Music Chapter 7

question

Who composed the Pange lingua Mass? a. Josquin Desprez b. Guillaume Dufay c. Giovanni Pierluigi da Palestrina d. Thomas Weelkes
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a. Josquin Desprez
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The performing forces in Pange lingua consist of a: a. solo high voice. b. choir of high voices. c. solo tenor and a mixed choir. d. choir of high and low voices.
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d. choir of high and low voices.
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The composer used the melody of the plainsong hymn _________ as the basis of the Pange lingua Mass. a. “Qui tollis” b. “Kyrie eleison” c. “Gloria” d. “Pange lingua”
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d. “Pange lingua”
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What do you hear after the brief plainchant section in the Kyrie of Pange lingua? a. a point of imitation b. a hocket c. an isorhythmic section d. a sequence
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a sequence
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The composer of Pange lingua uses plainchant to open: a. each section of the Kyrie. b. the first section of the Kyrie. c. the middle section, or “Christe.” d. the “Qui tollis” section.
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a. each section of the Kyrie.
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Which parts of the Mass are included in our excerpts from Pange lingua? a. Kyrie and Gloria b. Credo and Kyrie c. Pange and lingua d. first and second verses
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a. Kyrie and Gloria
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What is the predominant texture of Pange lingua? a. monophony b. homophony c. imitative polyphony d. non-imitative polyphony
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b. homophony
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Desprez’s polyphonic chanson “Mille regrets” is notable for its: a. use of isorhythms. b. fragments of chant. c. spiritual nature. d. expressive matching of music to words.
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d. expressive matching of music to words.
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Who composed the Pope Marcellus Mass? a. Josquin Desprez b. Giovanni Pierluigi da Palestrina c. Thomas Weelkes d. anonymous
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b. Giovanni Pierluigi da Palestrina
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The performing forces in Pope Marcellus consist of: a. voices and organ. b. voices and brass instruments. c. voices and string instruments. d. voices alone.
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d. voices alone.
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What is the predominant texture of “Qui tollis” from the Gloria of the Pope Marcellus Mass? a. monophony b. imitative polyphony c. non-imitative polyphony d. homophony
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c. non-imitative polyphony
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How does the “Qui tollis” from Pope Marcellus differ from the “Qui tollis” in the Pange lingua Mass? a. It uses fewer voices and more solos are heard. b. It is more polyphonic; it has many points of imitation. c. It uses more voices and alternates choirs; it is more homophonic. d. It uses a different text than that used in the Pange lingua Mass.
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d. It uses a different text than that used in the Pange lingua Mass.
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The purpose of Pope Marcellus was to: a. provide dance music. b. entertain nobility. c. entertain the public. d. worship God.
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d. worship God.
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The process by which Renaissance composers freely embellished plainchant melodies for use in their compositions is known as: a. harmonization. b. improvisation. c. paraphrase. d. elaboration.
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c. paraphrase.
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In the early Renaissance, composers concentrated on the __________ rather than the __________ of the plainchant melodies used. a. form; melody b. sonority; authoritarian function c. imitative and non-imitative polyphony; melody d. intellectual elements; sensuous aspects
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c. imitative and non-imitative polyphony; melody
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In medieval music the plainchant melody was in the __________ voice, but in the early Renaissance it moved to the __________voice. a. lowest; highest b. highest; lowest c. lowest; middle d. middle; highest
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a. lowest; highest
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What was the new, preferred texture of early Renaissance music? a. monophony b. imitative polyphony c. non-imitative polyphony d. homophony
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d. homophony
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What type of piece results when all voices move in simple chord patterns? a. plainchant harmonization b. a motet c. a polyphonic Mass d. a madrigal
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a. plainchant harmonization
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Where was Dufay (and many other important composers of his day) born, and where did he spend his career? a. London; Paris b. northern France near Belgium; Italy c. southern France; Munich d. Italy; northern France near Flanders
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b. northern France near Belgium; Italy
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In church music, a short tune sung through many stanzas of text is a: a. motet. b. Mass. c. madrigal. d. hymn.
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d. hymn.
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Dufay’s “Ave maris stella” is: a. an estampie. b. a madrigal. c. a harmonized hymn. d. part of a polyphonic Mass.
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c. a harmonized hymn.
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Dufay is best known for his: a. madrigals and motets. b. instrumental dance pieces. c. polyphonic Masses and plainchant harmonizations. d. Gregorian chants and hymns.
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b. instrumental dance pieces.
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The most important of the daily church services was the: a. Office. b. Mass. c. proper. d. vespers.
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b. Mass.
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There are _______ standard sections to the polyphonic Mass. a. four. b. five c. six. d. seven.
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b. five
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Which is not a movement of the Mass? a. Credo b. Sanctus c. Cantus d. Gloria
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c. Cantus
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The great, large-scale compositional challenge of the Renaissance was musical unification of: a. the church. b. the Mass. c. the motet. d. plainchant harmonizations.
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b. the Mass.
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The High Renaissance style began around: a. 1350. b. 1400. c. 1450. d. 1500.
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d. 1500.
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Which two techniques were blended to form the compositional style for the Mass, the motet, and the chanson in the High Renaissance? a. imitative counterpoint and homophony b. monophony and harmonization c. non-imitative polyphony and monophony d. imitative counterpoint and polyphony
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a. imitative counterpoint and homophony
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How did polyphony change from the beginning to the end of the fifteenth century? a. It disappeared. b. It started out imitative and ended non-imitative. c. It started out non-imitative and ended imitative. d. Polyphony did not change throughout the century.
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c. It started out non-imitative and ended imitative.
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In terms of texture, High Renaissance composers: a. focused on the horizontal aspects of music at the expense of the vertical aspects. b. used polyphonic lines in such a way that a chordal quality was maintained. c. focused on the vertical aspects of music at the expense of the horizontal aspects. d. turned their attention away from polyphonic and chordal writing and focused on monophony.
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b. used polyphonic lines in such a way that a chordal quality was maintained.
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The musical term for “voices alone” is: a. strophic. b. isorhythmic. c. cantus. d. a cappella.
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d. a cappella.
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The preferred tone color of the High Renaissance style was: a. stringed instruments and voice. b. organ and voice. c. brass and organ with voice. d. voices alone.
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d. voices alone.
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How can rhythm in the High Renaissance style be characterized? a. Music usually was in a clear triple meter. b. Rhythm was unaccented and fluid, with the meter often obscured. c. Rhythm was energetic, but with constantly changing meters. d. Rhythm was complex, featuring techniques such as isorhythm.
answer

