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122 Cards in this Set
- Front
- Back
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Europe emerged as a world power during the Renaissance for all of the following reasons except |
people learned that the earth revolved around the sun |
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Many aspects of European culture in the 15th and 16th centuries were influenced by |
the revival of ancient Greek and Roman writing and art |
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Which phrase best describes the meaning of the term humanism |
the study of things pertaining to human knowledge |
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Which of the following is an example of humanism |
imitating ancient Greek and Roman orators to argue a point of view persuasively |
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In this painting, what technique is particularly evident |
perspective |
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Proportionately, more music from the 15th century survives with the names of the composers compared to previous eras. What explains this? |
the intellectual movement of humanism emphasized the accomplishments of individuals |
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In Renaissance music, composers used cadences and contrasts of texture to make the musical structure of a composition clear. This is similar to what aspect of contemporary art? |
clarity of line and function in architecture |
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In the Renaissance, most musicians also served as |
church officials |
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In the Renaissance, how were women most likely to receive musical instruction? |
they received lessons as novices or nuns in convents |
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Why was Italy such an important region for musical patronage in the 15th century can be attributed to |
the migration of composers between northern and southern courts |
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Music of the 15th and 16th centuries can be viewed as a unified repertory due the consistent use of what compositional technique across the two centuries? |
strict control of dissonance |
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Why, in 1477, did music theorist Johannes Tinctoris opine that "there is no composition written over forty years ago which is...worthy of performance"? |
Tinctoris found the older compositions to be too dissonant |
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Who is likely to have written this passage:
"At this time, consequently, the potential of our music has undergone such a marvelous increase that it appears to be a new art, the wellspring of which new art, if I may so call it, is held to be among the English, among whom Dunstable soot forth as a leader. Contemporary with him in France were Dufay and Binchois, to whom directly succeeded those of today, Ockeghe, Busnoys, Regis, and Caron..." |
Johannes Tinctoris |
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Which term or phrase best describes the texture of this passage: |
imitative counterpoint |
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Mean-tone temperaments, in which intervals are adjusted slightly so that thirds sound constant, demonstrate what aspect of Renaissance thinking? |
the preference for human experience over received wisdom |
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As the Renaissance progressed, composers increasingly favored musical structrues based on |
the grammar and emotional content of the text |
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All of the following demonstrate ways in which composers projected the texts they set to music except |
using just intonation to create acoustically pure fifths and thirds |
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Music theorist Franchino Gaffurio incorporated the ideas of which writer into his treatises? |
Plato |
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In his treatise Dodekachordon, Glarean adds four modes to the eight Church modes to parallel the Greek system of tonoi. This reflects what aspect of Renaissance thinking? |
the synthesis of Greek culture with inherited Christian ideas |
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Who is likely to have written this passage:
"So among the fourteen modes which arise from the seven octave species, our time recognizes only eight, although thirteen are used, some constantly, some more rarely, as we shall show afterwards. Yet it neither decides those eight by a true relationship nor by definite laws, but circumscribes them with certain rules neither universal nor accurate." |
Heinrich Glarean |
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Renaissance writers echoed the ancient Greek idea that music should be a part of every citizen's education. An example of this is |
the increase in amateur music-making |
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The development of music printing contributed to all of the following except |
the increasing status of musical virtuosity |
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Printing from moveable type was first developed in |
China |
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All of the following musical developments began during the sixteenth century except |
the preference for four-voice polyphony with soprano, alto, tenor, and bass voice ranges |
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Briefly explain one or two ways in which this drawing relates to ideas that grew out of humanism |
It celebrates the beauty of the human form; it shows an effort to understand the world as it really is (the geometry of the human form); it shows the symmetry and orderliness of the human form; it shows an effort to understand how the body works (like dissection) |
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How did the fall of Constantinople in 1396 and the collapse of the Byzantine Empire in 1453 contribute to the European Renaissance? |
Because of these events, many Byzantine scholars fled to Italy. They brought the writings of the ancient Greeks with them and taught the Italians how to read Greek. This contributed to European interest in rediscovering ancient Greek and Roman culture. |
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How is the word chapel used in discussing Renaissance music history? |
A chapel refers to a group of salaried musicians and clerics associated with a particular ruler (it does not refer to a religious space). |
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Toward the end of the fifteenth century, composers sought greater equality of voices. Their music features sections of imitation and homophony. Explain how both textures display an equality of voices |
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. |
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Define chromaticism |
Chromaticism is the use of two or more successive semitones moving in the same direction, such as a melody that goes A–B-flat–B-natural |
