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