Music Chp 11

Front 1

(T/F) During the Renaissance, stylistic differences between religious and secular music and between vocal and instrumental music became apparent.

Back 1

TRUE

Front 2

Sixteenth-century Italy introduced a new type of song to the secular repertoire, the

Back 2

madrigal.

Front 3

The madrigal was like the motet in all of the following ways except

Back 3

-both were polyphonic.
-both were essentially vocal rather than instrumental forms.
X both had religious texts.
-both were important forms during the Renaissance period.

Front 4

The madrigal form, like that of the motet, was

Back 4

through-composed.

Front 5

(T/F)The madrigal, like the motet, was mostly polyphonic in texture, with passages in syllabic or homorhythmic style.

Back 5

TRUE

Front 6

The following are all significant differences between the motet and the madrigal except

Back 6

X the madrigal was written in Latin.
- most madrigals did not have a religious text.
-extreme examples of word painting were used in madrigals.
-madrigals were sung at social gatherings and private meetings.
- anyone who could read music and sing could perform madrigals.

Front 7

Madrigals became known for dramatic, extreme examples of word painting called

Back 7

madrigalisms.

Front 8

The madrigal originated in Italy but soon became very popular in

Back 8

England

Front 9

(T/F) Unlike the emotional Italian madrigals, English madrigals were often light in mood, whimsical, gently humorous, sentimental, or festive.

Back 9

True

Front 10

(T/F) Although Renaissance composers were primarily concerned with setting religious texts to music for worship services, instrumental music was increasingly appreciated for its own sake.

Back 10

True

Front 11

(T/F) 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.

Back 11

True

Front 12

(T/F) Renaissance dance pieces were often organized into sets of from four to seven movements.

Back 12

False

Front 13

(T/F) 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.

Back 13

True

Front 14

It was not until the _______ century that composers customarily wrote music for specific voices or instruments.

Back 14

Seventeenth

Front 15

The most widely used instrument during the sixteenth century was a plucked string instrument called the

Back 15

lute

Front 16

One of the greatest performers and composers of Renaissance lute music was

Back 16

John Dowland

Front 17

During the fifteenth and sixteenth centuries, the most popular string instrument that was bowed rather than plucked was the

Back 17

viol

Front 18

The __________ was a quiet keyboard instrument capable of subtle changes of volume and even a slight vibrato.

Back 18

clavichord

Front 19

All of the following are TRUE of the harpsichord except

Back 19

-stops provided a change in timbre and allowed abrupt changes of dynamic level.
X the harpsichord could produce vibrato.
-the cases were often elaborately carved and painted.
-the instrument was a source of visual as well as aural beauty.
-some harpsichord cases were even inlaid with precious stones.

Front 20

(T/F) Sixteenth-century organs had many stops and the full pedal keyboard that is found on organs today.

Back 20

False

Front 21

All of the following are Renaissance instruments except

Back 21

- recorders.
-trumpets.
-trombones.
X clarinets.

Front 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

Back 22

consorts

Front 23

(T/F) During the Renaissance, girls were generally not provided much education, and only the wealthy and those reared in religious institutions received formal music lessons.

Back 23

True

Front 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

Back 24

- viol.
-lute.
X recorder.
- harpsichord.

Front 25

(T/F) 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.

Back 25

False

Front 26

-secular song introduced in Italy that became popular in England as well
-Polyphonic in texture and expressive in mood
-are written in the vernacular

Back 26

madrigal

Front 27

plucked string instrument; the instrument most widely usied in the 16th century

Back 27

lute

Front 28

most popular bowed string instrument of the Renaissance.

Back 28

viol

Front 29

keyboard instrument capable of producing subtle changes of volume and even a slight vibrato

Back 29

clavichord

Front 30

rapid variation of pitch lending warmth to the tone of a voice or instrument

Back 30

vibrato

Front 31

-end-blown wind instrument
-sometimes called a whistle flute
-developed in the Middle Ages and very popular in the Renaissance

Back 31

recorder

Front 32

ensemble of several members of the same instrument family

Back 32

consort