Part 2 Prelude

Q: Which of the following was a potential job for a musician in the Middle Ages and Renaissance?

A:

Correct: music printer, choir master, composer, organist

Incorrect: none

Q: The literature of ancient Greece and Rome was of little interest to artists and writers in the
Renaissance.

A: False

Q: Which of the following was not a development of the later Middle Ages?

A: movable type music printing

Q: Which of the following was a result of the printing press?

A:

Correct: music literacy spread, Music books became affordable, Music books became available

Incorrect: Music was banned from amateur performance

Q: Who of the following are Renaissance artists?

A:
 Correct: Leonardo da Vinci, Michelangelo

Incorrect: Hildegard of Bingen, Pablo Picasso

Q: Which of the following goals are attributed to Charlemagne?

A:

Correct: government control of law and order, encouragement of education¸ centralized

government

Incorrect: the rise of the merchant class

Q:

A:

Correct: aristocratic courts, the church

Incorrect: nonprofit organizations, agricultural field workers

Q: During the Renaissance, which lands did the Europeans explore?

A: the Americas

Q: Which of the following was the main European port for cultural exchange of Eastern luxuries?

A. Venice

Q: In the middle ages, the status of women was raised by the universal cult of who?

A: Mary, mother of Christ

Q: Our understanding of the musical culture of ancient civilizations is limited by the few fragments of
music that have survived.
 A: True

Q: The Christian church had very little power in Europe during the Middle Ages and the Renaissance.

A: false

Q: The beginning of the Middle Ages is marked by what event?

A: the fall of the Roman Empire

Q: The Middle Ages spans nearly one thousand years.

A: True

Q: Trade flourished in the later Middle Ages when a merchant class arose outside of feudal society.

A: True

Q: During the Middle Ages, which religious organization wielded the most power in regions formerly
under the rule of the Roman Empire?

A: the Roman Catholic Church

Quiz 13:
Q: Which of the following describes life in a medieval monastery?

A:

Correct: Religious life was quite disciplined, Members were devoted to prayer, Members
withdrew from secular society

Incorrect: A typical day began at 8:00 a.m.

Q: What is the term for music that is performed with exchanges between a soloist and chorus?

A: responsorial singing

Q: In chant from the Middle Ages, the style that features many notes per syllable is called

A: melismatic

Q: The text setting in Alleluia, O virga mediatrix is mostly syllabic

A: False

Q: Hildegard’s Alleluia, O virga mediatrix is an example of Gregorian chant.

A: false

Q: The chants of the church only used the major and minor scale patterns found in later music.

A: false

Q: Gregorian chant features regularly phrased melodic lines supported by instrumental accompaniment.

A: false
Q: Which of the following describe plainchant of the Middle Ages and which do not?

A:

Describes plainchant: organized according to liturgy, monophonic, Latin text

Does not describe plainchant: favored wide leaps, polyphonic

Q: Which of the following was Hildegard not known for?

A: her architectural plans for new churches

Q: Which of the following is not true about Gregorian chant (plainchant) melodies?

A: They are in Hebrew and Syrian

Q: The core musical repertoire of the medieval Christian church was known as

A: chant

Q: Chant melodies are described as syllabic, neumatic, or – , based on how many notes are set to each –
of the text.

A: miasmatic, syllable

Q: The pre-tonal scale patterns utilized in Gregorian chant are referred to as:

A: modes
Q: Which of the following was a complication for Hildegard in her role as composer and visionary for the
church?

A: Women were viewed by many in the church as unworthy to have divine connections

Q: Hildegard of Bingen set many of her own texts to music.

A: Yes

Q: Hildegard’s chant Alleluia, O virga mediatrix was intended for performance on a feast day for the
Virgin.

A: True

Q: Hildegard of Bingen was of – descent.

A: German

Q: The liturgy refers to the set order of services and structure of each service.

A: True

Q: Culture in the Middle Ages was largely defined by the rise of religious communities housed in:

A: monasteries

LQ 2: Hildegard
Q: How many singers do you hear at the opening of Hildegard's Alleluia?

A: one

Q: What best describes the text setting in Hildegard's Alleluia, O virga mediatrix?

A: a mix of neumatic and melismatic

Q: After the choir repeats the opening music first sung by the soloist, the choir continues with new
music. How is this new music different from the opening music?

