Unit 2 Music History Study Multiple Choice Questions

What is one reason for the cosmopolitan musical style of the Burgundian court? a. Philip the Good sent his musicians all over Europe to adopt various styles for his entertainment. b. The court attracted an international crowd and foreign musicians visited frequently. c. Italian musicians were not as good during that era, so Burgundian musicians came to dominate. d. The king of England, requiring more homespun entertainments, sent many foreign musicians away and those people found work in the Burgundian court.

b. The court attracted an international crowd and foreign musicians visited frequently. (p. 166)

Where did midcentury madrigalist Cipriano de Rore work? a. at the Parisian court b. St. Mark's in Venice c. in Florence for the Borgia family d. the Vatican

b. St. Mark's in Venice (p. 213)

How did humanism influence music? a. Composers applied humanist ideas about rhetoric to music. b. Composers became more invested than before in church life and sacred music. c. Composers began writing works about human subjects, largely turning away from sacred music. d. Composers located hundreds of ancient musical scores and adopted what they understood of Greek musical style.

a. Composers applied humanist ideas about rhetoric to music. (p. 139)

What qualities about English music influenced Burgundian composers? a. prolific harmonic thirds and sixths, often in parallel motion b. cantus firmus mass settings c. avoidance of thirds and sixths and a return to textures dominated by fourths, fifths, and octaves d. rhythmic complexity, particularly syncopation

a. prolific harmonic thirds and sixths, often in parallel motion (p. 161)

In fifteenth-century chansons, what was the most common form? a. rondeau b. virelai c. ballade d. isorhythmic

a. rondeau (p. 167)

What is the most common form of Ockeghem's and Busnoys's chansons? a. rondeau b. virelai c. isorhythmic d. cantus firmus

a. rondeau (p.182)

What was a primary concern for Franco-Flemish composers of 1480-1520? a. text declamation b. fourth- and fifth-dominant sonorities c. thick, continuous counterpoint d. writing more accessible sacred music than their forebears

a. text declamation (p. 192)

The communication of the emotions or mood of a text is a. text expression. b. text delineation. c. text declamation. d. text depiction.

a. text expression. (p. 199)

What was one result of the application of humanist principles to religious practice in the Renaissance? a. the Reformation b. the First Council of Nicaea c. the Second Vatican Council d. the Great Schism

a. the Reformation (p. 155)

What is a madrigalism? a. word-painting that is a close representation of the text b. a flashy, extreme show of virtuosity c. a veiled allusion to sex in a musical work d. a work that involves more than four voices

a. word-painting that is a close representation of the text (p. 218)

What is one parallel between Renaissance art and Renaissance music? a. The fascination with columns resembles the musical focus on bar lines. b. Humanist concern with governments is similar to composers' attention to secular topics. c. Contrasts between light and dark recall contrasts between high and low registers and between thin and full textures.

c. Contrasts between light and dark recall contrasts between high and low registers and between thin and full textures. (p. 143)

What are Lieder? a. French motets b. vernacular masses c. German songs d. Italian ballate

c. German songs (p. 192)

Who was the most famous Burgundian composer of the fifteenth century? a. Josquin des Prez b. Gilles Binchois c. Guillaume Du Fay d. John Dunstable

c. Guillaume Du Fay (p. 169)

What does Josquin's immense popularity reveal to us about musical life during his time? a. Music was improving immensely, to the point that a truly great composer emerged. b. There was less interest in the emotional power of music and more interest in technical achievement. c. Technology was improving such that Josquin could tour to support his fame. d. Interest in the individual artist was growing during this time.

d. Interest in the individual artist was growing during this time. (p. 193)

How does Du Fay's Se la face ay pale reflect English influence? a. smooth vocal melodies b. cantus firmus c. equality of the tenor and cantus d. formes fixes

c. equality of the tenor and cantus (p. 171)

In his treatise Le istitutioni harmoniche, what emotions does Gioseffo Zarlino believe major thirds and major sixths communicate? a. love and devotion b. happiness and contentment c. harshness and bitterness d. grief and sorrow

c. harshness and bitterness (p. 212)

