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Test Bank for The Humanities: Culture, Continuity, and Change, Volume 2, 4th Edition - Document preview page 1

Test Bank for The Humanities: Culture, Continuity, and Change, Volume 2, 4th Edition - Page 1

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Test Bank for The Humanities: Culture, Continuity, and Change, Volume 2, 4th Edition

Maximize your exam performance with Test Bank for The Humanities: Culture, Continuity, and Change, Volume 2, 4th Edition, providing a comprehensive review of key topics.

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Test Bank for The Humanities: Culture, Continuity, and Change, Volume 2, 4th Edition - Page 1 preview imageTest BankForThe HumanitiesCulture, Continuity & ChangeFourth EditionVolume 2Henry M. SayrePrepared byR. Dean Carpenter Turner,ProfessorArt & Architectural HistoryThe Art Institute of Austin
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Test Bank for The Humanities: Culture, Continuity, and Change, Volume 2, 4th Edition - Page 2 preview image
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Test Bank for The Humanities: Culture, Continuity, and Change, Volume 2, 4th Edition - Page 3 preview imageiiiTable of Contents21The Baroque in Italy: The Church and Its Appeal122The Secular Baroque in the North: The Art of Observation3623The Baroque Court: Absolute Power and Royal Patronage8124The Rise of the Enlightenment in England: The Claims of Reason12225The Rococo and the Enlightenment on the Continent: Privilege and Reason15726The Rights of Man: Revolution and the Neoclassical Style19127The Romantic World View: The Self in Nature and the Nature of Self22828Industry and the Working Class: A New Realism26029Defining a Nation: American National Identity and the Challenge of Civil War29830Global Confrontation and Modern Life: The Quest for Cultural Identity33631The Promise of Renewal: Hope and Possibility in Late Nineteenth-Century Europe36732The Course of Empire: Expansion and Conflict in America40433The Fin de Siècle: Toward the Modern44034The Era of Invention: Paris and the Modern World47535The Great War and Its Impact: A Lost Generation and a New Imagination50836New York, Skyscraper Culture, and the Jazz Age: Making It New54337The Age of Anxiety: Fascism and Depression, Holocaust and Bomb57938After the War: Existential Doubt, Artistic Triumph, and the Culture of Consumption62239Multiplicity and Diversity: Cultures of Liberation and Identity in the 1960s and 1970s66040Without Boundaries: Multiple Meanings in a Postmodern World696
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Test Bank for The Humanities: Culture, Continuity, and Change, Volume 2, 4th Edition - Page 4 preview image1Chapter 21The Baroque in Italy:The Churchand Its AppealMultiple Choice Questions1. A defining characteristic of Baroque art wasa.attention to the viewers’ emotional experience of a work.b.a return to the forms and proportions of Classical art.c.a focus on symbolism.d.a minimal decoration andsensuousness.Answer: aLearning Objective: 21.1 Discuss how the Baroque style, especially in sculpture and architecture,furthered the agenda of the Counter-Reformation.Topic: Chapter IntroductionDifficulty Level: EasySkill Level: Remember the Facts2.The termBaroquewas originally used in a derogatory way because the new stylea.was associated with the common people.b.was very expensive to create.c.defied the Council of Trent’s directives.d.was seen as too ornate and strange.Answer: dLearning Objective:21.1 Discuss how the Baroque style, especially in sculpture and architecture,furthered the agenda of the Counter-Reformation.Topic: Chapter IntroductionDifficulty Level: EasySkill Level: Remember the Facts3. Baroque artists placed elements on adiagonal plane, rather than the frontal and parallel planes usedby Renaissance artists, toa.evoke a sense of greater depth.b.induce more defined shadows.c.produce a stronger sense of action.d.provide greater balance.Answer: cLearning Objective: 21.1 Discusshow the Baroque style, especially in sculpture and architecture,furthered the agenda of the Counter-Reformation.Topic: Baroque Style and the Counter-ReformationDifficulty Level: EasySkill Level: Understand the Concepts
