Chapter 7-9, 11 MH Test

1-9-4. Busnoys favored which form(s) for his chansons? a. The formes fixes, especially the rondeau b. Free compositions with no repetition c. Forms incorporating a burden section d. Paired stanzas with open and closed endings e. Cantus-firmus treatments based on chant melodies

a. The formes fixes, especially the rondeau

1-9-5. Which of the following statements describes the way(s) in which the bassus voice of the late fifteenth century differs from that of the masses of Du Fay? a. The range is a fourth lower. b. The range is a fourth higher. c. It sings the cantus-firmus melody instead of the tenor voice. d. It is a drone. e. There was no bassus voice in the late-fifteenth-century mass.

a. The range is a fourth lower

1-9-18. Which of the following statements best describes the style of Josquin's chansons? a. They used strophic texts, with virtually no use of the formes fixes. b. Most were ballades or rondeaux. c. Most were in refrain forms devised by Josquin himself for each new poem. d. The texts came from epic stories of romance. e. Most were contrafacta based on pre-existing motets

a. They used strophic texts, with virtually no use of the formes fixes

1-11-19. The Triumphs of Oriana was __________. a. a collection of madrigals in honor of Queen Elizabeth b. a set of madrigals depicting an epic translated from Greek c. a treatise by Thomas Morley, in which modern prac tices are seen as triumphing over old-fashioned ones d. a satire that attacks the vogue for all things Italian among the English e. a semi-autobiographical account of a woman composer at the King's court

a. a collection of madrigals in honor of Queen Elizabeth

1-11-2. The frottola was __________. a. a folklike homophonic secular song in Italian b. a folklike homophonic secular song in Spanish c. a folklike homophonic sacred song in Latin d. a highly developed polyphonic secular song in French e. a dance type with quick rhythms and triple meter

a. a folklike homophonic secular song in Italian

1-7-19. Aeolian and Ionian modes were __________. a. added to the modal system by Heinrich Glareanus b. discarded from the modal system in the sixteenth century c. modes used for secular music only d. added to the modal system by the Church e. tuning systems used for harps

a. added to the modal system by Heinrich Glareanus

1-7-10. The idea that music could be a social accomplishment came from __________. a. ancient Greece b. fifteenth-century Greece c. Flanders d. England e. the Bible

a. ancient Greece

1-8-7. By the first half of the fifteenth century, the word motet was applied to__________. a. any polyphonic composition on a sacred Latin text other than the Ordinary of the Mass b. any polyphonic composition in Latin c. only polyphonic compositions in which all voices had different texts d. any polyphonic composition using isorhythmic techniques e. any polyphonic composition using Latin words from the Ordinary of the Mass

a. any polyphonic composition on a sacred Latin text other than the Ordinary of the Mass

1-7-3. The movement to embrace human knowledge was called __________. a. humanism b. secularism c. secular humanism d. medievalism e. chiaroscuro

a. humanism

1-8-20. A mass in which all movements begin with the same motive is called a(n) __________. a. motto mass b. plainsong mass c. imitation mass d. cantus-firmus mass e. Líhomme armé mass

a. motto mass

1-8-14. The Burgundian chanson was usually composed in which form(s)? a. rondeau or ballade b. virelai or lai c. rondeau, ballade, virelai, or lai d. rondellus e. isorhythm

a. rondeau or ballade

1-8-5. The Old Hall manuscript contains __________. a. sacred polyphony, including the works of Dunstable b. the earliest mass cycles built on secular French songs c. secular song from Burgundy d. Tinctoris's treatise e. Walter Odington's treatise

a. sacred polyphony, including the works of Dunstable

1-9-12. Isaac's Lieder can best be described as __________. a. secular but in the same highly contrapuntal style as a motet b. similar in style to French language chansons c. composed for court or elite circles but in a folk or popular style d. based on Lutheran chorales e. most likely intended for performance by instrumental ensemble

a. secular but in the same highly contrapuntal style as a motet

1-8-2. The contenance angloise refers to __________. a. the English style of polyphony b. an anti-English secular song that became very popular in France c. a musical instrument that was the forerunner of the English horn d. a dance that was popular in England e. French disdain for the English style

a. the English style of polyphony

1-9-2. Ockeghem's Missa prolationem employs which compositional technique? a. Cantus-firmus b. Canon c. Motto d. The main motive is based on solfège syllables. e. Imitation of all the voices of a motet whose text begins with the word Prolationem

b. Canon

1-7-15. Social factors influencing Renaissance music included __________. a. equal rights for women b. Europe's economic vitality c. the Black Death d. church control over secular life e. suppression of the middle class

