SMU MUSIC HISTORY TEST 1

Card Set Information

Author:
tjneal
ID:
238472
Filename:
SMU MUSIC HISTORY TEST 1
Updated:
2013-10-03 02:00:48
Tags:
SMU MUSIC HISTORY TEST JOEL MARCO TOM
Folders:

Description:
SMU MUSIC HISTORY TEST 1 JOEL MARCO TOM
Show Answers:

Home > Flashcards > Print Preview

The flashcards below were created by user tjneal on FreezingBlue Flashcards. What would you like to do?


  1. Adrian Willaert held the post of music director at or for ___________.
    St. Mark's in Venice
  2. The main sung parts of the ordinary portions of the mass are ___________.
    • Kyrie, Gloria, Credo, Sanctus, Agnus Dei
    • (Kyle's gotta crap soon, after dinner)
  3. Chants that have sections with many notes per syllable are called _________.
    Melismatic
  4. Which of these subjects was not a part of the quadrivium according to Martianus Capella?
    Rhetoric
  5. The style of chant known as Gregorian oriented as ______.
    a synthesis of Roman and Frankish chant styles.
  6. By the twelfth century, cadences on an octave were typically preceded by ________.
    Contrary motion of a sixth.
  7. Hymns were sung as a part of _________.
    Divine office
  8. Which of the following statements characterizes Jean Calvin's attitude towards music?
    He encouraged the singing of Franco-flemish polyphony, finding it to be the ideal vehicle in preparing the listeners for worship.
  9. Which of the following is true of musical style in the late 15th and early 16th centuries?
    All voices were nearly equal and all voices were singable.
  10. Which of the following techniques became popular among English keyboardists?
    Variations
  11. Changes between red and black ink ________.
    indicated changes between duple and triple meter.
  12. The Concerto delle Donne was _________.
    A group of women renowned for their singing at noble courts.
  13. The use of Greek names for church modes comes from ________.
    A misreading from Greek modal theory
  14. Madrigalism can be defined as ________.
    a literal depiction of an individual word or phrase.
  15. Ancient greek music theory included the concepts of _______.
    Intervals, scales, and tetrachords
  16. Keyboard instrument of the Renaissance is the _______.
    clavichord
  17. The 14th century French system of rhythmic notation was based on ______.
    the Italian system of notation.
  18. Which of the following statements is true of the proper of the mass?
    The text and music changed according to the church calendar.
  19. By the first half of the 15th century, the word "motet" was applied to _____.
    Only polyphonic compositions in which all voices had different texts.
  20. In the 16th century, percussion instruments were ______.
    Diverse and refined, but were never written out.
  21. The performance of most chants begins with ______.
    The priest and cantor singing the first few words.
  22. Who wrote the famous treatise and composed isorhythmic motets?
    Phillipe de Vitry
  23. The polychoral motet was cultivated on a regular basis in ______.
    Venice
  24. The idea that music could be a social accomplishment came from ________.
    Ancient Greece
  25. Ottavio Petrucci is known for _______.
    Publishing music using the three-impression method.
  26. Which statement best describes Orlando de Lasso's career?
    He worked for a time in Italy, but spent most of his later career in Germany.
  27. Which of the following Christian practices does not come from Jewish worship?
    (All of the above come from Jewish practices)
  28. The Scola Cantorum was ________.
    a medieval Roman institution charged for training boys and men as church singers.
  29. In a 13th century motet, the second voice from the bottom is called the ______.
    Triplum
  30. Which of the following was not a popular dance in the 16th century?
    Minuet
  31. Elgar's description of a 14th century worship service describes ________.
    Priests singing psalms and the congregation singing responses.
  32. A mass in which all movements are based on the same pre-existing melody is called _______.
    motto mass
  33. Part books were ______.
    sets of books with one part to a book.
  34. The definition of trope is ______.
    An addition of words, music, or both to an established chant.
  35. The dance movement usually paired with the saltarello is the ________.
    passamezzo
  36. In what way did the Hundred Years War influence music?
    English composers spent time in france.
  37. The composer who quoted his own motet in his Missa O Magnum Misterium is __________.
    Victoria
  38. The correct chronological order for sources of organum is _______.
    • Musica enchiladas, Ad organum faciendum, Magnus liber organi
    • (Eat enchiladas, then faces, then organs).