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Test Bank for The Humanities: Culture, Continuity, and Change, Volume 2, 4th Edition - Page 5 preview image24. The Roman patrons who weremost responsible for creating the Baroque style werea.the middle class.b.the nobility.c.womend.the papal court.Answer: dLearning Objective: 21.1 Discuss how the Baroque style, especially in sculpture and architecture,furthered the agenda of theCounter-Reformation.Topic: Baroque Style and the Counter-ReformationDifficulty Level: EasySkill Level: Remember the Facts5. In his work in St. Peter’s Basilica, Gianlorenzo Bernini decorated the baldachino’s groovedcolumns with bronze vines toa.symbolize the union of the Old and New Testaments.b.create a sense of naturalism.c.emphasize the blending of Classical and Italian design.d.draw the viewers’ eyes upward along the spirals.Answer: aLearning Objective: 21.1 Discuss how the Baroque style,especially in sculpture and architecture,furthered the agenda of the Counter-Reformation.Topic: Sculpture and Architecture: Bernini and His FollowersDifficulty Level: ModerateSkill Level: Understand the Concepts6. In his Cornaro Chapel’s sculptural program, Bernini equated Teresa of Ávila’s religious visionswitha.spiritual rebirth.b.chastity.c.sexual orgasm.d.dancing.Answer: cLearning Objective: 21.1 Discuss how the Baroque style, especially in sculpture and architecture,furthered the agenda of the Counter-Reformation.Topic: Sculpture and Architecture: Bernini and His FollowersDifficulty Level: ModerateSkill Level: Apply What You Know and Analyze It
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Test Bank for The Humanities: Culture, Continuity, and Change, Volume 2, 4th Edition - Page 6 preview image37. On each side of his Cornaro Chapel sculptural program, Gianlorenzo Bernini included theaterboxes toa.allow visitors to have a better view of Saint Teresa.b.create preferential seating for the Cornaro family.c.emphasize his design’s high drama.d.provide extra seating for churchgoers.Answer: cLearning Objective: 21.1 Discuss how the Baroque style, especially in sculpture and architecture,furthered the agenda of the Counter-Reformation.Topic: Sculpture and Architecture: Bernini and His FollowersDifficulty Level: EasySkill Level: Understand the Concepts8. In theFour Rivers Fountain,Gianlorenzo Bernini intended the obelisk to representa.the triumph of the Roman Catholic Church over the world’s rivers.b.Holy Roman Emperor Ferdinand III’s defeat of Egypt.c.the domination of the Roman Catholic Church over paganism.d.the Roman Catholic Church’s positionas the center of the world.Answer: aLearning Objective: 21.1 Discuss how the Baroque style, especially in sculpture and architecture,furthered the agenda of the Counter-Reformation.Topic: Sculpture and Architecture: Bernini and His FollowersDifficultyLevel: ModerateSkill Level: Apply What You Know and Analyze It9. Giacomo della Porta’s façade for the church of Il Gesù is considered by many to be the firstarchitectural manifestation of the Baroque style because of itsa.ornate ceiling painting.b.classic proportions.c.dramatic jamb statues.d.added dimensionality.Answer: dLearning Objective: 21.1 Discuss how the Baroque style, especially in sculpture and architecture,furthered the agenda of the Counter-Reformation.Topic: Materials and Techniques: The Façade from Renaissance to BaroqueDifficulty Level: EasySkill Level: Remember the Facts
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Test Bank for The Humanities: Culture, Continuity, and Change, Volume 2, 4th Edition - Page 7 preview image410. Fra Andrea Pozzo illustrates a highly dramatic space inTriumph of Saint Ignatius of Loyolausinga.chiaroscuro.b.foreshortening.c.tenebrism.d.an invisible complement.Answer: bLearning Objective: 21.1 Discuss how the Baroque style, especially in sculpture and architecture,furthered the agenda of the Counter-Reformation.Topic: Closer Look: Andrea Pozzo’sTriumph of Saint Ignatius of LoyolaDifficulty Level: ModerateSkill Level: Apply What You Know and Analyze It11. The Church of San Carlo alle Quattro Fontane, attributed to Francesco