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Q:
The lute song was widely cultivated in England from ______. A. the late 1570s to the 1590s B. the late 1590s to the 1620s C. 1580 to 1600 D. 1600 to the late 1620s
Q:
The _________ was the most popular instrument in the Renaissance home.
A. shawm
B. regals
C. sackbut
D. lute
Q:
Besides the madrigal, the ________ was another type of secular music that enjoyed popularity during the Renaissance. A. estampie B. motet C. lute song D. galliard
Q:
Thomas Weelkes's As Vesta Was Descending is notable for its _______. A. word painting B. completely homophonic texture C. instrumental accompaniment D. monophonic texture
Q:
Which of the following describes a difference between English and Italian madrigals?
A. More complex melodies
B. More complex harmonies
C. The use of German folk songs
D. A lighter and more humorous tone
Q:
The development of the English madrigal can be traced to 1588 and considered a result of ______.
A. the Spanish armada
B. a decree by Queen Elizabeth
C. the writings of Shakespeare
D. the publication in London of a volume of translated Italian madrigals
Q:
What is the Renaissance madrigal? A. A polyphonic choral composition made up of five sections B. A piece for several solo voices set to a short poem, usually about love C. A dancelike song for several solo voices D. A polyphonic choral work set to a sacred Latin text
Q:
Which of the following composers is not an important madrigalist?
A. Thomas Morley
B. Thomas Weelkes
C. Luca Marenzio
D. Josquin Desprez
Q:
The madrigal anthology The Triumphes of Oriana was written in honor of ______.
A. Queen Anne
B. King Henry VIII
C. the goddess Diana
D. Queen Elizabeth I
Q:
During the Renaissance, every educated person was expected to ______.
A. read musical notation
B. play a musical instrument
C. be skilled in dance
D. All answers are correct
Q:
The Renaissance madrigal began around 1520 in ______. A. England B. France C. Italy D. Flanders
Q:
24. Which statement is true about Palestrina's Pope Marcellus Mass? A. Palestrina was a singer in the papal choir during Pope Marcellus's reign. B. It is set for six voices instead of four. C. It is sung in a cappella. D. All answers are correct.
Q:
Why did the Council of Trent attack the church music of the Renaissance?
A. It was tiresomely monophonic.
B. It was based on Gregorian chant.
C. It used secular tunes, noisy instruments, and theatrical singing.
D. All answers are correct.
Q:
An attempt was made to purify Catholic church music as a result of the ______. A. protests of Martin Luther B. deliberations of the Council of Trent C. complaints of Desiderius Erasmus D. music of Palestrina
Q:
The movement in which the Catholic church sought to correct abuses and malpractices within its structure is known as ______. A. the Reformation B. the Counter-Reformation C. Protestantism D. the Inquisition
Q:
Giovanni Pierluigi da Palestrina's ______. A. career centered in Florence B. music, like Desprez's, was mostly secular C. music includes 104 masses and some 450 other sacred works D. All answers are correct.
Q:
Palestrina's career centered in ______.
A. the Netherlands
B. Florence
C. Naples
D. Rome
Q:
18. Which of the following statements is not true? A. Josquin's compositions strongly influenced other composers, and were praised enthusiastically by music lovers. B. Josquin spent most of his life in the province of Hainaut, today a part of Belgium. C. Josquin's compositions include masses, motets, and secular vocal pieces. D. Josquin's Ave Maria . . . Virgo serena uses polyphonic imitation, a technique typical of the period.
Q:
Josquin Desprez was a contemporary of ______. A. Christopher Columbus B. Perotin C. Palestrina D. Hildegard of Bingen
Q:
Josquin Desprez spent much of his life in ______. A. Italy B. Spain C. Germany D. the Netherlands
Q:
Which of the following is not a part of the Renaissance mass?
A. Agnus Dei
B. Gloria
C. Sanctus
D. Alleluia
Q:
What is the Renaissance motet?
A. A polyphonic choral composition made up of five sections
B. A piece for several solo voices set to a short poem, usually about love
C. A dancelike song for several solo voices
D. A polyphonic choral work set to a sacred Latin text other than the ordinary of the mass
Q:
The two main forms of sacred Renaissance music are the mass and the ______. A. Kyrie B. motet C. madrigal D. cantata
Q:
Why are Renaissance melodies usually easy to sing?
A. There is a sharply defined beat.
B. The music is mostly homophonic.
C. The level of musicianship in the Renaissance was not very high.
D. The melody often moves along a scale with few large leaps.
Q:
To what does a cappella refer? A. Unaccompanied choral music B. Men taking their hats off in church C. Singing in a hushed manner D. Any form of music appropriate for church use
Q:
Why does Renaissance music sound fuller than medieval music?
