Test Bank For A History of Western Music 9th Edition by J. Peter Burkholder, Donald Jay Grout , Claude V. Palisca test bank Click link below to buy: https://www.coursesexams.com/test-bank-for-a-history-of-western-music-9thedition-by-j-peter-burkholder-donald-jay-grout-claude-v-palisca-test-bank/ OR Email us at: [email protected]rsesexams.com OR visit: https://www.coursesexams.com/ Product Description Test Bank For A History of Western Music 9th Edition by J. Peter Burkholder, Donald Jay Grout , Claude V. Palisca test bank INSTANT DOWNLOAD What student Can You Expect From A Test Bank? A test bank will include the following questions: Description A History of Western Music 9th Edition by J. Peter Burkholder, Donald Jay Grout , Claude V. Palisca test bank CHAPTER 6: New Developments in the Fourteenth CenturyCHAPTER 6: New Developments in the Fourteenth Century MULTIPLE CHOICE 1. The interest in capturing the pleasure of daily life in song, art, and literature could be interpreted as a response to what fourteenth-century condition?a. the crisis in the churchb. the development of technologies such the mechanical clock and the compassc. the difficulty of life caused by a long-term economic slump, famine, and rise in diseased. the emergence of empirical reasoning based on observatione. the rise of Italian city-states ANS: C DIF: Medium REF: 111–113 | 140–141 TOP: European Society in the Fourteenth Century| Echoes of the New ArtMSC: Conceptual 2. When did the Black Death epidemic peak in Europe?a. ca. 1300 d. ca. 1375b. ca. 1325 e. ca. 1400c. ca. 1350 ANS: C DIF: Easy REF: 112 TOP: European Society in the Fourteenth Century MSC: Factual 3. During the Babylonian Captivity, the papal throne was ina. Avignon d. Pisab. Milan e. Romec. Paris ANS: A DIF: Easy REF: 112 TOP: European Society in the Fourteenth Century MSC: Factual 4. What effect did the Great Schism have on fourteenth century society?a. it divided Eastern and Western Christendomb. it led to corruption in the Churchc. it paved the way for the modern scientific methodd. it reduced the size of the Holy Roman Empiree. it weakened papal authority ANS: E DIF: Medium REF: 112 TOP: European Society in the Fourteenth Century MSC: Conceptual 5. Which best describes the attitude of secularism?a. knowledge of humanity and nature is based on absolute reasonb. knowledge of humanity and nature is based on direct observation and experiencec. life can be improved through technology and innovationd. a person can determine his or her own destinye. there are theological explanations for every facet of life ANS: B DIF: Medium REF: 113 TOP: European Society in the Fourteenth Century MSC: Conceptual 6. All of the following artistic creations exemplify interest in secular society and experiences of everyday life excepta. Boccaccio’s Decameronb. Chaucer’s Canterbury Talesc. Dante’s Divine Comedyd. Machaut’s Rose, liz, printemps, verduree. the Roman de Fauvel ANS: C DIF: Easy REF: 113 TOP: European Society in the Fourteenth Century MSC: Applied 7. The Roman de Fauvel is an allegory abouta. the Ars Nova d. corruption at the French courtb. the Babylonian Captivity e. the Great Schismc. the Black Death ANS: D DIF: Medium REF: 113 TOP: European Society in the Fourteenth Century MSC: Factual 8. The Roman de Fauvel includes isorhythmic motets bya. Francesco Landini d. Philippe de Vitryb. Guillaume de Machaut e. Philippus de Casertac. Jacques de Liège ANS: D DIF: Easy REF: 113 | 118 TOP: European Society in the Fourteenth Century| Isorhythm MSC: Factual 9. The treatise known as Ars nova describesa. corruption at the French courtb. an expanded system of rhythm and meterc. the formes fixesd. a more precise method of notating pitch than had existed previouslye. new rules for harmonic progressions and dissonance control ANS: B DIF: Medium REF: 114 TOP: Ars Nova NotationMSC: Factual 10. In fourteenth-century French music, the smallest possible rhythmic value was called thea. breve