A: The new music begins on higher pitches than the opening music

Q: Which choice below accurately describes Hildegard's Alleluia?

A: no instruments used

Q: What best describes the relationship between the different voices of the choir in Hildegard's Alleluia?

A: All voices sing one melody (monophonic texture)

Q: After the choir finishes singing "Alleluia," the soloist returns to sing the verse, beginning like the
opening "Alleluia" but then moving to a new melody. What best describes the solo verse section?

A: It is longer than the choral "Alleluia" section.

Q: In the verse, Hildegard uses only one melody to express the text. (Remember, monophonic texture
has no harmony, and chant has no notated rhythm.) The verse's final text line refers to the Virgin Mary's
chastity ("pudoris tui"). How does Hildegard highlight this text in the melody?

A: with higher pitches

Q: The form of the first two sections can be written as A-B: the "Alleluia" section followed by the verse.
After the soloist finishes the verse, the choir returns by singing the opening "Alleluia" section. What is
the overall form of Hildegard's Alleluia?

A: A-B-A

Q: What best describes the performing forces of Hildegard's Alleluia?

A: This music alternates between soloist and choir (singing the same line, or, in monophony).

Q: Which is the first word that is sung in this example?

A: alleluia

Q: Listen to the excerpt, then drag and drop the appropriate word to describe Hildegard's Alleluia. The
rhythm of the voices is best described as –

A: sung freely with no steady beat

Q: Which of the following are correct descriptions of chant?

A:

Correct: monophonic, nonmetric, a capella

Incorrect: polyphonic,

Q: Hildegard's Alleluia is an example of – singing.

A: responsorial (alternation between soloist and choir)

Q: What best describes the texture of chant?

A: monophonic

Q: Which of the choices below describes this music?

A: a capella

Quiz 14
Q: Machaut’s chanson Ma fin est mon commencement contains which of the following?

A:

Correct: palindrome, religious references, enigmatic text

Incorrect: Latin text, monophonic texture

Q: The musical style known as Ars nova first appeared in the early 1300s.

A: True

Q: What was the period that immediately preceded the Ars nova called?

A: Ars antiqua

Q: Which of the following describes musical aspects of Machaut’s chanson Ma fin est mon
commencement?

A:

Correct: polyphonic, duple meter

Incorrect: monophonic, written for full chorus

Q: Which of the following was a position Machaut held in his career?

A:

Correct: cleric, courtier, canon

Incorrect: pope

Q: Which of the following French Ars nova poetic forms are considered “fixed”?

A:

Correct: virelai, rondeau, ballade

Incorrect: stanza, trope

Q: During the Ars nova, which elements of music were developed?

A:

Correct: rhythm, meter, counterpoint, harmony

Incorrect: monophony

Q: Which of the following is true of medieval chansons?

A: The lyrics often reflected ideas of courtly love.

Q: In which of the following genres did Machaut not compose?

A: chant
Q: The musical structure of Machaut’s Ma fin est mon commencement involves retrograde movement.

A: true

Q: Which secular medieval musicians entertained at the higher social levels?

A: troubadours

Q: Pythagoras was renowned for his musical experiments.

A: True

Q: Musical works like Ma fin est mon commencement by – , connect to the human fascination with –
and puzzles.

A: Machaut, riddles

Q: Composers in the Ars nova wrote both sacred and secular songs.

A: True

Q: Machaut’s Ma fin est mon commencement is in French.

A: True
Q: Who was the first composer to collect his works in order to preserve his legacy?

A: Machaut

Q: The musical style known as Ars nova appeared first in which country?

A: France

Q: Music, mathematics, geometry, and astronomy were considered a part of the four topics essential in
medieval –.

A: Education

Q: Which of the following was a popular French secular song genre in the Ars nova?

A: Chanson

Q: Religious wars and medieval explorations enhanced cultural exchange.

A: True

LQ 3: Machaut
Q: Take a look at the lyrics of Machaut's Ma fin est mon commencement (My end is my beginning):

1. Ma fin est mon commencement

2. Et mon commencement ma fin

3. Est teneüre vraiement.

4. Ma fin est mon commencement.

5. Mes tiers chans trois fois seulement

6. Se retrograde et einsi fin.

7. Ma fin est mon commencement

8. Et mon commencement ma fin. 1. My end is my beginning

2. and my beginning my end

3. and true tenor.

4. My end is my beginning.

5. My third part three times only

6. moves backward and so ends.

