DOCSLIB.ORG

IB Music HL Renaissance Period Quiz

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
IB Music HL Renaissance Period Quiz Name: ____________________ IB Music HL Renaissance Period Quiz 1. The French word “Renaissance” literally means what? a. renewal b. rebirth c. renovation d. rebellion 2. Which of the following did NOT take place during the Renaissance? a. The discovery of the Americas by Christopher Columbus. b. The great artwork of men like Michelangelo, Bernini, Da Vinci, and Raphael. c. The writing of the Declaration of Independence by Thomas Jefferson. d. The scientific discoveries of Kepler, Copernicus, and Galileo. 3. Which of the following is NOT a movement of the Mass? a. Kyrie b. Gloria c. Pisces d. Sanctus 4. Which of the following is NOT characteristic of a madrigal? a. moderate-to-fast tempo b. major tonality c. voices doubled by instruments d. text in the vernacular 5. Which of the following is NOT characteristic of a motet? a. text in Latin b. three polyphonic lines c. a secular or religious context d. extensive ornamentation 6. Which Italian composer is famous for his polyphonic choral works? a. Josquin des Prez b. Arthur Fonzarelli c. Vito Andolini de Corleone d. Giovanni Pierluigi da Palestrina 7. What French composer is famous for both secular and sacred works? a. Thomas Tallis b. Josquin des Prez c. Charles de Gaulle d. François Hollande 8. Which of the following is a Renaissance double-reed instrument? a. shawm b. harpsichord c. sackbut d. violin 9. Which of the following is a significant development in music theory during the Renaissance? a. the introduction of harmony b. the development of the bass clef staff c. the use of triads, especially in final cadences d. the invention of polyphony 10. This English composer is well known for his madrigals. a. William Byrd b. Christopher Marlowe c. Tomás Luis de Victoria d. Benedict Cumberbatch Identify the harmonic interval. 11. ____________________ 12. ____________________ 13. ____________________ 14. ____________________ 15. ____________________ Identify the quality of each chord. 16. a. augmented b. major c. minor d. diminished 17. a. augmented b. major c. minor d. diminished 18. a. augmented b. major c. minor d. diminished 19. a. augmented b. major c. minor d. diminished 20. a. augmented b. major c. minor d. diminished 21. a. augmented b. major c. minor d. diminished 22. a. augmented b. major c. minor d. diminished 23. a. augmented b. major c. minor d. diminished 24. a. augmented b. major c. minor d. diminished 25. a. augmented b. major c. minor d. diminished Identify the root of each chord inversion. 26. a. G b. C c. E 27. a. G b. B c. E 28. a. E♭ b. B♭ c. G 29. a. A b. D c. F♯ 30. a. D♭ b. B♭ c. G♭ Identify the quality of each chord inversion. 31. a. augmented b. major c. minor d. diminished 32. a. augmented b. major c. minor d. diminished 33. a. augmented b. major c. minor d. diminished 34. a. augmented b. major c. minor d. diminished 35. a. augmented b. major c. minor d. diminished Identify the genre of each excerpt you hear. 36. [Listen to the excerpt.] a. mass b. motet c. madrigal d. none of the above 37. [Listen to the excerpt.] a. mass b. motet c. madrigal d. none of the above 38. [Listen to the excerpt.] a. mass b. motet c. madrigal d. none of the above .