d. semibreveb. long e. semiminimc. minim ANS: C DIF: Medium REF: 114 TOP: Ars Nova NotationMSC: Factual 11. Fourteenth-century music saw an increased use of thirds and sixths asa. cadences d. perfect consonancesb. dissonances e. perfectionsc. imperfect consonances ANS: C DIF: Medium REF: 115 TOP: Ars Nova NotationMSC: Applied 12. The following is an example of a. color d. mensurationb. hocket e. taleac. isorhythm ANS: B DIF: Easy REF: 118–119 TOP: IsorhythmMSC: Applied 13. Guillaume de Machaut liveda. ca. 1200–1277 d. ca. 1300–1377b. ca. 1250–1340 e. ca. 1325–1397c. ca. 1285–1349 ANS: D DIF: Medium REF: 119 TOP: Guillaume de MachautMSC: Factual 14. Machaut wrote in all of the following genres excepta. isorhythmic motet d. monophonic chansonb. madrigal e. polyphonic chansonc. Mass Ordinary ANS: B DIF: Medium REF: 120 | 121–126| 132 TOP: Guillaume de Machaut| The Fourteenth-Century Madrigal MSC: Applied 15. Why is it difficult to evaluate Machaut’s place in the history of fourteenth-century music?a. he is the only composer to have set Ordinary texts in his timeb. he oversaw the copying of his complete works, saving only his best worksc. his music is atypical in its frequent use of thirds and sixthsd. it was rare for composers to write their own poetrye. very little music by his contemporaries survives ANS: E DIF: Medium REF: 120–121 | 127 TOP: Guillaume de Machaut| Reputation MSC: Conceptual 16. Machaut’s virelai Douce dame jolie uses the literary theme ofa. Ars Subtilior d. pastorelleb. chanson de geste e. satirec. fin’ amors ANS: C DIF: Medium REF: 124 TOP: Monophonic SongsMSC: Applied 17. Which of the following provides evidence that Machaut conceived of his polyphonic songs with the cantus, not the tenor, as the principal voice?a. at least one monophonic song appears in a later manuscript with a tenorb. the tenor parts are in a lower range than the cantusc. in some songs the cantus is partially isorhythmicd. the tenor parts are untextede. the tenor parts have awkward leaps that make them unsingable ANS: A DIF: Medium REF: 126 TOP: Polyphonic SongsMSC: Conceptual 18. In Machaut’s songs, melismas are decorative (rather than serving to emphasize the text) when they occura. at the beginnings of poetic lines d. on accented syllablesb. at the ends of poetic lines e. on unaccented syllablesc. in the middle of poetic lines ANS: E DIF: Medium REF: 126–127 TOP: Polyphonic SongsMSC: Applied 19. Which of the following has a French text?a. Francesco Landini’s Così pensosob. Francesco Landini’s Non avrà ma’ pietàc. Guillaume de Machaut’s Messe de Nostre Damed. Philippe de Vitry’s Cum statua/Hugo, Hugo, Magister invidiee. Philippus de Caserta’s En remirant vo douce pourtraiture ANS: E DIF: Easy REF: 128–129 TOP: The Ars SubtiliorMSC: Factual 20. All of the following are likely reasons why the Ars Subtilior went out of fashion excepta. the complexity of the music appealed mainly to elite audiencesb. the formes fixes went out of stylec. the Italian style of Jacopo da Bologna and Francesco Landini was more naturalisticd. when the Great Schism ended, the papal court moved from Avignon back to Romee. a simpler style was being cultivated in northern France ANS: B DIF: Hard REF: 127–129 TOP: The Ars SubtiliorMSC: Conceptual 21. Jacopo da Bologna’s Non al suo amante sets a text by which famous Italian poet?a. Dante Aligheri d. Francesco Petrarcab. Giovanni Boccaccio e. Antonio Squarcialupic. Gherardello da Firenze ANS: D DIF: Easy REF: 132 TOP: The Fourteenth-Century Madrigal MSC: Factual 22. Which of the following compositional devices is characteristic of Italian Trecento madrigals?a. canonb. isorhythmc. melismas on the first and last syllables of poetic linesd. opening and closing refrainse. simultaneous conflicting meters ANS: C DIF: Medium REF: 132 TOP: The Fourteenth-Century Madrigal MSC: Applied 23. The Italian ballata is similar in form to thea. ballade d. rondeaub. caccia e. virelaic. madrigal ANS: E DIF: Medium REF: 133 