Borromini, best illustrateswhat principle of Baroque style?a.surpriseb.grandiose characterc.elaborate designd.the ornateAnswer: aLearning Objective: 21.1 Discuss how the Baroque style, especially in sculpture and architecture,furthered the agenda of the Counter-Reformation.Topic: San Carlo alle Quattro FontaneDifficulty Level: ModerateSkill Level: Apply What You Know and Analyze It12. InThe Calling of Saint Matthew, Caravaggio portrayed some of his subjects in contemporaryBaroque attirea.so that he could use richer colors and brushstrokes.b.to conform with other paintings in the series.c.to enable the audience to identify with them.d.to portray the painting’s patrons realistically.Answer: cLearning Objective: 21.2 Discuss how the Baroque style manifests itself in painting.Topic: Master of Light and Dark: CaravaggioDifficulty Level:EasySkill Level: Understand the Concepts13. Caravaggio uses light inThe Calling of Saint Matthewto illustratea.a transformation of the calling into a miracle.b.and identify which of the subjects is Matthew.c.Matthew’s conversion as a threatening subject matter.d.Jesus’ entrance as threatening.Answer: aLearning Objective: 21.2 Discuss how the Baroque style manifests itself in painting.Topic: Master of Light and Dark: CaravaggioDifficulty Level: ModerateSkill Level: Understand the Concepts
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Test Bank for The Humanities: Culture, Continuity, and Change, Volume 2, 4th Edition - Page 8 preview image514. Which technique uses large areas of dark that contrast sharply with smaller brightly illuminatedareas?a.atmospheric perspectiveb.tenebrismc.foreshorteningd.invisible complementAnswer: bLearning Objective: 21.2 Discuss how the Baroque style manifests itself inpainting.Topic: Master of Light and Dark: CaravaggioDifficulty Level: ModerateSkill Level: Understand the Concepts15. What thematic interest do Caravaggio’sConversion of St. Pauland John Donne’s sonnet “BatterMy Heart” share?a.a celebration of thephysical appetiteb.a tension between the sacred and the secularc.a conversion imagined as physical ravishmentd.a light revealing faith’s transformative powerAnswer: cLearning Objective: 21.2 Discuss how the Baroque style manifests itself inpainting.Topic: The Baroque and Sexuality: Caravaggio and the Metaphysical Poetry of John Donne.Difficulty Level: EasySkill Level: Remember the Facts16. Elisabetta Sirani’sVirgin and Childillustrate Christianity’s miracles asa.everyday events.b.mythological events.c.sexual experiences.d.dramas of harmony.Answer: aLearning Objective: 21.2 Discuss how the Baroque style manifests itself in painting.Topic: Elisabetta Sirani and Artemisia Gentileschi: Caravaggisti Women.Difficulty Level: DifficultSkill Level: Apply What You Know and Analyze It17. What might account for Artemisia Gentileschi’s painting five versions of the biblical story ofJudith beheading Holofernes including a-portrait of herself as Judith?a.Gentileschi was of Jewish descent.b.Gentileschi’s mother was named Judith.c.Judith was a female artist.d.Gentileschi had been raped and understood revenge.Answer: dLearning Objective: 21.2 Discuss how the Baroque style manifests itself in painting.Topic: Elisabetta Sirani and Artemisia Gentileschi: Caravaggisti Women.Difficulty Level: ModerateSkill Level: Apply What You Know and Analyze It
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Test Bank for The Humanities: Culture, Continuity, and Change, Volume 2, 4th Edition - Page 9 preview image618. Divisions between secular and religious music were less pronounced in Venice because the citya.had traditionally ignored papal authority.b.had a large Protestant population.c.was too far from Rome for anyone to notice.d.was not part of the Holy Roman Empire.Answer: aLearning Objective: 21.3 Examine how the Baroque style developed musically in Venice.Topic: Venice and Baroque MusicDifficulty Level:EasySkill Level: Remember the Facts19. As a response to Counter-Reformation doctrine, Giovanni Gabrieli aimed to make church musica.a distance spiritual experience.b.a more widely accepted genre.c.a more emotionally engaging experience.d.an improved genrethrough various percussion