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A. 450-1000.
B. 1000-1150.
C. 1150-1450.
D. 450-1450.
A. curiosity and individualism.
B. exploration and adventure.
C. the “rebirth” of human creativity.
D. All answers are correct
A. condemned any remnant of pagan antiquity.
B. focused on human life and its accomplishments.
C. treated the Madonna as a childlike unearthly creature.
D. focused on the afterlife in heaven and hell.
A. feudalism.
B. humanism.
C. classicism.
D. paganism.
A. The Madonna was treated as a beautiful young woman.
B. The humanists were basically atheistic in their beliefs.
C. The humanists were captivated by the pagan cultures of ancient Greece and Rome.
D. The humanists focused on human life and its accomplishments.
A. priests.
B. traveling entertainers.
C. peasants.
D. women.
A. knights in castles.
B. professors in universities.
C. monks in monasteries.
D. wandering minstrels or jongleurs.
A. were not permitted to sing in church.
B. sang at all church services.
C. could sing only in monasteries.
D. were not permitted to participate in church services.
A. proper pronunciation and tone quality.
B. the accompaniment of organs and other instruments.
C. proper attention to the wishes of the bishop.
D. the members of the congregation.
A. quietly with reverence.
B. vigorously with manliness.
C. loudly with boisterous tone quality.
D. somberly with proper dignity.
A. association with minstrels and jongleurs.
B. sacred quality and background.
C. earlier role in pagan rites.
D. use in early Jewish religious ceremonies.
A. added a sacred quality to the mass.
B. made it possible for more musicians to be employed.
C. frustrated the nobles in their attempts to control the church.
D. distracted the listeners from worship.
A. the pictures and literary descriptions of the day.
B. surviving musical manuscripts.
C. the work of Pope Gregory the Great.
D. the work of Hildegard of Bingen.
A. instrumental.
B. vocal.
C. for the piano.
D. for the organ.
A. instruments were used.
B. trumpets and trombones were prominent.
C. instruments were seldom used.
D. large orchestras existed.
A. performed by as many musical instruments as possible.
B. used only as a discreet accompaniment.
C. banned entirely.
D. used only with wind instruments.
A. encouraged the use of music as a highlight of
B. forbade the use of music in
C. wanted music only as a discreet accompaniment to
D. preferred instrumental music in
A. contemporary gospel.
B. Gregorian chant.
C. estampies.
D. Trouvère songs.
A. is set to sacred Latin texts.
B. retained some elements of the Jewish synagogue of the first centuries after Christ.
C. was the official music of the Roman Catholic church for more than 1,000 years.
D. All answers are correct.
A. is monophonic in texture.
B. is polyphonic in texture.
C. is homophonic in texture.
D. has no texture.
A. one instrument playing alone.
B. melody sung without accompaniment.
C. several voices singing in harmony.
D. several instruments playing together.
A. It conveys a calm, otherworldly quality.
B. Its rhythm is flexible, without meter.
C. The melodies tend to move by step within a narrow range of pitches.
D. It is usually polyphonic in texture.
A. it is very difficult to sing, and those who know how are dying out.
B. the Second Vatican Council of 1962-65 decreed the use of the vernacular in church services.
C. it is too old-fashioned for modern services.
D. All answers are correct.
A. by leaps over a wide range of pitches.
B. stepwise within a narrow range of pitches.
C. infrequently, remaining on a single tone for long stretches.
D. only by perfect intervals.
A. composed all the chants presently in use.
B. had his name put on the first printed edition.
C. was credited by medieval legend with having created it.
D. wrote the texts for the chants.
A. composed all of the Gregorian chants.
B. published all of the Gregorian chants.
C. reorganized the Catholic church liturgy during his reign from 590 to 604.
D. All answers are correct
A. the salvation service and the holiness service.
B. the monastery and the convent.
C. the office and the mass.
D. the worship service and the praise service.
A. the service before sunrise.
B. the service after sunset.
C. the evening feast.
D. the mass.
A. sixth
B. ninth
C. hirteenth
D. fourteenth
A. forms of religious ritual.
B. only used in the music of the Catholic church.
C. the basic scales of western music during the Middle Ages.
D. chalices to hold holy relics.
A. different from the major and minor scales in that they consist of only six different tones.
B. different from the major and minor scales in that they consist of only five different tones.
C. like the major and minor scales in that they consist of seven tones and an eighth tone that duplicates the first an octave higher.
D. completely different from any other form of scale.
A. may be translated as “praise ye the Lord”.
B. is a Latinized form of the Hebrew word hallelujah.
C. is often used in Gregorian chants.
D. All answers are correct.
A. theme and variations.
B. ABA.
C. through-composed.
D. ABACABA.
A. the first woman composer to leave a large number of works that have survived.
B. abbess of the convent at Rupertsberg.
C. a visionary and mystic active in religious and diplomatic affairs.
D. All answers are correct.
A. the nuns of Rupertsberg.
B. the monks at the church of St. Trophime.
C. Pope Gregory I.
D. Hildegard of Bingen.
A. during the twelfth and thirteenth centuries.
B. during the ninth century.
C. from 590 to 604.
D. during the fifteenth century.
A. priests and monks.
B. French nobles called troubadours and trouvères.
C. wandering minstrels or jongleurs.
D. professional dancers and singers.
A. the Crusades.
B. spinning.
C. love.
D. All answers are correct
A. love.
B. dancing.
C. the Crusades.
D. religion.
A. Knights were able to gain great reputations as musical poets.
B. The medieval jongleurs, important sources of information in a time when there were no newspapers, were accordingly ranked on a high social level.
