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| 1 | |
During the Renaissance, stylistic differences between religious and secular music and between vocal and instrumental music became apparent. |
| | A) | TRUE |
| | B) | FALSE |
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| 2 | |
Sixteenth-century Italy introduced a new type of song to the secular repertoire, the |
| | A) | chant. |
| | B) | motet. |
| | C) | madrigal. |
| | D) | chanson. |
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| 3 | |
The madrigal was like the motet in all of the following ways except |
| | A) | both were polyphonic. |
| | B) | both were essentially vocal rather than instrumental forms. |
| | C) | both had religious texts. |
| | D) | both were important forms during the Renaissance period. |
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| 4 | |
The madrigal form, like that of the motet, was |
| | A) | binary. |
| | B) | ternary. |
| | C) | strophic. |
| | D) | through-composed. |
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| 5 | |
The madrigal, like the motet, was mostly polyphonic in texture, with passages in syllabic or homorhythmic style. |
| | A) | TRUE |
| | B) | FALSE |
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| 6 | |
The following are all significant differences between the motet and the madrigal except |
| | A) | the madrigal was written in Latin. |
| | B) | most madrigals did not have a religious text. |
| | C) | extreme examples of word painting were used in madrigals. |
| | D) | madrigals were sung at social gatherings and private meetings. |
| | E) | anyone who could read music and sing could perform madrigals. |
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| 7 | |
Madrigals became known for dramatic, extreme examples of word painting called |
| | A) | word stylings. |
| | B) | madrigal painting. |
| | C) | madrigalisms. |
| | D) | none of the above. |
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| 8 | |
The madrigal originated in Italy but soon became very popular in |
| | A) | Spain. |
| | B) | France. |
| | C) | Germany. |
| | D) | England. |
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| 9 | |
Unlike the emotional Italian madrigals, English madrigals were often light in mood, whimsical, gently humorous, sentimental, or festive. |
| | A) | TRUE |
| | B) | FALSE |
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| 10 | |
Although Renaissance composers were primarily concerned with setting religious texts to music for worship services, instrumental music was increasingly appreciated for its own sake. |
| | A) | TRUE |
| | B) | FALSE |
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| 11 | |
The term stylized dances refers to musical works that have the rhythms and character of a particular dance, but are intended for listening rather than dancing. |
| | A) | TRUE |
| | B) | FALSE |
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| 12 | |
Renaissance dance pieces were often organized into sets of from four to seven movements. |
| | A) | TRUE |
| | B) | FALSE |
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| 13 | |
Renaissance composers sometimes indicated that a piece might be "either played or sung," but did not specify which instruments were to play given parts until late in the sixteenth century. |
| | A) | TRUE |
| | B) | FALSE |
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| 14 | |
It was not until the _______ century that composers customarily wrote music for specific voices or instruments. |
| | A) | sixteenth |
| | B) | seventeenth |
| | C) | eighteenth |
| | D) | nineteenth |
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| 15 | |
The most widely used instrument during the sixteenth century was a plucked string instrument called the |
| | A) | viol. |
| | B) | lute. |
| | C) | vielle. |
| | D) | clavichord. |
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| 16 | |
One of the greatest performers and composers of Renaissance lute music was |
| | A) | John Calvin |
| | B) | John Dowland |
| | C) | Thomas Weelkes |
| | D) | Palestrina |
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| 17 | |
During the fifteenth and sixteenth centuries, the most popular string instrument that was bowed rather than plucked was the |
| | A) | viol. |
| | B) | lute. |
| | C) | vielle. |
| | D) | clavichord. |
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| 18 | |
The __________ was a quiet keyboard instrument capable of subtle changes of volume and even a slight vibrato. |
| | A) | harpsichord |
| | B) | clavichord |
| | C) | virginal |
| | D) | clavier |
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| 19 | |
All of the following are TRUE of the harpsichord except |
| | A) | stops provided a change in timbre and allowed abrupt changes of dynamic level. |
| | B) | the harpsichord could produce vibrato. |
| | C) | the cases were often elaborately carved and painted. |
| | D) | the instrument was a source of visual as well as aural beauty. |
| | E) | some harpsichord cases were even inlaid with precious stones. |
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| 20 | |
Sixteenth-century organs had many stops and the full pedal keyboard that is found on organs today. |
| | A) | TRUE |
| | B) | FALSE |
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| 21 | |
All of the following are Renaissance instruments except |
| | A) | recorders. |
| | B) | trumpets. |
| | C) | trombones. |
| | D) | clarinets. |
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| 22 | |
Instrumental ensembles consisting of members of the same instrument family (organized much like vocal choirs, with soprano, alto, tenor, and bass ranges) were called |
| | A) | concerts. |
| | B) | consorts. |
| | C) | sections. |
| | D) | ensembles. |
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| 23 | |
During the Renaissance, girls were generally not provided much education, and only the wealthy and those reared in religious institutions received formal music lessons. |
| | A) | TRUE |
| | B) | FALSE |
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| 24 | |
All of the following instruments required no change in facial expression, could be played in "graceful" positions, and were considered suitable for women to play, except the |
| | A) | viol. |
| | B) | lute. |
| | C) | recorder. |
| | D) | harpsichord. |
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| 25 | |
Very late in the Renaissance, the low female singing voice came into vogue, and female ensembles performed the male parts in madrigals and other secular songs. |
| | A) | TRUE |
| | B) | FALSE |
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