Test bank for concise history of western music 5th by hanning

Test Bank for Concise History of Western Music 5th by Hanning

Test Bank for Concise History of Western Music 5th

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Chapter 6: Music of Franco-Flemish Composers, 1450-1520 MULTIPLE CHOICE 1. This individual said, “Josquin is the master of the notes.” a. Charles V d. Ottaviano Petrucci b. Heinrich Glarean e. Johannes Tinctoris c. Martin Luther ANS: C MSC: Factual

DIF: Easy

REF: 111

TOP: Prelude

2. The fuller, darker sound of Jean de Ockeghem’s music, compared to that of the previous generation, can be attributed to his a. expanded lower range of voices. d. use of four-voice writing. b. preference for minor triads. e. use of imitative counterpoint. c. selection of modes.

ANS: A DIF: Easy REF: 113 TOP: Northern Composers: The Generation after Du Fay

MSC: Applied

3. This composer worked for the kings of France in the second part of the fifteenth century. a. Antoine Busnoys d. Jacob Obrecht b. Antoine de Févin e. Jean de Ockeghem c. Henricus Isaac ANS: E DIF: Easy REF: 113 TOP: Jean de Ockeghem (Johannes Ockeghem) (ca. 1420-1497) MSC: Factual 4. Which term best describes the relationship between the two voices in the example provided?

a. canon b. cantus firmus c. imitation

d. mensuration canon e. paraphrase

ANS: D DIF: Medium REF: 114-15 TOP: Northern Composers: The Generation after Du Fay

MSC: Applied

5. Jacob Obrecht, Henricus Isaac, and Josquin des Prez are typical of musicians in the late fifteenth and early sixteenth centuries in all of the following ways except: a. They received university educations.

b. c. d. e.

They were trained in the Low Countries.

They worked at churches.

They worked at Italian courts.

They worked in Franco-Flemish musical centers.

ANS: A DIF: Medium REF: 115-16 TOP: The Next Generation: Josquin and His Contemporaries

MSC: Conceptual

6. This composer worked for the Medici family and the Holy Roman Emperor. a. Antoine Busnoys d. Jacob Obrecht b. Josquin des Prez e. Jean de Ockeghem c. Henricus Isaac ANS: C DIF: Easy REF: 116 TOP: The Next Generation: Josquin and His Contemporaries

MSC: Factual

7. This aspect of the Italian style is evident in Isaac’s Innsbruck, ich muss dich lassen: a. long melismas with rapid subdivisions of the beat. b. mensuration canons. c. musical gestures that depict words and phrases in the text. d. points of imitation alternating with sections of homophony. e. tuneful melodies in the superius and clear phrase structure.

ANS: E DIF: Medium REF: 116 TOP: The Next Generation: Josquin and His Contemporaries

MSC: Applied

8. Compared to the music of composers active around 1450–1480, such as Antoine Busnoys and Jean de Ockeghem, the music of composers active around 1480–1520 reveals a. greater interest in complex contrapuntal devices. b. greater interest in fitting words to the text. c. less interest in dissonance control. d. less interest in incorporating borrowed material into new compositions. e. less interest in writing clear, understandable phrases.

ANS: B DIF: Medium REF: 116-17 TOP: The Next Generation: Josquin and His Contemporaries 9. The Harmonice musices odhecaton contains a. monophonic liturgical chants. b. monophonic secular songs. c. polyphonic mass cycles.

MSC: Applied

d. polyphonic motets. e. polyphonic secular songs.

ANS: E DIF: Medium REF: 116 TOP: The Next Generation: Josquin and His Contemporaries

MSC: Factual

10. Josquin’s fame as a composer during his lifetime can be attributed in part to which of the following? a. the abandonment of the formes fixes b. comparisons with the artist Michelangelo and the poet Virgil c. the development of music printing d. the increased use of imitative counterpoint e. the political consolidation of the Low Countries and the Holy Roman Empire ANS: C DIF: Medium REF: 116 TOP: The Next Generation: Josquin and His Contemporaries

MSC: Factual

11. Why, beginning in the late fifteenth century, did composers abandon the formes fixes?

a. Composers turned away from secular song in favor of writing motets and Mass Ordinary cycles. b. The formes fixes were regarded as too complex for contemporary tastes. c. The poetic themes and metaphors of fine amour had become irrelevant. d. The repetition schemes and refrains were at artistic odds with text expression. e. The superius-tenor scaffold was replaced by equal-voiced textures.