TOP: The BallataMSC: Applied 24. Which cadence structure occurs frequently in Landini’s music?a. d. b. e. c. ANS: D DIF: Medium REF: 133–135 TOP: LandiniMSC: Applied 25. All of the following guide scholars and performers about the use of voices and instruments in fourteenth-century polyphony excepta. aspects of musical styleb. depictions of music-making in contemporary artc. descriptions of music-making in contemporary literatured. payment records from churches and courtse. the composers’ indications in the manuscripts ANS: E DIF: Medium REF: 135–137 TOP: ConceptMSC: Conceptual TRUE/FALSE 1. Syncopation was impossible before the innovations of the Ars Nova. ANS: T DIF: Medium REF: 114 TOP: Ars Nova NotationMSC: Conceptual 2. The term talea refers to a repeating segment of melody in the tenor of an isorhythmic motet. ANS: F DIF: Easy REF: 118 TOP: IsorhythmMSC: Factual 3. All of the movements of Machaut’s Messe de Nostre Dame are isorhythmic. ANS: F DIF: Easy REF: 121–123 TOP: Guillaume de Machaut | Mass MSC: Applied 4. Machaut authored the texts of his monophonic and polyphonic chansons. ANS: T DIF: Easy REF: 120–121 | 124 | 126 TOP: Guillaume de Machaut| Monophonic Songs| Polyphonic Songs MSC: Factual 5. The formes fixes originally had associations with dancing. ANS: T DIF: Easy REF: 126 TOP: Polyphonic SongsMSC: Factual 6. Most French and Italian polyphonic songs from the fourteenth century are for three or four voices. ANS: F DIF: Medium REF: 126 | 132 | 133 TOP: Polyphonic Songs| The FourteenthCentury Madrigal| Francesco LandiniMSC: Applied 7. The Ars Subtilior was cultivated at the papal court in Avignon. ANS: T DIF: Medium REF: 127 TOP: The Ars SubtiliorMSC: Factual 8. In an Italian Trecento caccia, all three voices are canonic. ANS: F DIF: Medium REF: 132 TOP: The CacciaMSC: Applied 9. The classifications haut (“high”) and bas (“low”) refer to the relative loudness of instruments. ANS: T DIF: Easy REF: 136 TOP: InstrumentsMSC: Factual 10. In many French and Italian polyphonic songs from the fourteenth century, the lower voices have no texts. This indicates that the songs must have originally been performed with instruments playing the lower voices. ANS: F DIF: Medium REF: 137 TOP: Fourteenth-Century Music in Performance MSC: Conceptual SHORT ANSWER 1. What manuscript did the image below come from? How can you tell? ANS: The image is from the Roman de Fauvel. The manuscript contains music, poetry, and images and tells the story of a horse named Fauvel. The horse appears in the center column at the top and bottom. DIF: Hard REF: 113–114 TOP: European Society in the Fourteenth CenturyMSC: Applied 2. Identify at least two innovations of the Ars Nova notational system. ANS: 1) duple divisions of note values are now acceptable; 2) the minim is now the smallest note value; 3) the invention of mensuration signs, symbols that are ancestors of our modern time signatures. DIF: Medium REF: 114 TOP: Ars Nova Notation MSC: Factual 3. When Jacques de Liège opposed the musical innovations of the fourteenth century, he complained that “perfection is brought low, [and] imperfection is exalted.” What does he mean by perfection and imperfection in this context? ANS: It could have two meanings: one is the development of duple or “imperfect” meters. In the old style, the only meter was triple and the name of the metrical unit was the perfection; the triple unit may have had associations with the Trinity. He could also be referring to composers widely using thirds and sixths. These had been previously regarded as dissonances, but in the fourteenth century composers and theorists accepted them as “imperfect consonances.” DIF: Medium REF: 115 TOP: Ars Nova Notation MSC: Conceptual 4. Using appropriate vocabulary, explain the organization of the tenor in an isorythmic motet. ANS: The tenor of an isorhythmic motet is organized into a repeating rhythmic cycle, called the talea, and a repeating melodic phrase, called the