  39. The galliard was often paired with the ______.
    Pavane
  40. Who was the blind composer known for his ballete?
    Francesco Landini
  41. The most outstanding feature of the Petronian motet is ______.
    A faster moving triplum voice than in previous motet styles.
  42. The sign for imperfect time and imperfect prolation survives today as the sign for _______.
    4/4 time.
  43. The language used for secular texts composed in the Burgundian style was _____.
    French
  44. Isaac's lieder can best be described as _________.
    Composing for court or elite circles, but in a folk or popular style.
  45. Bar form can be expressed as ______.
    AAB
  46. The estampie and istampita were ______.
    Dance forms
  47. The Renaissance Period of music comprises roughly which centuries?
    15th and 16th
  48. Who composed isorhythmic motets, polyphonic songs, and a mass ordinary setting?
    Guillaume de Machaut
  49. Late in the 14th century, composers of the papal court of Avignon and surrounding areas cultivated which type of music?
    Ars subtilior
  50. The writer who named two composers of the Notre Dame school was _____.
    Anonymous IV
  51. The first use of line to indicate pitch helped the singer to locate ______.
    The semitone.
  52. The voice that holds the chant melody is called the _____.
    Tenor
  53. The frottola was _______.
    A folk-like homophonic secular song in Italian.
  54. *****LOOK THIS ONE UP (Chapter 10)*****
    Which of the following statements is true of Catholic music in colonial Latin America?
    _____?
  55. The court chapels were significant for music history because ______.
    They hire musicians for both sacred and secular music
  56. Courtly love, as expressed in song, usually described ______.
    A man who loves an unattainable woman
  57. Who published wholesome polyphonic music for young people to rid them of their love duties and wanton song?
    Martin Luther
  58. Josquin's Missa Pange Linguais an example of which mass type?
    Paraphrase mass
  59. The six rhythmic modes were indicated by ______.
    Patterns of ligatures
  60. When sung, the sequence typically follows ______.
    The alleluia
  61. The earliest notated chantbooks date from ______.
    THE  9th century
  62. The troubadours wrote and sang songs in what language?
    Occitan (langue d'Oc)
  63. The rule of St. Benedict was ______.
    the prescribed practices for Catholics in monasteries
  64. *****LOOK THIS ONE UP (chapter 11)******
    Which composer is known for his/her songs depicting such things as a battle and birds?
    ??
  65. Notker Balbulus is known for _____.
    composing sequences
  66. Which of the following letter schemes best represents the form of the ballade?
    aabC
  67. Jongleurs were _______.
    Traveling entertainers who juggled as well as sang.
  68. Secular song in Germany ________.
    was influenced by the music of the troubadours but written in German
  69. The three genera of of tetrachords in the Greek  system of music theory are _____.
    diatonic, chromatic, and enharmonic
  70. Which of these statements is true? (about nuns)
    Nuns were required to sing the same music as males in monasteries.
  71. Ancient greek musical writings included _____.
    (all of the above)
  72. Ockeghem's Missa prolationem employs which compositional technique?
    Canon
  73. The Missa Cuisvis toni is special because ______.
    It can be sung in any mode.
  74. The earliest known composer of Mesopotamia is ______.
    Enheduanna, a high priestess who composed hymns.
  75. The composer who's poetry influenced Chaucer and other famous poets is _______.
    Guillaume de Machaut
  76. Composers of the late fifteenth and early 16th centuries take what approach to the cantus firmus composition?
    The treat the melody freely, adding notes for decoration
  77. The doctrine of imitation holds that _____.
    A person will imitate the ethos of the music that they hear.
  78. The first description of polyphonic music is contained in _______.
    The Winchester Troper
  79. Social factors influencing Renaissance music included ____.
    Europe's economic vitality
  80. The main textures of renaissance were ______.
    Homophonic and imitative counterpoint
  81. Palastrina's Pope Marceullus Mass is an example of which type of mass?
    Free mass
  82. For much of the Renaissance, musicians working in Italy had been trained in ______.
    France, the Netherlands, or Flanders
  83. Texts for early madrigals sometimes used metaphors to allude to ________.
    sexual matters.
  84. Music in an improvisatory style was sometimes notated for ______.
    Lute
  85. The Doctrine of Ethos is the theory that music _________.
    can influence a person's morality.
