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Total Categories: 6
The tenor voice is classified as the highest male chest voice type, positioned between the countertenor and baritone.
Answer: True
The tenor voice is defined as the highest male chest voice, positioned between the countertenor and baritone voice types in classical music classification.
The term 'tenor' began to specifically refer to a male voice type in the 16th century, having previously indicated a part's role.
Answer: False
The term 'tenor' began to specifically signify a male voice type in the 18th century, not the 16th century, having previously denoted a part's role in earlier repertoire.
Gilbert Duprez was historically significant for being the first tenor to sing the operatic high C (C5) from the chest voice on stage.
Answer: True
Gilbert Duprez is historically recognized as the first tenor to perform the operatic high C (C5) from the chest voice, known as *ut de poitrine*, on stage.
The etymological origin of the word 'tenor' is from the Greek word 'tenere,' meaning 'to sing.'
Answer: False
The word 'tenor' derives from the Latin word *tenere*, meaning 'to hold,' referring to its historical role as the holding voice in polyphonic music, not from a Greek word meaning 'to sing.'
Until the late 16th century, the tenor was typically the lowest voice in polyphonic music, providing the harmonic foundation.
Answer: True
In polyphonic music from approximately 1250 to the late 16th century, the tenor was indeed the structurally fundamental or holding voice, often the lowest part, providing the harmonic foundation.
The main male voice types in classical music classification include soprano, mezzo-soprano, and contralto.
Answer: False
Soprano, mezzo-soprano, and contralto are the main female voice types. The main male voice types in classical music classification are countertenor, tenor, baritone, and bass.
In polyphonic music from 1250 to 1500, the tenor voice often carried a borrowed melody known as a cantus firmus.
Answer: True
In polyphonic music from approximately 1250 to 1500, the tenor was the structurally fundamental voice, often carrying a pre-existing melody known as a *cantus firmus*.
Which of the following best describes a tenor voice type in classical music?
Answer: A male singing voice whose vocal range is between the countertenor and baritone, recognized as the highest male chest voice.
A tenor is defined as a male singing voice in classical music with a vocal range situated between the countertenor and baritone, and it is recognized as the highest male chest voice type.
From which Latin word does the name 'tenor' derive, and what does it mean?
Answer: Tenere,' meaning 'to hold.'
The name 'tenor' originates from the Latin word *tenere*, which means 'to hold,' referring to its historical role as the sustained, fundamental voice in polyphonic compositions.
In polyphonic music between approximately 1250 and 1500, what was the primary role of the tenor voice?
Answer: To serve as the structurally fundamental or holding voice, carrying a cantus firmus.
Between approximately 1250 and 1500, the tenor voice in polyphonic music served as the structurally fundamental or 'holding' voice, often carrying a pre-existing melody known as a *cantus firmus*.
When did the term 'tenor' begin to specifically signify a male voice type, rather than just a part's role?
Answer: 18th century
The term 'tenor' began to specifically signify a male voice type in the 18th century, evolving from its earlier use to denote a part's role in musical compositions.
Which of the following is NOT listed as a main male voice type in classical music classification?
Answer: Mezzo-soprano
Mezzo-soprano is a main female voice type in classical music classification; the main male voice types are countertenor, tenor, baritone, and bass.
Who was Gilbert Duprez, and what was his significant contribution to tenor singing?
Answer: The first tenor to sing the operatic high C (C5) from the chest voice on stage.
Gilbert Duprez was a historically significant tenor who was the first to sing the operatic high C (C5) from the chest voice (*ut de poitrine*) on stage, a technique that revolutionized tenor singing.
Which of the following is NOT a generally recognized subcategory of the tenor voice type in opera?
Answer: Contralto tenor
Contralto is a female voice type, not a subcategory of the tenor voice. The generally recognized tenor subcategories include *leggero*, lyric, *spinto*, dramatic, *heldentenor*, Mozart, and *tenor buffo* or *spieltenor*.
In choral music, composers typically write for the tenor voice within the range from B2 to G4.
Answer: True
Composers typically write for the tenor voice in choral music within the range from B2 to G4, though some choral music may require first tenors to ascend higher.