The typical Italian madrigal a. is in bar form. b. contains several verses and refrains. c. is through-composed. d. contains vocables.

c. is through-composed. (p. 209)

Approximately when did the musical Renaissance occur? a. 1500-1700 b. 1300-1500 c. 1200-1400 d. 1400-1600

d. 1400-1600 (p. 138)

National traditions from what countries contributed to the international style in the fifteenth century? a. Italy, England, and the United States b. England, China, and India c. France, Spain, and Russia d. England, France, and Italy

d. England, France, and Italy (p. 147)

Burgundy was a Duchy of a. the Netherlands. b. England. c. Italy. d. France.

d. France (p. 165)

One poet whose texts were frequently used in the madrigal was a. Leonardo da Vinci. b. Dante. c. Giovanni Boccaccio. d. Francesco Petrarca.

d. Francesco Petrarca. (p. 209)

Which describes the sixteenth-century air de cour? a. Italian four-part strophic song set syllabically and homophonically b. Spanish secular polyphonic song c. English genre for voice accompanied by a consort of viols d. French song for voice and accompaniment

d. French song for voice and accompaniment (p. 223)

Why was Pythagorean intonation problematic in the Renaissance? a. Pythagorean intonation was too continuous with the past, and Renaissance musicians sought a break with ancient ideas. b. In Pythagorean intonation, fourths and fifths were dissonant. c. In Pythagorean intonation, certain intervals of the diatonic scale were brought out of tune by adjustments to make other intervals in tune. d. In Pythagorean intonation, thirds and sixths sounded out of tune.

d. In Pythagorean intonation, thirds and sixths sounded out of tune. (p. 150)

How do temperaments differ from just intonation? a. Temperaments resemble the intervals of the harmonic series more accurately than just intonation. b. They are synonymous. c. In just intonation, adjustments are made so that all intervals can be used. d. In temperaments, adjustments are made so that all intervals can be used.

d. In temperaments, adjustments are made so that all intervals can be used. (p. 151)

What was Du Fay's relationship to the isorhythmic motet? a. A certain body of works continued to be performed, but composers had stopped writing them. b. It was a century old and terribly out of fashion by his time. c. Du Fay wrote many isorhythmic motets and the tradition flourished. d. It was a century old, and composers only used the style on solemn occasions.

d. It was a century old, and composers only used the style on solemn occasions. (p. 172)

What problem emerged in three-voice cantus-firmus masses? a. An unalterable melody in the lowest voice limited composers' choices too much. b. With one borrowed voice, composers felt limited by only having two more to work with. c. Composers felt limited by the available options for cantus firmi. d. The textures were not full enough to match the complexity of the form.

a. An unalterable melody in the lowest voice limited composers' choices too much. (p. 174)

Who printed the first collection of polyphonic music printed entirely from movable type?

b. Ottaviano Petrucci Answers: a. Loyset Compère b. Ottaviano Petrucci c. Nicholas Yonge d. Josquin des Prez (p. 156)

How does Du Fay treat the song he used for the cantus firmus in Missa Se la face ay pale? a. He augments it, doubling the durations of notes. b. He inverts the intervals, rendering the original tune unrecognizable, but revealing the value placed on intellectuality in the fifteenth century. c. He treats it with reverence, not altering anything, befitting such a sacred source. d. He quickens the durations and adds ornaments, to the extent that the song is unrecognizable by ear.

a. He augments it, doubling the durations of notes. (p. 176)

What does not describe the career of Jean Cordier? a. He traveled to France to serve the court of Louis XI. b. He trained in the choir school of St. Donatian in Bruges and was ordained as a priest. c. His position in every chapel was as a tenorista. d. He was recruited by the Medici family for the choir of the chapel of San Giovanni in Florence.

a. He traveled to France to serve the court of Louis XI. (p. 146)

Who of the following belongs to the generation of Franco-Flemish composers that rose to prominence after Ockeghem and Busnoys? a. Henricus Isaac b. Gilles Binchois c. William Byrd d. Giovanni Pierluigi da Palestrina

a. Henricus Isaac (p. 187)