Load more

Recommended publications
  • Pieter-Jan Belder the Fitzwilliam Virginal Book
    95308 Fitzwilliam VB vol5 2CD_BL1_. 30/09/2016 11:06 Page 1 95308 The Fitzwilliam Virginal Book Volume 5 Munday · Richardson · Tallis Morley · Tomkins · Hooper Pieter-Jan Belder The Fitzwilliam Virginal Book Volume 5 Compact Disc 1 65’42 Compact Disc 2 58’02 John Munday 1555–1630 Anonymous Thomas Morley 1557 –1602 Anonymous & 1 Munday’s Joy 1’26 18 Alman XX 1’58 1 Alman CLII 1’33 Edmund Hooper 1553 –1621 2 Fantasia III, ( fair weather… ) 3’34 19 Praeludium XXII 0’54 2 Pavan CLXIX 5’48 12 Pakington’s Pownde CLXXVIII 2’14 3 Fantasia II 3’36 3 Galliard CLXX 3’00 13 The Irishe Dumpe CLXXIX 1’24 4 Goe from my window (Morley) 4’46 Thomas Tallis c.1505 –1585 4 Nancie XII 4’41 14 The King’s Morisco CCXLVII 1’07 5 Robin 2’08 20 Felix namque I, CIX 9’08 5 Pavan CLIII 5’47 15 A Toye CCLXIII 0’59 6 Galiard CLIV 2’28 16 Dalling Alman CCLXXXVIII 1’16 Ferdinando Richardson 1558 –1618 Anonymous 7 Morley Fantasia CXXIV 5’37 17 Watkins Ale CLXXX 0’57 6 Pavana IV 2’44 21 Praeludium ‘El. Kiderminster’ XXIII 1’09 8 La Volta (set by Byrd) CLIX 1’23 18 Coranto CCXXI 1’18 7 Variatio V 2’47 19 Alman (Hooper) CCXXII 1’13 8 Galiarda VI 1’43 Thomas Tallis Thomas Tomkins 1572 –1656 20 Corrãto CCXXIII 0’55 9 Variatio VII 1’58 22 Felix Namque II, CX 10’16 9 Worster Braules CCVII 1’25 21 Corranto CCXXIV 0’36 10 Pavana CXXIII 6’53 22 Corrãto CCXXV 1’15 Anonymous Anonymous 11 The Hunting Galliard CXXXII 1’59 23 Corrãto CCXXVI 1’08 10 Muscadin XIX 0’41 23 Can shee (excuse) CLXXXVIII 1’48 24 Alman CCXXVII 1’41 11 Pavana M.S.
    [Show full text]
  • Download Booklet
    Surround Sound SACDCD 9 Thomas Tallis CORO Sing and glorify According to the 17th-century witness who recounts the origins in the early 1570s of Spem in alium (track 1), Tallis’s 40-part motet was later revived ‘at the prince’s coronation’. By that, he must mean the investiture of Henry, James I’s eldest son, as Prince of Wales on 4 June 1610. By a happy coincidence, another source adds independent confirmation. It states that, following the investiture ceremony itself, the newly crowned prince dined in state at Whitehall to the sound of ‘music of forty several parts’. Clearly the new words that have been applied to Tallis’s music were written specially for the investiture, for they celebrate the ‘holy day’ in which Henry, ‘princely and mighty’, has been elevated by his new ‘creation’. At an event such as this, instruments would have joined voices to produce as rich and spectacular a sound as possible. In this recorded performance, we attempt to simulate that grandly sonorous noise. Thomas Tallis Sing and glorify heaven’s high majesty, for ever give it greeting, love and joy, Author of this blessed harmony. heart and voice meeting. Spem Sound divine praises with melodious graces. Live Henry, princely and mighty! This is the day, holy day, happy day; Henry live in thy creation happy! G IBBONS John Milsom ©2003 in alium B YRD Producer: Mark Brown The Sixteen Ltd., General Manager, Alison Stillman Music for Monarchs Engineer: Mike Hatch The Sixteen Productions Ltd., General Manager, Claire Long T OMKINS Digital mastering: Floating Earth www.thesixteen.com Organ Tuning: Keith McGowan For further information about The Sixteen and Magnates Recorded in May 2003 in All Saints Church, recordings on CORO or live performances Tooting, London and tours, call +44 (0) 1869 331 711, Design: Richard Boxall Design Associates or email [email protected].