b. Rhythm was unaccented and fluid, with the meter often obscured.
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Who was the first master of the High Renaissance style? a. Thomas Weelkes b. Josquin Desprez c. Guillaume Dufay d. Giovanni Pierluigi da Palestrina
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b. Josquin Desprez
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Josquin composed works in which genre(s)? a. stylized dance b. motet, chanson, and madrigal c. plainchant and madrigal d. Mass, motet, and chanson
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a. stylized dance
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Points of imitation are used extensively in: a. “As Vesta Was from Latmos Hill Descending.” b. the Kyrie from the Pange lingua Mass. c. “Kemp’s Jig.” d. “Daphne.”
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b. the Kyrie from the Pange lingua Mass.
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What is a point of imitation? a. the beginning of each movement in a polyphonic Mass b. a cadence point where the polyphony comes together to form homophonic chords c. a passage of imitative polyphony using one musical motive and one phrase of text d. the place where the second voice enters in a passage of imitative polyphony
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c. a passage of imitative polyphony using one musical motive and one phrase of text
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A characteristic of High Renaissance music, as heard in the Pange lingua Mass, is the contrasting of __________ and __________. a. imitative polyphony; non-imitative polyphony b. monophony; homophony c. points of imitation; monophony d. homophony; imitative polyphony
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d. homophony; imitative polyphony
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The text of the Kyrie section of the Pange lingua Mass is: a. Kyrie eleison, Christe eleison, Kyrie eleison. b. Kyrie, Eleison, Christe. c. Gloria patri, qui tollis peccata mundi. d. Pange lingua, Kyrie eleison, Christe eleison.
answer

c. Gloria patri, qui tollis peccata mundi.
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The first style period in which composers tried to set words to music in a natural and clear way was: a. ancient Greece. b. the Middle Ages. c. the early Renaissance. d. the High Renaissance.
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d. the High Renaissance.
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The style of setting words to music using rhythms that approximate human speech is called: a. declamation. b. imitative. c. word painting. d. isorhythmic.
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c. word painting.
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What is the device used by Renaissance composers to depict in music the words or ideas of a text? a. a cappella b. word painting c. cantus firmus d. isorhythm
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b. word painting
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Word painting was first used extensively in the __________ century. a. fourteenth b. fifteenth c. sixteenth d. seventeenth
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c. sixteenth
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The universality of the late Renaissance style is found in the works of Palestrina, Lassus, Victoria, and Byrd, who worked, respectively, in: a. Rome, Munich, Rome and Madrid, and England. b. Venice, Rome, Madrid, and England. c. Rome, Munich, England, and Madrid. d. Rome and Madrid, Munich, Venice, and England.
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c. Rome, Munich, England, and Madrid.
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The most convincing and diplomatic composer of Roman Catholic Church music during the Counter-Reformation was: a. Fabritio Caroso. b. Giovanni Pierluigi da Palestrina. c. Josquin Desprez. d. Thomas Weelkes.
answer

c. Josquin Desprez.
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Homophonic texture and avoidance of long, elaborate phrases composed on one syllable of text characterize the music of: a. Josquin Desprez. b. Guillaume Dufay. c. Giovanni Pierluigi da Palestrina. d. PĂ©rotin.
answer

a. Josquin Desprez.
question

Which is true of the evolution of the motet over the centuries? a. The motet has changed a great deal over the centuries. b. The motet stayed the same over the centuries. c. The motet appeared in the medieval period, changed to a simpler form in the early Renaissance, then changed back to its more intellectual form by the end of the Renaissance. d. The motet began in the early Renaissance and changed drastically during that era.
answer

a. The motet has changed a great deal over the centuries.
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Why was the motet more attractive than the Mass to sixteenth-century composers? a. Polyphony was allowed in the motet, but not in the Mass. b. The motet allowed for different texts, but the Mass always had the same text. c. The motet was secular, and the Mass was religious. d. The motet was in the High Renaissance homophonic style, whereas the Mass was usually polyphonic.
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d. The motet was in the High Renaissance homophonic style, whereas the Mass was usually polyphonic.
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Renaissance composers were inspired to explore the power of music to express human feelings. Their inspiration came from the: a. church. b. court. c. ancient Greeks. d. ancient Egyptians.
answer

a. church.

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