7. My end is my beginning

8. and my beginning my end.

The first two lines ("Ma fin..." and "Et mon...") are reused to end the poem. In what other line do you
see the first line from the poem ("Ma fin...")?

A: Line 4

Q: What best describes Machaut's Ma fin est mon commencement (My end is my beginning)?

A: three voices singing without instruments

Q: How many notes per syllable of text do you hear in the first line of Ma fin est mon commencement
(My end is my beginning)?

A: a lot of notes per text syllable

Q: Which best describes the relationship between the voices (the texture) in the first line of Machaut's
Ma fin est mon commencement (My end is my beginning)?

A: Each voice sings its own unique melody ( non-imitative polyphony)

Q: There are two melodies in this chanson, indicated in the chart below with the letters "a" and "b"; as
you can see, the same melody is used for different lines of the text.

Which best describes the music for the second line of Machaut's Ma fin est mon commencement (My
end is my beginning)?

A: The music and text are different from the first line.

Q: There are two melodies in this chanson, indicated in the chart below with the letters "a" and "b"; as
you can see, the same melody is used for different lines of the text.

Which best describes the music for the third line of Machaut's song?

A: The music is the same but the text is different from the first line.

Q: There are two melodies in this chanson, indicated in the chart below with the letters "a" and "b"; as
you can see, the same melody is used for different lines of the text.

Which best describes the fourth line of Machaut's song?

A: The music and text are the same as the first line.

Q: There are two melodies in this chanson, indicated in the chart below with the letters "a" and "b"; as
you can see, the same melody is used for different lines of the text.

Which best describes the fifth line of Machaut's song?

A: The music is the same but the text is different from the first line.

Q: There are two melodies in this chanson, indicated in the chart below with the letters "a" and "b"; as
you can see, the same melody is used for different lines of the text.

Which best describes the sixth line of Machaut's song?

A: The music is the same but the text is different from the second line.

Q: There are two melodies in this chanson, indicated in the chart below with the letters "a" and "b"; as
you can see, the same melody is used for different lines of the text.

Which best describes the seventh line of Machaut's song?

A: The music and text are the same as the first line.

Q: There are two melodies in this chanson, indicated in the chart below with the letters "a" and "b"; as
you can see, the same melody is used for different lines of the text.

Which best describes the eigth line of Machaut's song?

A: The music and text are the same as the second line.
Q: What best describes the text setting of the first section of Ma fin est mon commencement (My end is
my beginning)?

A: Melismatic

Q Which best describes the texture of the first section of Ma fin est mon commencement (My end is my
beginning)?

A: non-imitative polyphony

Q: The text setting of Machaut's Ma fin est mon commencement (My end is my beginning) is primarily
syllabic.

A: False

Q: Which of the following statements correctly describe Machaut's Ma fin est mon commencement (My
end is my beginning)?

A:

Correct: It is a three-voice chanson, The text contains a puzzle, The top and middle voices are
palindromes of each other

Incorrect: It is through-composed,

Q: Match the descriptive phrase that best describes the excerpted clip from Machaut's Ma fin est mon
commencement (My end is my beginning).
A:

There are two melodies in this chanson, indicated in the chart below with the letters "a" and "b"; as you
can see, the same melody is used for different lines of the text.

Which best describes the form of Machaut's song?

[a] 1. Ma fin est mon commencement

[b] 2. Et mon commencement ma fin

[a] 3. Est teneüre vraiement.

[a] 4. Ma fin est mon commencement.

[a] 5. Mes tiers chans trois fois seulement

[b] 6. Se retrograde et einsi fin.

[a] 7. Ma fin est mon commencement

[b] 8. Et mon commencement ma fin. 1. My end is my beginning

2. and my beginning my end

3. and true tenor.

4. My end is my beginning.

5. My third part three times only

6. moves backward and so ends.

7. My end is my beginning

8. and my beginning my end.

A: A-B-a-A-a-b-A-B

Listen to the following music excerpts and drag them to the correct location on the music chart below.
Be sure to drag the excerpts from the light yellow outer box; if you drag from the play button the
excerpt will not move.
Q: Put the following structural components in the order in which they occur in Machaut's Ma fin est
mon commencement (My end is my beginning). Note that simply clicking on the card will select it, so be
sure of your answer before clicking.

[Refrain] 1. Ma fin est mon commencement

2. Et mon commencement ma fin

[Verse] 3. Est teneüre vraiement.

[Refrain] 4. Ma fin est mon commencement.

[Verse] 5. Mes tiers chans trois fois seulement

6. Se retrograde et einsi fin.

[Refrain] 7. Ma fin est mon commencement

8. Et mon commencement ma fin. 1. My end is my beginning

2. and my beginning my end

3. and true tenor.

4. My end is my beginning.

5. My third part three times only

6. moves backward and so ends.

7. My end is my beginning

8. and my beginning my end.

A: Refrain Verse Refrain Verse Refrain

Q: Ma fin est mon commencement is a chanson in – form, which is diagrammed as: A-B-a-– -a-b-A-B.
Machaut's music expresses the – of the text.

A: rondeau, A, puzzle

Quiz 15

Q: The English madrigal preceded the development of the Italian madrigal by some twenty years.

A: False

Q: What instrument is being played in this painting?

A: lute
Q: During the Renaissance, women were not allowed to make music at home or in the courts.

A: False

Q: Which of the following statements are true in regard to typical English madrigals?

A:

Correct: The texts are often humorous. They often have lively rhythms. They often have pastoral
texts.

Incorrect: They are in Italian. They are usually highly complex works designed to be sung by
professionals.

Q: Farmer’s madrigal is written for a four-voice SATB ensemble.

A: True

Q: What is the texture of the last line of Fair Phyllis?

A: homorhythmic

Q: Farmer “paints” the first line of the text, “Fair Phyllis I saw sitting all alone,” through the musical use
of:

A: monophony

Q: In the Renaissance two important – genres grew out of the union of poetry and music: the French –
and the – madrigal.

A: secular, chanson, Italian

Q: At which point in the text of Fair Phyllis do the voices imitate each other in rapid succession?

A: “Up and down he wandered”

Q: Claudio – famously stated that his music was designed to serve the expressive power of his – .

A: Monteverdi, texts

Q: Which of the following words might be word-painted in a madrigal?

A:

Correct: sighing, weeping, death

Incorrect: the

Q: The setting of Farmer’s madrigal Fair Phyllis is:

A: Pastoral

Q: Which instrument was commonly found in particularly prosperous Renaissance homes?

A: keyboard
Q: Farmer’s Fair Phyllis is written for – voices.

A: four

Q: Madrigalisms enhanced the – content of the music.

A: Emotional

Q: Sometimes humorous madrigals would contain a refrain of syllables such as “fa la la.”

A: true

Q: The madrigal is known for the expressive device of word-

A: painting

LQ 4: Farmer

Q: Fair Phyllis I saw sitting all alone,

Feeding her flock near to the mountain side.

The shepherds knew not whither she was gone,

But after her [her] lover Amyntas hied.

Up and down he wandered, whilst she was missing;

When he found her, oh, then they fell a-kissing.

Up and down . . .

This poem, which deals with shepherds, can be described as

A: pastoral

Q: Read the poem then fill in the blank below.

Fair Phyllis I saw sitting all alone,

Feeding her flock near to the mountain side.

The shepherds knew not whither she was gone,

But after her [her] lover Amyntas hied.

Up and down he wandered, whilst she was missing;

When he found her, oh, then they fell a-kissing.

Up and down . . .

A: Phyllis

Q: Which terms describe the general tone of this poem?

A:

Correct: light-hearted, playful

Incorrect: depressed, sad, angry

Q: How many voices sing the opening phrase of Fair Phyllis, "Fair Phyllis I saw sitting all alone"?

A: one
Q: Farmer uses monophonic texture (a single melody line) for the first text line because Phyllis is –

.A: all alone

Q: What best describes the performers of this work?

A: voices only

Q: In this excerpt, the second line of text is sung by how many voices?

A: four

Q: These four voices are – voices.

A: mixed (female and male)

Q: What best describes the relationship among the four voices (the texture) in this excerpt?

A: The highest voice sings the melody and the other three harmonize with it, with all voices changing
syllables at the same time.

Q: At the opening of this madrigal, the first line of text is sung by one voice, and the second line is sung
by the entire group of four voices. All of this music is repeated. Then comes the third line of text:

A:

Correct: The highest voice sings the melody. The voices enter at different times. Three voices
imitate the highest voice.