The lowest note in the standard operatic tenor repertoire is universally B♭2, with no known exceptions in frequently performed works.
Answer: False
While B♭2 is widely defined as the lowest note in standard operatic tenor repertoire, exceptions exist, such as the A2 required for roles like Mime in *Der Ring des Nibelungen*.
The tenor C (C5) in operatic repertoire is always a mandatory note that must be sung from the chest voice.
Answer: False
The tenor C (C5) is often optional or interpolated by tradition in operatic repertoire, and many successful dramatic tenors have historically avoided it in performance.
The tenor vocal range is commonly notated on the bass staff, with a numeral eight below the clef indicating an octave lower.
Answer: False
The tenor vocal range is commonly notated on the treble staff, with a numeral eight placed below the treble clef to indicate that the pitches should sound an octave lower than written.
The highest demanded note in the standard tenor operatic repertoire is F5, found in Bellini's I puritani.
Answer: False
The highest demanded note in the *standard* tenor operatic repertoire is D5, found in works like Adam's *Le postillon de Lonjumeau*. F5 is the highest note in the *leggero* tenor repertoire, found in Bellini's *I puritani*, but is exceptionally rare and often transposed.
The approximate vocal range of a lyric tenor is typically from C3 to D5.
Answer: True
Lyric tenors typically possess an approximate vocal range from C3 to D5, with their lower range potentially extending a few notes below C3.
The role of Mime in Der Ring des Nibelungen requires an A2, which is an exception to the widely defined lowest note in standard operatic tenor repertoire.
Answer: True
The role of Mime in *Der Ring des Nibelungen* indeed requires an A2, which is noted as an exception to the widely defined lowest note of B♭2 in standard operatic tenor repertoire.
The highest note in the leggero tenor repertoire, F5, is easily performed by most tenors without transposition due to the general rise in concert pitch.
Answer: False
The F5 in the *leggero* tenor repertoire is exceptionally high, and very few tenors can perform it without transposition or resorting to falsetto, especially given the general rise in concert pitch.
The barbershop tenor range is typically written an octave lower than it sounds, spanning from Middle C to A one octave above Middle C.
Answer: False
The barbershop tenor range spans from Middle C to A one octave above Middle C, but it is written an octave *higher* than it sounds, not lower.
What is the typical vocal range for a tenor in operatic music?
Answer: From B♭2 to C5
The typical vocal range for a tenor in operatic music spans from B♭2 to C5, though this range can extend at either end for specific roles.
How is the tenor vocal range typically notated on a musical score to indicate it sounds an octave lower than written?
Answer: On the treble staff with a numeral eight placed below the treble clef.
The tenor vocal range is typically notated on the treble staff with a numeral eight placed below the treble clef, indicating that the pitches should sound an octave lower than written.
What is the widely defined lowest note in the standard operatic tenor repertoire?
Answer: B♭2
The lowest note in the standard operatic tenor repertoire is widely defined as B♭2.
Which of the following roles requires an A2, an exception to the standard lowest note for tenors in frequently performed repertoire?
Answer: Mime in Der Ring des Nibelungen
The role of Mime in Wagner's *Der Ring des Nibelungen* requires an A2, which is an exception to the standard lowest note of B♭2 for tenors in frequently performed repertoire.
What is the highest demanded note in the *standard* tenor operatic repertoire, found in works like Adam's Le postillon de Lonjumeau?
Answer: D5
The highest demanded note in the standard tenor operatic repertoire is D5, found in works such as Adolphe Adam's *Le postillon de Lonjumeau* and Fromental Halévy's *La Juive*.
What is the vocal range for a barbershop tenor, as written?
Answer: From Middle C to A one octave above Middle C, written an octave higher.
The vocal range for a barbershop tenor, as written, spans from Middle C to A one octave above Middle C, though it sounds an octave lower.
The role of Arturo in Bellini's I puritani features the highest note in the leggero tenor repertoire. What is this note?
Answer: F5
The role of Arturo in Bellini's *I puritani* features F5, which is the highest note in the *leggero* tenor repertoire, an exceptionally demanding pitch.