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How does the use of chromaticism in sixteenth-century music reflect the interest in ancient Greek theory? |
In the Middle Ages, especially in chant, music was diatonic. Although there were some chromatic inflections (such as in the use of musica ficta), direct melodic motion by semitone was not allowed. In the Renaissance, musicians learned about the ancient Greek chromatic genus of tetrachord and imitated it in their music as an expressive device. |
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Why was the development of music printing essential to the spread of Reformation ideas? |
Reform church leaders needed to develop new music for their services and spread their ideas through music. The ability to make hundreds or thousands of copies of music quickly and cheaply helped to spread and reinforce their ideas. |
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Name one secular, one instrumental, and one sacred genre that were newly developed in the Renaissance |
Secular: villancico, frottola, madrigal [different from the Trecento madrigal], lute song. Instrumental: variations, prelude, toccata, canzone, sonata. Sacred: chorale, metrical psalm, anthem |
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Was the following passage of music printed using single impression or multiple impression technique? How can you tell? |
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 do not line up well, creating a jagged look with gaps between each piece of type. |
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Provide an example of musical technique or idea that was new in the Renaissance and has since become a widely accepted expectation of music |
SATB voices; music can express emotions; rules of consonance and dissonance; focus on consonance; music should directly appeal to the listener; equal temperament; natural declamation of the words; different scales (e.g., major and minor) represent different emotional moods; etc. |
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During the Hundred Years' War, England was at war with which country? |
France |
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The English method of improvising polyphony on a given chant is called |
faburden |
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The term burden refers to |
the refrain of a carol |
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In the example below, the melody in the top staff of each pair of systems is related to the melody in the bottom staff of each pair. What term best describes how the melody in the bottom system relates to the melody in the top? |
Paraphrase |
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In addition to being a musician, John Dunstable was a mathematician and an astronomer. His expertise in these three areas demonstrates that Dunstable was well trained in |
the quadrivium |
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All of the following can be found in Dunstable's sacred works except |
refrains |
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By the mid-fifteenth century, composers rarely composed isorhythmic motets. Why did they abandon this genre? |
the genre was considered old-fashioned by the fifteenth century |
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The Dukes of Burgundy spent most of their time in which approximate modern-day region? |
Belgium |
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By ca. 1450, the most important musical institutions in Europe were the chapels of the rulers of |
England and Burgundy |
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In the mid-fifteenth century, composers wrote all of the following types of compositions except |
madrigals |
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Binchois was the most important composer at |
the court of Phillip the Good, Duke of Burgundy |
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A rondeau is best represented by which form? |
AB aA ab AB |
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Guillaume Du Fay worked in all of the following cities except |
Paris |
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Du Fay wrote Resvellies vous in |
Rimini |
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Du Fay's early chansons sometimes include rapid subdivisions of the beat. This quality can be associated with his exposure to what musical style? |
the Ars Subtilior |
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Elements of the English style in some of Du Fay's compositions include |
relatively brief, clearly demarcated phrases |
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The music for Du Fay's song Se la face ay pale is in |
through-composed form |
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Although composers mostly stopped writing isorhythmic motets, Du Fay and his contemporaries still wrote a few. Why? |
the archaic technique added seriousness and solemnity to special ceremonial and state occasions |
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The idea of musically linking mass movements began with composers working in |
England |
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In the early fifteenth century, composers began to musically link paris of movements of the Mass Ordinary. Most typical was to write Gloria-Credo pairs. What explains the reason for pairing these two movements? |
The Gloria and Credo frame readings are responsorial chants, so linking the Gloria and Credo musically framed the readings and chants |
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What term best describes the relationship between the original melody and the polyphonic setting provided? |
augmentation |
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How would Du Fay's audiences have likely understood his use of his own secular song as the basis of his Missa Se la face ay pale? |
They would have likely related the knight's suffering for the sake of love in the song with Christ's suffering on the cross for the sake of human souls |
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This secular melody was among the most frequently used as the basis of a cyclic mass in the fifteenth and sixteenth centuries |
L'homme armé |
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What term did French poet Martin Le Franc use to refer to the pleasing quality in the music of Binchois and Du Fay? |
contenance angloise |
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Why was the Hundred Years' War significant to the development of musical style in the fifteenth century? |
During the war, the English occupied (modern) French soil and were allied with Burgundy against the French. This enabled English, French, and Burgundian musicians to encounter each others’ musical styles. |
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How did the Duchy of Burgundy come to dominate politics and culture in the fifteenth century? |
France and England were fighting with each other during the Hundred Years’ War. This weakened both kingdoms politically, culturally, and economically. In their place, the Dukes of Burgundy were able to rise in status. Philip the Good and Charles the Bold were especially fond of music. |
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The rhythmic device in m. 3 of the lower two voices of the given example, in which there is a 3/4 feel even though the meter is 6/8, is called |
hemiola |
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In this musical example, which voice is the tenor and which voice is the contratenor? What compositional qualities of each part lead you these conclusions? |
The middle system is the tenor and the bottom system is the contratenor. The middle voice has a tuneful quality written in support of the cantus. It also forms a cadence with the top voice in mm. 3–4, where a sixth expands to an octave. The bottom voice is full of leaps and abrupt rests. It seems to have been written to fill in the contrapuntal space, add harmonies, and add rhythmic motion to the cantus-tenor pair. |
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In this musical example, the top voice is from plainchant. Does this example illustrate English faburden or continental fauxbourdon? How can you tell? |
This is an example of fauxbourdon. The middle line is always in parallel fourths with the top voices and could have been improvised. The bottom voice frequently moves in parallel sixths below the top voice but also has some freedom and would have been composed, not improvised. In fauxbourdon, there are two composed voices and one improvised voice. In English faburden, the chant would be in the middle voice and the top and bottom voices would both be improvised, with parallel thirds below the chant and parallel fourths above. |
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What is a Mass Ordinary cycle? |
A setting of the five movements of the Mass Ordinary—Kyrie, Gloria, Credo, Sanctus, and Agnus Dei—that is musically linked in some way. For example, all the movements may begin with the same melodic motive (motto mass). Another example would be the cantus-firmus mass, in which all the movements are be based on the same pre-composed melody (cantus firmus), usually placed in the tenor voice. |
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Define augmentation and give an example of its usage |
Augmentation is the proportionate lengthening of note values compared to the original melody. For example, in the Gloria of Du Fay’s Missa Se la face ay pale, the tenor of the original chanson is used as the tenor of the mass and repeated three times. The first time, the note values are all three times the original duration, so what is originally a quarter note is now a dotted half note, etc. That is triple augmentation. |
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Can the movements of a Mass Ordinary cycle be linked by more than one device? Explain |
Yes. Composers could combine linking devices. For example, in Du Fay’s Missa Se la face ay pale, all the movements are based on the same tenor melody, so it is a cantus-firmus mass. Additionally, most of the movements are based on the same opening melody, or motto. |
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In the nineteenth century, scholars hypothesized that fifteenth century composers seized upon the idea of writing Mass Ordinary cycles in order to achieve artistic unity among each of the Mass movements. More recently, scholars have embraced alternate explanations. What are some alternate explanations? |
to make the Mass specific to a particular feast day or ceremonial occasion; to address a specific saint; to carry symbolic meaning; to honor the particular individual for whom the mass was composed. |
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Anonymous, Alleluia: A newë work |
carol |
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Binchois, De plus en plus |
rondeau |
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Du Fay, Christe redemptor omnium |
hymn |
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Du Fay, Resvellies vous |
ballade |
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Dunstable, Quam pulchra es |
cantilena |
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Each movement is based on a different chant; unity is achieved because each of the borrowed melodies is liturgically appropriate |
plainsong |
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In addition to the same melody providing the tenor voice of each movement of the mass, the composer at times incorporates other voices of the original polyphony into the texture |
cantus firmus/imitation |
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the mass movements are not obviously linked by melodic material, but each voice part occupies a similar range from movement to movement, or all the movements are in the same mode |
arrangement of voices (cleffing) |
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the same melodic motive or counterpoint appears at the beginning of each movement of the mass |
motto |
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the same melody provides the tenor voice of each movement of the mass |
cantus firmus |
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After 1477, the territories in the Low Countries once possessed by the Burgundian dukes became part of which political entity? |
the Holy Roman Empire |
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This individual said that Ockeghem and Busnoys were "the most outstanding and most famous professors of the art of music: |
Johannes Tinctoris |
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This composer worked for the kings of France in the second part of the fifteenth century |
Johannes Ockeghem |
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This composer worked for the Burgundian court in the second part of the fifteenth century |
Antoine Busnoys |
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Which compositional feature distinguishes Ockeghem's Busnoy's music from that of the preceding generation? |
frequent use of immitation |
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The fuller, darker sound of Ockeghem's music, compared to that of the previous generation, can be attributed to |
Ockeghem's expanded lower range of voices |
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Which term best describes the relationship between the two voices in the example provided? |
mensuration canon |
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Which of the following stylistic features is characteristic of Ockeghem's music, as represented by the Missa prolationum? |
long, meandering melodies |
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Obrecht, Isaac, and Josquin are typical of musicians in the late fifteenth and early sixteenth centuries in all of the following ways except |
they received university educations |
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The passage provided illustrates what compositional device? |
point of immitation |
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This composer worked for the Medici family and the Holy Roman Empire |
Henricus Isaac |
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The influence of the Italian canti carnascialeschi on Isaac's music is evident when he writes |
tuneful melodies in the superius with other parts moving in a similar rhythm |
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A Lied is a polyphonic setting of a secular text in what language? |
German |
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Compared to the music of composers active ca. 1450-1520 reveals |
greater interest in fitting words to the text |
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This composer worked for the duke of Ferrara |
Josquin Desprez |
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Josquin's fame as a composer during his lifetime can be attributed in part to which of the following? |
the development of music printing |
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Portraits of composers, such as this one of Jacob Obrecht, suggest what new attitude of the time? |
composers were recognized as individual artists |
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A compositional technique in which a single melody, either monophonic or drawn from polyphony, is presented- in any voice- with slight changes, elaborations, or deviations, and sometimes used for points of imitation, is called |
paraphrase |
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This individual said "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" |
Martin Luther |
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Why, beginning in the late fifteenth century, did composers abandon the formes fixes? |
the reputation schemes and refrains were at artistic odds with text expressions |
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Josquin wrote a mass with a cantus firmus melody based on the name of his parton. To create the melody, he used |
soggetto cavato dalle vocali |
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Josquin's missa Pange lingua incorporates this compositional technique |
paraphrase |
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This composer worked for Louis XII, King of France, in the early sixteenth century |
Antoine Févin |
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A compositional technique in which all the voices of an existing polyphonic work are reworked and adapted |
imitation |
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All of the following are true of Josquin's Faulte d'argent except |
the music conveys the mood of the text |
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How does imitation in the music of Josquin and Obrecht differ from that of earlier generations, such as Du Fay? |
In earlier generations, imitation was used mostly as a way to decorate a basic superius-tenor framework. It was incidental to the musical structure. Josquin and Obrecht often wrote entire sections of music based on a point of imitation, where the motive moves from voice to voice. No one voice is structural and all voices are essential to the texture. |
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How does canon differ from imitation? |
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. |
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Why do scholars have a difficult time establishing which works truly are by Josquin? |
His works were so popular and esteemed during his life and after his death that many of his compositions were emulated by other composers. Additionally, printers and scribes put Josquin’s name on works that were not necessarily his, again because he was so popular. |
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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? |
They used strophic poetry or simple poems of four or five lines. Topics were often humorous and addressed everyday concerns. |
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How would a composer in the late fifteenth and early sixteenth centuries describe a motet? |
A motet is a polyphonic setting of a Latin text. The text could come from a variety of sources, such as Mass Proper texts or sacred poetry. The music could be based on borrowed material or newly composed. There might be a cantus firmus, paraphrase, points of imitation, or sections of homophony. They are highly variable. |
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By the end of the fifteenth century, and containing 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' interests in equal-voiced textures? |
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. |
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What difference is there, if any, between "text expression" and "text depiction"? |
Text expression refers to music that conveys the general emotions and ideas suggested by the text. Text depiction refers to musical gestures that correspond to specific visual and concrete images mentioned in the text. Text expression occurs more generally within a piece, while text depiction involves moment-to-moment details. |
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By the end of the fifteenth century and continuing into the sixteenth century, it was common for homophonic textures and imitative polyphony to appear with a single piece. How do both styles illustrate composers' interests in equal-voiced textures? |
Paraphrase and imitation (parody) techniques allow composers to borrow existing materials and still employ equal voice textures. With cantus firmus technique, there is only a single structural voice and the texture is stratified. |
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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 other composers, they have to do as the notes will" |
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. |
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Shortly after Josquin's death, he was compared to which ancient Roman poet? |
Virgil |
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Busnoys, Je ne puis vivre |
long imitative phrases give way to free counterpoint |
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Isaac, Innsbruck, ich muss dich lassen |
mostly homophonic |
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Josquin, Ave Maria...virgo serena |
points of imitation alternate with sections of homophony |
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Josquin, Faule d'argent |
canon between two voices |
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Ockeghem, Missa prolationum |
double mensuration canon |
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Busnoys, Je ne puis vivre |
a chanson in a forme fixe |
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Févin, Missa Ave Maria |
a mass based on a motet |
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Isaac, Innsbruck, ich muss dich lassen |
a German song |
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Josquin, Mille regretz |
a freely-composed chanson |
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Josquin, Missa Pange lingua |
a mass based on a chant |