C. Some 1,650 troubadour and trouvère melodies have been preserved.
D. While the notation does not indicate rhythm, it is likely that many of the secular songs of the Middle Ages had a regular meter with a clearly defined beat.
A. Hildegard of Bingen.
B. Frauenlob.
C. Péronne d’Armentières.
D. Beatriz de Dia.
A. queen of southern France.
B. abbess of Rupertsberg and a composer of choral music.
C. one of a number of women troubadours.
D. the wife of Guillaume IX, duke of Aquitaine.
A. rhythm.
B. pitch.
C. duration.
D. All answers are correct.
A. ranked on a high social level.
B. on the lowest social level.
C. equal in rank to the troubadours and trouvères.
D. welcomed by the nobility as distinguished guests.
A. performed music and acrobatics in castles, taverns, and town squares.
B. lived on the lowest level of society.
C. played instrumental dances on harps, fiddles, and lutes.
D. All answers are correct
A. Gregorian chant.
B. monophonic songs in various languages.
C. monophonic songs in French and Latin.
D. organums and motets.
A. monasteries.
B. church services.
C. dancing.
D. monks and nuns.
A. dance.
B. stringed instrument.
C. secular song form.
D. song of worship.
A. It is one of the earliest surviving pieces of instrumental music.
B. It was intended for religious services.
C. The manuscript contains only a single melodic line.
D. The manuscript does not indicate which instrument should play the melody.
A. medieval drum.
B. bowed string instrument.
C. tubular wind instrument.
D. plucked string instrument.
A. addition of a second melodic line to Gregorian chant.
B. addition of an organ accompaniment.
C. transcription of the music for several different instruments.
D. addition of chords to the melody line.
A. musicians composed new music to accompany dancing.
B. the French nobles began to sing hunting songs together.
C. monks in monastery choirs began to add a second melodic line to Gregorian chant.
D. All answers are correct.
A. Alleluia
B. Organum
C. Jongleurs
D. Ostinato
A. ars nova.
B. organum.
C. cantus firmus.
D. alleluia.
A. Medieval music theorists favored the use of triads, the basic consonant chords of music.
B. Medieval music that consists of Gregorian chant and one or more additional melodic lines is called organum.
C. Paris was the intellectual and artistic capitol of Europe during the late medieval period.
D. Perotin was the first known composer to write music with more than two voices.
A. Paris.
B. Rome.
C. Reims.
D. London.
A. placing new melodic lines against known chants.
B. harmonizing melodies with chords.
C. having some singers embellish the chant during church services.
D. adding orchestral instruments to church music.
A. are the first important composers known by name.
B. indicated definite time values and a clearly defined meter in their music.
C. were the leaders of the school of Notre Dame.
D. All answers are correct.
A. Pope Gregory and Chastelain de Couci.
B. Machaut and Josquin.
C. Leonin and Perotin.
D. All answers are correct.
A. Perotin.
B. Guillaume de Machaut.
C. Hildegard of Bingen.
D. Pope Gregory I.
A. the literature of the time stressed earthly sensuality.
B. rival popes claimed authority at the same time, thereby weakening the authority of the church.
C. the feudal system had gone into decline.
D. All answers are correct.
A. syncopation.
B. organum.
C. Gregorian chant.
D. monophonic texture.
A. became more important than sacred music.
B. was not based on Gregorian chant.
C. included drinking songs and pieces in which bird calls, dog barks, and hunting shouts were imitated.
D. All answers are correct.
A. Italian and French music of the fourteenth century.
B. German music of the sixteenth century.
C. the new art of baroque painters.
D. paintings from the new world.
A. late twelfth century.
B. early thirteenth century.
C. early fourteenth century.
D. late fourteenth century.
A. the subjects were all secular.
B. there was no syncopation.
C. a new system of notation permitted composers to specify almost any rhythmic pattern.
D. the music emphasized homophonic texture.
A. Guillaume de Machaut.
B. Perotin.
C. Leonin.
D. Pope Gregory I.
A. court official
B. poet
C. priest
D. All answers are correct.
A. music for church services.
B. Gregorian chants.
C. dance music.
D. love songs with instrumental accompaniment.
Answer: D
A. Ave Maria
B. Gloria
C. Kyrie
D. Credo
A. 1000 and 1150.
B. 1150 and 1450.
C. 1450 and 1600.
D. 1600 and 1750.
A. Education was considered a status symbol by aristocrats and the upper middle class.
B. The Catholic church was even more powerful in the Renaissance than during the Middle Ages.
C. Every educated person was expected to be trained in music.
D. Musical activity gradually shifted from the church to the court.
A. England.
B. Flanders.
C. Spain.
D. Scandinavia.
A. The texture of Renaissance music is chiefly polyphonic.