instruments.Answer: cLearning Objective: 21.3 Examine how the Baroque style developed musically in Venice.Topic: Giovanni Gabriele and the Drama of HarmonyDifficulty Level: ModerateSkill Level: Understand the Concepts20.The canzona’s dominant rhythm isa.short-long.b.long-short-short.c.long-long.d.short-long-long.Answer: bLearning Objective: 21.3 Examine how the Baroque style developed musically in Venice.Topic: Giovanni Gabriele and the Drama of HarmonyDifficulty Level: EasySkill Level: Remember the Facts21. Giovanni Gabrieli organized his compositions around a single note—the tonic note—toa.heighten the sense of harmonic drama.b.allow more pitch for the voices.c.create effects of sonority in a cathedral.d.enable words to beheard over the music.Answer: aLearning Objective: 21.3 Examine how the Baroque style developed musically in Venice.Topic: Giovanni Gabriele and the Drama of HarmonyDifficulty Level: EasySkill Level: Remember the Facts
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Test Bank for The Humanities: Culture, Continuity, and Change, Volume 2, 4th Edition - Page 10 preview image722. The first operas wereinspired bya.Giovanni Gabrieli’s compositions.b.Gianlorenzo Bernini’s sculptures.c.Venetian street processions.d.ancient Greek drama.Answer: dLearning Objective: 21.3 Examine how the Baroque style developed musically in Venice.Topic: Claudio Monteverdi andthe Birth of OperaDifficulty Level: EasySkill Level: Remember the Facts23. The libretto for Claudio Monteverdi’s operaOrfeowas inspired by the Greek myth ofa.Prometheus and Pandora.b.Orpheus and Eurydice.c.Paris and Helen of Troy.d.Zeus and Leda.Answer:bLearning Objective: 21.3 Examine how the Baroque style developed musically in Venice.Topic: Claudio Monteverdi and the Birth of OperaDifficulty Level: EasySkill Level: Understand the Concepts24. Which style of singing imitates the rhythms of speech?a.basso continuob.recitativoc.monodyd.tonalityAnswer: bLearning Objective: 21.3 Examine how the Baroque style developed musically in Venice.Topic: Claudio Monteverdi and the Birth of OperaDifficulty Level: EasySkill Level: Remember the Facts25. Why were only girls in Venice’s orphanages given music instruction?a.Girls would handle the delicate instruments more gently.b.Girls required musical skill to secure a good marriage.c.It was assumed that boys would enter the labor force.d.Venetian orphanages housed only girls.Answer: cLearning Objective: 21.3 Examine how the Baroque style developed musically in Venice.Topic: Antonio Vivaldi and the ConcertoDifficulty Level: EasySkill Level: Remember the Facts
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Test Bank for The Humanities: Culture, Continuity, and Change, Volume 2, 4th Edition - Page 11 preview image826. Orphanage directors hoped thataudiences would be dazzled by the orphans’ musicalperformances so that they woulda.adopt the talented children.b.buy tickets to their performances.c.help find jobs for the orphans.d.donate money to the orphanages.Answer: dLearning Objective: 21.3 Examine how the Baroque style developed musically in Venice.Topic: Antonio Vivaldi and the ConcertoDifficulty Level: EasySkill Level: Understand the Concepts27. Why is Antonio Vivaldi’sThe Four Seasonsknown as program music?a.He composed it for one of theorphans’ performances, or programs.b.Its purely instrumental music is connected to a story or idea.c.Its episodes contrast back and forth with the musical score.d.The music follows the program and rhythms of speech.Answer: bLearning Objective: 21.3 Examinehow the Baroque style developed musically in Venice.Topic: Antonio Vivaldi and the ConcertoDifficulty Level: EasySkill Level: Remember the Facts28. Baroque music distinguishes itself from former Renaissance compositions due to the process ofa.balanced rhythms.b.compositions in which all voices are of equal importance.c.modulation.d.flowing rhythms.Answer: cLearning Objective: 21.3 Examine how the Baroque style developed musically in Venice.Topic: Antonio Vivaldi and the ConcertoDifficulty Level:ModerateSkill Level: Apply What You Know and Analyze It29.Sant’Alessio, a Roman opera performed for Pope Urban VIII, convinced the Churcha.that only sacred music should be performed.bthat sung theatre could illustrate a moral and spiritual ideal.c.that sung theater should be performed with elaborate staging.d.that sung theater should be performed with dazzling costumes.Answer: bLearning Objective: 21.3 Examine how the Baroque style developed musically in Venice.Topic: Antonio Vivaldi and the ConcertoDifficulty Level: ModerateSkill Level: Apply What You Know and Analyze It
