Renaissance music - Quiz
A) Gittern B) Cornett C) Sackbut D) Regal
A) Large church organs, portatives, and regals B) Electronic organs C) Only small portatives D) Only large church organs
A) Children B) Monks exclusively C) Amateurs D) Professionals
A) It had valves. B) It was played with a bow. C) Only a small part of the body near the mouthpiece slid, while most of the body was stationary. D) It was made of wood.
A) Straight B) U-shape C) Circular D) S-shape
A) Slow dance music B) Religious chants C) Fast battle marches D) Solo concertos
A) Clay B) Wood C) Brass D) Silver
A) By turning a crank B) Like a recorder using a cup mouthpiece like a trumpet C) By plucking strings D) Like a modern flute with no mouthpiece
A) They could only play one single note. B) They had no valves and were limited to tones in the overtone series. C) They could only be played indoors. D) They were too heavy to lift.
A) Sackbut B) Lute C) Harpsichord D) Cornett
A) Trumpet B) Gittern C) Trombone D) Viol
A) Exclusively outdoors B) Only sacred C) Both sacred and secular D) Only secular
A) 18th century B) 17th century C) 13th century D) 15th century
A) Six B) Five C) Eight D) Four
A) By blowing into it B) With a wheel crank C) With a bow D) By plucking with fingers
A) The shape of the back B) The number of strings C) Its larger size D) The material it was made of
A) A viol played resting against the floor or between the legs B) A plucked Spanish vihuela C) An early type of violin D) A viol played on the arm
A) The harp family B) The violin family C) The flute family D) The guitar family
A) A large lute B) A small harp C) A tubular flute D) A box-shaped cittern
A) Strummed with a plectrum B) Struck with mallets C) Sounded by a rotating wheel D) Played with a heavy keyboard
A) Four, seven, and ten depending on the era B) Between twenty and thirty C) Always exactly six D) Always twelve
A) To pluck the main melody strings B) To turn a tuning peg C) To hold a bow D) To silence the notes that were not desired
A) Sackbut B) Regal C) Vihuela D) Clàrsach or Cláirseach
A) Clavichord B) Slide trumpet C) Hurdy-gurdy D) Irish Harp
A) On church stained glass windows exclusively B) On the Guinness label and as Ireland's national symbol C) On the British royal crown D) On Scottish currency only
A) Struck with sticks B) Plucked C) Bowed D) Strummed with a wheel
A) Hand harp B) Slide organ C) Pocket lute D) Wheel fiddle
A) By a wheel which the strings pass over B) By small mechanical hammers C) By direct finger plucking D) By a wooden bow pulled back and forth
A) Drone strings B) Hollow soundboards C) Double mouthpieces D) Metal frets
A) Trumpet and trombone B) Mandolin and guitar C) Violin and cello D) Harpsichord and clavichord
A) Exclusively in Italy B) Only in church sanctuaries C) Throughout Europe D) Only in Ireland and Scotland
A) Ars nova B) Basso continuo C) Contenance angloise D) Florid counterpoint
A) Josquin des Prez B) Guillaume Du Fay C) Palestrina D) Johannes Ockeghem
A) Four-part textures B) Florid counterpoint C) Cantilena style D) Functional tonality
A) Franco-Flemish School B) English School C) Roman School D) Burgundian School
A) Josquin des Prez B) Palestrina C) Guillaume Du Fay D) Johannes Ockeghem
A) Venetian School B) Burgundian School C) Roman School D) Franco-Flemish School
A) Serialism B) Modal counterpoint C) Atonality D) Functional tonality
A) Monophony B) Atonalism C) Homophony D) Polyphony
A) Abrupt metric shifts B) Contrasting melodic lines C) Single unaccompanied melody D) Blending melodic lines
A) The tritone B) The minor second C) The major seventh D) The third
A) The fourth B) The octave C) The sixth D) The fifth
A) Thirds and sixths B) Triads C) Dissonant intervals D) Perfect intervals
A) The octave B) The sixth C) The major second D) The third