B. Instrumental music became more important than vocal music during the Renaissance.
C. The Renaissance period is sometimes called “the golden age” of a cappella choral music.
D. Renaissance composers often used word painting, a musical representation of specific poetic images.
A. Flanders.
B. Spain.
C. Germany.
D. Italy.
A. monophonic.
B. homophonic.
C. polyphonic.
D. heterophonic.
A. composers considered the harmonic effect of chords rather than superimposing one melody above another.
B. the bass register is used for the first time.
C. the typical choral piece has four, five, or six voice parts of nearly equal melodic interest.
D. All answers are correct.
A. unaccompanied choral music.
B. men taking their hats off in church.
C. singing in a hushed manner.
D. any form of music appropriate for church use.
A. there is a sharply defined beat.
B. the music is mostly homophonic.
C. the level of musicianship in the Renaissance was not very high.
D. the melody often moves along a scale with few large leaps.
A. Kyrie.
B. motet.
C. madrigal.
D. cantata.
A. polyphonic choral composition made up of five sections.
B. piece for several solo voices set to a short poem, usually about love.
C. dancelike song for several solo voices.
D. polyphonic choral work set to a sacred Latin text other than the ordinary of the mass.
A. Agnus Dei.
B. Gloria.
C. Sanctus.
D. Alleluia.
A. Italy.
B. Spain.
C. Germany.
D. the Netherlands.
A. Christopher Columbus.
B. Perotin.
C. Palestrina.
D. Henry VIII of England.
A. Josquin’s compositions strongly influenced other composers, and were praised enthusiastically by music lovers.
B. Josquin spent most of his life in the province of Hainaut, today a part of Belgium.
C. Josquin’s compositions include masses, motets, and secular vocal pieces.
D. Josquin’s Ave Maria . . . Virgo serena uses polyphonic imitation, a technique typical of the period.
A. the Netherlands.
B. Florence.
C. Naples.
D. Rome.
A. career centered in Florence.
B. training, like Josquin’s, was in Flanders.
C. music includes 104 masses and some 450 other sacred works.
D. All answers are correct.
A. the Reformation.
B. the Counter-Reformation.
C. Protestantism.
D. the Inquisition.
A. founding of the Jesuit order in 1540.
B. deliberations of the Council of Trent.
C. complaints of Desiderius Erasmus.
D. music of Palestrina.
A. was tiresomely monophonic.
B. was based on Gregorian chant.
C. used secular tunes, noisy instruments, and theatrical singing.
D. All answers are correct.
A. Palestrina was a better composer.
B. it is set for six voices instead of four.
C. the recording engineer adjusted the levels differently.
D. All answers are correct.
A. England.
B. France.
C. Italy.
D. Flanders.
A. read musical notation.
B. play a musical instrument.
C. be skilled in dance.
D. All answers are correct.
A. Thomas Morley
B. Thomas Weelkes
C. Luca Marenzio
D. Josquin Desprez
A. polyphonic choral composition made up of five sections.
B. piece for several solo voices set to a short poem, usually about love.
C. dancelike song for several solo voices.
D. polyphonic choral work set to a sacred Latin text.
A. the Spanish armada.
B. a decree by Queen Elizabeth.
C. the writings of Shakespeare.
D. the publication in London of a volume of translated Italian madrigals.
A. Queen Anne.
B. King Henry VIII.
C. the goddess Diana.
D. Queen Elizabeth I.
A. word painting.
B. completely homophonic texture.
C. instrumental accompaniment.
D. monophonic texture.
A. estampie
B. motet
C. lute song
D. galliard
A. shawm
B. regals
C. sackbut
D. lute
A. the late 1570’s to the 1590’s.
B. the late 1590’s to the 1620’s.
C. 1580 to 1600.
D. 1600 to the late 1620’s.
A. monophonic
B. polyphonic
C. homophonic
D. imitative
A. John Dowland.
B. Thomas Weelkes.
C. Josquin Desprez.
D. Thomas Morley.
A. bliss
B. patriotism
C. pain
D. melancholy
A. two
B. three
C. four
D. five
A. is given equal prominence with the voice.
B. is subordinate to the voice.
C.is more prominent that the voice.
D. plays the same melody as the voice.
A. Secular vocal music was written for groups of solo voices and for solo voice with instrumental accompaniment.
B. Secular music contained more rapid changes of mood than sacred music.
C. A wealth of dance music published during the sixteenth century has survived.
D. Much of the instrumental music composed during the Renaissance was intended for church use.
A. the concert hall.
B. religious worship.
C. dancing.
D. the piano.
A. Michael Praetorius.
B. Pierre Francisque Caroubel.
C. Thomas Weelkes.
D. Thomas Morley.
A. lively dance in triple meter.
B. stately dance in duple meter similar to the pavane.
C. gay, sprightly dance in duple meter.
D. wooden instrument with a cup-shaped mouthpiece.
A. lute.
B. recorder.
C. viol.
D. shawm.
*Exploration and adventure
*The “rebirth” of human creativity
-Agnus Dei
-Gloria
-Sanctus
-Alleluia
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