In Book of the Courtier, what were Baldassare Castiglione's thoughts on music? a. Members of the upper and middle classes should be able to read musical notation. b. Music is dangerous and must be avoided. c. Members of the upper and middle classes should be literate in folk oral musical traditions. d. Music is advantageous to education and helps to shape young minds.

a. Members of the upper and middle classes should be able to read musical notation. (p.206)

How did the vocal parts of Ockeghem's masses compare to those of Du Fay? a. Most had the same amount of voices, but the ranges of the voices are expanded in Ockeghem's masses, particularly for lower voices. b. While Du Fay's masses often had four voices, Ockeghem's more typically had six voices. c. Most had the same amount of voices, but the ranges of voices are smaller in Ockeghem's masses, particularly for higher voices, to accommodate changing tastes regarding male singers. d. While Du Fay's lower voices often had more expanded ranges, Ockeghem asked for larger ranges from the upper voices.

a. Most had the same amount of voices, but the ranges of the voices are expanded in Ockeghem's masses, particularly for lower voices. (p. 185)

Which of the following was not a ramification of the application of movable-type printing to music? a. Music became more expensive and more inaccessible when printed. b. Music was marketed to amateurs as well as to professional musicians. c. Music printing provided composers a new way to make money. d. Printed music encouraged the first widespread development of notated instrumental music.

a. Music became more expensive and more inaccessible when printed. (p. 154-155)

How do the chansons of Ockeghem and Busnoys differ from earlier examples? a. There is increased use of imitation. b. They do not use the formes fixes. c. The contratenor dominates the texture more. d. The dominant sonorities are fourths and fifths.

a. There is increased use of imitation. (p. 182)

Which of the following aptly describes the typical midcentury madrigal? a. They were for five voices with frequent alternations between homophony, imitation, and free polyphony. b. They were strophic and homophonic. c. They were for four voices and homophonic, with occasional deviations in texture for text expression. d. They were for five or six voices and employed a striking harmonic language and sudden shifts in texture, evoking the text almost literally.

a. They were for five voices with frequent alternations between homophony, imitation, and free polyphony. (p. 213)

How does Obrecht's use of imitation in his Missa Fortuna desperata differ from earlier composers' use of imitation? a. While Obrecht employed the technique as a structuring device, earlier composers had used it more sparingly. b. Obrecht used imitation just as much as the earlier generation. c. Earlier composers used imitation so much it became a structuring device, but Obrecht employed the technique more sparingly. d. Obrecht limited imitation to significant points of entry, while earlier composers used imitation in more contexts.

a. While Obrecht employed the technique as a structuring device, earlier composers had used it more sparingly. (p. 189-190)

What was a motet in the fifteenth century? a. a polyphonic setting of a liturgical Latin text b. a polytextual work with a cantus firmus that could be sacred or secular c. a sacred composition in vernacular languages d. a discant clausula with text added to the upper parts

a. a polyphonic setting of a liturgical Latin text (p. 164)

Which of the following describes the Italian frottola? a. a strophic, syllabic, homophonic song in four parts that set existing poetry b. sacred, Latin, nonliturgical works c. a song for competitions in aab form d. musical settings of poetry arranged without refrains or repeated lines

a. a strophic, syllabic, homophonic song in four parts that set existing poetry (p. 208)

What is a canon? a. a work in which multiple parts derive from a single voice b. a musical mishap in which a large crash or boom is unexpectedly heard c. a work that has one clear melody line with a muted accompaniment d. a work with many independent, notated polyphonic lines

a. a work in which multiple parts derive from a single voice (p. 186)

What is one development in mass composition in the fifteenth century? a. cohesive settings of the Mass Ordinary b. invention of the motet c. cohesive settings of the Mass Proper d. invention of the cantus firmus

a. cohesive settings of the Mass Ordinary (p. 173)

Proponents of the new international style valued a. control of dissonance. b. seconds and sevenths. c. monophony. d. parallel fifths.

a. control of dissonance. (p. 147)

Which tuning or temperament system is most widely used in the West today?

a. equal temperament Answers: a. equal temperament b. just intonation c. Pythagorean intonation d. mean-tone temperament (p. 151)

What were eclogues? a. one-act pastoral plays b. Spanish-language translations of Greek drama c. collections of villancicos published by Ferdinand and Isabella to promote the genre d. sets of pastoral-themed villancicos by Juan del Encina

a. one-act pastoral plays (p. 207)

What two sentiments did Petrarch seek in his poetry? a. pleasingness and severity b. grace and resolve c. courtly love and piety d. awe and sublimity

a. pleasingness and severity (p. 211)

In the fifteenth century, Burgundian composers Guillaume Du Fay and Gilles Binchois were notably influenced by a. Francesco Landini. b. John Dunstable. c. Jean de Ockeghem. d. Guillaume de Machaut.

b. John Dunstable. (p. 159)

How were the most popular chansons by Ockeghem and Busnoys treated as they were disseminated? a. They were adapted for performance needs never borrowed in other songs, in honor of strict copyright laws. b. They were freely altered, rearranged, and transcribed for instruments in order to suit the performers' preferences. c. They were largely disseminated vocally. d. They were treated with reverence and rarely altered.

b. They were freely altered, rearranged, and transcribed for instruments in order to suit the performers' preferences. (p. 184)

Around 1450, how did relationships between voices in polyphonic compositions change? a. The tenor began to dominate. b. Voices became more equal. c. The cantus began to dominate. d. A relationship between the cantus and the bass began to dominate.

b. Voices became more equal. (p. 149)

What is the cantus firmus of Ockeghem's Missa De plus en plus? a. a chant setting of the Mass Ordinary b. a chanson by Binchois c. Machuat's Messe de Nostre Dame d. a motet by de Vitry

b. a chanson by Binchois (p. 185)

What is a cantus-firmus mass? a. a mass in which the cantus firmus must be added, as in fauxbourdon b. a mass in which each movement contains the same cantus firmus c. a mass that contains cantus firmi in all movements but is not typically the same in all movements d. a mass movement that uses the cantus firmus of an older, respected motet in order to lend solemnity to the work

b. a mass in which each movement contains the same cantus firmus (p. 174)

In the Renaissance, which voice was added to the prevailing three-voice texture? a. contratenor b. bass c. tenor d. cantus

b. bass (p. 148)

How many voices are in Josquin's Faulte d'argent? a. four b. five c. six d. three

b. five (p. 196)

What is not a characteristic of the villancico? a. mostly homophonic b. principal melody in the bottom voice c. syllabic text-setting d. AAB stanza structure

b. principal melody in the bottom voice (p. 207)

What was one thing about madrigals that greatly impacted future genres? a. use of the sonnet b. shaping all aspects of the music to express the text c. the development of the refrain d. homophonic textures

b. shaping all aspects of the music to express the text (p. 219)

In fauxbourdon a. only one voice is written and one voice sings in parallel motion a fourth above while another sings a third below. b. the top voices are written and the middle voice parallels the top a fourth below. c. composers mimicked the English faburden but notated all parts. d. composers wrote musical tricks into their scores.

b. the top voices are written and the middle voice parallels the top a fourth below. (p. 172)

What is hemiola? a. a new voice in Burgundian chansons b. three notes in the time of two c. the most famous Burgundian composer d. the third-dominated harmonic idioms of the fifteenth century

b. three notes in the time of two (p. 167)

How does a paraphrase mass differ from an imitation mass? a. A monophonic work is borrowed in an imitation mass. b. Each movement of an imitation mass is based on an existing chant for that text. c. All voices of a polyphonic work are borrowed in an imitation mass. d. A monophonic melody is paraphrased in all voices in an imitation mass.

c. All voices of a polyphonic work are borrowed in an imitation mass. (p. 201)

Who is among the later madrigalists? a. Giovanni Giacomo Gastoldi b. Cipriano de Rore c. Carlo Gesualdo d. Nicola Vicentino

c. Carlo Gesualdo (p. 218)

What was the relationship between the works of chanson composers of Josquin's generation to the formes fixes? a. While rondeau and virelai fell out of favor, ballade form remained popular. b. Composers embraced the older tradition as a way of clarifying textural problems from Ockeghem's generation. c. Composers virtually abandoned the formes fixes. d. While rondeau form remained popular, virelai and ballade form were criticized in several treatises of the time.

c. Composers virtually abandoned the formes fixes. (p. 195)

How did Henricus Isaac come to create music that was more pan-European than that of his contemporaries? a. He studied at the University of Paris, rather than learning his craft in cathedral schools. b. Though he remained in the lowlands for most of his life, he was a quick read and studied treatises carefully. c. He was more familiar with Italian and German music because of his travels in those areas. d. He spent more time in the Vatican and absorbed the cosmopolitan, international nature of that place.

c. He was more familiar with Italian and German music because of his travels in those areas. (p. 190)

In comparison to medieval artists, how did artists of the Renaissance approach the individual? a. There was little change; Renaissance and medieval artists both ignored the individual. b. In the Renaissance, there was less interest in the individual. c. In the Renaissance, there was more interest in the individual. d. There was little change; Renaissance and medieval artists both emphasized the individual greatly.

c. In the Renaissance, there was more interest in the individual. (p. 142)

What was one shared stylistic element of polyphonic composers active around 1480-1520? a. More immediately perceptible forms gave way to hidden structural devices. b. Open fifths and octaves began to replace triadic harmonies at cadences. c. Individual parts were similar in melodic style and nearly equal in importance, in contrast to the earlier dominance of the cantus and tenor lines. d. Vocal works became more distanced from the text, solving musical problems without regard for the meaning of the words.

c. Individual parts were similar in melodic style and nearly equal in importance, in contrast to the earlier dominance of the cantus and tenor lines. (p. 188)

Who was an important patron of the frottola? a. Thomas Morley b. Leonardo da Vinci c. Isabella d'Este d. Luca Marenzio

c. Isabella d'Este (p. 208)

How is Ockeghem's Missa prolationum compositionally inventive? a. The score is written in a new notation that better communicates specific rhythmic patterns. b. The score is notated in the shape of the cathedral for which it was written. c. It is notated in two lines, but the addition of different clefs and mensuration signs indicates it should be performed in four voices. d. It contains well-prepared and controlled dissonances, expanding composers' harmonic palettes.

c. It is notated in two lines, but the addition of different clefs and mensuration signs indicates it should be performed in four voices. (p. 185)

One melody often borrowed for cantus-firmus masses was a. Rose, liz, printemps, verdure. b. Resvellies vous. c. L'homme armé. d. Se la face ay pale.

c. L'homme armé. (p. 174)

What is one way that the development of music printing altered the economics of music? a. The church gained control in the hiring of musicians. b. Far more concert tickets could be sold because of the dissemination of music. c. Music became a commodity for the first time. d. Noble people were able to contain elevated music to the court much more easily.

c. Music became a commodity for the first time. (p. 205)

Who was the principal composer of the early madrigal? a. Claudio Monteverdi b. Cipriano de Rore c. Philippe Verdelot d. Maddalena Casulana

c. Philippe Verdelot (p. 210)

What was the nature of Renaissance composers' relationship to text, in comparison to that of earlier composers? a. Renaissance composers saw music without text—instrumental music—as better than song. b. Renaissance composers saw music as a decoration for the text. c. Renaissance composers were more interested in text declamation and text expression. d. Renaissance composers saw text as subordinate to musical integrity.

c. Renaissance composers were more interested in text declamation and text expression. (p. 151)

How does Binchois's De plus en plus reflect English influence? a. The use of a refrain. b. The use of frequent, long melismas. c. The use of triadic skips. d. The use of English text

c. The use of triadic skips. (p. 167)

Which of the following is a hallmark of Ockeghem's style? a. a departure from cantus-firmus mass structures b. clearer melodic lines and more homophony c. a continuous flow that is the result of long phrases and elided cadences d. less imitation than the music of Du Fay

c. a continuous flow that is the result of long phrases and elided cadences (p. 187)

