Quiz 7: The Renaissance
Art & Humanities
Q 1Q 1
Which is true of "Ave maris stella"?
A) It is a homophonic setting of a Gregorian hymn.
B) It is a polyphonic setting of a plainchant.
C) It is a monophonic chant.
D) It is a plainchant sequence.
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A
Q 2Q 2
In "Ave maris stella," which stanzas consist of unembellished plainchant?
A) 2, 3, and 4
B) 1, 3, and 5
C) 2, 4, and 6
D) 3 and 5
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B
Q 3Q 3
In which stanzas of "Ave maris stella" do you hear the composer's own music?
A) 2, 3, and 4
B) 1, 2, and 3
C) 1, 3, and 5
D) 2, 4, and 6
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D
Q 4Q 4
In which voice(s)during "Ave maris stella" do you hear the hymn tune in paraphrase with extra notes?
A) lowest voice
B) lowest and middle voices
C) highest voice
D) middle voice
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Q 5Q 5
What are the performing forces in "Ave maris stella"?
A) a solo male voice
B) a solo male voice alternating with a male choir
C) a choir of high and low voices
D) a female choir
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Q 6Q 6
Who composed the Pange lingua Mass?
A) Josquin Desprez
B) Guillaume Dufay
C) Giovanni Pierluigi da Palestrina
D) Thomas Weelkes
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Q 7Q 7
The performing forces in Pange lingua consist of a:
A) solo high voice.
B) choir of high voices.
C) solo tenor and a mixed choir.
D) choir of high and low voices.
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Q 8Q 8
The composer used the melody of the plainsong hymn ________ as the basis of the Pange lingua Mass.
A) "Qui tollis"
B) "Kyrie eleison"
C) "Gloria"
D) "Pange lingua"
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Q 9Q 9
What do you hear after the brief plainchant section in the Kyrie of Pange lingua?
A) a point of imitation
B) hocket
C) an isorhythmic section
D) a sequence
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Q 10Q 10
In Pange lingua,plainchant is used to open:
A) each section of the Kyrie.
B) the first section of the Kyrie.
C) the middle section, or Christe.
D) the "Qui tollis" section.
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Q 11Q 11
Which parts of the Mass are included in the excerpts from Pange lingua?
A) Kyrie and Gloria
B) Credo and Kyrie
C) Pange and lingua
D) first and second verses
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Q 12Q 12
What is the predominant texture of Pange lingua?
A) monophony
B) homophony
C) imitative polyphony
D) non-imitative polyphony
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Q 13Q 13
Who composed "Mille regrets"?
A) Josquin Desprez
B) Guillaume Dufay
C) Giovanni Pierluigi da Palestrina
D) Thomas Weelkes
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Q 14Q 14
The polyphonic chanson "Mille regrets" is notable for its:
A) use of isorhythms.
B) fragments of chant.
C) spiritual nature.
D) expressive matching of music to words.
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Q 15Q 15
Who composed the Pope Marcellus Mass?
A) Josquin Desprez
B) Giovanni Pierluigi da Palestrina
C) Thomas Weelkes
D) not known
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Q 16Q 16
The performing forces in Pope Marcellus consist of:
A) voices and organ.
B) voices and brass instruments.
C) voices and stringed instruments.
D) voices alone.
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Q 17Q 17
What is the predominant texture of the "Qui tollis" from the Gloria of the Pope Marcellus Mass?
A) monophony
B) imitative polyphony
C) non-imitative polyphony
D) homophony
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Q 18Q 18
How does the "Qui tollis" in Pope Marcellus differ from the "Qui tollis" in Pange lingua?
A) It uses fewer voices and more solos.
B) It is more polyphonic; it has many points of imitation.
C) It uses more voices and alternates choirs; it is more homophonic.
D) It uses a different text.
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Q 19Q 19
The purpose of Pope Marcellus was to:
A) provide dance music.
B) entertain nobility.
C) entertain the public.
D) worship God.
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Q 20Q 20
"As Vesta Was from Latmos Hill Descending" is a:
A) madrigal.
B) Mass.
C) motet.
D) plainchant sequence.
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Q 21Q 21
The text of "As Vesta Was from Latmos Hill Descending" involves:
A) the worship of God.
B) Queen Elizabeth and mythological figures.
C) a celebration of the birthday of the Virgin Mary.
D) unrequited love.
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Q 22Q 22
"As Vesta Was from Latmos Hill Descending" demonstrates:
A) isorhythm.
B) hocket.
C) a plainchant sequence.
D) word painting.
