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

    Question 1 of 40

    1

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

    Select one of the following:

    • three voice

    • four voice

    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

    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

    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 )

    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

    Question 6 of 40

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    Florid organum uses measured rhythms

    Select one of the following:

    • True
    • False

    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 )

    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.

    Question 9 of 40

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

    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 )

    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 )

    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 )

    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

    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

    Question 15 of 40

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

    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

    Question 17 of 40

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

    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

    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

    Question 20 of 40

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

    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

    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

    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

    Question 24 of 40

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

    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

    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.

    Question 27 of 40

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

    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

    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

    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 )

    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 )

    Question 32 of 40

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

    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 )

    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

    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

    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

    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

    Question 38 of 40

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    65. Poet composers of southern France were known as:

    Select one of the following:

    • trouvères

    • troubadours

    Question 39 of 40

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    71. Proper chants are named according to their:

    Select one of the following:

    • Function

    • Initial words

    Question 40 of 40

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    66. Ordinary chants are named according to their:

    Select one of the following:

    • Function

    • Initial words