  86. The chansonnier was _____.
    a book of songs.
  87. The movement to embrace human knowledge was ______.
    Humanism
  88. Palastrina spent most of his career at institutions in _____.
    Rome.
  89. Da Fay's career was spent _______.
    Traveling court to court, including courts in England, France, Italy, and Spain.
  90. A mass in which each movement is based on a preexisting chant for that text is called a ______.
    Plainsong mass
  91. Which of the following statements is true of women's participation in madrigal performance/composition?
    Women both composed and performed madrigals, though not in equal numbers to men.
  92. ******LOOK THIS UP*******
    Catholic compositions of the 16th century differ from earlier compositions in that ______.
    ??
  93. Which composer is known for composing French songs in a style similar to the frottola?
    Sermisy
  94. Which of these statements best describes women's role in Renaissance music-making?
    Women were expected to learn music as part of a lady's education. (and make sandwiches and clean and stuff)
  95. The rhythm of ancient Greek music was intimately tied to _____.
    Poetic meter.
  96. The 6th century writer who compiled a compendium of Greek music theory based on Nichomachus and Ptolemy was _______.
    Boethius
  97. In the middle of the 16th century, the typical Italian madrigal was written for ______.
    Five or more voices
  98. Which statement is true about Babyloian music?
    Although Babylonians had a form of notation, musicians most likely performed from memory, improvised, or used notation as a recipe for reconstructing a melody.
  99. Psalms were typically preceded and followed by chants called ______.
    Antiphons
  100. Which of the following statements is true? (about emotions and music and the renaissance?)
    Renaissance musicians used many devices to try to sway listener's emotions.
  101. The vielle was which type of stringed instrument?
    A five stringed instrument played with a bow
  102. Musica humana was defined as ____.
    unheard harmony of the human body.
  103. Busnoys favored which forms for his chansons?
    The formes fixes, especially the rondeau
  104. The contenance angloise refers to ________.
    The English style of polyphony
  105. Willaert and Zarlino believed that minor intervals such as the minor third or sixth _______.
    could represent sweetness or grief.
  106. Josquin's motets would likely have been performed by _____.
    an ensemble of solo singers, one voice to a part.
  107. In renaissance, music for dancing was composed for _____.
    Social dancing for people of aristocratic backgrounds.
  108. Musica ficta is ______.
    the use of pitches outside of the gamut
  109. The Renaissance instrument that is related to the modern trombone is the ______.
    Sackbut
  110. In chant books the letters EUOUAE indicate _______.
    The last vowels in the last doxology.
  111. Musical instruments of the 14th century were divided into high and low depending on ______.
    Loudness or softness.
  112. The Council of Trent ________.
    directed local bishops to implement forms in church music.
  113. Which of the following is not a feature of the polyphonic conductus?
    The tenor voice came from Gregorian chant
  114. The magnus liber organi was _______.
    A book of organum begun by Leoninus and updated by Perotinus.
  115. The theorist who first described counterpoint that considered thirds and sixths consonances was _______.
    Tinctoris
  116. Guardame las vacas is an example of ______.
    a standard air for variations
  117. A _______ chant is sung by a soloist in alteration with a choir.
    responsorial
  118. The main feature of music mesuree was ______.
    the artificial assignments of long and sort values to vowel sounds.
  119. Vocal ranges of the late 15th and early 16th centuries tended to spans _______.
    About a 12th
  120. Which of these statements is true? (women in Greek music)
    Women could perform recitals but could not compete
  121. The Squarcialupi Codex is ________.
    one of the main sources of trecento music.
  122. The form which contains a burden is the _____.
    carol
  123. Chanson de Roland is an example of a _______.
    chanson de gest
  124. Who was Luther's principal music calibrator?
    Johann Walter
  125. The primary audience for printed music was _______.
    amateur musicians throughout Europe and the Americas.
  126. The first public works in improvisatory style were inspired by instrumentalist's practice of improvisation in associate with which other genre?
    tocatta
  127. The Old Hall Manuscript contains ______.
    Sacred polyphony, including works of Dunstable
  128. The medieval motet began as an elaboration or troping of which genre?