color. In some motets, the talea and the color are the same length. In other motets, two or more repetitions of the talea are needed to complete one cycle of the color. Hocket in the upper voices may occur at repetitions of the talea. DIF: Hard REF: 118 TOP: Isorhythm MSC: Applied 5. The following is a tenor from an isorhythmic motet by Phillipe de Vitry. How many measures long is the talea? How many measures long is the color? ANS: The talea is two measures long (half-whole-half-two half rests). The color is ten measures long (cde ddd efe dde gde ddc). There are six statements of the talea to one statement of the color. DIF: Medium REF: 118 TOP: Isorhythm MSC: Applied 6. Define “hocket.” ANS: Hocket is a rapid alternation of sounded pitches and rests in two voices. In isorhythmic motets passages of hocket sometimes alternate with repetitions of the talea. Compositions that make extensive use of the technique are called hockets. DIF: Medium REF: 119 TOP: Isorhythm MSC: Applied 7. What is the main characteristic of the Ars Subtilior repertory? ANS: An emphasis on rhythmic and mensural complexity, taking the developments of the Ars Nova to an extreme. DIF: Medium REF: 127 TOP: The Ars Subtilior MSC: Factual 8. How does the musical substance of a caccia relate to its text? ANS: The caccia is a composition in which there are two canonic upper voices above a tenor. The upper canonic voices “chase” each other. Often texts of caccias relate to hunting, fishing, or other animated scenarios. The chasing of the canonic voices is similar to the chasing, bustling scenes described in the text. DIF: Medium REF: 132–133 TOP: The Caccia MSC: Applied 9. Describe two scenarios in which a performer would be likely to use musica ficta. ANS: To avoid the tritone F-B in a melody (melodic tritone); or to avoid sounding a tritone against the lowest note (harmonic tritone); or to create a major sixth before the octave at a cadence where there would normally be a minor sixth. DIF: Hard REF: 138–139 TOP: Musica Ficta MSC: Applied 10. Look at the example below. In m. 3, contratenor, the composer did not specify a Csharp. It has been supplied by the editor (indicated by being printed above the staff). In m. 9, contratenor, the composer did specify a C-sharp (indicated by being printed in front of the note within the staff). Why did the composer specify a C-sharp in m. 9, but not in m. 3? ANS: In mm. 3–4, there is obviously a cadence, and the singer would have known to raise the C to a C-sharp in preparation for the cadence in m. 4. In m. 9, it is not obvious that a C-sharp would be desired, and the change is not obvious from the rules. In fact, it is counterintuitive, since the C-sharp creates a melodic tritone with the G on the downbeat of m 10. DIF: Hard REF: 140 TOP: Musica Ficta MSC: Conceptual MATCHING Match each genre with the correct form below.a. ballade d. rondeaub. ballata e. virelaic. madrigal 1. A bba A 2. A bba A bba A bba A 3. aab 4. aabC aabC aabC 5. AB aA ab AB 1. ANS: B 2. ANS: E 3. ANS: C 4. ANS: A 5. ANS: D Match each genre with a composition in that genre, below.a. ballade d. motetb. caccia e. rondeauc. madrigal 6. Francesco Landini, Così pensoso 7. Guillaume de Machaut, Rose, liz, printemps, verdure 8. Jacopo da Bologna, Non al suo amante 9. Philippe de Vitry, Cum statua/Hugo, Hugo/Magister invidie 10. Phillipus de Caserta, En remirant vo douce pourtraiture 6. ANS: B 7. ANS: E 8. ANS: C 9. ANS: D 10. ANS: A ESSAY 1. Compare and contrast French and Italian compositional practices in polyphonic song ca. 1300–1400. How are they similar and how are they different? Consider such aspects as musical and poetic form, rhythm and meter, declamation, harmonic language, and anything else you consider relevant. ANS: Answers will vary. 2. In his Messe de Nostre Dame, Machaut chose different compositional forms and styles depending on the length of the text for a given movement. Explain and illustrate this. ANS: Answers will vary.