Music Then And Now By Thomas Forrest Kelly – Test Bank
CHAPTER 4: Claudio Monteverdi’s Orfeo
MULTIPLE CHOICE
1.Monteverdi is widely considered the earliest master of what dramatic musical genre?
|
a. |
opera |
d. |
polyphonic mass |
|
b. |
motet |
e. |
plainchant |
|
c. |
organum |
||
ANS: A DIF: Easy REF: pp. 91–92 TOP: Introduction
MSC: Applied
2.In the seventeenth century, the region surrounding Mantua was controlled by this family:
|
a. |
Monteverdi |
d. |
Este |
|
b. |
Medici |
e. |
Ferrara |
|
c. |
Gonzaga |
||
ANS: C DIF: Medium REF: p. 92 TOP: The Setting: Mantua in 1607
MSC: Factual
3.Which of the following is NOT a way that seventeenth-century Italian nobles would publicly demonstrate their wealth?
|
a. |
building grand palaces |
d. |
sponsoring democratic debates |
|
b. |
patronizing great artists |
e. |
traveling widely throughout the region |
|
c. |
hosting lavish events |
||
ANS: D DIF: Medium REF: p. 92 TOP: The Setting: Mantua in 1607
MSC: Applied
4.By 1607, Monteverdi had gained broad renown through which of the following activities?
|
a. |
performing as a traveling minstrel |
d. |
teaching music to wealthy patrons |
|
b. |
conducting a well-known ensemble |
e. |
improvising epic poems |
|
c. |
publishing several books of music |
||
ANS: C DIF: Hard REF: p. 94 TOP: The Setting: Mantua in 1607
MSC: Applied
5.To overturn the corrupting of modern art, a group of sixteenth-century Florentine thinkers and artists advocated a return to ideals associated with:
|
a. |
Renaissance motets |
d. |
pre-Reformation Catholicism |
|
b. |
Greek tragedy |
e. |
Gregorian chant |
|
c. |
medieval polyphony |
||
ANS:BDIF:HardREF:p. 94
TOP: The Setting: The Birth of Opera MSC: Applied
6.Which of the following is NOT a way that Renaissance music was used in dramatic settings?
|
a. |
as opera |
|
b. |
as songs within dramatic plays |
|
c. |
as accompaniment to dance performances |
|
d. |
as interludes between the acts of a play |
|
e. |
as part of elaborate stage spectacles |
ANS:ADIF:HardREF:p. 94
TOP: The Setting: The Birth of Opera MSC: Applied
7.By focusing on accompanied solo singing, the founders of opera believed that:
|
a. |
the music would confuse listeners |
|
b. |
the audience would have difficulty understanding the plot |
|
c. |
the music would be less powerful than large choral works |
|
d. |
the musical nuances would dramatize the emotional nuances of the text |
|
e. |
the music would distort the meaning of the words |
ANS:DDIF:MediumREF:p. 94
TOP: The Setting: The Birth of Opera MSC: Conceptual
8.Which of the following does NOT describe Apollo?
|
a. |
god of the sun |
d. |
father of Orpheus |
|
b. |
god of balance |
e. |
god of wine |
|
c. |
god of music |
||
ANS:EDIF:MediumREF:pp. 95–96
TOP: The Setting: The Story of Orpheus MSC: Factual
9.Which of the following does NOT describe Alessandro Striggio?
|
a. |
prince |
d. |
diplomat |
|
b. |
poet |
e. |
lawyer |
|
c. |
musician |
||
ANS:ADIF:EasyREF:p. 96
TOP: The Setting: The Story of Orpheus MSC: Factual
10.The plot of Orfeo conforms to traditional Greek drama in all of the following ways EXCEPT that:
|
a. |
it ends in tragedy |
|
b. |
its hero is a musician |
|
c. |
it teaches the audience a lesson about morality and temperance |
|
d. |
it focuses on a hero overcoming insurmountable odds |
|
e. |
it features a prologue, long poetic speeches, and a chorus |
ANS:BDIF:MediumREF:p. 97
TOP: The Setting: The Story of Orpheus MSC: Applied
11.The role of the chorus in Greek tragedy is to:
|
a. |
entertain the audience between acts of the drama |
|
b. |
narrate the action of the drama |
|
c. |
comment on the drama and provide a moral or lesson |
|
d. |
accompany the solo singers on instruments |
|
e. |
move silently around the stage |
ANS:CDIF:MediumREF:p. 97
TOP: The Setting: The Story of Orpheus MSC: Factual
12.A large spectacle such as an opera requires the coordination of a number of disparate resources. Which of the following was NOT a part of the preparations for Orfeo’s premiere?
|
a. |
contracting singers |
|
b. |
building a stage and sets |
|
c. |
designing costumes |
|
d. |
hiring instrumentalists |
|
e. |
promoting the performance and selling tickets |
ANS:EDIF:HardREF:p. 97
TOP: The Performance: Preparations MSC: Factual
13.Which of the following resources have historians NOT used in attempting to understand the circumstances of Orfeo’s premiere?
|
a. |
Monteverdi’s diary |
|
b. |
the duke of Mantua’s payroll records |
|
c. |
letters between the Gonzaga brothers |
|
d. |
Monteverdi’s score, with his annotations included |
|
e. |
surviving building projects from the Mantuan Prefect of the Ducal Fabric |
ANS:ADIF:HardREF:p. 97
TOP: The Performance: Preparations MSC: Applied
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