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Q 23Q 23
The performing forces in "As Vesta Was from Latmos Hill Descending" consist of:
A) a male choir.
B) two choirs in alternation.
C) male and female vocal soloists.
D) a female choir.
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Q 25Q 25
The performing forces in "Daphne" consist of:
A) early violins.
B) early violins and lute.
C) recorders, early violins, and harpsichord.
D) organ and early violins.
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Q 26Q 26
The texture of "Daphne" is:
A) monophonic.
B) homophonic.
C) polyphonic.
D) monophonic, then polyphonic.
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Q 28Q 28
What is the form of "Kemp's Jig"?
A) a b a repeated several times
B) a a b b c c repeated several times
C) a a b repeated several times
D) a a¢ a¢¢ a¢¢¢, and so on
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Q 29Q 29
The purpose of "Kemp's Jig" was:
A) to praise Queen Elizabeth.
B) to celebrate a biblical birthday.
C) for use in a church service.
D) for listening enjoyment.
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Q 30Q 30
The process by which Renaissance composers freely embellished plainchant melodies for use in their compositions is known as:
A) harmonization.
B) improvisation.
C) paraphrase.
D) elaboration.
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Q 31Q 31
In the early Renaissance,composers concentrated on the ________ rather than the ________ of the plainchant melodies used.
A) form; melody
B) sonority; authoritarian function
C) imitative and non-imitative polyphony; melody
D) intellectual elements; sensuous aspects
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Q 32Q 32
In medieval music the plainchant melody was in the ________ voice,but in the early Renaissance it moved to the ________ voice.
A) lowest; highest
B) highest; lowest
C) lowest; middle
D) middle; highest
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Q 33Q 33
What was the new,preferred texture of early Renaissance music?
A) monophony
B) imitative polyphony
C) non-imitative polyphony
D) homophony
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Q 34Q 34
Where was Guillaume Dufay (and many other important composers of his day)born,and where did he spend his career?
A) London; Paris
B) northern France near Belgium; Italy
C) southern France; Munich
D) Italy; northern France near Flanders
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Q 35Q 35
In church music,a short tune sung through many stanzas of text is a:
A) motet.
B) Mass.
C) madrigal.
D) hymn.
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Q 36Q 36
Dufay's "Ave maris stella" is:
A) an estampie.
B) a madrigal.
C) a harmonized hymn.
D) part of a polyphonic Mass.
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Q 37Q 37
Dufay is best known for his:
A) madrigals and motets.
B) instrumental dance pieces.
C) polyphonic Masses and plainchant harmonizations.
D) Gregorian chants and hymns.
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Q 38Q 38
The most important service of the Christian liturgy was:
A) the Office.
B) the Mass.
C) the proper.
D) vespers.
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Q 39Q 39
There are ________ standard sections of the polyphonic Mass.
A) four
B) five
C) six
D) seven
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Q 41Q 41
The great,large-scale compositional challenge of the Renaissance was musical unification of:
A) the church.
B) the Mass.
C) the motet.
D) plainchant harmonizations.
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Q 43Q 43
Which two techniques were blended to form the compositional style for the Mass,the motet,and the chanson in the High Renaissance?
A) imitative counterpoint and homophony
B) monophony and harmonization
C) non-imitative polyphony and monophony
D) imitative counterpoint and polyphony
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Q 44Q 44
How did polyphony change from the beginning to the end of the fifteenth century?
A) It disappeared.
B) It started out imitative and ended non-imitative.
C) It started out non-imitative and ended imitative.
D) Polyphony did not change throughout the century.
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Q 45Q 45
In terms of texture,High Renaissance composers:
A) focused on the horizontal aspects of music at the expense of the vertical aspects.
B) used polyphonic lines in such a way that a chordal quality was maintained.
C) focused on the vertical aspects of music at the expense of the horizontal aspects.
D) turned their attention away from polyphonic and chordal writing and focused on monophony.
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Q 46Q 46
The musical term for "voices alone" is:
A) strophic.
B) isorhythmic.
C) cantus.
D) a cappella.
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Q 47Q 47
The preferred tone color of the High Renaissance style was:
A) stringed instruments and voice.
B) organ and voice.
C) brass instruments and organ with voice.
D) voice alone.
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Q 48Q 48
How can rhythm in the High Renaissance style be characterized?
A) Music usually was in a clear triple meter.
B) Rhythm was unaccented, fluid, and shifting.
C) Rhythm was energetic, but with constantly changing meters.
D) Rhythm was complex, featuring techniques such as isorhythm.
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Q 49Q 49
Who was the first master of the High Renaissance style?