In the English carol, a burden is a. a series of nonsense syllables. b. a section of third-dominated harmony. c. a refrain sung at the beginning of the song and repeated after each stanza. d. the act of singing in parallel fourths above and thirds below.

c. a refrain sung at the beginning of the song and repeated after each stanza. (p. 162)

In villancicos, what is a copla? a. a refrain b. a new section in a stanza c. a stanza d. the final return of the refrain

c. a stanza (p. 207)

In an imitation mass, what material is borrowed? a. the tenor line and fragments of other voices of a polyphonic work b. a chant melody c. all voices of a polyphonic work d. a melody that can be chant or another source, such as a popular song

c. all voices of a polyphonic work (p. 201)

What was the most readily available way for women to win renown in music in the sixteenth century? a. as performers of socially appropriate instruments like the virginal b. as composers c. as singers d. as publishers

c. as singers (p. 216)

Which Italian genre of music contained "fa-la-la" refrains? a. madrigal b. villanella c. balletto d. canzonetta

c. balletto (p. 219)

Which of the following was a way that fifteenth-century composers established coherence between mass movements? a. using text by the same Renaissance poet b. writing all movements in the same key c. basing each movement on the existing chant for that movement

c. basing each movement on the existing chant for that movement (p. 173)

Cantilenas were similar to the earlier a. isorhythmic motet. b. formes fixes. c. conductus. d. Vespers.

c. conductus (p. 162)

What is one compositional technique, previously forbidden, employed by midcentury and later madrigalists for the purpose of text expression? a. using deeply expressive poems from secular sources b. thick, free polyphony that was not imitative c. direct chromatic motion d. complicated rhythms using hockets and syncopation

c. direct chromatic motion (p. 214-215)

In the Renaissance, the rise of court chapels meant a. musicians were employed full time at a building, rather than being attached to a ruler. b. musicians were more frequently employed in smaller churches, offering them more independence. c. musicians were employed full time with a ruler, rather than being attached to a building. d. musicians' full-time employment was more thoroughly limited to the church than ever before.

c. musicians were employed full time with a ruler, rather than being attached to a building. (p. 143)

Missa Pange lingua is a a. isorhythmic mass. b. cantus-firmus mass. c. paraphrase mass. d. imitation mass.

c. paraphrase mass. (p. 199)

In Liber de arte contrapuncti, Johannes Tinctoris proclaimed a. that music had become too complex and that religious experience suffered. b. that musicians from England were leading the charge. c. that no music originating before the 1430s was worth hearing. d. that Renaissance musicians from the north were building on earlier Italian composers' work.

c. that no music originating before the 1430s was worth hearing. (p. 147-148)

What is retrograde? a. performance of a relatively complex mensuration canon in simpler ways, such as performing only two of the four lines of the Missa prolationum b. moving by the same intervals as a previously or simultaneously heard line but in the opposite direction c. the reverse of a previously or simultaneously heard line d. double canon

c. the reverse of a previously or simultaneously heard line (p. 186)

What was new or innovative about the sculpture David by Donatello? Answers: a. Showing David's oration after slaying Goliath, it reveals a connection between Renaissance art and rhetoric. b. In depicting the biblical myth of David and Goliath, it signals the Renaissance return to sacred topics. c. It was unusually grotesque, representing Renaissance ideas that rejected the human form. d. It was the first freestanding nude sculpture since Roman times.

d. It was the first freestanding nude sculpture since Roman times. (p. 140)

In the Renaissance, which area's nobility patronized music most profoundly? a. France b. Flanders c. England d. Italy

d. Italy (p. 145)

Who was among the most well-known composers in the generation after Du Fay? a. Josquin Des Prez b. Gilles Binchois c. John Dunstable d. Jean de Ockeghem

d. Jean de Ockeghem (p. 182)

What is the technique known as paraphrase? a. composers commenting on the work of others by modifying their work b. a chant melody used in nontraditional contexts, such as dance music c. quotations of an existing work serve as cantus firmus d. a chant melody is ornamented and given a rhythm

d. a chant melody is ornamented and given a rhythm (p. 163)

