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A History Of Western Music 9th Edition by J. Peter Burkholder – Test Bank
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?
b. the development of technologies such the mechanical clock and the compass
c. the difficulty of life caused by a long-term economic slump, famine, and rise in disease
TOP: European Society in the Fourteenth Century| Echoes of the New Art
MSC: Conceptual
c. ca. 1350
a. Avignon d. Pisa
b. Milan e. Rome
c. Paris
ANS: A DIF: Easy REF: 112
4. What effect did the Great Schism have on fourteenth century society?
6. All of the following artistic creations exemplify interest in secular society and experiences of
everyday life except
a. Boccaccio’s Decameron
c. Jacques de Liège
MSC: Factual
10. In fourteenth-century French music, the smallest possible rhythmic value was called the
a. breve d. semibreve
b. long e. semiminim
c. minim
ANS: C DIF: Medium REF: 114 TOP: Ars Nova Notation
MSC: Factual
b. dissonances e. perfections
c. imperfect consonances
MSC: Applied
a. color d. mensuration
b. hocket e. talea
c. isorhythm
MSC: Applied
13. Guillaume de Machaut lived
c. ca. 1285–1349
MSC: Factual
c. Mass Ordinary
MSC: Applied
15. Why is it difficult to evaluate Machaut’s place in the history of fourteenth-century music?
b. he oversaw the copying of his complete works, saving only his best works
16. Machaut’s virelai Douce dame jolie uses the literary theme of
c. fin’ amors
MSC: 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?
e. the tenor parts have awkward leaps that make them unsingable
ANS: A DIF: Medium REF: 126 TOP: Polyphonic Songs
MSC: Conceptual
18. In Machaut’s songs, melismas are decorative (rather than serving to emphasize the text) when
they occur
MSC: Applied
MSC: Factual
20. All of the following are likely reasons why the Ars Subtilior went out of fashion except
c. the Italian style of Jacopo da Bologna and Francesco Landini was more naturalistic
d. when the Great Schism ended, the papal court moved from Avignon back to Rome
MSC: Conceptual
21. Jacopo da Bologna’s Non al suo amante sets a text by which famous Italian poet?
c. Gherardello da Firenze
a. canon
b. isorhythm
a. ballade d. rondeau
b. caccia e. virelai
c. madrigal
MSC: Applied
a. d.
b. e.
c.
MSC: Applied
25. All of the following guide scholars and performers about the use of voices and instruments in
fourteenth-century polyphony except
MSC: Conceptual
TRUE/FALSE
2. The term talea refers to a repeating segment of melody in the tenor of an isorhythmic motet.
MSC: Factual
MSC: Factual
MSC: Factual
6. Most French and Italian polyphonic songs from the fourteenth century are for three or four
voices.
MSC: Applied
MSC: Factual
MSC: Applied
9. The classifications haut (“high”) and bas (“low”) refer to the relative loudness of instruments.
MSC: 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
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 Century
MSC: Applied
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.
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.”
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.
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.
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.
ANS:
An emphasis on rhythmic and mensural complexity, taking the developments of the Ars Nova to
an extreme.
MSC: Factual
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.
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.
MSC: Applied
10. Look at the example below. In m. 3, contratenor, the composer did not specify a C-sharp. 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
a. ballade d. rondeau
b. ballata e. virelai
c. madrigal
1. A bba A
3. aab
5. AB aA ab AB
1. ANS: B
2. ANS: E
3. ANS: C
4. ANS: A
5. ANS: D
a. ballade d. motet
b. caccia e. rondeau
c. madrigal
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:
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:
MULTIPLE CHOICE
1. Europe emerged as a world power during the Renaissance for all of the following reasons except
ANS: E DIF: Medium REF: 145–146 TOP: Europe from 1400 to 1600
MSC: Applied
2. Many aspects of European culture in the fifteenth and sixteenth centuries were influenced by
MSC: Factual
c. imitating ancient Greek and Roman orators to argue a point of view persuasively
MSC: Applied
a. chiaroscuro d. perspective
b. humanism e. realism
c. naturalism
6. Proportionately more music from the fifteenth century survives with the names of the
composers compared to previous eras. What explains this?
c. in the fifteenth century, composition was regarded as more important than improvisation
e. rulers displayed their power and wealth by employing the best musicians
ANS: D DIF: Medium REF: 149
7. 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?
a. chiaroscuro in painting
d. naturalism in sculpture
e. perspective in painting
b. craftsmen e. lawyers
c. doctors
10. Why was Italy such an important region for musical patronage in the fifteenth and sixteenth
centuries?
the Italian language was better suited to the new compositional techniques for projecting
b.
the text
c. Italy was comprised of numerous city-states, each with its own ruler and court
12. Music of the fifteenth and sixteenth centuries can be viewed as a unified repertory due the
consistent use of what compositional technique across the two centuries?
c. formes fixes
MSC: Factual
13. Why, in 1477, did music theorist Johannes Tinctoris opine that “there is no composition written
over forty years ago which is . . . worthy of performance”?
a. Tinctoris believed that earlier music did not adequately express the text
e. Tinctoris was reacting against the humanists’ preference for ancient models
MSC: Conceptual
“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 stood forth as leader. Contemporary with him in
France were Dufay and Binchois, to whom directly succeeded those of today, Ockeghem,
Busnoys, Regis, and Caron . . . ”
c. Heinrich Glarean
MSC: Applied
15. Which term or phrase best describes the texture of this passage:
b. homophony e. treble-dominated
c. imitative counterpoint
16. Mean-tone temperaments, in which intervals are adjusted slightly so that thirds sound
consonant, demonstrate what aspect of Renaissance thinking?