A. Composers considered the harmonic effect of chords rather than superimposing one melody above another.
B. The bass register is used for the first time.
C. The typical choral piece has four, five, or six voice parts of nearly equal melodic interest.
D. All answers are correct.
Q:
The texture of Renaissance music is chiefly ______.
A. monophonic
B. homophonic
C. polyphonic
D. heterophonic
Q:
The leading music center in sixteenth-century Europe was ______.
A. Flanders
B. Spain
C. Germany
D. Italy
Q:
7. Which of the following statements is not true of Renaissance music? A. The texture of Renaissance music is chiefly polyphonic. B. Instrumental music became more important than vocal music during the Renaissance. C. The Renaissance period is sometimes called "the golden age" of a cappella choral music. D. Renaissance composers often used word painting, a musical representation of specific poetic images.
Q:
Many prominent Renaissance composers, who held important posts all over Europe, came from what was then ______. A. England B. Flanders C. Spain D. Scandinavia
Q:
5. Which of the following statements is not true of the Renaissance? A. Education was considered a status symbol by aristocrats and the upper middle class. B. The Catholic church was even more powerful in the Renaissance than during the Middle Ages. C. Every educated person was expected to be trained in music. D. Musical activity gradually shifted from the church to the court.
Q:
The Renaissance in music occurred between ______. A. 1000 and 1150 B. 1150 and 1450 C. 1450 and 1600 D. 1600 and 1750
Q:
The Renaissance may be described as an age of ______.
A. curiosity and individualism
B. exploration and adventure
C. the "rebirth" of human creativity
D. All answers are correct.
Q:
2. Which of the following statements is not true of humanism? A. The Virgin Mary was treated as a beautiful young woman. B. The humanists were basically atheistic in their beliefs. C. The humanists were captivated by the pagan cultures of ancient Greece and Rome. D. The humanists focused on human life and its accomplishments.
Q:
The intellectual movement called humanism ______. A. condemned any remnant of pagan antiquity B. focused on human life and its accomplishments C. treated the Madonna as a childlike unearthly creature D. focused on the afterlife in heaven and hell
Q:
Why do we know little about the music of very ancient civilizations? A. There probably was almost none. B. It was too primitive to interest later generations. C. It is too difficult to be played today. D. Hardly any notated music has survived from these cultures.
Q:
Romanticism, as a stylistic period in Western music, encompassed the years _______.
A. 1450-1600
B. 1600-1750
C. 1750-1820
D. 1820-1900
Q:
Classicism, as a stylistic period in Western music, encompassed the years _______. A. 1450-1600 B. 1600-1750 1750-1820 D. 1820-1900
Q:
The Baroque period in Western music is usually given as ______. A. 450-1450 B. 1450-1600 C. 1600-1750 D. 1750-1820
Q:
The Renaissance, as a stylistic period in Western music, encompassed the years _______. A. 1450-1600 B. 1600-1750 C. 1750-1820 D. 1820-1900
Q:
Which of the following would be a good example of a change in musical style? A. The treble clef is used for relatively high pitch ranges, but the bass clef is used for lower ranges. B. The major and minor scales were the basic scales of Western music from the 1600s to the 1900s, but in the twentieth century many composers abandoned tonality. C. The men in the New York Philharmonic wear white tie and tails during the winter season, but for the summer concerts they wear black tie and white dinner jackets. D. All answers are correct.
Q:
Changes in musical style from one historical period to the next are usually _______. continuous B. recognizable only by scholars and professional musicians C. very abrupt D. lost to history
Q:
In music, _________ refers to a characteristic way of using melody, rhythm, tone color, dynamics, harmony, texture, and form. A. fashion B. technique C. style D. convention
Q:
Many conductors use a thin stick called a ______ to beat time and indicate pulse and tempo. A. reed B. baton C. concertmaster D. All answers are correct.
Q:
Most of the conductor's work ______. A. is done during the performance B. is unnecessary, since the conductor is only a figurehead C. is done in the rehearsal D. requires little specialized training
Q:
Before the nineteenth century, the time beat was _______. A. given by the first violinist, the keyboard player, or both B. unnecessary, since there were only a few performers C. given by the soloist of the work or not at all D. given only for the chorus, since the orchestra was composed of professionals who didn't need direction
Q:
The concertmaster in a modern symphony orchestra _______.
A. checks the tuning of the orchestra before the conductor appears
B. sits at the conductor's immediate left
C. plays any solo violin passages that may be called for in the composition being performed
D. All answers are correct.
Q:
A virtuoso is a performer who has ______. A. a great natural talent B. developed an extraordinary technical mastery C. learned to sing or play an instrument D. an uncle in the business
Q:
What is improvisation? A. A technique used only in jazz and nonwestern music B. Music created at the same time it is performed C. The addition of ornaments not indicated in the printed music D. All answers are correct.