    [Show full text]
  • The English Anthem Project the Past Century and a Half, St
    Special thanks to St. John’s staff for their help with promotions and program printing: Mair Alsgaard, Organist; Charlotte Jacqmain, Parish Secretary; and Ministry Coordinator, Carol The Rev. Ken Hitch, Rector Sullivan. Thanks also to Tim and Gloria Stark for their help in preparing the performance and reception spaces. To commemorate the first Episcopal worship service in Midland, MI 150 years ago, and in appreciation for community support over The English Anthem Project the past century and a half, St. John's and Holy Family Episcopal Churches are "Celebrating In Community" with 16th and 17th Centuries events like today’s concert. We hope you are able to share in future sesquicentennial celebration events we have planned for later this summer: www.sjec-midland.org/150 Exultate Deo Chamber Choir Weekly Worship Schedule SUNDAYS Saturday, June 24, 2017 8:00 AM - Holy Eucharist Traditional Worship, Spoken Service 4:00 p.m. 10:00 AM - Holy Eucharist Traditional Worship with Music, St. John’s Episcopal Church Nursery, Children's Ministry 405 N. Saginaw Road WEDNESDAYS Midland, MI 48640 12:00 PM - Holy Eucharist Quiet, Contemplative Worship 405 N. Saginaw Rd / Midland, MI 48640 This concert is offered as one of (989) 631-2260 / [email protected] several ‘Celebrating in Community’ www.sjec-midland.org events marking 150 years of All 8 Are Welcome. The Episcopal Church in Midland, MI The English Anthem Project William Byrd (c1540-1623) worked first in Lincoln Cathedral then became a member of the Chapel Royal, where for a time he and Tallis 16th and 17th Centuries were joint organists.
    [Show full text]
  • Partbooks and the Music Collection Will Be Open from 12 May to 13 August 2016 in the Upper Library at Christ Church
    Tudor Partbooks and the Music Collection will be open from 12 May to 13 August 2016 in the Upper Library at Christ Church. The exhibition showcases the music-books used by singers in the age of Queen Elizabeth I, with special emphasis on partbooks. This is the result of a successful collaboration with the Tudor Partbooks Project (Oxford University, Faculty of Music) and the Oxford Early Music Festival. The exhibition is curated by Dr John Milsom and Dr Cristina Neagu. Visiting hours: Monday - Friday 10.00 am - 1.00 pm 2:00 pm - 4.30 pm (provided there is a member of staff available in the Upper Library). The new exhibition opened with a concert by Magnificat, featuring pieces from the Christ Church Music Collection. This is one of the world’s premier vocal ensembles, internationally acclaimed for its performance of Renaissance choral masterpieces. Concert programme Robert White Christe qui lux Lamentations William Byrd Come to me grief O that most rare breast Thomas Tallis Salvator mundi (II) Salvator mundi (I) The concert was followed by a talk by Dr John Milsom, leading Tudor music scholar, and a drinks reception in the Cathedral. Tudor partbooks and the music collection Detail from Mus 864b choirbooks 1. CHOIRBOOK LAYOUT: A CLASSIC FOUR-VOICE MOTET In the fifteenth and sixteenth centuries, church choirs typically sang from large choirbooks, in which different areas of the double-page spread displayed the various voice-parts of a composition. This example shows the famous Ave Maria … virgo serena by Josquin Desprez. Each of the motet’s four voices is headed with a large capital A.
    [Show full text]
  • Tallis's Spem in Alium
    Spem in Alium – a comparatively review of fourteen recordings by Ralph Moore Background We know less about Thomas Tallis than Shakespeare or any other major cultural figure of the Tudor age; definite facts are few and reasonable inferences and conjectures are many, starting even with the dates of his birth – presumed to be around 1505 - and death - either 20th or 23rd November, 1585. The exact site of his grave in the chancel of the parish of St Alfege Church, Greenwich, is lost. We have no authenticated portrait. What we do know is that despite being a recusant Catholic, he not only survived those perilous times but prospered under a succession of Protestant monarchs, the sole Catholic being Edward VII’s sister Mary, who reigned for only five years, from 1553-1558. He was so valued and respected that Elizabeth gave him the lease on a manor house and a handsome income, and in 1575 he and his pupil William Byrd were granted an exclusive royal patent to print and publish polyphonic music. The key to his survival must lie in his discretion, flexibility and, above all, prodigious talent: he is indubitably one of the greatest English composers of his or any age and a towering figure in Renaissance choral music. His masterpiece is certainly the forty-voice motet Spem in alium but here again, verified facts regarding its origin and first performance are few. The original manuscript is lost and our knowledge of the work is derived from another score prepared for the investiture in 1610 of James I’s elder son, Henry, as Prince of Wales, and used again for the coronation in 1625 of his younger brother, Charles I, next in line to the throne after Harry’s death in 1612 from typhoid fever at eighteen years old.
    [Show full text]
  • Image and Influence: the Political Uses of Music at the Court of Elizabeth I
    Image and Influence: The Political Uses of Music at the Court of Elizabeth I Katherine Anne Butler Royal Holloway, University of London Submitted for the Degree of Doctor of Philosophy Acknowledgements With thanks to all the people who supported me throughout my research, especially: My supervisor, Stephen Rose, My advisors, Elizabeth Eva Leach and Anna Whitelock, The Arts and Humanities Research Council for funding this research, Royal Holloway Music Department for conference grants, My proofreaders, Holly Winterton, Sarah Beal, Janet McKnight and my Mum, My parents and my fiancé, Chris Wedge, for moral support and encouragement. Declaration of Authorship I, Katherine Butler, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: ______________________ Date: ________________________ 2 Abstract In their Cantiones sacrae (1575), court musicians William Byrd and Thomas Tallis declared that ‘music is indispensable to the state’ (necessarium reipub.). Yet although the relationship between Elizabethan politics and literature has been studied often, there has been little research into the political functions of music. Most accounts of court music consist of documentary research into the personnel, institutions and performance occasions, and generally assume that music’s functions were limited to entertainment and displays of magnificence. However, Elizabethans believed that musical concord promoted a social harmony that would ease the process of government; hence politics and music were seen as closely connected. This thesis is an interdisciplinary investigation into the role of music in constructing royal and courtly identities and influencing Elizabeth’s policies and patronage.
    [Show full text]
  • The Tallis Scholars
    Friday, April 10, 2015, 8pm First Congregational Church The Tallis Scholars Peter Phillips, director Soprano Alto Tenor Amy Haworth Caroline Trevor Christopher Watson Emma Walshe Clare Wilkinson Simon Wall Emily Atkinson Bass Ruth Provost Tim Scott Whiteley Rob Macdonald PROGRAM Josquin Des Prez (ca. 1450/1455–1521) Gaude virgo Josquin Missa Pange lingua Kyrie Gloria Credo Santus Benedictus Agnus Dei INTERMISSION William Byrd (ca. 1543–1623) Cunctis diebus Nico Muhly (b. 1981) Recordare, domine (2013) Arvo Pärt (b. 1935) Tribute to Caesar (1997) Byrd Diliges dominum Byrd Tribue, domine Cal Performances’ 2014–2015 season is sponsored by Wells Fargo. 26 CAL PERFORMANCES PROGRAM NOTES he end of all our exploring will be Josquin, who built on the cantus firmus tradi- Tto arrive where we started and know the tion of the 15th century, developing the freer place for the first time.” So writes T. S. Eliot in parody and paraphrase mass techniques. A cel- his Four Quartets, and so it is with tonight’s ebrated example of the latter, the Missa Pange concert. A program of cycles and circles, of Lingua treats its plainsong hymn with great revisions and reinventions, this evening’s flexibility, often quoting more directly from performance finds history repeating in works it at the start of a movement—as we see here from the Renaissance and the present day. in opening soprano line of the Gloria—before Setting the music of William Byrd against moving into much more loosely developmen- Nico Muhly, the expressive beauty of Josquin tal counterpoint. Also of note is the equality of against the ascetic restraint of Arvo Pärt, the imitative (often canonic) vocal lines, and exposes the common musical fabric of two the textural variety Josquin creates with so few ages, exploring the long shadow cast by the voices, only rarely bringing all four together.
    [Show full text]
  • Music History Lecture Notes Renaissance & Reformation 1450 AD – 1600 AD
    Music History Lecture Notes Renaissance & Reformation 1450 AD – 1600 AD This presentation is intended for the use of current students in Mr. Duckworth’s Music History course as a study aid. Any other use is strictly forbidden. Copyright, Ryan Duckworth 2010 Images used for educational purposes under the TEACH Act (Technology, Education and Copyright Harmonization Act of 2002). All copyrights belong to their respective copyright holders, This Unit We Will Take Coded Notes: • If you need to take Cornell notes for another class (e.g. AVID), this method of note taking will still work. • As you take notes, underline all names and dates. • At the end of the unit, you will go back and highlight key concepts. The Renaissance • Literally means: Rebirth • High Renaissance 1450-1500 C.E. • 1453 Turks conquer Constantinople – Byzantine scholars take Greek artifacts back to Italy • Transitional Renaissance 1550- 1600 • Great renewal of European interests in Ancient Greek & Roman Cultures Constantinople Europe around 1500 AD The Renaissance • A new concept emerges • Humanism – A dedication to human, instead of spiritual ideals and values – Salvation after death is no longer the only goal – Fulfillment in life and enjoyment the pleasures of the senses Important Renaissance Artists • Michaelangelo • Leonardo Da Vinci • Raphael • Shakespeare Art by Michelangelo Michelangelo’s Sistine Chapel Sistine Detail Art by Raphael Lady with Unicorn, St. George & the Dragon Raphael’s “The Crucifixion” and “A Knight’s Dream” Art by Leonardo Da Vinci Madonna of the
    [Show full text]
  • Highfidelity
    HighFidelity Mighty Winds uring the past two years the years together in Brussels, produced what Elegant and impressive Prism Quartet has issued five is taken to be the first-ever work for a DCDs. If the ensemble were a quartet of the instruments. Nonetheless, offerings from the string quartet, you might call that a busy the literature remained small until the recording schedule, but not unnatural; 1920s, when a seminal quartet headed by Prism Quartet, there’s so much string-quartet literature to the French saxophonist Marcel Mule cover that they’d have to keep up a pretty started making a case for the medium; Music from China, pace if they hope to make much of a dent soon the group’s commissioning efforts in it. But Prism is not a string quartet. It’s gave rise to saxophone quartets by com- Piffaro, a saxophone quartet, and now you may be posers of note, including Gabriel Pierné thinking—admit it—that perhaps you’re and Florent Schmitt. and Canada’s not quite up to listening to five CDs of saxophone-quartet music. Maybe not even Les Jacobins one. And then you hear a track—almost any track—from Antiphony, one of the two CDs the ensemble has just issued in celebration of its 25th anniversary, and by James M. Keller you are instantly persuaded to re-examine your assumptions. The group was formed in 1984 at the University of Michigan in Ann Arbor, where its members played their first con- cert not in a concert hall but rather in a restaurant.
    [Show full text]
  • Masterpieces for Double Choir
    Miller Theatre at Columbia University 2012-13 | 24th Season Early Music Masterpieces for Double Choir The Tallis Scholars Peter Phillips, director Saturday, December 1, 8:00 p.m. Church of St. Mary the Virgin Miller Theatre at Columbia University 2012-13 | 24th Season Early Music Masterpieces for Double Choir The Tallis Scholars Peter Phillips, director Saturday, December 1, 8:00 p.m. Church of St. Mary the Virgin Magnificat Octavi Toni (à 8) Sebastián de Vivanco (1551-1622) Osculetur me Orlande de Lassus (c. 1532-1594) Missa Osculetur me Lassus INTERMISSION I am the true vine Arvo Pärt (b. 1935) Tribute to Caesar Pärt Sancte Deus Thomas Tallis (c. 1505-1585) Magnificat quinti toni Hieronymus Praetorius (1560-1629) interspersed with Jospeh lieber, Joseph mein and In dulci jubilo Please note that photography and the use of recording devices are not permitted. Remember to turn off all cellular phones and pagers before this evening’s performance begins. Large print programs are available upon request. For more information or to arrange accommodations, please call 212-854-7799. About the Program “…the end of all our exploring will be to arrive where we started and know the place for the first time.” So writes T.S. Eliot in hisFour Quartets, and so it is with tonight’s concert. The evening is book-ended by two thrilling double-choir Magnificats. But while Vivan- co’s setting of this joyful annunciation text leaves the story unfinished, the Praetorius Magnificat with which we close incorporates two Christmas carols among its verses. The promise of the annunciation is fulfilled in the miracle of the Virgin Birth, just as the renaissance textures of Vivanco find themselves fulfilled and transformed in the proto- Baroque music of Praetorius.
