Renaissance: Madrigal and 16th Century

Topics: Madrigal, Renaissance music, 16th century Pages: 3 (555 words) Published: February 19, 2013

Renaissance
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Top of Form
1. The frottola and the lauda were both strophic songs set syllabically to music in four parts. The frottola was secular and the lauda was sacred. A True
B False| 2. The most important secular form in France in the 16th century was the___________. Pierre Attaingnant published about 1500 of these pieces. A chanson
B madrigal
C lute song
D frottola|
3. Secular songs in 16th c. France often used sounds that were descriptive of bird calls, street cries, battle sounds, etc. One of the most famous composers of this kind of music was: A Perotin
B Janequin
C Orlando di Lasso
D Ludwig Senfl| 4. All of the following are characteristics of French chansons except: A light, fast, strongly rhythmic
B written in 4 voices
C countrapuntal
D sometimes had passages in triple meter|
5. Polyphony came later to Germany than to the rest of western Europe. A True
B False| 6.The lied served as a model for the Lutheran_____: A Credo
B Kyrie
C anthem
D chorale|
7. The Western Wynde Mass used an old tune in a series of variations. It was composed by the greatest English musician of the first part of the 16th century: A di Lasso
B Arne
C Taverner
D Dowland| 8. An Anglican anthem for one or more solo voices with organ accompaniment with brief alternating passages for chorus is called a __________anthem. A Advent
B celebration
C verse
D full|
9. In the Anglican tradition music for the unvarying portions of Morning and Evening Prayer and that of the Holy Communion is referred to as_______ music AProper
BOrdinary
CService
Ddedicatory| 10. In Anglican church music the Great Service is chordal and syllabic. ATrue
BFalse|
11. Early 16th century Italian madrigals had 4 voices, later ones had 5 or 6 voices. These parts could be doubled with instruments. A True
B False| 12. All of the following were characteristics of the 16th c. madrigal except: A text was sentimental or...
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