How was Ockeghem employed? a. by an Italian noble patron b. at a public theater c. as a freelance musician d. at the French royal court

d. at the French royal court (p. 183)

How does Du Fay's Resvellies vous reflect French musical traditions? a. smooth vocal melodies b. prolific thirds c. syllabic text-setting d. ballade form

d. ballade form (p. 169)

What voices comprised the four-voice texture of cantus-firmus masses, that spread to other genres by the end of the fifteenth century? a. altus, bassus, castrato, and tenor b. countertenor, mezzo-soprano, bass, and tenor c. baritone, alto, tenor, and bass d. bassus, tenor, altus, and superius

d. bassus, tenor, altus, and superius (p. 176)

In Renaissance painting, what is chiaroscuro? a. a focus on the growing noble classes as subjects b. the study of the human form c. a method of representing three dimensions d. contrasting light and shade for naturalistic appearance

d. contrasting light and shade for naturalistic appearance (p. 140)

John Dunstable worked a. at a printing press. b. as an itinerant musician. c. as a priest in a church. d. for royalty and nobility.

d. for royalty and nobility. (p. 163)

What principal textures emerged in the late fifteenth century that predominated in sixteenth-century music? a. imitative counterpoint b. monophony c. homophony d. homophony and imitative counterpoint

d. homophony and imitative counterpoint (p. 136)

What is one musical repertory that was particularly encouraged by music printing? a. monophonic song b. Gregorian chant c. the formes fixes d. instrumental music

d. instrumental music (p. 155)

In Dodecachordon, Heinrich Glareanus a. translated and disseminated newly recovered treatises on Greek music. b. argued for the continuation of Pythagorean tuning. c. supported natural text declamation and wariness about the emotional effects of music. d. introduced the Aeolian and Ionian modes.

d. introduced the Aeolian and Ionian modes. (p. 152)

In imitative counterpoint a. variation form became popular. b. composers intentionally mimic each other. c. all voices move together in the same rhythm. d. motives or phrases are repeated in various voices, typically at different pitch levels.

d. motives or phrases are repeated in various voices, typically at different pitch levels. (p. 149)

What is one innovative characteristic of Ave Maria . . . virgo serena? a. Italian-language poetry b. long, elided phrases, such that the music sounds continuous c. imitation between more than two voices d. paraphrases of the source melody in all voices, suffusing the texture

d. paraphrases of the source melody in all voices, suffusing the texture (p. 197)

What is Renaissance humanism? a. the study of theology b. the study of the human body through the scientific method c. the study of logic and metaphysics, emphasizing authority d. the study of the humanities, based on classical studies

d. the study of the humanities, based on classical studies (p. 139)

For how many voices were most polyphonic vocal compositions of the mid-fifteenth century written? a. four b. two c. five d. three

d. three (p. 167)

In polyphonic English music, what was faburden? a. three-voice polyphonic music in the older Ars Nova style b. three-voice polyphonic music with plainchant in the lower voice and two voices stacked in thirds above it c. three-voice polyphonic music with plainchant in the upper voice, one voice a third below and another voice a fourth below that d. three-voice polyphonic music with plainchant in the middle voice, one voice a fourth above the chant, and another voice a third below

d. three-voice polyphonic music with plainchant in the middle voice, one voice a fourth above the chant, and another voice a third below (p. 161)

What was the most common way for Ockeghem and Busnoys to structure a mass? a. with plainsong b. with isorhythm c. with mottos d. with a cantus firmus

d. with a cantus firmus (p. 185)

How did Adrian Willaert set Petrarch's lines "harsh and savage heart" and "sweet, humble, angelic face"? a. as the refrain, with a catchy, memorable tune b. only with sweet sounds, belying the narrator's true feelings of love and the poem's eventual happy ending c. by layering imitation upon imitation in a surprising feat of compositional dexterity d. with alternately harsh and sweet harmonies and textures

d. with alternately harsh and sweet harmonies and textures (p. 211)