MSC: Conceptual
17. As the Renaissance progressed, composers increasingly favored musical structures based on
a. borrowed melodies
b. isorhythm
MSC: Factual
18. All of the following demonstrate ways in which composers projected the texts they set to music
except
e. writing rhythms that match the natural spoken rhythms of the words
MSC: Applied
19. Music theorist Franchino Gaffurio incorporated the ideas of which writer into his treatises?
a. Aaron d. Plato
b. Copernicus e. Zarlino
c. Glareanus
20. 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?
“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 divides those eight by a true relationship nor by definite laws, but
circumscribes them with certain rules neither universal nor accurate.”
a. Pietro Aaron d. Johannes Tinctoris
c. Heinrich Glarean
22. Renaissance writers echoed the ancient Greek idea that music should be a part of every citizen’s
education. An example of this is
a. the addition of four modes to the original eight to parallel the Greek tonoi
23. The development of music printing contributed to all of the following except
a. China d. Germany
b. Flanders e. Italy
c. France
MSC: Factual
25. All of the following musical developments began during the sixteenth century except
TRUE/FALSE
1. Renaissance was a term that people living in the fifteenth and sixteenth centuries used to
describe the era in which they lived.
MSC: Conceptual
2. During the Renaissance, composers abandoned the older genres of the motet and chanson.
ANS: F DIF: Easy REF: 145 | 158 TOP: Music and the
Renaissance
MSC: Factual
3. In the fifteenth century, the best choir schools were in northern European cities.
4. Hiring the best musicians was a way for rulers to display their wealth and power to audiences
and competing rulers.
5. The use of parallel fifths and octaves in counterpoint was forbidden beginning in the fifteenth
century.
MSC: Factual
MSC: Factual
MSC: Factual
8. The idea that different scales or modes convey certain emotional states was new in the
Renaissance.
9. Before the invention of music printing, composers rarely made money by selling their music.
MSC: Conceptual
MSC: Factual
SHORT ANSWER
1. Briefly explain one or two ways in which this drawing relates to ideas that grew out of
humanism.
ANS:
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). [Other answers may
apply.]
DIF: Hard REF: 146–149
TOP: The Renaissance in Culture and Art| Sculpture, Painting, and Architecture
MSC: Conceptual
2. How did the fall of Constantinople in 1396 and the collapse of the Byzantine Empire in 1453
contribute to the European Renaissance?
ANS:
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.
ANS:
A chapel refers to a group of salaried musicians and clerics associated with a particular ruler (it
does not refer to a religious space).
DIF: Medium REF: 151 TOP: Patronage and the Training of Musicians
MSC: Factual
4. 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.
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.
DIF: Hard REF: 156–157 TOP: New Compositional Methods and Textures
MSC: Conceptual
5. Define chromaticism.
ANS:
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
MSC: Factual
6. How does the use of chromaticism in sixteenth-century music reflect the interest in ancient
Greek theory?
ANS:
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.
MSC: Conceptual
7. Why was the development of music printing essential to the spread of Reformation ideas?
ANS:
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.
8. Name one secular, one instrumental, and one sacred genre that were newly developed in the
Renaissance.
ANS:
Secular: villancico, frottola, madrigal [different from the Trecento madrigal], lute song.
Instrumental: variations, prelude, toccata, canzone, sonata. Sacred: chorale, metrical psalm,
anthem.
DIF: Medium REF: 161 | 164 TOP: New Repertories and Genres| Reformation
MSC: Factual
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 do not line up well, creating a jagged look with gaps between each piece of type.
MSC: Applied
10. Provide an example of a musical technique or idea that was new in the Renaissance and has
since become a widely accepted expectation of music.
ANS:
[Answers will vary.] Examples include: 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.
MSC: Conceptual
MATCHING
Match each event with the year it took place.
a. 1417 d. 1517
b. 1453 e. 1563
c. 1501
1. ANS: E
2. ANS: A
3. ANS: B
4. ANS: C
5. ANS: D
Match each individual to the title of the publication for which he was responsible.
c. Ottaviano Petrucci
6. Odhecaton A, 1501
8. Dodekachordon, 1547
6. ANS: C
7. ANS: A
8. ANS: B
9. ANS: E
10. ANS: D
ESSAY
1. The revival of ancient Greek culture affected music somewhat differently compared to the other
arts. How and why did it differ?
ANS:
2. Demonstrate how economic, technological, and philosophical factors, and new developments in
musical style, came together to contribute to the growth of amateur music-making in the
Renaissance.
ANS: