MUS 110 SEC 2 TEST
true
GREGORIAN CHANT CAN BE CHARACTERIZED AS A MONOPHONIC VOCAL COMPOSITION
false
GREGORIAN CHANT FEATURES REGULARLY PHRASED MELODIC LINES SUPPORTED BY INSTRUMENTAL ACCOMPANIMENT
false
GREGORIAN CHANT USUALLY FEATURES MULTIPLE TEXTS OCCURRING SIMULTANEOUSLY
true
THE ORIGINAL SINGERS OF SUMER IS ICUMEN IN WERE PROBABLY MALE
humanism
THE PERIOD IN WHICH THERE WS A SURGE IN RATIONAL, SCIENTIFIC PROBLEM SOLVING IN THE RENAISSANCE
true
THE POPE MARCELLUS MASS WAS WRITTEN FOR SIX VOICE PARTS
imitative polyphony
THE PREDOMINANT TEXTURE IN JOSQUIN'S MOTET AVE MARIA...VIRGO SERENA IS
false
THE PREEMINENT COMPOSERS OF SACRED RENAISSANCE MOTETS WERE FROM SOUTHERN ITALY
choruses
THE PRINCIPAL COMPONENTS OF OPERA INCLUDE ARIAS, RECITATIVES, OVERTURES &...
true
THE PRINCIPAL GENRES OF RENAISSANCE SECULAR MUSIC ARE STRICTLY MONOPHONIC IN TEXTURE
the reformation
THE PROTESTANT MOVEMENT LED BY MARTIN LUTHER
false
THE SANCTUS IS THE ONLY MASS SECTION SUNG IN GREEK
the proper
THE TEXT ALLELUIA, O VIRGA MEDIATRIX IS FROM WHICH PORTION OF THE MASS?
true
A CAPPELLA SINGING ME THE DEMANDS FOR CLARITY OF TEXT SET FORTH AT THE COUNCIL OF TRENT
false
A CAPPELLA STYLE REFERS TO SINGING WITH INSTRUMENTAL ACCOMPANIMENT
false
A GROUND BASS IS HEARD ONLY AT THE BEGINNING OF DIDO'S ARIA
true
A UNIQUE FEATURE OF THE HILDEGARD'S CHART IS HER OCCASIONAL USE OF AN UPWARD LEAP OF A FIFTH, LENDING A DRAMATIC FEEL TO THE MUSIC
monteverdi
AN EARLY MASTER OF ITALIAN OPERA
tuneful and highly emotive melodies
ARIA IS CHARACTERIZED BY
true
CATHEDRAL CHOIR SCHOOLS WERE TRAINING CENTERS FOR MALE SINGERS IN THE RENAISSANCE
a cantus firmus
COMPOSERS IN THE RENAISSANCE OFTEN USED ____IN ONE VOCE AS A BASIS FOR ELABORATE ORNAMENTATION IN OTHER VOICES
a round
CONTSANT IMITATION FROM BEGINNING TO END IN BETWEEN THE VOICES OF SUMER IS ICUMEN IS CHARACTERISTIC OF ITS GENRE
italy
DESPITE BEING OF NORTHERN EUROPEAN BIRTH, JOSQUN SPENT MOST OF HIS CAREER IN
a group of girls at a boarding school
DIDO AND AENEAS WAS FIRST PRESENTED BY
remember me, but ah! forget my fate
DIDO'S ARIA IS IN TWO SECTIONS. WHICH TEXT LINE BEGINS IN THE SECOND SECTION?
false
DURING THE RENAISSANCE, THE MASS WAS RECITED AND SUNG IN THE VERNACULAR (LANGUAGE OF THE PEOPLE)
true
EARLY MUSICAL NOTATION WS FOSTERED IN MONASTERIES AND CLOISTERS
madrigal
FAIR PHYLIS IS BEST DESCRIBED AS
true
FAIR PHYLLIS FEATURES REPEATED SECTIONS WITH REPEATED TEXT
true
HILDEGARD'S CHART ALLELUIA, O VIRGA MEDIATRIX WAS INTENDED FOR PERFORMANCE ON A FEAST DAY FOR THE VIRGIN
what was hildegard not known for
HISTORICAL WRITINGS ABOUT THE SAINTS
true
HOMORHYTHM DESCRIBES A TEXTURE IN WHICH ALL OF THE VOICES ARE RHYTHMICALLY ALIGNED
using a homorhythmic texture, using long note values
HOW DOES JOSQUIN CREATE MUSICAL CONTRAST IN THE FINAL TWO LINES OF THE TEXT "O MATER DEI, MEMENTO MEI"?
with a descending, chromatic bass line
HOW DOES PURELL MUSICALLY DEPICT DIDO'S GREIF IN THIS ARIA?
false
HUMANISTS WERE INSPIRED BY ANCIENT EGYPTIAN CULTURE
time stops
IN BAROQUE OPERA, WHAT HAPPENS TO THE TIME DURING AN ARIA
false
IN JOSQUIN'S MOTET EACH VOICE SINGS A DIFFERENT TEXT PRAISING THE VIRGIN MARY
to die
IN THE ARIA, DIDO SINGS REMEMBER ME, BUT AH! FORGET MY FATE. WHAT WAS HER FATE?
round
IN WHICH FORM IS SUMER IS ICUMEN IN SET
latin
IN WHICH LANGUAGE IS JOSQUIN'S MOTET TEXT WRITTEN
only briefly at the beginning
JOSQUIN'S AVE MARIA...VIRGO SERENA INCORPORATES AN OLDER GREGORIAN CHANT
true
LITURGY REFERS TO THE SET ORDEF AND STRUCTURE OF EACH SEVICE IN THE CATHOLIC CHURCH
false
MARTIN LUTHER WAS THE LEADER OF THE PROTESTANT COUNTER-REFORMATION
melismatic
MELODY IN WHICH THERE ARE MANY NOTES SUNG PER SYLLABLE
true
MOST SURVIVING EXAMPLES OF GREGORIAN CHANT ARE ANONYMOUS
a cappella singing
MUSIC PERFORMED WITHOUT INSTRUMENTAL ACCOMPANIMENT
tells a story
NARRATIVE MULTIMEDIA IS AN ART FORM THAT
sing in the vernacular
NOT A RECOMMENDATION OF THE COUNCIL OF TRENT REGARDING MUSIC FOR THE CHURCH
generally played again between scenes
NOT TRUE OF AN OVERTURE
england
ONE OF THE EARLIEST EXAMPLES OF SECULAR POLYPHONY COMES FROM
true
PALESTRINA EXPERIMENTED WITH DIFFERENT TEXTURES AND "DENSITY" OF VOICES IN HIS GLORIA FROM THE POPE MARCELLUS MASS
false
PALESTRINA'S GLORIAS FROM THE POPE MARCELLUS MASS BELONGS TO THE PROPER, THE VARIABLE PART OF THE MASS CELEBRATION
true
PALESTRINA'S POEP MARCEULLS MASS WAS PROBABLY INTENDED FOR A CAPPELLA PERFORMANCE
kyrie
PRAYER IN THE MASS ORDINARY THAT IS NOT IN LATIN
convents & monasteries
READING OF LESSONS AND SINGING OF PSALMS WAS A PART OF DAILY SERVICES IN MEDIEVAL
make the words more understandable
RECOMMENDATION OF THE COUNCIL OF TRENT REGARDING MUSIC FOR THE CHURCH
false
SUMER IS ICUMEN IN HAS NO REPEATED MUSICAL SECTIONS
false
SYLLABIC SINGING IS REPRESENTED BY MORE THAN ONE NOTE PER SYLLABLE
libretto
TEXT OF AN OPERA
false
TEXT SETTING IN ALLELUIA, O VIRGA MEDIA TRIX IS MOSTLY SYLLABIC
false
THE ART AND LITERATURE OF ANCIENT GREECE AND ROME WAS OF LITTLE INTEREST TO ARTIST AND WRITERS IN THE RENAISSANCE
counter-reformation
THE CATHOLIC CHURCH'S EFFORT IN THE EARLY SIXTEENTH CENTURY TO RECAPTURE THE LOYALTY OF ITS FOLLOWERS THROUGH A RETURN TO TRUE CHRISTIAN PIETY
false
THE CHANTS OF THE CATHOLIC CHURCH USED ONLY THE MAJOR AND MINOR SCALE PATTERNS FOUND IN LATER MUSIC
false
