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25 Cards in this Set
- Front
- Back
(T/F) The evolution from the Renaissance style to the Baroque style occurred in music before the visual arts, and in northern Europe before southern Europe.
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False
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The Protestant Reformation led to a long period of religious conflict marked by all of the following except
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- Protestants stormed Catholic churches.
-works of art and musical instruments were destroyed. -Catholics established the court of Inquisition to condemn dissenters. Xthe eventual settlement of Catholics in northern Europe and Protestants in Italy. |
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(T/F) The high emotions of the late Renaissance religious conflict coincided with the rise of a more emotional style in the arts.
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True
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The vivid, passionate expression of the _________–human emotions or "states of the soul"–led to the Baroque period.
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affections
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(T/F) The transition from the Renaissance to the Baroque can be described as a change from a romantic emphasis on drama and personal expression to a more classical style that stressed balance, order, and repose.
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FALSE
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(T/F) Two famous artists whose work reflected the increased emotionalism prevalent during the transition from the Renaissance to the Baroque were Michelangelo and El Greco.
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TRUE
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One of the many composers whose music exhibited both the Renaissance and Baroque styles was
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Carlo Gesualdo.
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The practice of using all the notes–both in and out of the mode–to create complex and dissonant effects is called
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chromaticism.
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Gesualdo employed chromaticism in his madrigals to
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increase the tempo.
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The church of St. Mark in Venice, Italy, designed in the plan of a cross, became the center for the performance of __________ music, festive music performed by several choirs of voices and/or instruments.
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polychoral
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All of these were particularly significant characteristics of the Venetian polychoral style except
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-the several choirs and instruments performing simultaneously were better served by chordal or homorhythmic texture than by the Renaissance polyphony.
X contrasting sonorities of various voices and instruments did not appeal to the Baroque imagination. -Venetian polychoral works included large sections of massive chordal combinations. - the concertato principle. |
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An underlying concept of the Baroque style, the contrasting sonorities of various voices and instruments, was known as the _______________ principle.
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concertato
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___________ was a famous Italian organist, teacher, and composer who wrote many compositions for St. Mark's in Venice
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Giovanni Gabrieli.
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A piece to be played or sounded upon instruments rather than sung was called a
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sonata
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(T/F) Contrasting dynamic levels became an important characteristic of Baroque music.
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true
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The Florentine Camerata was centered in __________, Italy.
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-Venice
-Rome -Milan NONE OF THE ABOVE (FLORENCE) |
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The Florentine Camerata was
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a group of intellectuals who discussed and promoted changes in artistic style.
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One of the most significant contributions of the Florentine Camerata was a new type of solo singing called
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monody.
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The Florentine Camerata found the existing vocal forms unsuitable for the clear and dramatic expression of a text for all of the following reasons except
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X the combination of melodic lines in the polyphonic madrigal made it too easy to understand the words
-the melody lines of the typical Renaissance madrigal were unrelated to the natural declamation of the words. -they considered madrigalisms "childish" and sought a more natural method of expressing texts. -the use of the same melody for several verses of a strophic song belied any relationships between words and music. |
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(T/F) Aware of the ideals of the ancient Greeks, the members of the Florentine Camerata envisioned a style of melody that would approximate the dramatic declamation of a text.
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TRUE
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Both monody and the Venetian polychoral style implied a new texture of music eventually known as
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Homophony
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Baroque term for human emotions or states of the soul
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affections
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-Music for two or more choirs, vocal, instrumental, or both, performed antiphonally
-A characteristic feature of music of the Ventian school |
polychoral music
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Principle of contrasting the sonorities of large and small vocal and instrumental ensembles
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concertato principle
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In the 15th and 16th centuries, an instrumental composition to be "sounded" on instrments rather than sung.
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sonata
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