Incorrect: All four voices sing one melody at the same time. Three voices harmonize with the
highest voice.
Q: What best describes the musical texture Farmer chose for the words "But after her [her] lover
Amyntas hied?"

A:

Correct: Two lower voices imitate the high voices. The voices enter at different times.

Incorrect: All four voices sing one melody. All voices change syllables at the same time.

Q: For line 5, as Amyntas wanders up and down the mountainside looking for Phyllis, the music repeats
the phrase "up and down" in imitation. If you listen carefully, you can hear word painting on the phrase
"up and down." The pitch on the word "up" is higher than the pitch on "down."

The last part of the poem ("whilst she was missing; When he found her, oh, then they fell a-kissing")
sounds like this:

What immediately follows the last half of the sixth text line ("Oh, then they fell a-kissing")?

A: "Up and down he wandered"

Q: Farmer repeats the last two full text lines and music to end the madrigal. The first time you hear "up
and down he wandered," you know Amyntas is wandering "up and down" the mountainside to find
Phyllis. The second time you hear "up and down he wandered," he has already found Phyllis.

At the end of this madrigal, Amyntas is wandering –

.A: up and down, as "...they fell a-kissing

Q: What best describes the form of Fair Phyllis?

A: There are short, repeated sections.

Q: What best describes the opening phrase of Fair Phyllis (first four seconds only)?

A: One soprano sings.

Q: What best describes the texture of the opening phrase (first four seconds only)?

A: monophonic

Q: Why would Farmer use monophonic texture at the opening of this madrigal?

A: He is using word-painting.

Q: Match the descriptive words or phrases with the different elements of music as found in Farmer's Fair
Phyllis.
A:

Q: What best describes the texture of Farmer's Fair Phyllis?

A: changes between monophonic, homorhythmic, and imitative

Q: Which of the following statements regarding Farmer's Fair Phyllis are correct?

Correct: It is in duple meter, then triple meter. The text is pastoral. It is an English madrigal.

Incorrect: It is an Italian madrigal. It is in triple meter throughout. The text is about unrequited
love.
Q: What is the form of Fair Phyllis?

A: short, repeated sections

Wrong: binary, A-B-A, through-composed

Q: Which of the following are examples of word-painting in Farmer's Fair Phyllis?

Yes: Scattering the text "up and down" in imitation among the four voices. The use of a lone voice on
"Fair Phyllis I saw sitting all alone"

No: The use of homorhythm on "feeding her flock near to the mountain side." The dancelike meter on
"then they fell a-kissing"

Q: Farmer does not use word-painting in Fair Phyllis.

A: false

LQ 5: Josquin
Q: When studying vocal music, it is important to look at the text first. Composers often use the text to
determine the musical form of a piece and to make decisions about how to convey its meaning.

The text for this music is in Latin, the official language of the Roman Catholic Church during Josquin's
time.

TEXT TRANSLATION

Ave Maria, gratia plena,

Dominus tecum, virgo serena. Hail Mary, full of grace,

The Lord is with you, gentle Virgin.

Ave cujus conceptio

Solemni plena gaudio

Caelestia, terrestria,
Nova replet laetitia. Hail, whose conception,

Full of solemn joy,

Fills the heaven, the earth,

With new rejoicing.

Ave cujus nativitas

Nostra fuit solemnitas,

Ut lucifer lux oriens,

Verum solem praeveniens. Hail, whose birth

Was our festival,

As our luminous rising light

Coming before the true sun.

Ave pia humilitas,

Sine viro fecunditas,

Cujus annuntiatio,

Nostra fuit salvatio. Hail, pious humility,

Fertility without a man,

Whose annunciation

Was our salvation.

Ave vera virginitas,

Immaculata castitas,

Cujus purificatio

Nostra fuit purgatio. Hail, true virginity,

Unspotted chastity,

Whose purification

Was our cleansing.

Ave praeclara omnibus

Angelicis virtutibus,

Cujus fuit assumptio

Nostra glorificatio. Hail, famous with all

Angelic virtues,

Whose assumption was

Our glorification.

O Mater Dei,

Memento mei. O Mother of God,

Remember me.

Amen. Amen.

What Latin word appears most often as the first word of a line?

A: Ave

Q: Entire lines of Josquin's Ave Maria...virgo serena are repeated.

A: False

Q: A four-part choir sings this motet. Place the vocal ranges in the order in which they sing this excerpt.

