Marie Verstraete
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Musikgeschichte Mittelalter Renaissance bis 1500

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Marie Verstraete
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Musikgeschichte R-R I

Musikgeschichte R-R I

Question 1 of 40

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

Select one of the following:

  • three voice

  • four voice

Explanation

Question 2 of 40

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

Select one of the following:

  • establishing the counterpoint between the tenor and cantus before adding additional voices

  • composing all voices at the same time in relation to each other

Explanation

Question 3 of 40

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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:

Select one of the following:

  • the introduction of music printing and the wider dissemination of written music

  • the closing of courts throughout France, Italy, and Germany

Explanation

Question 4 of 40

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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 )

Explanation

Question 5 of 40

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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:

Select one of the following:

  • a) Court chapels

  • d) International music societies

Explanation

Question 6 of 40

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Florid organum uses measured rhythms

Select one of the following:

  • True
  • False

Explanation

Question 7 of 40

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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 )

Explanation

Question 8 of 40

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

Explanation

Question 9 of 40

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

Explanation

Question 10 of 40

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

Explanation

Question 11 of 40

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

Explanation

Question 12 of 40

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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 )

Explanation

Question 13 of 40

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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:

Select one of the following:

  • Philippe de Vitry

  • Guillaume de Machaut

  • Philippus de Caserta

  • Thomas Tallis

Explanation

Question 14 of 40

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

Select one of the following:

  • c) In each voice, different modes may alternate in a phrase

  • d) In two-part polyphony, different modes are used in each part

Explanation

Question 15 of 40

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

Explanation

Question 16 of 40

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

Select one of the following:

  • a) The use of specific words or phrases in the text

  • b) The language of the text

  • c) The use of isorhythm

  • d) The harmonic language

Explanation

Question 17 of 40

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

Explanation

Question 18 of 40

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The form of each stanza of a ballade is:

Select one of the following:

  • Abba

  • aabC

  • AAba

Explanation

Question 19 of 40

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

Select one of the following:

  • a) Roman de Fauvel

  • b) Roman de la Rose

  • c) Chanson de Roland

  • d) Roman de Fergus

Explanation

Question 20 of 40

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

Explanation

Question 21 of 40

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

Select one of the following:

  • Hocket

  • Cache

  • Isorhythm

  • Chace

Explanation

Question 22 of 40

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

Select one of the following:

  • professional performers

  • amateur performers

  • street performers

Explanation

Question 23 of 40

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

Select one of the following:

  • chanson

  • madrigal

  • chace

  • caccia

Explanation

Question 24 of 40

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

Explanation

Question 25 of 40

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

Select one of the following:

  • a) Guillaume de Machaut

  • c) Francesco Landini

  • b) Philippe de Vitry

Explanation

Question 26 of 40

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

Select one of the following:

  • a) The tenor descends by step while the UPPER voice descends to its lower neighbour followed by a skip up a third.

  • b) The tenor ascends by step while the lower voice descends a whole step followed by a skip up a fourth.

  • c) The tenor retains the root while the upper voice skips up a third.

Explanation

Question 27 of 40

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

Explanation

Question 28 of 40

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

Select one of the following:

  • a) They feature only one voice or instrument per part

  • b) They combine a melody with accompaniment

  • c) They consist of a single melody

  • d) They weave together multiple melodies

Explanation

Question 29 of 40

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

Select one of the following:

  • a) They must have more than one vocal or instrumental part

  • c) They weave together multiple melodies

  • b) They combine a melody with accompaniment

Explanation

Question 30 of 40

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

Explanation

Question 31 of 40

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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 )

Explanation

Question 32 of 40

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

Explanation

Question 33 of 40

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

Explanation

Question 34 of 40

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45. Which voice is never part of an organum:

Select one of the following:

  • b) Motetus

  • c) Quadruplum

Explanation

Question 35 of 40

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

Select one of the following:

  • motet

  • polyphonic conductus

  • cauda

Explanation

Question 36 of 40

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

Select one of the following:

  • rondellus

  • rota

  • cauda

Explanation

Question 37 of 40

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50. A self-contained section of organum, setting a word or syllable from the chant and closing with a cadence is known as a

Select one of the following:

  • color

  • clausula

  • discant

  • organa

Explanation

Question 38 of 40

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65. Poet composers of southern France were known as:

Select one of the following:

  • trouvères

  • troubadours

Explanation

Question 39 of 40

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71. Proper chants are named according to their:

Select one of the following:

  • Function

  • Initial words

Explanation

Question 40 of 40

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66. Ordinary chants are named according to their:

Select one of the following:

  • Function

  • Initial words

Explanation

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