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Test Bank for The Humanities: Culture, Continuity, and Change, Volume 2, 4th Edition - Page 12 preview image930. Louis XIV rejected Gianlorenzo Bernini’s Baroque design for a new façade for the Louvre,finding it tooa.similar to the Vatican colonnade.b.simple and classical.c.expensive to build.d.elaborate and ornate.Answer: dLearning Objective: 21.3 Examine how the Baroque style developed musically in Venice.Topic: Continuity & Change: The End of Italian AscendancyDifficulty Level: EasySkill Level: Remember the FactsEssay Questions31. Identify and describe three elements of Bernini’s Cornaro Chapel sculptural program thatillustrate the high drama of the Baroque.Answer: The ideal response would include the following:1.The high drama is illustrated with the sculpturalcenterpiece of Saint Teresa, her erotic swoonand head back in ecstasy, and the angel with arrow in hand which has just been removed fromSaint Teresa’s entrails.2.Teresa and the angel are framed by a marble canopy with gilded rays of light behind thefigures, illustrating what appears to be a light coming from above.3.Life-sized marble figures of the Cornaro family, looking on from either side in theater boxes.Learning Objective: 21.1 Discuss how the Baroque style, especially in sculpture and architecture,furthered the agenda of the Counter-Reformation.Topic: Sculpture and Architecture: Bernini and His FollowersDifficulty Level: ModerateSkill Level: Understand the Concepts32. Compare Bernini’s BaroqueDavidto Michelangelo’s RenaissanceDavid(Chap.14), explaininghow each is representative of its respective period.Answer: The ideal response would include the following:Bernini’s figure ofDavidis in action. The body of the main subject matter twists in an elaboratespiral, which creates a dramaticcontrast of light and dark. With clenched teeth and strainedmuscles, Bernini creates an intense interpretation that makes the viewer feel as if he or she ispresent at the moment of the battle. Michelangelo’sDavid,on the other hand, is restrained, at restand in calm anticipation before the confrontation with Goliath. Bernini’s is an intentional contrastand best exhibits the Baroque style witnessed in the dramatic nature of hisDavid.Learning Objective: 21.1 Discuss how the Baroque style, especiallyin sculpture and architecture,furthered the agenda of the Counter-Reformation.Topic: Bernini’sDavidDifficulty Level: DifficultSkill Level: Apply What You Know and Analyze It
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Test Bank for The Humanities: Culture, Continuity, and Change, Volume 2, 4th Edition - Page 13 preview image1033. Compare and contrast the differences seen in the Renaissance façade ofLeon Battista Alberti’sSanta Maria Novella with that of the Baroque façade of Giacomo della Porta’s Il Gesù.Answer: The ideal response would include the following:1.The Renaissance design of Santa Maria Novella is organized and symmetrical, whereas theBaroque Il Gesù illustrates a great deal of line and curvature, creating an illusion ofmovement or motion.2.Alberti’s design incorporates three squares, two flanking the portal and one above, separatedby a mezzanine, a low intermediate story. He uses fourlarge Corinthian columns engaged tothe façade to break up the space. The most innovative element illustrated with the design isthe addition of two scrolled volutes, which hide the clerestory behind them.3.Porta’s design retains a majority of the structure and organization of the Classical seen inSanta Maria Novella. The emphasis of curved lines distinguishes it as an example of theBaroque. Porta replaced the engaged columns with pilasters that add three-dimensionality tothe structure, drawing the viewer’s eye to the portal. He added the