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