THE EARLIEST OPERA PLOTS WEERE DRAWN FROM REAL-LIFE SITUATIONS
false
THE ENGLISH MADRIGAL PRECEDED THE DEVELOPMENT OF THE ITALIAN MADRIGAL BY SOME 20 YEARS
the secular music
THE ENGLISH VERSION OF SUMER IS ICUMEN IS BEST DESCRIBED AS
false
THE FIRST TYPE OF NOTATED SECULAR MUSIC WAS PLAINCHANT
true
THE HARMONY OF THE PALESTRINA'S GLORIA FROM THE POPE MARCELLUS MASS IS BEST DESCRIBED AS FULL AND CONSONANT
the Aeneid
THE LIBRETTO FOR DID AND AENEAS IS BASED ON
an onstinato
THE LOWER TWO VOICES IN SUMER IS ICUMEN IN SING SHORT REPEATED IDEAS
false
THE MADRIGAL FLOURISHED PRINCIPALLY IN FRANCE
false
THE MAIN RHYTHMIC PATTERN FOUND IN SUMER IS ICUMEN IN IS SHORT-SHORT-SHORT-LONG
true
THE MASQUE WAS AN ENGLISH ENTERTAINMENT THAT COMBINED MUSIC AND POETRY
polyphonic
THE MELODIC TEXTURE OF SUMMER IS ICUMEN IS BEST DESCRIBED AS
opera
THE MOST IMPORTANT NEW GENRE OF THE BAROQUE ERA WAS
true
THE MOST POPULAR SUBJECT OF THE SACRED RENAISSANCE MOTET WAS THE VIRGIN MARY
false
THE MUSIC OF THE EARLY CHRISTIAN CHURCH SERVICE WAS LARGELY POLYPHONIC
the Virgin Mary
THE TEXT OF JOSQUIN'S MOTET AVE MARIA...VIRGO SERENA PRAISES THE VIRTUES OF
true
THE TEXT OF MOST SACRED RENAISSANCE MOTETS WAS IN LATIN
the Summer, the season of renewal
THE TEXT OF SUMMER IS ICUMEN IN TELLS OF
true
THE TEXT OF THE GLORIA IN PALESTRINA'S POPE MARCELLUS MASS IS EASILY UNDERSTOOD, DUE LARGELY TO ITS SYLLABIC NATURE AND PALESTRINA'S FREQUENT USE OF HOMORHYTHM
true
THE TWO MAIN SERVICES FOR THE ROMAN CATHOLIC CHURCH ARE THE DAILY OFFICES AND THE MASS
true
THE USE OF A FIXED MELODY IN ONE VOICE WS A COMPOSITIONAL TECHNIQUE FOUND IN SACRED RENAISSANCE MOTETS
false
TWO CATEGORIES OF PRAYER IN THE CATHOLIC MASS DURING THE RENAISSANCE WERE THE ORDINARY AND THE EXTRAORDINARY
monophonic texture and sung in the vernacular
WHAT IS NOT A TYPICAL OF THE RENAISSANCE MOTET
ground bass
WHAT IS THE STRUCTURAL BASIS FOR DIDO'S ARIA
kyle, gloria, credo, sanctus, agnus dei
WHAT MAKES UP THE SECTIONS OF THE MASS ORDINARY
a music teacher in a girls school
WHERE WAS PURCELL EMPLOYED WHEN HE WROTE DIDO AND AENEAS
middle ages
WHICH ERA DOES SUMER IS ICUMEN IN EXEMPLIFY
recitative
WHICH MUSICAL STYE BEST DESCRIBES THE OPENING LINE THY HAND, BELINDA; DARKNESS SHADES ME?
because Aeneas left her
WHY DOES DIDO SING A LEMENT AT THE END OF THE OPERA
true
WOMEN DID NOT ORIGINALLY SING THE HIGHER RANGE PARTS IN PALESTRINA'S POPE MARCELLUS MASS
modal
________MELODIC SCALE PATTERNS WERE PREFERRED IN THE MIDDLE AGES