A) The minor third B) The major sixth C) The perfect fifth D) The tritone
A) Extreme dissonance B) Simplification C) Strict monophony D) Rhythmic complexity
A) The removal of instruments B) A greatly increased vocal range C) The strict use of pentatonic scales D) A narrower vocal range
A) Reliance on thirds B) Narrow vocal range C) Wide vocal range D) Large ensemble sizes
A) Humanistic thought B) Romanticism C) Feudalism D) Scholasticism
A) The Counter-Reformation B) The Great Schism C) The Crusades D) The Protestant Reformation
A) The telegraph B) The steam engine C) The printing press D) The typewriter
A) Hand-copied B) Stenciled C) Typewritten D) Woodblock carving
A) Peasant class B) Bourgeois class C) Aristocratic monarchy D) Military elite
A) Tomás Luis de Victoria B) Antonio Vivaldi C) George Frideric Handel D) Ludwig van Beethoven
A) The Scandinavian region B) The Iberian Peninsula C) The Low Countries D) The British Isles
A) Germany B) Italy C) England D) Spain
A) Opera B) Symphony C) Cantata D) Oratorio
A) Ancient Egypt B) Ancient Greece C) Ancient Persia D) Ancient Phoenicia
A) 1700 B) 1400 C) 1500 D) 1600
A) Cyclic mass B) Choral mass C) Orchestral mass D) Requiem mass
A) An operatic aria melody B) A newly composed instrumental tune C) A monophonic melody usually drawn from chant D) A polyphonic melody drawn from secular dances
A) Lied B) Chanson C) Frottola D) Villancico
A) Villancico B) Lied C) Chanson D) Frottola
A) Lied B) Villancico C) Chanson D) Frottola
A) Motet B) Laude C) Mass D) Ricercar
A) Intabulations B) Motets C) Consorts D) Imitations
A) Symphony B) Concerto gross C) Monody D) String quartet
A) Noteheads B) Clefs C) Staves D) Barlines
A) Sixteenth note B) Quarter note C) Eighth note D) Semibreve
A) A double-whole note B) A half note C) A whole note D) A quarter note
A) Fusca B) Breve C) Longa D) Minim
A) Altered B) Augmented C) Perfect D) Imperfect
A) Papyrus B) Cloth C) Wood D) Vellum
A) Dyadic counterpoint B) Keyboard improvisation C) Orchestral conducting D) Acoustic physics
A) Giovanni Palestrina B) Josquin des Prez C) Orlando di Lasso D) Franchinus Gaffurius
A) Old Hall Manuscript B) Missa Rex seculorum C) Le Champion des Dames D) Oxford Bodleian Library Manuscript
A) Missa Rex seculorum B) Salve Regina, Mater misericordiae C) Ave maris stella D) Alma Redemptoris Mater
A) English B) Flemish C) German D) Dutch
A) Leonel Power B) Guillaume Dufay C) Tinctoris D) Martin le Franc
A) Master of the Burgundian School B) Prince of Polyphony C) Fons et origo D) La contenance angloise
A) Ars subtilior B) Fauxbourdon C) Isorhythm D) Strophic variation
A) About five B) About five hundred C) None D) About fifty
A) Fourteen B) Seven C) Twelve D) Two
A) Fourteen B) Seven C) Three D) Twelve
A) Missa Rex seculorum B) Alma Redemptoris Mater C) Salve Regina D) Ave maris stella
A) English Renaissance B) Dutch Renaissance C) German Renaissance D) Italian Renaissance
A) Italian B) German C) English D) Dutch
A) Italian ballata B) Virelai C) Rondeau D) Strophic ballade
A) The Vatican Archives B) Old Hall Manuscript C) Oxford Bodleian Library D) The German National Library
A) 22 B) 27 C) 15 D) 87
A) 13 B) 3 C) 22 D) 87
A) Missa Rex seculorum B) Salve Regina C) Ave maris stella D) Alma Redemptoris Mater
A) One voice B) Four or more voices C) Three voices D) Two voices
A) Triadic harmony B) Isorhythm C) Fauxbourdon D) Under-third cadence
A) Erasmus B) Baldassare Castiglione C) Martin Luther D) Ulrich von Hutten
A) Roman School collection B) Eton Choirbook C) Basilica San Marco di Venezia D) Venetian School anthology
A) Mexico City B) Venice C) London D) Rome
A) Dark and somber B) Dissonant and heavy C) Strictly instrumental D) Light
A) Peru B) Mexico C) Canada D) Brazil
A) Hernando Franco B) Thomas Tallis C) Martin Luther D) Ulrich von Hutten |
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