aedicule to mimic theportal below, creating a repetition.Learning Objective: 21.1 Discuss how the Baroque style, especially in sculpture and architecture,furthered the agenda of the Counter-Reformation.Topic: Materials & Techniques: The Façade from Renaissance to BaroqueDifficulty Level: DifficultSkill Level: Apply What You Know and Analyze It34. Discuss theBaroquenature of illusion as exhibited in Andrea Pozzo’sTriumph of Saint Ignatiusof Loyola.Answer: Theidealresponse would include the following:Baroque painters widely used foreshortening to create a three-dimensionality to the subjectmatter, therefore creating an illusion of space. Pozzo created an illusionary space above theviewer, making itdifficult to interpretthe space as a barreled vault. The inclusion offoreshortened figures and architectural elements make it appear to extend the architecture beyondthe viewer in a most dramatic manner.Learning Objective: 21.1 Discuss how the Baroquestyle, especially in sculpture and architecture,furthered the agenda of the Counter-Reformation.Topic: Closer Look: Andrea Pozzo’sTriumph of Saint Ignatius of LoyolaDifficulty Level: DifficultSkill Level: Understand the Concepts
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Test Bank for The Humanities: Culture, Continuity, and Change, Volume 2, 4th Edition - Page 14 preview image1135. Definetenebrism,and explain Caravaggio’s use of it to provide drama in two of his works.Answer: The ideal response would include the following:Tenebrism makes use of large areas of dark that are contrasted sharply with smaller brightlyilluminated areas. Caravaggio incorporated this technique to illustrate the dramatic element oflight, as found in hisCalling of Saint Matthew,in which the use of light takes on the aspect of amiracle similar to the miracle of creation. Light in Caravaggio’sCalling of SaintMatthewcreatesa psychological drama in which the world is revealed in its detail equivalent to faith and itstransformative powers. In hisConversion of Paul,light shows the viewer the moment ofconversion when the Roman legionnaire Saul hears the wordsof Christ.Learning Objective: 21.2 Discuss how the Baroque style manifests itself in painting.Topic: The Drama of Painting: Caravaggio and the CaravaggistiDifficulty Level: DifficultSkill Level: Understand the Concepts36. Compare the sensual elements of Bernini’sEcstasy of Saint Teresato Caravaggio’sConversion ofSaint PaulandDonne’s “Batter My Heart.”Answer: The ideal response would include the following:1.All three of these works demonstrate pursuit of a communion or identity with the divinethrough direct experience and a belief that this experience is the ultimate source ofknowledge. Each seeks to convey the ecstasy of conversion and an acknowledgement of thatknowledge.2.Bernini’sEcstasy of Saint Teresais asculptural program illustrating feeling and emotion,allowing the viewer to experience the events of Teresa’s life; the viewer sees sensualitythrough sexual ecstasy.3.Caravaggio’s painting,Conversion of Saint Paul, uses light to convey sensuality and illustratethe conversion and knowledge on Paul’s religious journey. Light plays a comparative role in4.Donne’s poem, “Batter My Heart,” in which the light associated with conversion seen inCaravaggio’s work becomes the word of God heard by Saul. Again, the sensual is manifestedin thephysical as the writer interprets this conversion.5.All of these works share this concept of sexual ecstasy and sensuality in a similar nature.Learning Objective: 21.1 Discuss how the Baroque style, especially in sculpture and architecture,furthered theagenda of the Counter-Reformation; 21.2 Discuss how the Baroque style manifestsitself in painting.Topic: Sculpture and Architecture: Bernini and His Followers; The Baroque and Sexuality:Caravaggio and the Metaphysical Poetry of John DonneDifficulty Level: DifficultSkill Level: Apply What You Know and Analyze It
