Musikgeschichte R-R I

Question 1

Question

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

Answer

three voice
four voice

Question 2

Question

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

Answer

establishing the counterpoint between the tenor and cantus before adding additional voices
composing all voices at the same time in relation to each other

Question 3

Question

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

Answer

the introduction of music printing and the wider dissemination of written music
the closing of courts throughout France, Italy, and Germany

Question 4

Question

9. The length of a pattern in modal rhythm is [blank_start]about 2-3 notes long[blank_end]

Answer

about 2-3 notes long
about 8-10 notes long
about 5-6 notes long
too irregular to determine

Question 5

Question

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:

Answer

a) Court chapels
d) International music societies

Question 6

Question

Florid organum uses measured rhythms

Answer

True
False

Question 7

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12. The synthesis of compositional elements from English, French, and Italian musical traditions led to this fifteenth-century compositional style: [blank_start]international style[blank_end]

Answer

international style
Burgundian style

Question 8

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3. [blank_start]Humanism[blank_end] was an intellectual movement of the Renaissance that emphasized the study of human knowledge and achievement.

Answer

Humanism
Rationalism

Question 9

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[blank_start]Discant organum[blank_end] features voices moving rhythmically at the same pace.

Answer

Discant organum
A medieval motet
A chanson

Question 10

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15. A work that employs rhythmic modes features [blank_start]irregular, shifting rhythmic patterns[blank_end]

Answer

free rhythms with not specific patterns
short, repetitive rhythmic patterns

Question 11

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16. An Italian song form that uses a popular-style melody in strict canon is a [blank_start]chace[blank_end]

Answer

chace
caccia
ritornello

Question 12

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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 [blank_start]ballade[blank_end]

Answer

ballade
rondeau
virelai

Question 13

Question

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

Answer

Philippe de Vitry
Guillaume de Machaut
Philippus de Caserta
Thomas Tallis

Question 14

Question

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

Answer

c) In each voice, different modes may alternate in a phrase
d) In two-part polyphony, different modes are used in each part

Question 15

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20. The leading composer of the ballata was [blank_start]Francesco Landini[blank_end]

Answer

Francesco Landini
Guillaume de Machaut

Question 16

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

Answer

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

Question 17

Question

[blank_start]The chanson[blank_end] is a polyphonic song of the French Ars Nova

Answer

The chanson
The madrigal
The frottola

Question 18

Question

The form of each stanza of a ballade is:

Answer

Abba
aabC
AAba

Question 19

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

Answer

a) Roman de Fauvel
b) Roman de la Rose
c) Chanson de Roland
d) Roman de Fergus

Question 20

Question

26. In an isorhythmic motet, the repeating rhythmic unit is called the [blank_start]talea[blank_end]

Answer

talea
color
fusa

Question 21

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

Answer

Hocket
Cache
Isorhythm
Chace

Question 22

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

Answer

professional performers
amateur performers
street performers

Question 23

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

Answer

chanson
madrigal
chace
caccia

Question 24

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30. Isorhythmic patterns are [blank_start]mensural (measured)[blank_end]

Answer

mensural (measured)
modal

Question 25

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

Answer

a) Guillaume de Machaut
c) Francesco Landini
b) Philippe de Vitry

Question 26

Question

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

Answer

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.

Question 27

Question

26. In an isorhythmic motet, the repeating MELODIC segment is called the [blank_start]talea[blank_end]

Answer

talea
color
fusa

Question 28

Question

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

Answer

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

Question 29

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

Answer

a) They must have more than one vocal or instrumental part
c) They weave together multiple melodies
b) They combine a melody with accompaniment

Question 30

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38. The use of harmonic thirds and sixths is most common in the polyphony of [blank_start]France[blank_end]

Answer

France
Italy
England

Question 31

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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 [blank_start]cauda[blank_end]

Answer

cauda
conductus
motet

Question 32

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41. In Aquitanian polyphony, the lower voice, responsible for the melody, is called the [blank_start]tenor[blank_end]

Answer

tenor
duplum

Question 33

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42. The earliest surviving manuscripts of Notre Dame polyphony date from the [blank_start]11th C[blank_end]

Answer

11th C
12th C
13th C

Question 34

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45. Which voice is never part of an organum:

Answer

b) Motetus
c) Quadruplum

Question 35

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

Answer

motet
polyphonic conductus
cauda

Question 36

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

Answer

rondellus
rota
cauda

Question 37

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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

Answer

color
clausula
discant
organa

Question 38

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65. Poet composers of southern France were known as:

Answer

trouvères
troubadours

Question 39

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71. Proper chants are named according to their:

Answer

Function
Initial words

Question 40

Question

66. Ordinary chants are named according to their:

Answer

Function
Initial words

	Created by Marie Verstraete almost 8 years ago

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Musikgeschichte R-R I

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Question 6

Question 7

Question 8

Question 9

Question 10

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Question 12

Question 13

Question 14

Question 15

Question 16

Question 17

Question 18

Question 19

Question 20

Question 21

Question 22

Question 23

Question 24

Question 25

Question 26

Question 27

Question 28

Question 29

Question 30

Question 31

Question 32

Question 33

Question 34

Question 35

Question 36

Question 37

Question 38

Question 39

Question 40

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