ANS: D DIF: Hard REF: 116 TOP: The Next Generation: Josquin and His Contemporaries

MSC: Conceptual

12. Who is this composer?

a. Antoine Busnoys b. Henricus Isaac c. Josquin des Prez

d. Jacob Obrecht e. Jean de Ockeghem

ANS: D DIF: Medium REF: 116 TOP: The Next Generation: Josquin and His Contemporaries

MSC: Applied

13. The passage provided illustrates what compositional device?

a. augmentation b. canon c. cantus firmus

d. point of imitation e. text depiction

ANS: D DIF: Medium REF: 117 TOP: The Next Generation: Josquin and His Contemporaries 14. Printing from movable type was first developed in

MSC: Applied

a. China. b. Flanders. c. France.

ANS: A MSC: Factual

d. Germany. e. Italy.

DIF: Medium

REF: 118

TOP: Innovations: Music Printing

15. A compositional technique in which a single melody, either monophonic or drawn from polyphony, is presented—in any voice (though usually the tenor or superius)—with slight changes, elaborations, or deviations, and sometimes used for points of imitation, is called a. canon. d. imitation (parody). b. cantus firmus. e. paraphrase. c. cantus firmus/imitation.

ANS: E DIF: Medium REF: 120-22 TOP: The Next Generation: Josquin and His Contemporaries

MSC: Applied

16. Who is this composer?

a. Antoine Busnoys b. Henricus Isaac c. Josquin des Prez

d. Jacob Obrecht e. Jean de Ockeghem

ANS: C DIF: Medium REF: 120 TOP: Josquin des Prez (Josquin Lebloitte, dit Desprez) (ca. 1450-1521) MSC: Applied 17. This composer worked for the duke of Ferrara. a. Antoine Busnoys d. Henricus Isaac b. Josquin des Prez e. Jean de Ockeghem c. Guillaume Du Fay ANS: B DIF: Easy REF: 120 TOP: The Next Generation: Josquin and His Contemporaries

MSC: Factual

18. Which statement best describes Mille regretz, a chanson attributed to Josquin? a. All voice parts are structurally equal. b. It is in a forme fixe. c. The text is Latin. d. The texture is treble-dominated. e. There is a cantus-tenor voice pair providing the scaffolding of the texture.

ANS: A DIF: Medium REF: 116 TOP: The Next Generation: Josquin and His Contemporaries

MSC: Applied

19. Josquin’s Ave Maria . . . virgo serena is a(n) a. canon. b. chanson. c. Italian song.

d. motet. e. mass movement.

ANS: D DIF: Easy REF: 117 TOP: The Next Generation: Josquin and His Contemporaries

MSC: Applied

20. All of the following statements about Josquin’s Ave Maria . . . virgo serena are true except: a. Accented syllables are frequently set to longer and higher notes. b. Each line of segment of text receives a unique musical treatment. c. Long melismas indicate the ends of poetic lines. d. The main method of construction is imitation. e. The text is Latin.

ANS: C DIF: Medium REF: 117 TOP: The Next Generation: Josquin and His Contemporaries

MSC: Applied

21. Josquin wrote a mass with a cantus firmus melody based on the name of his patron. To create the melody, he used a. canon. d. a soggetto cavato dalle vocali. b. imitation. e. text depiction. c. paraphrase.

ANS: D DIF: Medium REF: 120 TOP: The Next Generation: Josquin and His Contemporaries

MSC: Factual

22. Josquin’s Missa Pange lingua incorporates this compositional technique. a. canon d. imitation (parody) b. cantus firmus e. paraphrase c. fauxbourdon ANS: E DIF: Easy REF: 120-22 TOP: The Next Generation: Josquin and His Contemporaries

MSC: Applied

23. A compositional technique in which all the voices of an existing polyphonic work are reworked and adapted to a new polyphonic context is called a. canon. d. imitation (parody). b. cantus firmus. e. paraphrase. c. cantus firmus/imitation.