A: hishest, middle, lowest

Q: At the beginning of this motet, all four voice parts sing the same melody at the same time.

A: False

Q: At the beginning of this motet, what best describes the relationship among the four voices (the
texture)?

The highest voice part sings the melody and the other three parts – it, entering at different times.

A: Imitate

Q: What best describes the performing ensemble of this work?

A:

Correct: Voices

Incorrect: Instruments

Q: Two voices (first group, 0:01) in this excerpt are followed by three voices (second group, 0:06).

A:

First Group: High voices

Second group: Low Voices

Q: On the text "Ave cujus conceptio," the performers sing in a more – texture.

A: Homorhythmic
Q: In this excerpt, all voice parts sing the same melody at the same time.

A: False

Q: What best describes the relationship between the voices (the texture) in this excerpt?

A: Two high voice parts begin singing the melody at 0:01, after which, at 0:06, the low voice parts
imitate them.

Q: When the voices sing together the text

Ave cujus nativitas

Nostra fuit solemnitas

in this excerpt, what best describes the texture?

The voices sing in –

A: Imitation

Q: For the second half of this quatrain, which begins about 1 second into the excerpt, what best
describes the texture?

Ave cujus nativitas

Nostra fuit solemnitas,

Ut lucifer lux oriens,

Verum solem praeveniens.

A: The sopranos introduce the melody and the other three voice groups imitate it, entering at different
times
Q: In the fourth quatrain, all four voice groups sing in a mostly homorhythmic texture.

Ave vera virginitas

Immaculata castitas,

Cujus purificatio

Nostra fuit purgatio.

A: True

Q: What best describes the text setting for the fourth quatrain?

Ave vera virginitas

Immaculata castitas,

Cujus purificatio

Nostra fuit purgatio

The text is declaimed – as a result of the – texture.

A: clearly, homorhythmic

Q: In the final couplet of Josquin's Ave Maria...virgo serena, all four voice parts sing the same rhythms at
the same time.

A: True
Q: What is the overall texture of the final couplet of Josquin's Ave Maria . . . virgo serena? (Note that the
"Amen" of religious texts is considered an add-on and not part of the main text.)

O Mater Dei,

Memento mei.

Amen.

A: homorhythmic

Q: What best describes the texture of Josquin's Ave Maria . . . virgo serena?

A: changes back and forth between imitative polyphony and homorhythm

Q: Put the voice parts in the correct order in which they enter in imitation in the first couplet of
Josquin's Ave Maria . . . virgo serena (remember, soprano=high female voice; alto=middle female voice;
tenor=high male voice; bass=low male voice)

A: Soprano, Alto, Tenor, Bass

Q: Josquin's Ave Maria . . . virgo serena is a motet. Which of the following are main features of this
work?

A:

Correct: polyphony, text with a sacred subject, Latin text

Incorrect: instrumental accompaniment

Q: Match the descriptive words or phrases with the different elements of music as found in Josquin's
Ave Maria . . . virgo serena.

A:

Q: Ave Maria . . . virgo serena is a four-voice – that is sung – . The text praises – and includes a personal
petition at the end set in long notes and – texture.

A: motei, a capella, the Virgin Mary, homorhythmic

Q: Josquin emphasizes the text that states important Roman Catholic beliefs by –

A: using homorhythmic texture

Quiz 16:

Q: Which meter was especially attractive in medieval music because it symbolized the perfection of the
Trinity?

A: Triple

Q: There was a shift towards a more secular society during the European Renaissance.

A: True

Q: The Renaissance marks the passing of European – from a predominantly religious orientation to a
more – one. This awakening was called – .

A: society, secular, humanism

Q: Renaissance painters continued medieval norms in their preference for symbolism in painting.

A: False

Q: Which of the following statements are true of Josquin’s motet Ave Maria . . . virgo serena?

A:

Correct: The meter changes within the piece, moving from duple to triple and back to duple. The
text is rhymed.

Incorrect: The harmony is dissonant. The texture is monophonic.

Q: In the Renaissance, aesthetics changed with regard to consonances and dissonances, with which
intervals being preferred?

A:

Correct: thirds, sixths

NOT: open fourths, octaves, open fifths

Q: How does Josquin provide a contrast in the final two lines of the text, “O Mater Dei, Memento mei”?

A:

Correct: in long note values, in a homorhythmic texture

Incorrect: in a monophonic texture, in short note values

Q: Which element of music does Josquin most exploit in Ave Maria. . .virgo serena to provide variety and
to emphasize the text?