b. Europe's economic vitality

1-7-6. For much of the Renaissance, musicians working in Italy had been trained in __________. a. Italy b. France, the Netherlands, or Flanders c. England d. Spain e. Byzantium

b. France, the Netherlands, or Flanders

1-8-11. The language used for secular song texts composed in the Burgundian style was __________. a. Burgundian b. French c. English d. Flemish e. Latin

b. French

1-8-9. Which of these statements is true of the duchy of Burgundy? a. Though small, it was very wealthy. b. It occupied vast tracts of land and rivaled the kingdom of France in influence. c. It was ruled by the king of England. d. It was at war with Italy during most of the Hundred Years' War. e. The pope spent half of his time there, making it the most important region in Europe.

b. It occupied vast tracts of land and rivaled the kingdom of France in influence.

1-9-20. Which composer used solfège syllables to create the cantus firmus for two masses? a. Ockeghem b. Josquin c. Busnoys d. Obrecht e. Isaac

b. Josquin

1-11-14. Which composer is known for composing French songs in a style similar to the frottola? a. Willaert b. Sermisy c. Casulana d. Janequin e. LeJeune

b. Sermisy

1-11-10. The Concerto delle Donne was __________. a. a group of women who played viols and recorders in consorts b. a group of women renowned for their singing at noble courts c. an academy that met to discuss ways to set poetry to music d. an orchestra maintained by the Countess of Donne e. a collection of music singable by all-women's groups

b. a group of women renowned for their singing at noble courts

1-9-11. Point of imitation is defined as __________. a. the second entrance of a theme b. a quick succession of imitative entrances c. the interval relationship between imitative entrances d. the rhythmic relationship between imitative entrances e. a change of meter, signaling a new section

b. a quick succession of imitative entrances

1-9-19. Josquin's motets would most likely have been performed by __________. a. a solo singer accompanied by lute b. an ensemble of solo singers, one voice to a part c. a small choir, with a few voices to a part d. a large a capella choir of up to 100 singers e. a large choir accompanied by organ

b. an ensemble of solo singers, one voice to a part

1-7-17. Music and art of the Renaissance shared which of these characteristics? a. They aimed to use art to convert more people to Christianity. b. an interest in the individual c. complex textures that obscured each individual line d. an attempt to preserve medieval values e. decorative figuration in complex patterns

b. an interest in the individual

1-7-2. The Renaissance period of music comprises roughly which centuries? a. The thirteenth and fourteenth b. The fourteenth and fifteenth c. The fifteenth and sixteenth d. The sixteenth and seventeenth e. The fourteenth through the seventeenth

c. The fifteenth and sixteenth

1-11-15. The main feature of musique mesurée was __________. a. the artificial assignment of long and short values to vowel sounds b. an interest in using meter to express emotion c. extremely polyphonic textures with each voice using a different meter d. the translation of Italian madrigals into the French language e. extreme chromaticism, used for expressing emotion

b. an interest in using meter to express emotion

1-11-5. By the middle of the sixteenth century, the typical Italian madrigal was written for __________. a. four voices b. five or more voices c. voice plus lute d. instrumental ensembles e. keyboard instrument

b. five or more voices

1-9-17. Josquin's Missa Pange lingua is an example of which mass type? a. tenor mass b. paraphrase mass c. plainsong mass d. imitation mass e. motto mass

b. paraphrase mass

1-8-17. A mass in which each movement is based on a pre-existing chant for that text is called a(n) ________. a. motto mass b. plainsong mass c. imitation mass d. cantus-firmus mass e. Líhomme armé mass

b. plainsong mass

1-11-6. Texts for early madrigals sometimes used metaphor to allude to __________. a. biblical stories b. sexual matters c. the names of famous poets d. political topics of the day e. the nobleman for whom the poem was written

b. sexual matters

1-11-11. Madrigalism can be defined as __________. a. a cadence formula used in madrigals b. the literal depiction of an individual word or phrase c. a poetic device used only in poems destined to become madrigals d. a cadential flourish in the top voice as the other voices hold a chord e. the theory that only in secular music can man's true spirit be revealed

b. the literal depiction of an individual word or phrase

1-9-10. Obrecht's works include secular songs in which language? a. English b. Spanish c. Dutch d. Polish e. Greek

c. Dutch

1-8-1. In what way did the Hundred Years' War influence music? a. It put a halt to all secular music. b. The nobility could no longer afford to support music. c. English composers spent time in France. d. Composers from different regions became isolated from one another. e. It inspired nationalistic genres.

