mV (yes, you need to put your name on every p: ) Spring 2016 Sey lore Wt SO go Bo 4 Part |. Multiple Choice: (25pts)—Ipt. ea [ob Circle the correct letter. 1) Whatis the commonly agreed-upon time span for music of the Renaissance? a.. 1350-1700 the concept of “law” or “rule”; generally, sme indication bearing on musical performance 9) Missa Sela face ay pale is based on a ballad by which composer? r\ a.) Du Fay b. Josquin c. Binchois J d. Dunstable 10) Whatis the name for a thematic idea in multiple voices, placed prominently at the beginning of each section or movement of a work?Name:_ 1 Ya (yes, you need to put your name on every page) ~ a. )Cantus firmus °b. Ground bass xX c. Head motif d. Formes fixes 11) Which of the following best defines the term ostinato Mass? a. Such a mass borrows an existing melodic idea from a different work but freely elaborates it in all voices of the new work b. the cantus firmus is repeated so consistently that it always appears in at least one voice at all times >) : i . (c)) the cantus firmus migrates from voice to voice the cantus firmus remains consistently in the tenor 12) All of the following are true statements about the Renaissance motet EXCEPT? .) functioned within the liturgy of the Mass Proper were used at devotional gatherings outside the liturgy were commissioned for special occasions or to commemorate the a lives and deeds of monarchs were used to accompany secular dancing and outdoor festivities os) d. 13) Renaissance musicians often applied musica ficta to avoid sounding which interval? 14) Which was the only variety of formes fixes that survived to the end of the fifteenth century? a. rondeau ic) ballade c virelai Hs Nov Cox ime on every pase) jotet Absalon fili mi? 15) Which statement is true of the m securely is attributed to Josquin nthe overall texture carries a sign for two flats cs, all of which deal with a a, the work b. Each voice |e) the text consists of several biblical passags father's lament for his son / 4. all four voices occupy an unusually high range 16) Which of the following best defines a paraphrase mass? the borrowed material is strictly quoted and not embellished there is no borrowed material the borrowed material is subjected to rhythmic augmentation the borrowed material is embellished freely rather than quoted Bo) oP strictly 17) Which of the following replaced isorhythm as the predominant structural rks in the second half of the 15th century? principle in large-scale wo a. techniques of free composition b. isomelic technique c.cantus firmus technique i contenance angloise 18) Which best describes the typical form of an Italian madrigal? through-composed B. verse-chorus form J c. strophic 4. modified strophic with variable repetitions 19)During the sixteenth century, in which of the following contexts would one most have likely encountered a performance of a madrigal? a. as part of amass ordinary b. to accompany a ceremonial procession » ) as entertainment in a private home '& as part of devotional worship in a lady chapelName_C Hn 02 G (ves, you need to put your name on every page) 20) The Three Ladies of Ferrara were a(n)? a. traveling string trio J b. aristocratic family of music patrons ‘virtuosic vocal ensemble oy ce ; a. innovative music publishing company in Italy 21) Which was the first publication to transmit the Italian madrigal to England? a. Lachrimae b.The Triumphs of Oriana K Nowo is the Month of Maying @ Musica Transalpina 22) Who was a self-described melancholic and a composer of lute songs? a. Thomas Weelkes b. John Wilbye c. John Dowland Thomas Morley 23) When did the Council of Trent begin? (@) 1545 J b. 1500 c. 1520 d. 1580 24) All of the following are true statements about Palestrina EXCEPT? (2) he was the first sixteenth-century composer to have his complete works published b. he created a style of polyphony that was acceptable to the Council of Trent his works feature thirds and sixths as consonant intervals he rejected the use of secular tunes as the basis for mass composition - aoName: wr [b02 (yes, you need to put y' me on every page) 25) With which of the following is there the strongest connection to the use of i it ir fic passage of text? nd musical elements to imitate the meaning of a specific passage (a.) word painting b. cross-relating We i ¢. musica ficta d. ostinato Honors Presentation Questions 1) What were the four professions that woman may have had in the Renaissance? (2 pts) ay), Cour San Wile, MUN), COO My 2) True or false, explain your reasoning: Women who performed music during the Re ance were considered to be the most vahtable musicians of their time. (2pts) Oh False — Nomen wele nyt San Os valuable or | OW Het Wore by MeN WOA WOA 3) The Catholic Church refused to publicly hire female musicians during the Renaissance, What tow effects did this have on women? (2pts) 6Name \ (ye, you need to pit your manne ann every pate) Hon 4) Why were there more published wonien compirrers fn the Henna conypared to the Medieval Perlad? (2p) 18, Wosnon inthe Mfevthoynl plat ene ally Lev hile as nein a tenet \, tiwcompetent comparttionally (be) A shit in Phitoseypliy fran Sielotisthebom to Hanna secaylzea as eyeellent compart «6. Men yee ply et Ah, A womunr's te place Ut in the Renan a fej women fe composers vu the hone, ttf the professional fel hey Fogo ‘ ¢Name: (yes, you need to put you Part I. Short “Answers (25pts)—Spts. ca. For each term give a 2-3 sentence definition (3points) and name a compo: piece a associated with the term (1). 