A: texture

Q: Which of the following terms describes Josquin’s Ave Maria. . .virgo serena?

A:

Correct: imitative polyphony, a cappella ensemble, consonant harmony

Incorrect: large chorus, dissonant harmony

Q: Which of the following is typical of the Renaissance motet?

A:

Correct: sacred work, set to Latin texts, often in praise of the Virgin Mary

Incorrect: Sung in German, secular work

Q: The preeminent – of motets from the early Renaissance were from northern Europe, in particular
present-day Belgium and northern –

A: composers, France

Q: Renaissance sacred music was generally performed with instruments.

A: False
Q: What is the predominant texture in Josquin’s motet Ave Maria . . . virgo serena?

A: Imitative polyphony

Q: Triple meter was no longer used in the Renaissance.

A: False

Q: In which language is the text of Josquin’s motet Ave Maria . . . virgo serena written?

A: Latin

Q: Religious belief remained at the core of Renaissance identity.

A: True

Q: Renaissance music generally featured consonant harmonies.

A: True

Q: In the Renaissance, what was one of the most popular sacred genres with a Latin text?

A: Motet
Q: The sixteenth century has come to be regarded as the golden age of music for voices alone, without
instrumental accompaniment. What is this style called?

A: A cappella

Q: The text of Josquin’s motet Ave Maria . . . virgo serena praises the virtues of which of the following?

A: The Virgin Mary

LQ 6: Palestrina

When studying vocal music, it is important to look at the text first. The text often determines the
musical form of a piece, and its meaning may guide composers' decisions.

Gloria in excelsis Deo

et in terra pax hominibus

bonae voluntatis.

Laudamus te. Benedicimus te.

Adoramus te.

Glorificamus te.

Gratias agimus tibi propter

magnam gloriam tuam.

Domine Deus, Rex caelestis,

Deus Pater omnipotens.

Domine Fili

unigenite, Jesu Christe.

Domine Deus, Agnus Dei,

Filius Patris.

Qui tollis peccata mundi,

miserere nobis.

Qui tollis peccata mundi,

suscipe deprecationem nostram.

Qui sedes ad dexteram Patris,

miserere nobis.

Quoniam tu solus sanctus.

Tu solus Dominus.

Tu solus Altissimus.

Jesu Christe, cum Sancto Spiritu

in gloria Dei Patris.

Amen. Glory be to God on high,

and on earth peace to men

of good will.

We praise Thee. We bless Thee.

We adore Thee.

We glorify Thee.

We give Thee thanks for

Thy great glory.

Lord God, heavenly King,

God, the Father Almighty.

O Lord, the only-begotten Son,

Jesus Christ.

Lord God, Lamb of God,

Son of the Father.

Thou that takest away the sins of the world,

have mercy on us.

Thou that takest away the sins of the world,

receive our prayer.

Thou that sittest at the right hand of the Father,

have mercy on us.

For Thou alone art holy.

Thou only art the Lord.

Thou alone art most high.

Jesus Christ, along with the Holy Spirit

in the glory of God the Father.

Amen.

The Gloria has many lines of text that vary in length, and a few phrases and lines of text are used more
than once ("Domine Deus," "Jesu Christe," and "Qui tollis peccata mundi"). It is sung in Latin, the official
language of the Roman Catholic Church.

The Gloria is sung near the beginning of a Roman Catholic worship service known as the Mass. Other
prayers and texts are spoken or chanted before and after it. The priest officiating at the service sings the
opening of the Gloria. For that reason, the opening phrase you hear is sung by

A: One person
Q: After the opening phrase is sung by one person, other voices enter and sing together. What best
describes the relationship among the voices (the texture)?

A: The highest voice sings the melody and the others harmonize with it: all voices change syllables at the
same time.

Q: What best describes the text setting when the other voices enter?

A: There is, for the most part, one note per syllable of text.

Q: How is the Gloria, from Pope Marcellus Mass, performed in this recording?

A: by voices only

Q: Which of the following best describes the tempo and meter of the Gloria?

A: slow duple meter

Q: The seventh line of the text, "Gratias agimus tibi" ("we give you thanks") beginning at 0:06, is set to
five voices, giving the piece a fuller sound. How does Palestrina change the texture of the following lines
beginning with "propter magnam gloriam" ("Thy great glory") at 0:16?

