A History Of Western Music 9th Edition by J. Peter Burkholder - Test Bank

A History Of Western Music 9th Edition by J. Peter Burkholder – Test Bank

 

Instant Download – Complete Test Bank With Answers

 

 

Sample Questions Are Posted Below

 

CHAPTER 5: Polyphony Through the Thirteenth Century

 

MULTIPLE CHOICE

 

1. Why is early polyphony considered a sort of gloss on the chant repertory?

a.	the added melodies elaborated on the authorized chants
b.	the added melodies improved the authorized chants
c.	polyphony enabled composers to assign rhythmic values to the chant melodies
d.	polyphony replaced the authorized chants
e.	polyphony was composed in the most significant centers of learning in western Christendom

 

 

ANS:  A                    DIF:    Medium         REF:   84–85 | 101

TOP:   Early Organum| Early Motets           MSC:  Conceptual

 

2. The earliest written polyphony exhibited all of the following musical elements that continued to occupy composers throughout the history of Western music except

a.	phrasing	d.	meter
b.	counterpoint	e.	notation
c.	harmony

 

 

ANS:  D                    DIF:    Easy               REF:   85

TOP:   Polyphony Through the Thirteenth Century                       MSC:  Applied

 

3. The treatises Musica enchiriadis and Scholica enchiriadis use the term organum to describe

a.	an improvised melody sung against a drone
b.	monophony
c.	a musical instrument with a keyboard, pipes, and a bellows
d.	a strophic song
e.	two or more voices singing different notes in agreeable combinations according to given rules

 

 

ANS:  E                    DIF:    Easy               REF:   85                  TOP:   Early Organum

MSC:  Factual

 

4. In organum, the voice presenting the chant is called the

a.	bass voice	d.	original voice
b.	drone	e.	principle voice
c.	organal voice

 

 

ANS:  E                    DIF:    Medium         REF:   86                  TOP:   Early Organum

MSC:  Factual

 

5. Note-against-note organum offers composers freedom because

a.	the organal part has many notes composed against each note in the chant
b.	the organal part can move in contrary, oblique, parallel, or similar motion
c.	the organal part occupies a range below the original chant
d.	the organal part was improvised
e.	there is a greater choice of allowable consonant intervals compared to earlier types of organum

 

 

ANS:  B                    DIF:    Hard              REF:   88                  TOP:   Note-Against-Note Organum

MSC:  Conceptual

 

6. In the twelfth century, which movement of the Mass would most likely be set polyphonically with organum?

a.	Gloria	d.	Offertory
b.	Gradual	e.	Sanctus
c.	Kyrie

 

 

ANS:  B                    DIF:    Medium         REF:   88                  TOP:   Note-Against-Note Organum

MSC:  Applied

 

7. The musical style of this excerpt is best described as

a.	discant	d.	note-against-note organum
b.	florid organum	e.	parallel organum
c.	mixed parallel and oblique organum

 

 

ANS:  B                    DIF:    Medium         REF:   89–90            TOP:   Aquitanian Polyphony

MSC:  Applied

 

8. Aquitanian polyphony originated in

a.	England	d.	Italy
b.	France	e.	Spain
c.	Germany

 

 

ANS:  B                    DIF:    Easy               REF:   89                  TOP:   Aquitanian Polyphony

MSC:  Factual

 

9. Which format best describes the presentation of the music in the original sources of Aquitanian and Notre Dame polyphony?

a.	each part is written in a separate book
b.	each part is written in separate areas on a single page
c.	each part is written on facing pages
d.	only the organal part is written down; the singer would know the chant by heart
e.	the parts are aligned vertically in score format

 

 

ANS:  E                    DIF:    Hard              REF:   90 | 98 | 104

TOP:   Aquitanian Polyphony| Perotinus Organum| Motets in the Later Thirteenth Century (Format)

MSC:  Factual

 

10. In the notation of the rhythmic modes, the rhythmic duration of pitches was indicated by

a.	letters	d.	numbers
b.	ligature patterns	e.	stem lengths
c.	note shapes

 

 

ANS:  B                    DIF:    Medium         REF:   92                  TOP:   The Rhythmic Modes

MSC:  Factual

 

11. How many rhythmic modes are there?

a.	4	d.	8
b.	5	e.	10
c.	6

 

 

ANS:  C                    DIF:    Easy               REF:   92                  TOP:   The Rhythmic Modes

MSC:  Factual

 

12. The rhythmic modes were developed by composes working at the

a.	Cathedral of Notre Dame in Paris
b.	Cathedral of Santiago de Compostella in Spain
c.	monastery in Cologne, Germany
d.	monastery of Winchester, England
e.	Papal Chapel in Rome

 

 

ANS:  A                    DIF:    Easy               REF:   92                  TOP:   The Rhythmic Modes

MSC:  Factual

 

13. Although Anonymous IV names Leoninus and Perotinus as creators of polyphony, scholars are unsure of exactly what they wrote. Why is this?

a.	Anonymous IV is an untrustworthy source
b.	No surviving sources of polyphony name Leoninus or Perotinus as the composers
c.	The manuscripts containing the music were copied long after Leoninus and Perotinus lived
d.	Scholars are unsure when Leoninus and Perotinus lived
e.	The surviving music from the time does not match Anonymous IV’s description

 

 

ANS:  B                    DIF:    Medium         REF:   93–94            TOP:   The Magnus Liber Organi

MSC:  Conceptual

 

14. In Notre Dame–style polyphony, composers set melismas in the original chant as discant because

a.	the composers wanted to use the rhythmic modes
b.	discant is easier than organum for the choir to sing
c.	discant is easy to memorize
d.	polyphony ornamented chants for the most important feasts of the church year
e.	setting melismas as organum would make the music too long

 

 

