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| 1 | |
Although the medieval motet could either be sacred or secular in its subject matter, the Renaissance motet was always a secular piece. |
| | A) | TRUE |
| | B) | FALSE |
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| 2 | |
The Renaissance motet had all of the following features except |
| | A) | the parts were usually played on instruments as well as sung. |
| | B) | the text never mixed languages. |
| | C) | it was sometimes based on a popular melody. |
| | D) | the typical texture was imitative polyphony. |
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| 3 | |
The form of a Renaissance motet is |
| | A) | binary. |
| | B) | ternary. |
| | C) | strophic. |
| | D) | through-composed. |
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| 4 | |
The entrance of each new phase of a Renaissance motet is called a point of |
| | A) | imitation. |
| | B) | initiation. |
| | C) | demarcation. |
| | D) | departure. |
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| 5 | |
The use of musical devices to express descriptive words or phrases in particularly emotional passages is called word |
| | A) | coloring. |
| | B) | polishing. |
| | C) | painting. |
| | D) | brushing. |
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| 6 | |
Music in which a chordal texture is produced by voices moving together in the same rhythm is called _________ style. |
| | A) | monorhythmic |
| | B) | polyrhythmic |
| | C) | homorhythmic |
| | D) | heterorhythmic |
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| 7 | |
Unlike the Mass, the motet could employ either original poetry or Biblical verses for its text, and thus offered composers a wider range of expression. |
| | A) | TRUE |
| | B) | FALSE |
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| 8 | |
The Netherlands composer, _____________, was considered by his contemporaries to be the greatest composer who had ever lived. |
| | A) | Palestrina |
| | B) | Josquin des Prez |
| | C) | Martin Luther |
| | D) | John Calvin |
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| 9 | |
Like other Renaissance composers, Josquin des Prez was more conservative when composing motets and more innovative and daring when composing polyphonic Masses. |
| | A) | TRUE |
| | B) | FALSE |
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| 10 | |
Many of the Masses composed by Josquin des Prez and his contemporaries were based upon secular tunes. |
| | A) | TRUE |
| | B) | FALSE |
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| 11 | |
The Council of Trent reacted against both the use of secular melodies in Mass settings and the complex polyphony that made it difficult to understand the sacred text. |
| | A) | TRUE |
| | B) | FALSE |
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| 12 | |
___________, known as the "Prince of Music," was a late Renaissance composer whose conservative church music reflected the values of the Council of Trent. |
| | A) | Palestrina |
| | B) | Josquin des Prez |
| | C) | Martin Luther |
| | D) | John Calvin |
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| 13 | |
Each of the following were characteristic of Palestrina's compositional style except |
| | A) | Mass settings and motets with a "transparent" texture. |
| | B) | words that were not clearly understood. |
| | C) | melodic lines that were easy to sing and retained melodic interest, producing pure and simple harmonies. |
| | D) | thirds and sixths that gave the music a fuller, richer sonority than that of previous Italian religious music. |
| | E) | rhythms that were adapted to the flow of the text and seemed perfectly natural. |
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| 14 | |
Martin Luther believed that people should be able to participate in their worship service rather than merely observe it. |
| | A) | TRUE |
| | B) | FALSE |
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| 15 | |
In his ninety-five theses presented to the Catholic church, Martin Luther suggested all of the following except |
| | A) | Latin should be eliminated from the service entirely. |
| | B) | some music should be sung by the congregation. |
| | C) | the hymns should be easy to learn and sing. |
| | D) | the hymns should be in the vernacular language. |
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| 16 | |
The congregational song or hymn introduced into the worship service by Martin Luther was called the Lutheran |
| | A) | chant. |
| | B) | canon. |
| | C) | chorale. |
| | D) | chanson. |
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| 17 | |
Chorales were __________ in form. |
| | A) | binary |
| | B) | ternary |
| | C) | strophic |
| | D) | through-composed |
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| 18 | |
By the seventeenth century, it was common for the church organist to play a four-part harmonization while the congregation sang the chorale melody, just as in most Protestant churches today. |
| | A) | TRUE |
| | B) | FALSE |
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| 19 | |
John Calvin proposed all of the following reforms of church music except |
| | A) | singing Biblical verses called psalms. |
| | B) | singing without instrumental accompaniment. |
| | C) | singing Lutheran chorales. |
| | D) | eliminating Latin from the sevice. |
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| 20 | |
The Calvinists created the __________ for their worship music. |
| | A) | hymn |
| | B) | chant |
| | C) | chorale |
| | D) | psalm tune |
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| 21 | |
The Book of __________ is a collection of 150 songs or poems of praise in the Old Testament of the Bible. |
| | A) | Music |
| | B) | Psalms |
| | C) | Hymns |
| | D) | Chorales |
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| 22 | |
The psalms are written in ____________: there is no set number of syllables per line, and the phrases end with words that do not rhyme. |
| | A) | iambic pentameter |
| | B) | rhymed verse |
| | C) | free verse |
| | D) | prose |
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| 23 | |
The specific name for a collection of psalms in versions suitable for singing is a |
| | A) | psalm book. |
| | B) | Book of Psalms. |
| | C) | psalter. |
| | D) | psalter book. |
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| 24 | |
Psalm tunes, like Lutheran chorales, were _________ in form. |
| | A) | binary |
| | B) | ternary |
| | C) | strophic |
| | D) | through-composed |
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| 25 | |
Since many of the psalms were arranged in identical metrical patterns and therefore could be set to one tune, it was not considered necessary to write a different melody for each psalm. |
| | A) | TRUE |
| | B) | FALSE |
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| 26 | |
A psalter always contains both music and words. |
| | A) | TRUE |
| | B) | FALSE |
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| 27 | |
During the sixteenth century, the singing of psalms became the prevalent form of Protestant music everywhere except in __________, where the Lutheran chorale predominated. |
| | A) | Italy |
| | B) | France |
| | C) | Germany |
| | D) | England |
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