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