6. The following voice texture became standard in fifteenth-century counterpoint:
three voice
four voice
7. The following compositional approach was characteristic of late fifteenth-century counterpoint
establishing the counterpoint between the tenor and cantus before adding additional voices
composing all voices at the same time in relation to each other
8. The increase during the fifteenth and sixteenth centuries in amateur music making for pleasure or social entertainment is a direct result of:
the introduction of music printing and the wider dissemination of written music
the closing of courts throughout France, Italy, and Germany
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:
a) Court chapels
d) International music societies
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:
Philippe de Vitry
Guillaume de Machaut
Philippus de Caserta
Thomas Tallis
19. Which of the following is NOT true of rhythmic modes?
c) In each voice, different modes may alternate in a phrase
d) In two-part polyphony, different modes are used in each part
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?
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
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:
Abba
aabC
AAba
25. A fourteenth-century allegorical narrative poem which used satire to comment on corruption in politics and the church was:
a) Roman de Fauvel
b) Roman de la Rose
c) Chanson de Roland
d) Roman de Fergus
26. In an isorhythmic motet, the repeating rhythmic unit is called the talea color fusa( talea, color, fusa )
27. A rhythmic technique in which two voices alternate in rapid succession, each resting while the other sings, is called:
Hocket
Cache
Isorhythm
Chace
28. Ars Subtilior music was intended to be performed by:
professional performers
amateur performers
street performers
29. A fourteenth-century song for two or three voices without instrumental accompaniment is a:
chanson
madrigal
chace
caccia
30. Isorhythmic patterns are mensural (measured) modal( mensural (measured), modal )
31. The leading composer of the French Ars Nova was:
a) Guillaume de Machaut
c) Francesco Landini
b) Philippe de Vitry
32. The Landini cadence is executed in the following manner:
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.
26. In an isorhythmic motet, the repeating MELODIC segment is called the talea color fusa( talea, color, fusa )
34. Which of the following is true of monophonic textures?
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
35. Which of the following is NOT true of polyphonic textures?
a) They must have more than one vocal or instrumental part
c) They weave together multiple melodies
38. The use of harmonic thirds and sixths is most common in the polyphony of France Italy England( 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( cauda, conductus, motet )
41. In Aquitanian polyphony, the lower voice, responsible for the melody, is called the tenor duplum( tenor, duplum )
42. The earliest surviving manuscripts of Notre Dame polyphony date from the 11th C 12th C 13th C( 11th C, 12th C, 13th C )
45. Which voice is never part of an organum:
b) Motetus
c) Quadruplum
47. The addition of newly written words for the upper voices of discant clausulae resulted in the development of the:
motet
polyphonic conductus
cauda
48. In English polyphony, a perpetual canon or round at the unison is called a
rondellus
rota
50. A self-contained section of organum, setting a word or syllable from the chant and closing with a cadence is known as a
color
clausula
discant
organa
65. Poet composers of southern France were known as:
trouvères
troubadours
71. Proper chants are named according to their:
Function
Initial words
66. Ordinary chants are named according to their: