Musikgeschichte R-R I

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6. The following voice texture became standard in fifteenth-century counterpoint:

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7. The following compositional approach was characteristic of late fifteenth-century counterpoint

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8. The increase during the fifteenth and sixteenth centuries in amateur music making for pleasure or social entertainment is a direct result of:

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9. The length of a pattern in modal rhythm is ( about 2-3 notes long, about 8-10 notes long, about 5-6 notes long, too irregular to determine )

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10. Key musical developments during the fifteenth and sixteenth centuries are largely due to employment and travel opportunities associated with a new musical patronage created through the development of:

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Florid organum uses measured rhythms

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12. The synthesis of compositional elements from English, French, and Italian musical traditions led to this fifteenth-century compositional style: ( international style, Burgundian style )

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3. ( Humanism, Rationalism ) was an intellectual movement of the Renaissance that emphasized the study of human knowledge and achievement.

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( Discant organum, A medieval motet, A chanson ) features voices moving rhythmically at the same pace.

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15. A work that employs rhythmic modes features ( free rhythms with not specific patterns, short, repetitive rhythmic patterns )

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16. An Italian song form that uses a popular-style melody in strict canon is a ( chace, caccia, ritornello )

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17. A forme fixe that contains only one stanza framed by a refrain that includes both sections of music used for the stanza is a ( ballade, rondeau, virelai )

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18. The term Ars Subtilior (the more subtle manner) was coined by music historian Ursula Gunther and based on a treatise by:

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19. Which of the following is NOT true of rhythmic modes?

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20. The leading composer of the ballata was ( Francesco Landini, Guillaume de Machaut )

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21. What clue would help you distinguish between the Renaissance motet and mass?

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( The chanson, The madrigal, The frottola ) is a polyphonic song of the French Ars Nova

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The form of each stanza of a ballade is:

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25. A fourteenth-century allegorical narrative poem which used satire to comment on corruption in politics and the church was:

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26. In an isorhythmic motet, the repeating rhythmic unit is called the ( talea, color, fusa )

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27. A rhythmic technique in which two voices alternate in rapid succession, each resting while the other sings, is called:

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28. Ars Subtilior music was intended to be performed by:

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29. A fourteenth-century song for two or three voices without instrumental accompaniment is a:

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30. Isorhythmic patterns are ( mensural (measured), modal )

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31. The leading composer of the French Ars Nova was:

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32. The Landini cadence is executed in the following manner:

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26. In an isorhythmic motet, the repeating MELODIC segment is called the ( talea, color, fusa )

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34. Which of the following is true of monophonic textures?

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35. Which of the following is NOT true of polyphonic textures?

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38. The use of harmonic thirds and sixths is most common in the polyphony of ( France, Italy, England )

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40. A polyphonic setting in which all four voices sing the text together in essentially the same rhythm is called a polyphonic ( cauda, conductus, motet )

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41. In Aquitanian polyphony, the lower voice, responsible for the melody, is called the ( tenor, duplum )

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42. The earliest surviving manuscripts of Notre Dame polyphony date from the ( 11th C, 12th C, 13th C )

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45. Which voice is never part of an organum:

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47. The addition of newly written words for the upper voices of discant clausulae resulted in the development of the:

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48. In English polyphony, a perpetual canon or round at the unison is called a

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Musikgeschichte Mittelalter Renaissance bis 1500

Musikgeschichte R-R I

6. The following voice texture became standard in fifteenth-century counterpoint:

7. The following compositional approach was characteristic of late fifteenth-century counterpoint

8. The increase during the fifteenth and sixteenth centuries in amateur music making for pleasure or social entertainment is a direct result of:

9. The length of a pattern in modal rhythm is about 2-3 notes long about 8-10 notes long about 5-6 notes long too irregular to determine( about 2-3 notes long, about 8-10 notes long, about 5-6 notes long, too irregular to determine )

10. Key musical developments during the fifteenth and sixteenth centuries are largely due to employment and travel opportunities associated with a new musical patronage created through the development of:

Florid organum uses measured rhythms

12. The synthesis of compositional elements from English, French, and Italian musical traditions led to this fifteenth-century compositional style: international style Burgundian style( international style, Burgundian style )

3. Humanism Rationalism( Humanism, Rationalism ) was an intellectual movement of the Renaissance that emphasized the study of human knowledge and achievement.

Discant organum A medieval motet A chanson( Discant organum, A medieval motet, A chanson ) features voices moving rhythmically at the same pace.

15. A work that employs rhythmic modes features free rhythms with not specific patterns short, repetitive rhythmic patterns( free rhythms with not specific patterns, short, repetitive rhythmic patterns )

16. An Italian song form that uses a popular-style melody in strict canon is a chace caccia ritornello( chace, caccia, ritornello )

17. A forme fixe that contains only one stanza framed by a refrain that includes both sections of music used for the stanza is a ballade rondeau virelai( ballade, rondeau, virelai )

18. The term Ars Subtilior (the more subtle manner) was coined by music historian Ursula Gunther and based on a treatise by:

19. Which of the following is NOT true of rhythmic modes?

20. The leading composer of the ballata was Francesco Landini Guillaume de Machaut( Francesco Landini, Guillaume de Machaut )

21. What clue would help you distinguish between the Renaissance motet and mass?

The chanson The madrigal The frottola( The chanson, The madrigal, The frottola ) is a polyphonic song of the French Ars Nova

The form of each stanza of a ballade is:

25. A fourteenth-century allegorical narrative poem which used satire to comment on corruption in politics and the church was:

9. The length of a pattern in modal rhythm is ( about 2-3 notes long, about 8-10 notes long, about 5-6 notes long, too irregular to determine )

12. The synthesis of compositional elements from English, French, and Italian musical traditions led to this fifteenth-century compositional style: ( international style, Burgundian style )

3. ( Humanism, Rationalism ) was an intellectual movement of the Renaissance that emphasized the study of human knowledge and achievement.

( Discant organum, A medieval motet, A chanson ) features voices moving rhythmically at the same pace.

15. A work that employs rhythmic modes features ( free rhythms with not specific patterns, short, repetitive rhythmic patterns )

16. An Italian song form that uses a popular-style melody in strict canon is a ( chace, caccia, ritornello )

17. A forme fixe that contains only one stanza framed by a refrain that includes both sections of music used for the stanza is a ( ballade, rondeau, virelai )

20. The leading composer of the ballata was ( Francesco Landini, Guillaume de Machaut )

( The chanson, The madrigal, The frottola ) is a polyphonic song of the French Ars Nova

26. In an isorhythmic motet, the repeating rhythmic unit is called the ( talea, color, fusa )

30. Isorhythmic patterns are ( mensural (measured), modal )

26. In an isorhythmic motet, the repeating MELODIC segment is called the ( talea, color, fusa )

38. The use of harmonic thirds and sixths is most common in the polyphony of ( France, Italy, England )

40. A polyphonic setting in which all four voices sing the text together in essentially the same rhythm is called a polyphonic ( cauda, conductus, motet )

41. In Aquitanian polyphony, the lower voice, responsible for the melody, is called the ( tenor, duplum )

42. The earliest surviving manuscripts of Notre Dame polyphony date from the ( 11th C, 12th C, 13th C )