A) alba.
B) arioso.
C) libretto.
D) interlude.
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A) opera.
B) Greek tragedy.
C) a madrigal.
D) a motet.
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A) the increased popularity of liturgical dance in the church.
B) commissions from royalty to compose dance music for festive occasions.
C) the way ballet was used in opera.
D) its popularity with the rising middle class.
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A) contrasting keyboards.
B) similar meters.
C) bass lines.
D) attention to variation.
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A) expressing the views of many individuals at once.
B) expressing the emotions of the individual.
C) enacting biblical stories.
D) political propaganda.
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A) the monophonic statement of a theme
B) interlocking ostinatos
C) polyphonic accompaniment by brass instruments
D) the interjection of virtuosic drumming
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A) Italy
B) Germany
C) France
D) England
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A) monophony, then polyphony
B) monophony, then homophony
C) polyphony, then homophony
D) imitative polyphony, then non-imitative polyphony
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A) less concerned with structure.
B) more influenced by classical Greek music theory.
C) less oriented toward intense sonorities.
D) more controlled and systematic.
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A) Claudio Monteverdi and Arcangelo Corelli
B) Andrea Gabrieli and Giovanni Gabrieli
C) Arcangelo Corelli and Henry Purcell
D) Giovanni Gabrieli and Claudio Monteverdi
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A) sonorous effects.
B) complex textures.
C) word painting.
D) austere moods.
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A) the Bible
B) the Aeneid, by Virgil
C) a Shakespearean play
D) an original play he wrote earlier in his career
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A) an instrumental introduction of drums and flutes.
B) an aria-like solo.
C) a clear ostinato that lasts the entire piece.
D) two choral announcements.
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A) aria.
B) theme.
C) recitative.
D) arioso.
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A) 1450.
B) 1581.
C) 1729.
D) 1637.
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A) George Frideric Handel
B) Thomas Morley
C) William Byrd
D) Henry Purcell
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A) seventeenth-century Paris.
B) sixteenth-century London.
C) seventeenth-century Venice.
D) sixteenth-century Rome.
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