The French word renaissance means rebirth. It was first used in 1855 by the historian Jules Michelet in his History of France, then adopted by historians of culture, by art historians, and eventually by music historians, all of whom applied it to European culture during the 150 years spanning 1450-1600. The concept of rebirth was appropriate to this period of European history because of the renewed interest in ancient Greek and Roman culture that began in Italy and then spread throughout Europe. Scholars and artists of this period wanted to restore the learning and ideals of the classical civilizations of Greece and Rome. To these scholars this meant a return to human. Fulfillment in life became a desirable goal, and expressing the entire range of human emotions and enjoying the pleasures of the senses were no longer frowned on. Artists and writers now turned to religious subject matter and sought to make their works understandable and appealing.
These changes in outlook deeply affected the musical culture of the Renaissance period--- how people thought about music as well as the way music was composed and experienced. They could see the architectural monuments, sculptures, plays, and poems that were being rediscovered, but they could not actually hear ancient music --- although they could read the writings of classical philosophers, poets, essayists, and music theorists that were becoming available in translation. They learned about the power of ancient music to move the listener and wondered why modern music did not have the same effect. For example, the influential religious leader Bernardino Cirillo expressed disappointment with the learned music of his time. He urged musicians to follow the example of the sculptors, painters, architects, and scholars who had rediscovered ancient art and literature.
The musical Renaissance in Europe was more a general cultural movement and state of mind than a specific set of musical techniques. Furthermore, music changed so rapidly during this century and a half-though at different rates in different countries---that we cannot define a single Renaissance style.
1. What does the author mean by using the word “eventually” in line 3?
A. That music historians used the term “Renaissance” after the other historians did
B. That most music historians used the term “Renaissance”
C. The term “Renaissance” became widely used by art historians but not by music historians
D. That music historians used the term “Renaissance” very differently than it had been used by Jules Michelet
2. The phrase "frowned on" in line 9 is closest in meaning to
A. given up     B. forgotten about   C. argued about  D. disapproved of
3. It can be inferred from the passage that thinkers of the Renaissance were seeking a rebirth of__.
A. communication among artists across Europe
B. spirituality in everyday life
C. a cultural emphasis on human values
D. religious themes in art that would accompany the traditional secular themes
4. According to the passage, why was Bemardino Cirillo disappointed with the music of his time?
A. It was not complex enough to appeal to musicians.
B. It had little emotional impact on audiences.
C. It was too dependent on the art and literature of his time.
D. It did not contain enough religious themes.
5. Which of the following is mentioned in the passage as a reason for the absence of a single Renaissance musical style?
A. The musical Renaissance was defined by technique rather than style.
B. The musical Renaissance was too short to give rise to a new musical style.
C. Renaissance musicians adopted the styles of both Greek and Roman musicians.
D. During the Renaissance, music never remained the same for very long.

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