5755708
Descripción
Test por Marie Verstraete, actualizado hace más de 1 año
|
Creado por Marie Verstraete
hace casi 8 años
|
|
Pregunta 1
Pregunta
6. The following voice texture became standard in fifteenth-century counterpoint:
Respuesta
-
three voice
-
four voice
Pregunta 2
Pregunta
7. The following compositional approach was characteristic of late fifteenth-century counterpoint
Respuesta
-
establishing the counterpoint between the tenor and cantus before adding additional voices
-
composing all voices at the same time in relation to each other
Pregunta 3
Pregunta
8. The increase during the fifteenth and sixteenth centuries in amateur music making for pleasure or social entertainment is a direct result of:
Respuesta
-
the introduction of music printing and the wider dissemination of written music
-
the closing of courts throughout France, Italy, and Germany
Pregunta 4
Pregunta
9. The length of a pattern in modal rhythm is [blank_start]about 2-3 notes long[blank_end]
Respuesta
-
about 2-3 notes long
-
about 8-10 notes long
-
about 5-6 notes long
-
too irregular to determine
Pregunta 5
Pregunta
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:
Respuesta
-
a) Court chapels
-
d) International music societies
Pregunta 6
Pregunta
Florid organum uses measured rhythms
Respuesta
- True
- False
Pregunta 7
Pregunta
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]
Respuesta
-
international style
-
Burgundian style
Pregunta 8
Pregunta
3. [blank_start]Humanism[blank_end] was an intellectual movement of the Renaissance that emphasized the study of human knowledge and achievement.
Respuesta
-
Humanism
-
Rationalism
Pregunta 9
Pregunta
[blank_start]Discant organum[blank_end] features voices moving rhythmically at the same pace.
Respuesta
-
Discant organum
-
A medieval motet
-
A chanson
Pregunta 10
Pregunta
15. A work that employs rhythmic modes features [blank_start]irregular, shifting rhythmic patterns[blank_end]
Respuesta
-
free rhythms with not specific patterns
-
short, repetitive rhythmic patterns
Pregunta 11
Pregunta
16. An Italian song form that uses a popular-style melody in strict canon is a [blank_start]chace[blank_end]
Respuesta
-
chace
-
caccia
-
ritornello
Pregunta 12
Pregunta
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]
Respuesta
-
ballade
-
rondeau
-
virelai
Pregunta 13
Pregunta
18. The term Ars Subtilior (the more subtle manner) was coined by music historian Ursula Gunther and based on a treatise by:
Respuesta
-
Philippe de Vitry
-
Guillaume de Machaut
-
Philippus de Caserta
-
Thomas Tallis
Pregunta 14
Pregunta
19. Which of the following is NOT true of rhythmic modes?
Respuesta
-
c) In each voice, different modes may alternate in a phrase
-
d) In two-part polyphony, different modes are used in each part
Pregunta 15
Pregunta
20. The leading composer of the ballata was [blank_start]Francesco Landini[blank_end]
Respuesta
-
Francesco Landini
-
Guillaume de Machaut
Pregunta 16
Pregunta
21. What clue would help you distinguish between the Renaissance motet and mass?
Respuesta
-
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
Pregunta 17
Pregunta
[blank_start]The chanson[blank_end] is a polyphonic song of the French Ars Nova
Respuesta
-
The chanson
-
The madrigal
-
The frottola
Pregunta 18
Pregunta
The form of each stanza of a ballade is:
Respuesta
-
Abba
-
aabC
-
AAba
Pregunta 19
Pregunta
25. A fourteenth-century allegorical narrative poem which used satire to comment on corruption in politics and the church was:
Respuesta
-
a) Roman de Fauvel
-
b) Roman de la Rose
-
c) Chanson de Roland
-
d) Roman de Fergus
Pregunta 20
Pregunta
26. In an isorhythmic motet, the repeating rhythmic unit is called the [blank_start]talea[blank_end]
Respuesta
-
talea
-
color
-
fusa
Pregunta 21
Pregunta
27. A rhythmic technique in which two voices alternate in rapid succession, each resting while the other sings, is called:
Respuesta
-
Hocket
-
Cache
-
Isorhythm
-
Chace
Pregunta 22
Pregunta
28. Ars Subtilior music was intended to be performed by:
Respuesta
-
professional performers
-
amateur performers
-
street performers
Pregunta 23
Pregunta
29. A fourteenth-century song for two or three voices without instrumental accompaniment is a:
Respuesta
-
chanson
-
madrigal
-
chace
-
caccia
Pregunta 24
Pregunta
30. Isorhythmic patterns are [blank_start]mensural (measured)[blank_end]
Respuesta
-
mensural (measured)
-
modal
Pregunta 25
Pregunta
31. The leading composer of the French Ars Nova was:
Respuesta
-
a) Guillaume de Machaut
-
c) Francesco Landini
-
b) Philippe de Vitry
Pregunta 26
Pregunta
32. The Landini cadence is executed in the following manner:
Respuesta
-
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.
Pregunta 27
Pregunta
26. In an isorhythmic motet, the repeating MELODIC segment is called the [blank_start]talea[blank_end]
Respuesta
-
talea
-
color
-
fusa
Pregunta 28
Pregunta
34. Which of the following is true of monophonic textures?
Respuesta
-
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
Pregunta 29
Pregunta
35. Which of the following is NOT true of polyphonic textures?
Respuesta
-
a) They must have more than one vocal or instrumental part
-
c) They weave together multiple melodies
-
b) They combine a melody with accompaniment
Pregunta 30
Pregunta
38. The use of harmonic thirds and sixths is most common in the polyphony of [blank_start]France[blank_end]
Respuesta
-
France
-
Italy
-
England
Pregunta 31
Pregunta
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]
Respuesta
-
cauda
-
conductus
-
motet
Pregunta 32
Pregunta
41. In Aquitanian polyphony, the lower voice, responsible for the melody, is called the [blank_start]tenor[blank_end]
Respuesta
-
tenor
-
duplum
Pregunta 33
Pregunta
42. The earliest surviving manuscripts of Notre Dame polyphony date from the [blank_start]11th C[blank_end]
Respuesta
-
11th C
-
12th C
-
13th C
Pregunta 34
Pregunta
45. Which voice is never part of an organum:
Respuesta
-
b) Motetus
-
c) Quadruplum
Pregunta 35
Pregunta
47. The addition of newly written words for the upper voices of discant clausulae resulted in the development of the:
Respuesta
-
motet
-
polyphonic conductus
-
cauda
Pregunta 36
Pregunta
48. In English polyphony, a perpetual canon or round at the unison is called a
Respuesta
-
rondellus
-
rota
-
cauda
Pregunta 37
Pregunta
50. A self-contained section of organum, setting a word or syllable from the chant and closing with a cadence is known as a
Respuesta
-
color
-
clausula
-
discant
-
organa
Pregunta 38
Pregunta
65. Poet composers of southern France were known as:
Respuesta
-
trouvères
-
troubadours
Pregunta 39
Pregunta
71. Proper chants are named according to their:
Respuesta
-
Function
-
Initial words
Pregunta 40
Pregunta
66. Ordinary chants are named according to their:
Respuesta
-
Function
-
Initial words
¿Quieres crear tus propios Tests gratis con GoConqr? Más información.