Q:
What are embellishments? A. Ornaments not printed in the music that seventeenth- and eighteenth-century performers were expected to add. B. Music created at the same time it was performed. C. Notes in the music that embellish the melody. D. Obsolete in contemporary performances.
Q:
Bringing the printed symbols of a page of music to life is the job of the _______. A. publisher B. performer C. composer D. arranger
Q:
A musical statement, followed by a repeat of that statement, then a counterstatement, would be called __________ form. A. binary B. ternary C. song D. free
Q:
The form consisting of a musical statement followed by a counterstatement would be called _______. A. ternary B. binary C. free D. All answers are correct.
Q:
Three-part form can be represented as _______. A. A B A B. A B C C. A A B D. All answers are correct.
Q:
A musical statement followed by a contrasting statement and then a return of the original statement is in _______. A. ternary form B. binary form C. free form D. double form
Q:
A composition that alternates often between soft and loud dynamics can be said to be high in _______. A. form contrast C. repetition D. cadence
Q:
Forward motion, conflict, and change of mood are produced through _______. A. contrast B. repetition C. homogeneity D. dynamics
Q:
Retaining some features of a musical idea while changing others is called _______.
A. form
B. contrast
C. repetition
D. variation
Q:
Why is repetition a technique widely used in music?
A. It creates a sense of unity.
B. It helps engrave a melody in the memory.
C. It provides a feeling of balance and symmetry.
D. All answers are correct.
Q:
The organization of musical ideas in time is called _______. A. form B. repetition C. ternary D. variation
Q:
What is form in music? A. A statement followed by a contrasting statement B. The technique of combining several melodic lines into a meaningful whole C. The organization of musical ideas in time D. Constant repetition of a musical idea
Q:
An example of homophonic texture could be a ______.
A. hymn
B. barbershop quartet
C. folksinger accompanied by a guitar
D. All answers are correct.
Q:
Of what does a homophonic texture consist? A. A single melodic line without accompaniment B. One main melody accompanied by chords C. Two or more melodies of relatively equal interest performed simultaneously D. Two or more different versions of the same basic melody performed simultaneously
Q:
When a melody, such as Row, Row, Row Your Boat, is harmonized by chords, the musical texture is said to be _______. A. monophonic homophonic C. polyphonic D. rounded
Q:
A song in which several people sing the same melody but each singer starts at a different time is an example of ______. A. homophonic texture B. monophonic texture strict imitation D. melodic modulation
Q:
A round is an example of _______. A. homophonic texture B. monophonic texture strict imitation D. monophonic diversity
Q:
Contrapuntal texture is sometimes used in place of the term ______. A. monophony B. homophony C. polyphony D. accompaniment
Q:
When a melodic idea is presented by one voice or instrument and then restated immediately by another voice or instrument, the technique is called _______. A. counterpoint imitation C. copying D. All answers are correct.
Q:
The technique of combining several melodic lines into a meaningful whole is called _______. A. texture B. imitation counterpoint D. unison
Q:
When two or more melodic lines of equal interest are performed simultaneously, the texture is ______. A. monophonic B. homophonic C. polyphonic D. heterophonic
Q:
Of what does homophonic texture consist? A. A single melodic line without accompaniment B. One main melody accompanied by chords C. Two or more melodies of relatively equal interest performed simultaneously D. Two or more different versions of the same basic melody performed simultaneously
Q:
Performance of a single melodic line by more than one instrument or voice is described as playing or singing in ________. unison B. counterpoint C. harmony D. imitation
Q:
The texture of a single melodic line without accompaniment is _______. A. contrapuntal B. homophonic monophonic D. polyphonic
Q:
If a flute player were to play a solo without any other accompaniment, the texture would be ______. A. contrapuntal B. homophonic monophonic D. polyphonic
Q:
To what does musical texture refer?
A. How many different layers of sound are heard at the same time
B. What kind of layers of sound are heard (melody or harmony)
C. How layers of sound are related to each other
D. All answers are correct.
Q:
To what does modulation refer?
A. The central tone of a musical composition
B. An independence from major or minor scales
C. The sharp or flat signs immediately following the clef sign at the beginning of the staff of a musical composition
D. A shift from one key to another within the same composition
Q:
The word chromatic comes from the Greek word chroma, color, and is used in music to refer to the _______. A. twelve tones of the octave B. eight tones of the octave C. color of the instrumentation D. use of colorful descriptions of the music
Q:
Sharp or flat signs immediately following the clef sign at the beginning of the staff are collectively called the ______. A. time signature B. music signature C. key signature D. meter
Q:
In traditional Western music, the __________ is the smallest interval between successive tones of a scale. A. quarter step B. whole step C. half step D. octave
Q:
Tonality is another term for ______. A. key B. scale C. chromaticism D. modulation