c. English composers spent time in France

1-11-16. Hans Sachs is known for what achievement? a. He translated a collection of Italian madrigals into German. b. He published a collection of lieder using moveable type. c. He was the best known Meistersinger. d. He was the first German to serve in the Mantuan court. e. He applied techniques of metrical psalm-setting to secular music.

c. He was the best known Meistersinger

1-11-3. The poet whose work inspired composers of sixteenth-century Italy was __________. a. Shakespeare b. Milton c. Petrarch d. Machaut e. Ovid

c. Petrarch

1-8-4. Cantilena is best defined as __________. a. a compositional style that imitates a bagpipe b. an improvised third voice added to a two-voice piece c. a freely composed, homorhythmic piece d. secular song in the French style e. using two cantus firmus tenor voices

c. a freely composed, homorhythmic piece

1-11-7. Willaert and Zarlino believed that minor intervals, such as the minor third or sixth, __________. a. were imperfect, and thus should not be used b. were to be used in strict progressions that resolved to major intervals c. could represent sweetness or grief d. should be used only on keyboard instruments of a specific tuning system e. represented harshness or strength

c. could represent sweetness or grief

1-7-18. The main textures for the Renaissance were __________. a. monophony and heterophony b. heterophony and homophony c. homophony and imitative counterpoint d. imitative and nonimitative counterpoint e. monophony and nonimitative counterpoint

c. homophony and imitative counterpoint

1-8-18. A mass that quotes more than one voice of a pre-existing polyphonic work is called a(n) __________. a. motto mass b. plainsong mass c. imitation mass d. cantus-firmus mass e. Líhomme armé mass

c. imitation mass

1-7-13. Partbooks were __________. a. books of music with all parts on the same page b. books of music with the high parts on the right and the low parts on the left c. sets of books, one part to a book d. pedagogical books with the cantus firmus laid out and blank staves above it for students to fill in the other parts e. treatises on counterpoint

c. sets of books, one part to a book

1-7-7. In Italy, the main patrons for music were __________. a. the heads of small city-states and the church b. major cathedrals c. the king and some of the nobility under him d. the middle class e. young ladies who played the keyboard as part of their education

c. the king and some of the nobility under him

1-7-5. Court chapels were significant for music history because __________. a. musicians deposited copies of their manuscripts there b. contracts for guilds, the predecessors of unions, were signed there c. they hired musicians for both sacred and secular music d. they settled disputes between musicians and employers e. they published the works of important composers

c. they hired musicians for both sacred and secular music

1-11-1. The main secular vernacular genre of sixteenth-century Spain was __________. a. cancionero b. cantiga c. villancico d. madrigal e. frottola

c. villancico

1-9-8. Which of the following is true of musical style in the late fifteenth and early sixteenth centuries? a. The top voice became the primary voice. b. The top two voices were the primary voices, with other(s) playing supporting role(s). c. All voices were nearly equal in rhythmic motion but the bottom voices were less singable. d. All voices were nearly equal and all were singable. e. The tenor continued to be slower-moving and was most likely played on an instrument.

d. All voices were nearly equal and all were singable

1-11-17. Which of the following statement best describes the polyphonic Lied of the mid-sixteenth century? a. Audiences lost all interest in it, so composers turned to other genres. b. Composers incorporated concepts developed in the Academy of Poetry and Music. c. English-language airs were translated and passed off as original German compositions. d. Although German continued to be the language of the Lied, composers were strongly influenced by the madrigal. e. A revivalist movement among Lutherans banned all secular music, but the elite continued to cultivate it behind closed doors.

d. Although German continued to be the language of the Lied, composers were strongly influenced by the madrigal

1-11-8. The leading madrigal composer in the middle of the sixteenth century was __________. a. Pietro Bembo b. Juan del Encina c. Jacques Arcadelt d. Cipriano de Rore e. Carlo Gesualdo

d. Cipriano de Rore

1-9-14. Which of the following statements best reflects Josquin's approach to text setting? a. He was preoccupied with counterpoint and paid little attention to the text. b. Through his use of imitation, the voices often sing different words simultaneously. c. He never allowed more than one word to be sung simultaneously. d. He gave a new melody to each new phrase of text to make it clear. e. Extended melismas often obscure the meaning of the text.