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Test Bank for The Humanities: Culture, Continuity, and Change, Volume 2, 4th Edition - Page 15 preview image1237. List andanalyzeat least two reasons for Artemisia Gentileschi’s use of her self-portrait for Judithin her five paintings of the Jewish heroine’s story.Answer: The ideal responsewould include the following:1.It was a popular subject matter in the city of Florence, where she moved and found patronagefor her work.2.Her own biography, which included having been raped at 19 and going through her father’slawsuit against her rapist,gave her personal investment in the subject matter. Revenge asillustrated in this context and in the context of Judith’s narrative becomes the focus ofGentileschi’s content.Learning Objective: 21.2 Discuss how the Baroque style manifests itself in painting.Topic: Elisabetta Sirani and Artemesia Gentileschi: Caravaggisti WomenDifficulty Level: DifficultSkill Level: Apply What You Know and Analyze It38. List and explain two ways Giovanni Gabrieli made church music more emotionally engaging.Answer: Theideal response would include the following:1.Gabrieli located and alternated bodies of sound in different areas of the cathedral to adddrama as well as to engage the listener.2.He also utilized four choirs—boys’, women’s ensemble, basses and baritones, andtenors—singing from separate balconies above the nave to engage the listener.Learning Objective: 21.3 Examine how the Baroque style developed musically in Venice.Topic: Giovanni Gabrieli and the Drama of HarmonyDifficulty Level: ModerateSkill Level: Understand the Concepts39. Provide a detailed explanation of how opera developed during the Italian Baroque period.Answer: The ideal response would include the following:1.The Camerata of Florence, a group dedicated to discovering the style of singing usedby theancient Greeks in their dramas, first developed the form of opera.2.Claudio Monteverdi, musical director at Saint Mark’s in Venice, proposed new relationshipbetween text and music. His contemporaries saw music as being dominant over text, whereasMonteverdi thought that text could play a larger role in the compositions, leading him tomaster a new, text-based musical form, the opera.3.In his first opera,Orfeo,Monteverdi united these concepts and the ancient Greek ideal ofmusic in the drama through the narrative of the Greek myth of Orpheus and Eurydice. Theoperatic form united poetry and music. Although not the first opera,Orfeois considered thefirst to successfully integrate music and drama.Learning Objective: 21.3 Examine how the Baroque style developed musically in Venice.Topic: Claudio Monteverdi and the Birth of OperaDifficulty Level: ModerateSkill Level: Understand the Concepts
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Test Bank for The Humanities: Culture, Continuity, and Change, Volume 2, 4th Edition - Page 16 preview image1340. Using one sculpture, one painting, and one musical composition, explain the artists’ achievementof Baroque drama—the sense of action, excitement, and sensuality.Answer: The ideal response would include the following:1.Bernini’sEcstasy of Saint Teresaillustrates a sense of action through the organization ofspace, motion and movement, where the excitement is to understand the moment of mysticalvision in a thinly veiled description of sexual orgasm.2.In Caravaggio’sBacchus,Bacchus offers a glass of wine to the viewer while appearing toundo his robe. The painting exhibits the pleasures of indulging the sensual appetites and, withthem.3.Monteverdi’sOrfeoillustrates the achievements of Baroque drama through the use of a largeaccompanying orchestra and elaborate staging to achieve a musically and dramaticallysatisfying opera, exhibiting a sense of action, excitement, and sensuality.Learning Objective: 21.1 Discuss how the Baroque style, especially in sculpture and architecture,furthered the agenda of the Counter-Reformation; 21.2 Discuss how the Baroque style manifestsitself in painting; 21.3 Examine how the Baroque style developed musically in Venice.Topic: Sculpture and Architecture: Bernini and His Followers; The Baroque and Sexuality:Caravaggio and the Metaphysical Poetry of John Donne; Claudio Monteverdi and the Birth ofOperaDifficulty Level: DifficultSkill Level: Apply What You Know and Analyze It
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The Humanities, Volume 1 by Henry M...

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