Test 1 Study guide

Be able to:
• Transcribe 4-line chant notation into five-line modern notation.
• Identify the mode of a chant and if it is syllabic, neumatic, or melismatic.
• Identify the four mensuration signs and their modern transcriptions.
• Name the four types of Renaissance cyclic Masses and be able to describe each one’s
relationship to preexisting material.

Be able to define and apply the following terms to pieces on the listening (if applicable):
Fauxbourdon/faburden Sale of indulgences Harpischord
Parallel organum Reformation Sackbut
Melismatic organum Counter-reformation Regal/pipe organ
Notre Dame organum Tenor (medieval)/cantus Mannerism
Isorhythmic motet firmus (Renaissance) Chanson/lied/frottola
Pervading imitation Ars perfecta Intabulation
Viola da gamba Syntactic form Periodic phrase structure
Shawm/curtal Lute Word painting
Ars nova/trecento Clavichord Conductus

Name the composer, title, and genre of the following pieces (and be able to define the
genre):
Machaut: Messe de Nostre Dame, Kyrie (Polyphonic Mass)
Josquin: Ave Maria, Virgo Serena (motet)
Palestrina: Pope Marcellus Mass, Kyrie (Missa Pape Marcelli)
Josquin (?): El Grillo (frottola)
Marenzio: “Solo e pensoso” (madrigal)
Gesualdo “Moro, lasso, al mio duolo” (madrigal)

Name the composer and genre of the following pieces (and be able to define the genre):
Du Fay: Nuper Rosarum flores (motet)
Ockeghem: Missa Prolationem, Kyrie (Mass, musical canon)

Name the genre of the following pieces (and be able to define the genre):
Beatriz de Dia, “A chantar:” chanson/trobairiz song
Perotin, Viderunt Omnes: 4-voice organum (Notre Dame organum)
De Vitry, Garrit gallus/in nova fert/neuma: isorhythmic motet

Be able to identify examples of the following genres/styles upon hearing/seeing pieces you
have not heard previously:
Plainchant Pervading imitation
Parallel organum Medieval instrumental dance music
Melismatic organum