A: He user fewer voices.

Q: Most of this Gloria is in homorhythmic texture, so Palestrina often adds something new to give the
music a feeling of forward motion and to prevent the same texture from sounding static. What does
Palestrina add to "Domine Fili unigenite" ("O Lord, the only begotten Son")?

A: ascending motion imitated in each voice

Q: All six voices sing simultaneously for the first time a third of the way through the Gloria, the first time
we hear "Jesu Christe" ("Jesus Christ"). The second time all six voices sing together is at "Filius Patris"
("Son of the Father"), the last line of text in the first section. When "Jesu Christe" returns, it is sung by all
six voices.

The line "cum Sancto Spiritu" begins with three voices. How does Palestrina vary the number of voices
during this final excerpt that ends the piece?

A: He adds more voices and then ends with all six.

Q: Categorize each of the following statements as correct or incorrect regarding the Gloria from
Palestrina's Pope Marcellus Mass.

A:

Correct: The number of voices changes throughout the movement. This is an a cappella work. It
is a movement from the Mass Ordinary.

Incorrect: It is accompanied by a quiet orchestra. All six voices are constantly present. It is a
movement from the Mass Proper.

Q: The first line of the Gloria from Palestrina's Pope Marcellus Mass is polyphonic:

A: False
Q: Match the descriptive words or phrases with the different elements of music as found in the Gloria
from Palestrina's Pope Marcellus Mass.

A:

Q: Which of the following statements are correct about the Gloria from Palestrina's Pope Marcellus
Mass?

A:

Correct: It is sung a cappella. The text is a hymn of praise. The text is in Latin.

Incorrect: The text is in Greek.

Q: The Gloria is the second movement of the Mass – as set by Giovanni Pierluigi da Palestrina. The form
is – , the text setting is primarily syllabic, and the texture is predominantly – .

A: ordinary, through-composed, homorhythmic

Quiz 17

Q: Which of the following were church reformers in the sixteenth century?

A: Martin Luther, John calvin

No: Joseph Smith, Pope Gregory, L. Ron Hubbard

Q: Which part of the Mass Ordinary is not in Latin?

A: Kyrie

Q: Match the parts of the Mass to their corresponding category.

A:
Q: The text of the Gloria is a hymn of praise.

A: True

Q: Giovanni Pierluigi da Palestrina’s Pope Marcellus Mass was once thought to have been written in
order to meet the requirements set forth by whom?

A: Council of Trent
Q; The Council of Trent had no criticisms of church music.

False

Which of the following were critiques from the cardinals at the Council of Trent?

Yes: Use of popular music, inappropriate attitude of church musicians, embellishment of Gregorian
melodies

No: the restrictions of a cappella singing, the continued use of Latin texts

Q: Who started the Protestant Reformation with his Ninety-Five Theses?

A: Martin Luther

Q: During the Renaissance, the Mass was recited and sung in the vernacular (the language of the
people).

A: False

Q: Which of the following describes Palestrina’s Gloria from the Pope Marcellus Mass?

A: yes: consonant harmony, a cappella ensemble, duple meter

No: Imitation obscures understanding of words. monophonic texture throughout

Q: Match the parts of the Mass to the ordinary or proper category.

A: proper: inriot, offertory, gradual

Ordinary: gloria, kyrie, agnus dei, credo

Q: The Mass is a daily service with two categories of – : the – , which contains texts that are the same for
each service, and the – , which contains texts that vary according to the day.

A: prayers, ordinary, proper

Q: John Calvin preferred – congregational song in order to keep the focus on – text.

A: monophonic, scritural

Q: Which of the following belong to the Mass Ordinary?

A: Agnus Dei, Gloria, sancturs

Not: Alleluia, Gradual

Q: Palestrina’s Pope Marcellus Mass is a setting of the Mass Ordinary.

A: True

Q: The Catholic Church’s effort in the early sixteenth century to recapture the loyalty of its followers
through a return to true Christian piety is known as the –

.A: counter-reformation
Q: Which of the following accurately describe the harmony of Palestrina’s Gloria from the Pope
Marcellus Mass?

A: true: consonant, full

False: dissonant, sparse

Q: The Pope Marcellus Mass was written for six voice parts.

A: True

Q: In the Catholic Mass, the parts that change according to the day belong to the –

A: Proper