organ
e. type of keyboard no longer in use
7. The galant style was the primary source for what aspect of Haydn’s music?
a. tuneful melodies with paired, brief phrases
b. heightened sentiment, expression, and variation
c. passages that resemble folk music
d. counterpoint
e. Turkish elements
8. Fux’s Gradus ad Parnassum was the primary source for what aspect of Haydn’s music?
a. tuneful melodies with paired, brief phrases
b. heightened sentiment, expression, and variation
c. passages that resemble folk music
d. counterpoint
e. Turkish elements
 9. Empfindsam and C. P. E. Bach were the primary sources for what aspects of Haydn’s music?
a. tuneful melodies with paired, brief phrases
b. heightened sentiment, expression, and variation
c. passages that resemble folk music
d. counterpoint
e. Turkish elements
10. “Is there an artist of the present day
Untaught by thee to think, as well as play?”
Burney’s poem refers to what aspects of Haydn’s musical style?
a. economy and use of conventions
b. expansion of phrases and ideas
c. ability to write sophisticated music but also be witty and humorous
d. ability to differentiate phrase functions
e. learned counterpoint
11. Why has Haydn been called the Father of the Symphony?
a. he invented the genre
b. he taught Beethoven
c. he set standards and patterns that later composers emulated
d. his symphonies were more admired than Mozart’s
e. his students and co-workers called him “Papa”
12. The second movement of a Haydn symphony
a. is in rondo or sonata-rondo form d. is gentler and slower than the first
b. is often in minor e. usually is highly dramatic
c. has a slow introduction
13. Possibly because of competition with his former student Pleyel, Haydn used ________ in his London
works.
a. a larger orchestra, including timpani and trumpets
b. less daring harmonies
c. more counterpoint
d. shorter movements
e. more melodious themes and novel effects or surprises

14. The string quartet is often compared to a

a. sermon or essay d. concise poem
b. conversation among friends e. theatrical performance
c. dance

15. Critics complained that Haydn’s masses were too

a. simple d. serious
b. complicated e. Italianate
c. cheerful
16. The Creation was designed to be sung in which two languages?
a. English and German d. English and Italian
b. English and French e. German and Italian
c. German and French
17. The Creation is
a. an oratorio by Handel
b. an oratorio by Haydn
 c. an opera by Haydn written for London
d. the nickname for one of Haydn’s symphonies
e. the nickname for one of Haydn’s quartets
18. Eighteenth-century philosophers argued that the sublime in music produces
a. beauty d. intense laughter
b. pleasure e. delicacy
c. awe and astonishment
19. Mozart wrote three operas with which librettist?
a. Metastasio d. da Ponte
b. C. W. Gluck e. G. B. Pergolesi
c. Calzabigi
20. Mezzo carattere refers to
a. a type of soprano used in eighteenth-century operas
b. dynamics (medium loud)
c. characters played by castrati
d. an opera from the 1700s that combines serious and comic styles
e. minuets that are more like folk dances in character
21. Why is Ludwig von Köchel significant?
a. he invited Haydn to London
b. he was the librettist for Die Zauberflöte
c. he rediscovered and revived the cantatas of J. S. Bach
d. his harpsichord music influenced Haydn and Mozart
e. he catalogued Mozart’s compositions, and we still use his system today

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

1. Haydn and Mozart admired and influenced each other.

 2. In Classic-era music, contrasts of stability and instability help listeners follow the form.

3. Fragmentation, counterpoint, distant harmonies, and silences are common in Haydn’s development
sections.

4. Haydn prefers to make the onset of the recapitulation obvious so that listeners can readily follow the
form.

5. In three of his early symphonies, Haydn incorporated prominent solo passages to showcase the
principal players.

6. Haydn, unlike most of his contemporaries, did not write an opera.

7. Mozart’s sister and father were also gifted musicians.

8. Mozart’s travels as a youth were important because they allowed him to absorb and later synthesize
every kind of music being written in western Europe.