The leggero tenor is characterized by a heavy, powerful voice suitable for dramatic climaxes.
Answer: False
The *leggero* tenor is characterized by a light, agile voice capable of executing difficult passages of *fioritura*, making it the male equivalent of a lyric coloratura soprano, not a heavy, powerful voice.
The leggero tenor is considered the male equivalent of a dramatic coloratura soprano due to its agility and power.
Answer: False
The *leggero* tenor is considered the male equivalent of a *lyric* coloratura soprano, not a dramatic coloratura soprano, due to its light, agile voice and capacity for *fioritura*.
What are the key characteristics of a leggero tenor, also known as tenore di grazia?
Answer: A light, agile voice capable of executing difficult passages of fioritura.
The *leggero tenor*, or *tenore di grazia*, is characterized by a light, agile voice capable of executing difficult passages of *fioritura*, making it the male equivalent of a lyric coloratura soprano.
Which composer frequently utilized leggero tenor voices in their operas?
Answer: Gioachino Rossini
Composers such as Gioachino Rossini, Gaetano Donizetti, and Vincenzo Bellini frequently utilized *leggero* tenor voices in their operas, as did composers from the Baroque period.
Which of the following roles is an example of a lyric tenor role?
Answer: Rodolfo in La bohème
Rodolfo in Puccini's *La bohème* is a quintessential lyric tenor role, known for its warm, graceful vocal demands.
Which of the following is a characteristic of a lyric tenor voice?
Answer: It has a warm, graceful voice with a bright, full timbre that is strong but not heavy.
A lyric tenor voice is characterized by its warm, graceful quality and a bright, full timbre that is strong enough to be heard over an orchestra without being heavy.
The spinto tenor possesses a darker timbre than many dramatic tenors, allowing it to be pushed to dramatic climaxes with less strain.
Answer: False
The *spinto* tenor has a darker timbre than lyric tenors, but not as dark as many dramatic tenors, and its heavier vocal weight allows it to be pushed to dramatic climaxes with less strain than lighter voices.
The German equivalent of the Spinto Fach is the Heldentenor, which focuses exclusively on the most demanding Wagnerian roles.
Answer: False
The German equivalent of the *Spinto Fach* is the *Jugendlicher Heldentenor*, which encompasses many dramatic tenor roles and some Wagner roles, but is distinct from the *Heldentenor* which focuses on the most demanding Wagnerian protagonists.
Dramatic tenors, also known as tenore robusto, are characterized by a light, agile, and graceful vocal sound.
Answer: False
Dramatic tenors, or *tenore robusto*, are characterized by an emotive, ringing, and very powerful, clarion, heroic tenor sound, not a light, agile, and graceful one.
What distinguishes a spinto tenor from a lyric tenor?
Answer: A heavier vocal weight allowing for dramatic climaxes and a darker timbre than lyric tenors.
A *spinto* tenor possesses a heavier vocal weight and a darker timbre than a lyric tenor, enabling the voice to be pushed to dramatic climaxes with less strain.
What is the German equivalent of the Spinto Fach?
Answer: Jugendlicher Heldentenor
The German equivalent of the *Spinto Fach* is the *Jugendlicher Heldentenor*, which encompasses many dramatic tenor roles and some Wagnerian roles.
Which of these roles is an example of a dramatic tenor role?
Answer: Canio in Pagliacci
Canio in Leoncavallo's *Pagliacci* is a prominent example of a dramatic tenor role, requiring an emotive, powerful, and heroic vocal sound.
Heldentenors are frequently baritones who have transitioned to this voice type or tenors who were initially misidentified as baritones.
Answer: True
Heldentenors often originate from baritones who have transitioned to this *Fach* or from tenors who were initially misidentified as baritones due to their vocal qualities.
The keystone role for a heldentenor is often considered to be Wagner's Siegfried, demanding immense stamina and a wide vocal range.
Answer: True
Wagner's Siegfried is indeed considered the keystone role for a *heldentenor*, demanding a wide vocal range, great power, tremendous stamina, and significant acting ability.