ANS: D DIF: Medium REF: 122-23 TOP: The Next Generation: Josquin and His Contemporaries

MSC: Applied

24. All of the following are characteristic of music composed by Josquin and his contemporaries except a. attention to the natural declamation of the text. b. chromatic harmony. c. frequent use of imitation. d. use of secular songs as the basis of masses. e. voice parts that are all of equal importance and interest.

ANS: C DIF: Medium REF: 116-17 | 122-23 TOP: The Next Generation: Josquin and His Contemporaries MSC: Applied 25. As the Renaissance progressed, composers increasingly favored musical structures based on

a. b. c. d. e.

borrowed melodies. isorhythm. the formes fixes. the grammar and emotional content of the text. the pitches in the tenor voice.

ANS: D MSC: Factual

DIF: Medium

REF: 124

TOP: Postlude

TRUE/FALSE 1. Composers of the fifteenth and sixteenth centuries revived compositional techniques that they directly observed in ancient Greek music.

ANS: F MSC: Factual

DIF: Medium

REF: 111

TOP: Prelude

2. Before the time of Josquin, it was rare for a composer’s music to remain fashionable or popular for more than a few years after his death.

ANS: T MSC: Factual

DIF: Medium

REF: 111

TOP: Prelude

3. The Holy Roman Empire was ruled by the pope.

ANS: F TOP: Prelude

DIF: Hard MSC: Factual

REF: 112, Figure 6.1

4. Ockeghem spent part of his career in Italy.

ANS: F DIF: Medium REF: 112 | 113 TOP: Northern Composers: The Generation after Du Fay| Jean de Ockeghem (Johannes Ockeghem) (ca. 1420-1497) MSC: Factual 5. A cantus-firmus mass may be based on a polyphonic composition.

ANS: T DIF: Medium REF: 113 TOP: Northern Composers: The Generation after Du Fay

MSC: Applied

6. Composers active in the second half of the fifteenth century continued to write chansons in the formes fixes.

ANS: T DIF: Easy REF: 114 TOP: Northern Composers: The Generation after Du Fay

MSC: Applied

7. Printers and copyists often incorrectly attributed works by other composers to Josquin.

ANS: T DIF: Medium REF: 116 TOP: The Next Generation: Josquin and His Contemporaries

MSC: Factual

8. Beginning with the Josquin generation, composers more frequently used musical methods for expressing the emotions of the text.

ANS: T DIF: Medium REF: 117 TOP: The Next Generation: Josquin and His Contemporaries

MSC: Conceptual

9. Josquin composed madrigals.

ANS: F DIF: Easy REF: 116-17 | 120 TOP: The Next Generation: Josquin and His Contemporaries| Josquin des Prez (Josquin Lebloitte, dit Desprez) (ca. 1450-1521) MSC: Factual 10. A parody (or imitation) mass must be based on a polyphonic work.

ANS: T DIF: Hard REF: 122-23 TOP: The Next Generation: Josquin and His Contemporaries

MSC: Applied

SHORT ANSWER 1. How are masses from the fifteenth and sixteenth centuries named?

ANS: A mass based on a cantus firmus or a parody mass will be identified by the name of the model (e.g., Missa Pange lingua). A mass based on a distinctive compositional technique may be named for the technique (e.g., Missa prolationum). Masses that have no particular identifying feature may be identified by their opening motive or mode, or are called sine nomine (without a name).

DIF: Medium MSC: Applied

REF: 114

TOP: Northern Composers: The Generation after Du Fay

2. What is the name of the first printed anthology of music?

ANS: Odhecaton DIF: Medium REF: 116 | 118 TOP: The Next Generation: Josquin and His Contemporaries| Innovations: Music Printing MSC: Factual 3. How does canon differ from imitation?

ANS: Strictly speaking, canon means “rule,” as in the instruction or rule for deriving two or more voices from a single notated part. The more common use of the word is to indicate when a second voice is instructed to sing the same melody as the first, starting a number of beats after the original and at the same or a different pitch. In this type of canon, the two voices are melodically identical for the duration of the piece. Imitation is not as strict. Melodies may be similar for a few notes or whole phrases, but may diverge in order to make a cadence or create variety.

DIF: Hard MSC: Applied

REF: 114

TOP: Northern Composers: The Generation after Du Fay

4. By the end of the fifteenth century, composers had largely abandoned poetry in the formes fixes for their chansons. What kinds of poetry did they use instead?