1) Contenance angloise Eun Prite W name on every page) ser (1) and Conknand a is a shuctutal pletion nok vepladd ‘Sorbyihne in tse 30 vol f te isn ‘dhuchny Duka 2 A re wth? iA SM cundting S¢ Lo tacdAy Pap. 2) Cantus Firmus Mass vee we, A covets firmus mags sg a ads settin red oO (or in Sonag (a4es, 5 frmus of ie Conn ose 1 ca C Co Foxe RKO pt Missa Fan hy Pala, son tha a. , 3) x Bo WS A La A frotila oan [aliar aypnre of vec MUsiC tae 1S SImLAl % & mad me risa ue in txt, For 2x ample é anotlur CoM 0 «), ) (22 10M L is Uubeck TP ask yuo Knorr Vole for hw Wed © stting, For x Calo whe pase 0 carpus 1% CAL ar gal but El Gnila Vou Tosauin) iS ey Josente) SW fotla nat SeevrS [> % colour o cridat's Sounds ovr 1S oO cally bloguk S@x.Name:__ Le (yes, you need to put your name on every p 4) Chorale choral "| Morley Cay “ m4 Oo 5) Intabulation lnk dahon + ' tee ICCOM sronhon AName: (yes, you need to put your name on every Hage) ~ Part Ill. Score ID/Discussion (10pts)—1 known, 1 unknown, Spts ea, 1. Known, 10/ Duly Name:__/ i b (yes, you need to put your name on every page) ' {Vary a. Title (1) A \ vio oy ( WU ) 9 ©. Date (5) 4. Genre (1y_[wS Lyn ¢. Explain why this piece is significant to the development of musical style in the Renaissance. (2) TWA ple Some ¢ me ' { bored on a p Mass ut prim, Wh iW COWS Arn meaning Changes WAA “en Ie 10US 2€ written oN s cerjh Names, M {yes you need to pt your name on every page) i dic contour, Look at language, repetition, music/text relationship, ies ee imitation the number and ranges of the voices, cadences to help y possible composer, genre, date. Possible Composer (1)_1 UY Al Possible Date (5) Genre & Subgenre (1)_| Defend your choice. In your explanations, refer to salient features in the score, as well as other stylistic features (melody, harmony, rhythm, genre, performing forces, form & formal devices, musical texture, text-music relationship etc) that define certain composers and styles. Consider also pieces that you know that seem similar to this one. (2.5) wn(ves, you need to put your name on every page) PartlV. Listing ID/Discussion (15pts}—2 known, Lunknown, Sp. €2 [isten to the fotlowing excerpts. For each one, listen forelues that can help you identify ine ee: Sh athe broad category Cinstrumental or vocal music). genre, treatment 08 siz ofthe pesforming foes tats setae treatment, harmonic Heatment. chythmie treatment. metrieg treatment, aesthetic style, new contributions tO deseribine (ths blanks. In the space beside ae the blanks write a few sentences describing the significant mus; jon is worth the significa ical oF historical fea e piece. (Discussio 3 points) al features of the pi Ave Mora Known, 1) Example 1. a) Title(Spy_Ave Man, 8) Composer(s)_Jocaan —_/ ©) Date(s) [525 ) &) Genre(s) I AeahUe po 4p hay y e) Significance (3). 6 of Avemana . version's es created . and vols ie ch vote begins in al (lerene pag 4 of imersry pr-yphw, so Woh Raut bean fang ph Cie 2) Example 2.7 ; ‘ Bang oy young a) Title (Spt). \\) i ) x bi gt InGead b) Composer iv fo =) Ta 6) Date(s) 14 0009Name: u u / 7 (WPS you need to put your a ame on every page) 4d) Genre (5) yp | LA )) J | mi J °) Significance (3) Tu 3) Example 3. (Unknown). a) Probable Composer (5)__ V0 Swi, iS ma oe 6 b) Date (5) | i ©) Genre (1) £ 1 Soma ove / ‘ Ae lorey Pena : ‘ tS prot § s Ron, art gllourd and aie / Palubyina which would mply a pec by ee cePegler Name:— on every PAB) (yes, you need to put your name ; rT yostions 2 Part V. Essay Question (25pts)—Choose one of the following 0 write short essay (5-6 paragraphs) that illustrates your ability to €% aan cl writin connections between specific composers, concepts, pieces, and Wr y music, WNC pubs et on 1-1600 1. Describe the categories of sacred vocal composition popular ¢. 1420 fe and give an overview of their musical techniques. Include the wat texts Benres, formal devices, unifying techniques, textures, treatments OF x“ and preexisting materials used in such works. Mention several releva musical examples and the composers who wrote them, 2. Trace the development of the Italian madrigal. Draw distinctions among, the early, middle, and late varieties of the Italian madrigal; mention examples of these types and their affiliated composers, Talk about music: ‘ext relationships and the hidden messages within madrigals explanations must refer to musical evidence: therefore you must discuss in detail musical 6 examples, define relevant terms and concepts, and make appropriate use of musico- 4 V> historical facts y nut Key SON , SROpeA rrdte went rAruan Cwdral 5 2G LA + qt Arough THA 2 whe yo vet (orm Ongn ANd County Fe foerion we ary TWh Dwg, Satrcd rate J bag Crmardnr ana i Erynn rrowtts af Wey wo/\es, Ts of (nangl for Sacred WaAbiC. nieuwe AY tw Gtavk of The Cenaissana, moles a b\-\ i . elrerode u popular rn tee home anc in religous ‘SLdtings. Hpweutr, OL TU changed and tue poled,——————————_——-—$__ 4, Name: I . (yes, you need to put you I Many , een ‘ he yulary a gacksy if eo \V {eel nud mota 3 O4e 0 \ ' ; hy TO disvachnig frm 1h worl 1P Seveval yortas leg niv 0, fe vefor mers of Ws nue AeCided tweet oe were ne longer be Useo' \ Cligious sechit As mole wre ¢ phased out, gh StHinsd © memory iar socrecdk WIC. Wa several : t WG wi lMin, ey? 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