Tenor buffo roles are typically performed by tenors specializing in these comic parts for their entire careers.
Answer: False
Tenor buffo roles are often performed by younger tenors or older tenors past their prime, and it is rare for a singer to specialize in these roles for an entire career.
The term 'trial' in French opéra comique refers to supporting roles requiring a thin voice and strong acting ability, named after Antoine Trial.
Answer: True
The term 'trial' in French *opéra comique* refers to supporting roles demanding a thin voice and strong acting ability, named after the singer Antoine Trial.
What is the English translation of the German term 'heldentenor'?
Answer: Heroic tenor
The German term '*heldentenor*' translates to 'heroic tenor,' reflecting the powerful and dramatic nature of this voice type, often associated with Wagnerian protagonists.
What is considered the keystone role for a heldentenor, demanding a wide vocal range, great power, and tremendous stamina?
Answer: Siegfried in Siegfried
Wagner's Siegfried is widely considered the keystone role for a *heldentenor*, demanding immense vocal power, a wide range, and exceptional stamina.
From what other voice types do heldentenors often originate?
Answer: Baritones or tenors misidentified as baritones.
*Heldentenors* often originate from baritones who transition to this *Fach*, or from tenors whose voices were initially misidentified as baritones due to their darker, more powerful qualities.
What are the primary requirements for a tenor buffo or spieltenor?
Answer: Good acting ability and the capacity to create distinct voices for comic roles.
The primary requirements for a *tenor buffo* or *spieltenor* include strong acting ability and the capacity to create distinct character voices, as they specialize in smaller comic roles.
Who typically performs tenor buffo roles?
Answer: Younger tenors who have not reached full vocal potential or older tenors past their prime.
*Tenor buffo* roles are often performed by younger tenors who have not yet reached their full vocal potential or by older tenors who are past their prime singing years, as it is rare for a singer to specialize in these roles for an entire career.
In SATB four-part mixed choruses, the tenor voice is positioned as the highest vocal range, above the soprano.
Answer: False
In SATB four-part mixed choruses, the tenor is the second lowest vocal range, positioned above the bass and below the alto and soprano.
In barbershop harmony, the tenor sings the melody, while the lead harmonizes above it.
Answer: False
In barbershop harmony, the lead sings the melody, and the tenor sings the highest part, generally in falsetto, harmonizing above the lead.
Orchestral choruses generally require tenors with fully resonant voices, while a cappella groups might use baritones singing in falsetto for tenor parts.
Answer: True
Orchestral choruses typically require tenors with fully resonant voices, whereas a cappella choral music may utilize baritones singing in falsetto to cover tenor parts due to the absence of instrumental accompaniment.
The shortage of tenor voices is a rare occurrence in choral singing, as most men naturally have a tenor tessitura.
Answer: False
A shortage of tenor voices is a nearly ubiquitous challenge in choral singing, as many men's comfortable singing ranges (tessituras) lie within the baritone range, leading them to prefer bass sections.
In bluegrass music, the tenor line is sung an interval of a third above the lead melody.
Answer: True
In bluegrass music, the tenor line is indeed sung an interval of a third above the lead melody.
In SATB four-part mixed choruses, how is the tenor voice classified in terms of vocal range?
Answer: The second lowest vocal range, above the bass and below the alto and soprano.
In SATB four-part mixed choruses, the tenor voice is classified as the second lowest vocal range, positioned above the bass and below the alto and soprano.
What is a common challenge faced in choral singing regarding tenor voices?
Answer: A shortage of tenor voices, often requiring other voice types to cover the part.
A nearly ubiquitous challenge in choral singing is the shortage of tenor voices, often necessitating other voice types, such as baritones using falsetto, to cover the tenor parts.
In barbershop harmony, how is the tenor part generally sung?
Answer: As the highest part, generally sung in falsetto voice.
In barbershop harmony, the tenor part is generally sung as the highest voice, typically in a falsetto voice, harmonizing above the lead melody.
In bluegrass music, how is the tenor line positioned relative to the melody?
Answer: It sings an interval of a third above the lead.
In bluegrass music, the tenor line is positioned an interval of a third above the lead melody.