    Substitute clausulae
  129. The main secular vernacular genre of the 16th century Spain was _______.
    Velincico
  130. Organum in which all the voices sing in measured rhythm is called ______.
    discant
  131. Which of the following letter schemes represents the form of rondeau?
    ABaAabAB
  132. The chant tradition centered in the city of Milan is known as ______.
    Ambrosian chant.
  133. Hans Sachs is known for what achievement?
    He was the best known Meistersinger.
  134. The poet who's work inspired composers of 16th century Italy was ______.
    Petrarch
  135. The most outstanding feature of the Petronian motet was ______.
    Faster moving triplum voice than in previous motet styles
  136. In England, most composition in the early 15th century was the ______.
    secular polyphony
  137. Which of the following was not a type of improvisatory composition?
    Consort
  138. Imitation in paired voices is a characteristic of _______.
    Josquin
  139. Which feature of the Ars Nova composition was most offensive to conservatives?
    Duple meter
  140. The Burgundian chanson was usually composed in which forms?
    Rondeau or ballade
  141. The 16th century Italian madrigal developed from the _______.
    Frottola
  142. A mass that quotes more than one voice of a preexisting polyphonic work is called ______.
    Cantus-firmus mass.
  143. Music and art of the Renaissance share which of these characteristics?
    An interest in the individual
  144. The Italian form derived from French songs is:
    canzona
  145. Which of the following is not an innovation by Guido of Arezzo?
    Modal theory
  146. Early church leaders believed that instrumental music ______.
    could invoke Pagan practices and therefore should be suppressed.
  147. Which of the following statements is true of the notation of secular song?
    Only pitch was written down
  148. The Cantigas de Santa Maria were written in which language?
    Gallego-Portugese
  149. Adam de la Halle jeu de Robin et Marion is an example of _____.
    musical play
  150. What is/are the principal form(s) of Lutheran church music?
    chorale
  151. Prehistoric European cultures left behind what instruments?
    Instruments made from bones
  152. The aristocratic composer-poets of Northern France were _____.
    trouveres
  153. Which statement of surviving examples of secular song?
    A few thousand texts survive, but only some have music.
  154. The description of polyphonic music is contained in _____.
    Musica enchiladas
  155. Ockeghem spent most of his career in the service of ______.
    The Kings of France
  156. What did Martin Luther call his simplified order of service intended for use by smaller congregations?
    The German Mass
  157. What is the contrafactum?
    A piece in which a new text, usually sacred, is added to preexisting music.
  158. The Council of Trent outlined all but four ______.
    Sequences
  159. A new system of rhythmic notation based on relationships among the shapes of individual notes and their duration was described in the 13th century by
    Franco of Cologne
  160. Early in the 1st century C.E., Jewish music ________.
    was performed by a choir of Levites at the Temple of Jerusalem
  161. In an isorhythmic work, the repeating rhythmic pattern is called the ____.
    talea.
  162. Which genre could have words in both French and Latin?
    Motet
  163. Golliards were _____.
    students who sang secular songs in latin.
  164. Which of the following statements is true of art music in ancient Rome?
    Images, written descriptions, and some instruments are all that remain.
  165. One composer known for his lute songs is ______.
    John Dowland
  166. The leading madrigal composer in the middle of the 16th century was ______.
    Cipriano de Rore
  167. Which of the following statements best reflects Josquin's approach to text setting?
    He gave a new melody to each phrase of text to make it clear.
  168. The definition of "authentic" in modal theory is _____.
    Modes in which the melody ranges from a note below the final to about an octave above.
  169. The Divine Office is _______.
    a series of psalms and chants performed eight times per year.
  170. The Triumphs of Oriana was _______.
    A collection of madrigals to honor Queen Elizabeth.
  171. Dance music of the Renaissance typically used which form?
    Repeated sections of four-measure phrases.
  172. Gesualdo is known for ______.
    killing his wife and her lover when he discovered them together in bed.
  173. The person who recognized the numerical relationships that underlay musical intervals was _____.
    Pythagorus

What would you like to do?

Home > Flashcards > Print Preview