A) Thomas Weelkes
B) Josquin Desprez
C) Guillaume Dufay
D) Giovanni Pierluigi da Palestrina
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Q 50Q 50
Josquin composed works in which genre(s)?
A) stylized dance
B) motet, chanson, and madrigal
C) plainchant and madrigal
D) Mass, motet, and chanson
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Q 51Q 51
The text of the Kyrie section of the Pange lingua Mass is:
A) "Kyrie eleison, Christe eleison, Kyrie eleison."
B) "Kyrie, Eleison, Christe."
C) "Gloria patri, qui tollis peccata mundi."
D) "Pange lingua, Kyrie eleison, Christe eleison."
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Q 52Q 52
Points of imitation are used extensively in:
A) "As Vesta Was from Latmos Hill Descending."
B) the Kyrie from the Pange lingua Mass.
C) "Kemp's Jig."
D) "Daphne."
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Q 53Q 53
What is a point of imitation?
A) the beginning of each movement in a polyphonic Mass
B) a cadence point where the polyphony comes together to form homophonic chords
C) a passage of imitative polyphony usually using one musical motive
D) the place where the second voice enters in a passage of imitative polyphony
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Q 54Q 54
A characteristic of High Renaissance music,as heard in the Pange lingua Mass,is the contrasting of ________ and ________.
A) imitative polyphony; non-imitative polyphony
B) monophony; homophony
C) points of imitation; monophony
D) homophony; polyphony
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Q 55Q 55
Renaissance composers were inspired to explore the power of music to express human feelings.Their inspiration came from the:
A) church.
B) court.
C) ancient Greeks.
D) ancient Egyptians.
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Q 56Q 56
The first style period in which composers tried to set words to music in a natural and clear way was:
A) ancient Greece.
B) the Middle Ages.
C) the Enlightenment.
D) the Renaissance.
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Q 57Q 57
The style of setting words to music using rhythms that approximate human speech is called:
A) declamation.
B) imitative.
C) word painting.
D) isorhythmic.
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Q 58Q 58
What device did Renaissance composers use to depict in music the words or ideas of a text?
A) a cappella
B) word painting
C) cantus firmus
D) isorhythm
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Q 59Q 59
Word painting was first used extensively in the ________ century.
A) fourteenth
B) fifteenth
C) sixteenth
D) seventeenth
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Q 60Q 60
Which composer worked in the repressive atmosphere of the Counter-Reformation movement?
A) Fabritio Caroso
B) Giovanni Pierluigi da Palestrina
C) Josquin Desprez
D) Thomas Weelkes
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Q 61Q 61
How many vocal parts did Palestrina use in the Gloria of the Pope Marcellus Mass?
A) two
B) four
C) six
D) eight
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Q 62Q 62
Which is true of the evolution of the motet over the centuries?
A) The motet has changed a great deal over the centuries.
B) The motet has stayed the same over the centuries.
C) The motet appeared in the medieval period, changed to a simpler form in the early Renaissance, and changed back to its more intellectual form by the end of the Renaissance.
D) The motet began in the early Renaissance and changed drastically during that era.
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Q 63Q 63
Why was the motet more attractive than the Mass to sixteenth-century composers?
A) Polyphony was allowed in the motet but not in the Mass.
B) The motet allowed for different texts, but the Mass always had the same text.
C) The motet was secular, and the Mass was religious.
D) The motet was in the High Renaissance homophonic style, whereas the Mass was usually polyphonic.
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Q 65Q 65
A short piece of music set to a one-stanza secular poem,with each part typically sung by one singer and having alternating sections of homophony and polyphony,is a:
A) motet.
B) pavan.
C) madrigal.
D) galliard.
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Q 66Q 66
The anthology of madrigals in honor of Queen Elizabeth that was compiled in 1601 is called:
A) Celeste Giglio.
B) "As Vesta Was from Latmos Hill Descending."
C) "Veni Creator Spiritus."
D) The Triumphs of Oriana.
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Q 67Q 67
The most significant difference between the Italian madrigal and the English madrigal is that Italian madrigals are ________ and English madrigals are ________.
A) in Italian; in English
B) polyphonic; homophonic
C) homophonic; polyphonic
D) religious; secular
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Q 69Q 69
Which was the most widespread Renaissance instrumental genre?
A) the madrigal
B) dance music
C) organ music
D) instrumental music used to accompany voices in church
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Q 70Q 70
The pavan and galliard are:
A) types of Renaissance chansons.
B) forms used in Renaissance Masses.
C) types of Renaissance dance music.
D) forms used in madrigals.
