Musikgeschichte R-R I

Marie Verstraete
Quiz by Marie Verstraete, updated more than 1 year ago
Marie Verstraete
Created by Marie Verstraete over 3 years ago
53
1

Description

Musikgeschichte Mittelalter Renaissance bis 1500

Resource summary

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

Question
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

Question
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

Question
[blank_start]Discant organum[blank_end] features voices moving rhythmically at the same pace.
Answer
  • Discant organum
  • A medieval motet
  • A chanson

Question 10

Question
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

Question
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

Question
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

Question
20. The leading composer of the ballata was [blank_start]Francesco Landini[blank_end]
Answer
  • Francesco Landini
  • Guillaume de Machaut

Question 16

Question
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

Question
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

Question
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

Question
28. Ars Subtilior music was intended to be performed by:
Answer
  • professional performers
  • amateur performers
  • street performers

Question 23

Question
29. A fourteenth-century song for two or three voices without instrumental accompaniment is a:
Answer
  • chanson
  • madrigal
  • chace
  • caccia

Question 24

Question
30. Isorhythmic patterns are [blank_start]mensural (measured)[blank_end]
Answer
  • mensural (measured)
  • modal

Question 25

Question
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

Question
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

Question
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

Question
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

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

Question 33

Question
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

Question
45. Which voice is never part of an organum:
Answer
  • b) Motetus
  • c) Quadruplum

Question 35

Question
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

Question
48. In English polyphony, a perpetual canon or round at the unison is called a
Answer
  • rondellus
  • rota
  • cauda

Question 37

Question
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

Question
65. Poet composers of southern France were known as:
Answer
  • trouvères
  • troubadours

Question 39

Question
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
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