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