d. He gave a new melody to each new phrase of text to make it clear

1-11-18. Musica Transalpina was a collection of __________. a. music theory treatises translated from the Greek b. motets that had been turned into madrigals c. German songs that had been translated into English d. Italian madrigals that had been translated into English e. English madrigals that had been translated into Italian

d. Italian madrigals that had been translated into English

1-11-13. Which composer is known for his/her songs depicting such things as a battle and birds? a. Willaert b. Sermisy c. Casulana d. Janequin e. LeJeune

d. Janequin

1-7-20. Which of these statements best describes women's role in Renaissance music-making? a. Women were not permitted to perform in public. b. Women could perform in public but only in the theater. c. Only nuns were permitted to learn to read music. d. Noblewomen and women in convents received some instruction. e. Women performed extensively and were considered equal with men.

d. Noblewomen and women in convents received some instruction

1-9-7. Composers of the late fifteenth and early sixteenth centuries take what approach to cantus-firmus composition? a. They continue using cantus firmus in the way earlier composers did. b. They give the chant melody of its own rather than use an isorhythm. c. They treat the rhythm freely. d. They treat the melody freely, adding notes for decoration. e. They drop the use of chant melodies and use only secular songs.

d. They treat the melody freely, adding notes for decoration

1-7-8. The theorist who first described counterpoint that considered thirds and sixths consonances was __________. a. Boethius b. Tinctoris c. Zarlino d. Walter Odington e. Petrucci

d. Walter Odington

1-11-9. Which of the following statements is true of women's participation in madrigal performance and composition? a. Women were not permitted to compose, sing, or hear madrigals. b. Women were often in the audience when madrigals were performed, but did not perform or compose them. c. Women performed madrigals but none had the musical training to compose them. d. Women both performed and composed madrigals, though not in equal numbers to men. e. Women were the equal of men in the composition and performance of madrigals.

d. Women both performed and composed madrigals, though not in equal numbers to men

1-9-9. Cadences of the late fifteenth and early sixteenth centuries were marked by __________. a. a return to the Landini cadence b. frequent use of the double-leading tone cadence c. occasional use of full triads for the closing sonority d. almost universal use of full triads for the closing sonority e. formulas that reinforced the qualities of the church mode

d. almost universal use of full triads for the closing sonority

1-7-16. The primary audience for printed music was/were __________. a. the Church b. missionaries in the new world c. collectors who viewed them as works of art d. amateur musicians throughout Europe and the Americas e. a tiny group of the economic elite

d. amateur musicians throughout Europe and the Americas

1-8-19. A mass in which all movements are based on the same pre-existing melody is called a(n) __________. a. motto mass b. plainsong mass c. imitation mass d. cantus-firmus mass e. Líhomme armé mass

d. cantus-firmus mass

1-7-14. In the Renaissance, secular music was __________. a. banned by the Church b. the predominant type of music c. performed but never written down d. composed by musicians who also composed church music e. composed by specialists who never composed church music

d. composed by musicians who also composed church music

1-9-13. Which of these compositional techniques used by Isaac can be traced to popular music in Italy? a. imitation b. contrafacta c. canon d. homophony e. paraphrase

d. homophony

1-11-4. The sixteenth-century Italian madrigal developed from the __________. a. fourteenth-century madrigal b. frottola c. English madrigal d. motet e. villancico

d. motet

1-8-10. The duke of Burgundy employed __________. a. only singers for his chapel b. only singers for his chapel and organists c. singers for his chapel, organists, and wind instrument players, but no string instumentalists d. singers for his chapel, organists, wind instrument players, and string instrumentalists e. no musicians, in contrast to other nobility of his era

d. singers for his chapel, organists, wind instrument players, and string instrumentalists

1-9-1. Ockeghem spent most of his career in the service of __________. a. the nobility of Mantua b. Ferdinand and Isabella c. the Pope d. the kings of France e. the duke of Burgundy

d. the kings of France

1-8-13. Du Fay's career was spent __________. a. entirely in the service of the duke of Burgundy b. entirely in the Church, at a cathedral in Cambrai and one in Paris c. divided between secular posts in Italy and a cathedral post in Cambrai d. traveling from court to court, including courts in England, France, Italy, and Spain e. at the University of Paris, where he taught composition and rhetoric

d. traveling from court to court, including courts in England, France, Italy, and Spain

1-7-9. Temperament is __________. a. the belief that music should be moderate in order to create good citizens b. a method for printing music c. a system of voice-leading rules for counterpoint d. tuning all pitches of a keyboard instrument to make thirds and sixths sound good e. the belief that each mode has its own mood

d. tuning all pitches of a keyboard instrument to make thirds and sixths sound good