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Q 72Q 72
The pavan is in ________ meter,and the galliard is in ________ meter.
A) duple; duple
B) duple; compound duple
C) duple; triple
D) compound duple; compound triple
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Q 73Q 73
What makes it easy for the dancers to keep their places in "Daphne"?
A) the polyphony
B) the distinct endings to the phrases
C) the instrumental accompaniment
D) the text
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Q 74Q 74
Will Kemp was:
A) the composer of "Kemp's Jig."
B) a famous Elizabethan violinist.
C) a composer of music for Shakespeare's plays.
D) an actor in Shakespeare's plays.
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Q 75Q 75
The first great phase of European expansion into other parts of the world was from ________ to ________.
A) 1780; 1820
B) 1680; 1720
C) 1580; 1620
D) 1480; 1620
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Q 76Q 76
It was the ________ explorers who told of the ________ of Indonesia.
A) Dutch; gamelans
B) Aztec; sackbuts
C) English; song and dance
D) Chinese; Noh opera
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Q 77Q 77
European missionaries,while amazed at the achievements and complexities of the Aztec and Inca empires,sought to:
A) preserve native customs.
B) encourage native song and dance, but only in Christian festivals.
C) include harvest festivals in the church liturgy.
D) include native instruments and costumes in the church liturgy.
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Q 79Q 79
The words of "Hanaq pachap kusikuynin" are in the native Andean language:
A) Nahuatl.
B) Basque.
C) Quechua.
D) Mayan.
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Q 80Q 80
The texture of "Hanaq pachap kusikuynin" is:
A) homophonic.
B) monophonic.
C) polyphonic.
D) heterophonic.
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Q 81Q 81
Renaissance means "rebirth." What was reborn during the Renaissance,and what was the source of the inspiration for the Renaissance? Discuss.
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Q 83Q 83
Briefly contrast the way medieval composers used plainchant melodies with the way Renaissance composers used them.In your answer,state which aspect of the chant was valued by whom and the location of the chant in the music.
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Q 87Q 87
Describe the change in attitude of Renaissance composers with regard to medieval authority and intricacy in composition.For example,what was the Renaissance attitude toward isorhythm?
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Q 90Q 90
What was the goal of Renaissance composers regarding the Mass? How did they achieve this goal?
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Q 91Q 91
Describe the change in the use of imitation from the beginning to the end of the fifteenth century.
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Q 92Q 92
Describe the High Renaissance style with regard to musical texture,tempo,and dynamics.When did it emerge?
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Q 93Q 93
Describe the change in composers' approach to the use of homophony from the late medieval period to the High Renaissance.
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Q 95Q 95
Approximately when did Josquin Desprez live? What were his most important musical contributions? In which genres was he a great pioneer?
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Q 97Q 97
How did the idea of expressiveness in music chnge from the medieval period to the Renaissance? What inspired this change?
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Q 98Q 98
Define and discuss the processes of declamation and word painting,through which Renaissance composers attempted to achieve heightened expressiveness.
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Q 99Q 99
In the late Renaissance,composers applied their compositional style to new secular genres.Describe two of them.
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Q 100Q 100
Name four composers of the High Renaissance who contributed to the distribution of this musical style throughout most of Europe and England.
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Q 101Q 101
Describe the career of Palestrina with regard to his role as a composer and a Roman Catholic during the time of the Counter-Reformation.
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Q 103Q 103
What is a madrigal? When did the madrigal become popular? Are madrigals generally sacred or secular?
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Q 104Q 104
Did the madrigal remain a uniquely Italian genre because the music was so closely tied to the Italian words? Explain.
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Q 105Q 105
What gives Weelkes's madrigal "As Vesta Was from Latmos Hill Descending" a modern feel? Explain the musical causes for the difference between the mood of this music and that of Josquin's music.
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Q 106Q 106
What are some instruments that date from the sixteenth century? Which one was originally from the Near East?
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Q 107Q 107
What was the most widespread Renaissance instrumental genre? Name and describe two types of compositions within this genre.
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Q 111Q 111
Was the European attempt to conquer from 1480 to 1620 based solely on military need? Why or why not?
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Q 112Q 112
What reports of music and rituals came back to Europe from the explorers,soldiers,and missionaries between 1480 and 1620? Discuss the accuracy of these reports.
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Q 113Q 113
What civilizations posed the first great challenge of religious conversion to the missionaries in the 1500s? Discuss briefly.
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Q 114Q 114
Describe the mixture of native Andean and European cultural and musical expression during the time of the Franciscan friar Bocanegra.
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