ANS:

They used strophic poetry or simple poems of four or five lines. Topics were often humorous and addressed everyday concerns.

DIF: Medium REF: 116 TOP: The Next Generation: Josquin and His Contemporaries

MSC: Applied

5. In what language is the text of Isaac’s Innsbruck, ich muss dich lassen?

ANS: German DIF: Easy REF: 116 TOP: The Next Generation: Josquin and His Contemporaries

MSC: Factual

6. In your own words, explain the meaning of the quote: “Josquin is the master of the notes. They must do as he wills; as for the other composers, they have to do as the notes will.”

ANS: The author of the quote is praising Josquin for his ability to write music that achieves individual creative or artistic goals (such as text expression), while the music of lesser composers just follows the rules of composition, counterpoint, dissonance control, etc.

DIF: Hard REF: 111 | 116-17 (generally) TOP: The Next Generation: Josquin and His Contemporaries

MSC: Conceptual

7. How would a composer in the late fifteenth and early sixteenth centuries describe a motet?

ANS: A motet is a polyphonic setting of a Latin text. The text can come from a variety of sources, such as Mass Proper texts or sacred poetry. The music can be based on material that is either borrowed or newly composed. There may be a cantus firmus, paraphrase, points of imitation, or sections of homophony. Motets are highly variable.

DIF: Medium REF: 117 TOP: The Next Generation: Josquin and His Contemporaries

MSC: Applied

8. By the end of the fifteenth century and continuing into the sixteenth century, it was common for homophonic textures and imitative polyphony to appear within a single piece. How do both styles illustrate composers’ interest in equal-voiced textures?

ANS: In imitation, each voice presents the same melody in turn, so they are melodic equals. In homophony, all the voices are in essentially the same rhythm, so they are rhythmic equals. The voices are no longer layered around a cantus firmus or a cantus-tenor duet, or rhythmically stratified.

DIF: Hard REF: 117 TOP: The Next Generation: Josquin and His Contemporaries

MSC: Conceptual

9. Was the following passage of music printed using single-impression or multiple-impression technique?

How can you tell?

ANS: This was printed using single- impression technique. With this method, each piece of type contains both the note and the staff lines. Sometimes the edges of the staff lines on adjacent pieces of type don’t line up well, creating a jagged look with gaps between pieces of type.

DIF: Hard MSC: Applied

REF: 118-19

TOP: Innovations: Music Printing

10. By the end of the fifteenth century and continuing into the sixteenth century, composers increasingly preferred paraphrase and imitation (parody) techniques over cantus firmus techniques. Why was this so?

ANS: Paraphrase and imitation (parody) techniques allow composers to borrow existing materials and still employ equal-voiced textures. With cantus firmus technique, there is only a single structural voice and the texture is stratified.

DIF: Hard REF: 120-23 TOP: The Next Generation: Josquin and His Contemporaries

MSC: Conceptual

MATCHING Match each composition to its characteristic feature listed below. a. b. c. d. e.

Busnoys, Je ne puis vivre Isaac, Innsbruck, ich muss dich lassen Josquin, Ave Maria . . . virgo serena Josquin, Missa Pange lingua Ockeghem, Missa prolationum

1.

2.

3.

4.

5.

double mensuration canon long imitative phrases give way to free counterpoint mostly homophonic paraphrase technique points of imitation alternate with sections of homophony

1.

2.

3.

4.

5.

ANS: E ANS: A ANS: B ANS: D ANS: C Match each composition to the description below. a. Busnoys, Je ne puis vivre b. Josquin, Mille regretz

d. Josquin, Missa Malheur me bat e. Josquin, Missa Pange lingua

Test Bank for Concise History of Western Music 5th by Hanning

c. Josquin, Missa L’homme armé 6.

7.

8.

9.

10.

a chanson in a forme fixe a freely composed chanson a mass based on a monophonic chant a mass based on a monophonic secular song a mass based on a polyphonic song

6.

7.

8.

9.

10.

ANS: A ANS: B ANS: E ANS: C ANS: D

ESSAY 1. Explain the variety of ways in which composers active around 1480–1520 incorporated existing music (monophonic or polyphonic) into their new works.

ANS: Answers will vary.

2. Discuss how composers active around 1480–1520 refreshed older genres, such as the mass, motet, and chanson, with new styles and techniques.

ANS: Answers will vary.

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