1-8-15. Fauxbourdon is best defined as __________. a. alternation of two- and three-voice textures b. an English approach to isorhythm c. three-voice works composed in streams of 6-4 chords d. two composed voices with an improvised third voice, creating 6-3 chords e. a work composed in imitation of a bagpipe, with a single melody composed over a drone in parallel fifths

d. two composed voices with an improvised third voice, creating 6-3 chords

1-8-8. Which of these polyphonic genres was not one that Dunstable used? a. Settings of mass movements b. Settings of hymns c. Isorhythmic motets d. Settings of antiphons e. Cantus-firmus masses

e. Cantus-firmus masses

1-11-20. One composer known for his lute songs is __________. a. Thomas Morely b. Thomas Weelkes c. Anna Elizabeth Oriana d. William Byrd e. John Dowland

e. John Dowland

1-8-6. The form which contains a burden is the __________. a. Burgundian chanson b. ballade c. isorhythmic motet d. polyphonic hymn e. carol

e. carol

1-11-12. Gesualdo is known for __________. a. writing a treatise on counterpoint based on Willaert's style b. composing frottole with interesting rhythmic patterns c. being the the only member of the pope's chapel to compose madrigals d. spending most of his career as the maestro di capella at San Marco in Venice e. killing his wife and her lover when he discovered them together in bed

e. killing his wife and her lover when he discovered them together in bed

1-7-4. Renaissance painters achieved realistic effects through the use of __________. a. more advanced application of medieval techniques b. principles they learned in greek treatises c. paints with chemical additives imported from North Africa d. techniques borrowed from Byzantine style e. perspective and treatment of light

e. perspective and treatment of light

1-7-12. Ottavio Petrucci is known for __________. a. writing a treatise naming the best composers of his time b. developing a realistic style of painting c. hiring the first paid, secular choir d. translating Greek treatises into Latin e. publishing music using a three-impression method

e. publishing music using a three-impression method

1-8-12. Four-voice texture as developed in the fifteenth century consisted of __________. a. quadruplum, triplum, duplum, tenor b. motetus, duplum, tenor, contratenor c. superius, cantus, tenor, contratenor d. cantus, altus, tenor, contratenor e. superius, contratenor altus, tenor, contratenor bassus

e. superius, contratenor altus, tenor, contratenor bassus

1-7-1. The Renaissance period is marked by an interest in __________. a. ancient Greek culture b. religious conversion c. exotic cultures d. preserving medieval ideals e. equality for all humans, no matter what their economic status

a. Ancient Greek culture

1-9-3. The Missa Cuisvis toni is special because __________. a. it can be sung in any mode b. it was composed for the pope's anniversary c. it uses all seven notes of the diatonic octave in its theme d. the solfège names for the notes spell the name of the person to whom it is dedicated e. the composer intended for it to be performed at his tomb after his death

a. It can be sung in any mode

1-8-16. Which statement is true of the isorhythmic motet in the early fifteenth century? a. It was an experimental form on the cutting edge of compositional inventiveness. b. It was considered old-fashioned and was only composed in backwards regions. c. It was considered old-fashioned but was composed in honor of special occasions. d. It had ceased to be composed or performed by ca. 1400. e. Although no new isorhythmic motets were being composed, Machaut's motets were rediscovered and then widely performed.

c. It was considered old-fashioned but was composed in honor of special occasions

1-7-11. Which of the following statements is true? a. Musicians in the Renaissance did not believe in music's power to influence emotion. b. Renaissance musicians believed the magical properties of Greek music were lost forever. c. Renaissance musicians believed music had power to influence human emotion, but they were not interested in putting their belief into practice. d. Renaissance musicians used many devices to try to sway listeners' emotions. e. The pope forbade Renaissance musicians from attempting to portray emotion in music.

d. Renaissance musicians used many devices to try to sway listeners' emotions

1-8-3. In England, most composition in the early fifteenth century was __________. a. secular monophony b. secular polyphony c. monophonic tropes and sequences d. polyphony on Latin texts e. composed for two languages simultaneously, usually English and Latin

d. polyphony on Latin texts

1-9-15. Which of the following statements best describes Josquin's career? a. He was largely unknown in his lifetime, and his works were discovered after his death. b. He worked for one employer for almost his entire career. c. He worked for a series of secular courts. d. He worked for a series of religious institutions. e. He worked for several employers, both secular and religious.

e. He worked for several employers, both secular and religious

1-9-16. Imitation in paired voices is a characteristic of __________. a. Ockeghem b. Busnoys c. Isaac d. Obrecht e. Josquin

e. Josquin

1-9-6. Vocal ranges of the late fifteenth and early sixteenth centuries tended to span __________. a. less than an fifth b. slightly less than an octave c. about an octave d. slightly more than an octave e. about a twelfth

e. about a twelfth