    [Show full text]
  • The 1600 Collection of Madrigals by Thomas Weelkes
    University of Wisconsin Milwaukee UWM Digital Commons Theses and Dissertations May 2014 The 1600 olC lection of Madrigals By Thomas Weelkes Rachel Linsey Albert University of Wisconsin-Milwaukee Follow this and additional works at: https://dc.uwm.edu/etd Part of the Music Commons Recommended Citation Albert, Rachel Linsey, "The 1600 oC llection of Madrigals By Thomas Weelkes" (2014). Theses and Dissertations. 351. https://dc.uwm.edu/etd/351 This Thesis is brought to you for free and open access by UWM Digital Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of UWM Digital Commons. For more information, please contact [email protected]. THE 1600 COLLECTION OF MADRIGALS BY THOMAS WEELKES by Rachel Linsey Albert A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Music at The University of Wisconsin-Milwaukee May 2014 ABSTRACT THE 1600 COLLECTION OF MADRIGALS BY THOMAS WEELKES by Rachel Linsey Albert The University of Wisconsin-Milwaukee, 2014 Under the Supervision of Professor Mitchell P. Brauner Thomas Weelkes in considered among the most important of the English madrigalists of the late sixteenth and early seventeenth centuries; however, little has been written about him. Modern scholarship begins with Edmund H. Fellowes’s edition of Weelkes’s madrigal publications. The only comprehensive study of Weelkes’s life and works is David Brown’s 1969 Thomas Weelkes: A Biographical and Critical Study. Most other Weelkes scholarship simply compares his music to that of his contemporaries. This thesis fills another gap in Weelkes studies by offering an analysis of his 1600 collection, Madrigals of 5 and 6 Parts, Apt for the Viols and Voices.
    [Show full text]
  • Stile Antico
    VIEW THIS EMAIL IN YOUR BROWSER FOR IMMEDIATE RELEASE PRESS CONTACTS September 12, 2018 Aleba Gartner, 212/206-1450 Tickets & Information: 212/854-7799 [email protected] millertheatre.com Arlene Kriv, 212/854-1488 [email protected] "Perhaps the most ravishing sound I heard this year." — Alex Ross, The New Yorker Miller Theatre at Columbia University School of the Arts opens its 2018–2019 Early Music series with the British vocal ensemble Stile Antico in a program entitled Elizabeth I, Queen of Muses Saturday, October 13, 2018, 8:00 p.m. Church of St. Mary the Virgin (145 West 46th Street between 6th & 7th Avenues) Tickets $30–$45; Students with valid ID: $7–$27 Stile Antico. Photo by Marco Borggreve From Miller Theatre Executive Director Melissa Smey: “We are thrilled to kick off the Early Music series of our 30th Anniversary Season with this exciting program from Stile Antico. This Renaissance vocal ensemble is one of the best in the world, and their incredible artistry is sure to make an interesting program not just for early music enthusiasts, but a transcendent musical experience for any listener.” Early Music Saturday, October 13, 2018, 8:00 p.m. Church of St. Mary the Virgin 145 West 46th Street between 6th & 7th Avenues Stile Antico Queen Elizabeth I presided during a time that delighted in the talents of some of the most renowned composers of the Renaissance, including Thomas Tallis, William Byrd, and John Dowland. The exquisite Stile Antico explores the reign of the great Tudor Queen in a program illuminating the life of a court that rejoiced in some of the finest music ever created.
    [Show full text]