9. Mozart wrote no serious operas once he became an adult.

10. The Requiem is one of the last works Mozart completed.

SHORT ANSWER

1. Who controlled the distribution of Haydn’s music under his original contract?

ANS:
His employer or Prince Esterházy

DIF: Medium REF: 522 TOP: Source Reading | Haydn’s Contract

MSC: Factual

2. List three duties or stipulations from Haydn’s original contract

ANS:
Answers could include: wear a uniform; supervise the other musicians; compose music; coordinate
performances at royal command; take care of the musical instruments and the music; teach the female
singers; practice; maintain honorable, temperate conduct; meet with the prince daily to see if a
performance was required

DIF: Medium REF: 522 TOP: Source Reading | Haydn’s Contract

MSC: Factual

3. Most Haydn symphonies have ________ movements. The first movement generally uses ________
form.

ANS:
four/sonata

DIF: Easy REF: 528 TOP: Symphonic Form

MSC: Factual
4. List the three stages of sonata form in order. Then list two optional sections that Haydn and other
composers frequently included to open and close the form.

ANS:
exposition, development, recapitulation/slow introduction, coda

DIF: Easy REF: 529–530 TOP: Symphonic Form

MSC: Factual

5. “They are Brilliant—pleasing to the ear. . . .There are passages here and there that only connoisseurs
can fully appreciate, yet the common listener will find them as well.” Mozart’s letter about his piano
concertos reflects that successful composers during the Classic era tried to do what?

ANS:
Answers could include: please both sophisticated and less sophisticated listeners; appeal to a wide
range of audience members; appeal to a diverse audience; please both the music lover and the expert;
have double appeal

DIF: Medium REF: 519 | 523 | 548

TOP: Classic Music in the Late Eighteenth Century MSC: Conceptual

6. In the 1700s, symphonies were typically performed by ______________ for an audience, while string
quartets and keyboard sonatas were for ______________ to play at home.

ANS:
professionals/amateurs or non-professionals

DIF: Medium REF: 534 | 536 TOP: String Quartets

MSC: Factual

7. The musical excerpt below contains several techniques that Classic-era composers used in their works.
List at least three.
 ANS:
Answers could include: songlike opening phrase; balanced phrases or antecedent-consequent; diverse
styles or contrasting topics or ideas; Sturm und Drang or Storm and Stress style; melody and Alberti
bass accompaniment; second phrase extended

DIF: Hard REF: 545–547 TOP: Contrasting Styles

MSC: Applied

8. Mozart’s themes often are ______________, perhaps reflecting his time in Italy, while Haydn’s often
tend to vary ______________.

ANS:
songlike or lyrical/motives, smaller motives, or motivic ideas or a single theme or idea

DIF: Hard REF: 545 TOP: Mozart’s Mature Style | Themes

MSC: Conceptual

9. Arranging and re-orchestrating music by _____________ and _____________ influenced Mozart’s

music.

ANS:
J. S. Bach/ Handel
 DIF: Hard REF: 545 TOP: Mozart | Influence of Haydn, Bach, and Handel
MSC: Conceptual

10. List three musical techniques that Mozart uses to depict characters and their emotions in his operas.

ANS:
Answers could include: tonal or harmonic changes; different dance rhythms or types; orchestration;
departures from conventions; opera seria or opera buffa idioms; blending opera seria and opera buffa
idioms

DIF: Medium REF: 552–556 TOP: Mozart | Operas

MSC: Applied

MATCHING

Match each item to the correct description below.

a. minuet and trio d. sonata-rondo
b. scherzo e. topics
c. serenade

1. differing styles within Classic-era music, used by composers to create contrast

2. often intended for outdoor performances
3. ABA overall, a dance form with repeats
4. literally “joke,” an especially fast ABA movement that often plays with expectations
5. ABACABA

1. ANS: E
2. ANS: C
3. ANS: A
4. ANS: B
5. ANS: D

Match each item to the correct description below.

a. Eine kleine Nachtmusik d. The Magic Flute
b. Die Entführung aus dem Serail e. Surprise Symphony
c. Jupiter Symphony
6. considered by many to be the first great opera in German
7. a serenade by Mozart
8. Mozart’s first operatic hit
9. features a highly contrapuntal finale
10. features a sudden and startling fortissimo crash

6. ANS: D
7. ANS: A
8. ANS: B
9. ANS: C
10. ANS: E
ESSAY

1. Compare and contrast the music and careers of Haydn and Mozart. Be sure to mention specific pieces
and/or genres in your answer.

ANS:
Answers will vary.

2. What traditions does Mozart’s opera Don Giovanni bring together? Discuss the musical devices and
techniques Mozart uses in this opera and others to depict the characters and carry the action forward.

ANS:
Answers will vary.