ANS:  E                    DIF:    Hard              REF:   95–96

TOP:   Organum in the Style of Leoninus    MSC:  Conceptual

 

15. Scholars think that the organum of Leoninus and Perotinus was first composed orally and was later written down. All of the following observations provide evidence for this except

a.	the Anonymous IV treatise describes melodic formulas and calls them colores
b.	discant was easy to remember because of its short phrases and the use of rhythmic modes
c.	the organal voices contain recurring melodic formulas that were easy to remember
d.	the compositions in the manuscripts known as the Magnus Liber Organi are all anonymous
e.	there was a longstanding practice of composing orally and memorizing large amounts of music

 

 

ANS:  D                    DIF:    Hard              REF:   96

TOP:   Organum in the Style of Leoninus | Oral Transmission       MSC:  Conceptual

 

16. Most substitute clausulae were written in

a.	Aquitanian style	d.	florid organum
b.	conductus style	e.	parallel organum
c.	discant style

 

 

ANS:  C                    DIF:    Medium         REF:   97                  TOP:   Substitute Clausulae

MSC:  Applied

 

17. Voice exchange is when

a.	some voices sing while others rest
b.	voices sing in florid style
c.	voices sing in note-against-note style
d.	voices sing in the same rhythmic mode
e.	voices trade phrases

 

 

ANS:  E                    DIF:    Easy               REF:   98                  TOP:   Perotinus Organum

MSC:  Applied

 

18. You discover a previously unknown composition that is an organum triplum. Who is likely to have composed it?

a.	Anonymous IV	d.	Perotinus
b.	Franco of Cologne	e.	Petrus de Cruce
c.	Leoninus

 

 

ANS:  D                    DIF:    Easy               REF:   98                  TOP:   Perotinus Organum

MSC:  Applied

 

19. A polyphonic conductus is a setting of

a.	a chant and a French prose text sung simultaneously in different voices
b.	a single biblical text sung in all voices
c.	a single French poem sung in all voices
d.	a single Latin poem sung in all voices
e.	a Latin poem and a French poem sung simultaneously in different voices

 

 

ANS:  D                    DIF:    Medium         REF:   99–100           TOP:   Polyphonic Conductus

MSC:  Factual

 

20. All of the following describe ways in which early thirteenth-century composers reworked motets except

a.	adding a third or fourth voice to those already present, with all voices singing the same text
b.	adding a third or fourth voice to those already present, with all voices singing their own texts
c.	deleting the original chant and writing one or more new voices
d.	deleting the original duplum and writing one or more new voices
e.	writing a different text for the duplum that may not be related to the original chant

 

 

ANS:  C                    DIF:    Medium         REF:   101–102         TOP:   Early Motets

MSC:  Applied

 

21. The term cantus firmus, introduced around 1270, is synonymous with which of the following terms?

a.	duplum	d.	triplum
b.	motetus	e.	vox organalis
c.	tenor

 

 

ANS:  C                    DIF:    Easy               REF:   103

TOP:   Motets in the Later Thirteenth Century                              MSC:  Conceptual

 

22. All of the following are names of rhythmic durations in Franconian notation except

a.	breve	d.	semibreve
b.	double long	e.	short
c.	long

 

 

ANS:  E                    DIF:    Easy               REF:   104

TOP:   Motets in the Later Thirteenth Century                              MSC:  Factual

 

23. This excerpt was likely composed by

a.	Anonymous IV	d.	Perotinus
b.	Franco of Cologne	e.	Petrus de Cruce
c.	Leoninus

 

 

ANS:  E                    DIF:    Hard              REF:   106–107

TOP:   Motets in the Later Thirteenth Century                              MSC:  Applied

 

24. A composer of late thirteenth-century motets was

a.	Adam de la Halle	d.	Hieronymous de Moravia
b.	Franco of Cologne	e.	Johannes de Garlandia
c.	Guido of Arezzo

 

 

ANS:  A                    DIF:    Easy               REF:   105

TOP:   Motets in the Later Thirteenth Century                              MSC:  Factual

 

25. English polyphony in the thirteenth century exhibits a preference for

a.	alternating florid organum and discant within a composition
b.	frequent use of dissonant intervals
c.	the rhythmic modes
d.	simple, syllabic, repeating melodies
e.	unmetered organum purum

 

 

ANS:  D                    DIF:    Medium         REF:   107                TOP:   English Polyphony

MSC:  Applied

 

TRUE/FALSE

 

1. Tritones were considered acceptable in organum.

 

ANS:  F                    DIF:    Easy               REF:   86                  TOP:   Early Organum

MSC:  Conceptual

 

2. Parallel fifths were considered acceptable in organum.

 

ANS:  T                    DIF:    Easy               REF:   86                  TOP:   Early Organum

MSC:  Conceptual

 

3. Polyphony was sung by a choir, with several people singing each part.

 

ANS:  F                    DIF:    Hard              REF:   88–89            TOP:   Note-Against-Note Organum

MSC:  Conceptual

 

4. The notation of Aquitanian polyphony shows the rhythmic duration of each pitch.

 

ANS:  F                    DIF:    Medium         REF:   91                  TOP:   Aquitanian Polyphony

MSC:  Applied

 

5. In the original manuscript, this passage would have been notated using the rhythmic modes.

 

ANS:  T                    DIF:    Easy               REF:   92–93 | 96      TOP:   The Rhythmic Modes

MSC:  Applied

 

6. The origins of Western rhythmic notation can be found in the rhythmic modes.

 

ANS:  F                    DIF:    Medium         REF:   92 | 104

TOP:   Motets in the Later Thirteenth Century | Franconian notation

MSC:  Conceptual

 

7. In organum, voice exchange is when the duplum or triplum trades phrases with the tenor.

 

ANS:  F                    DIF:    Medium         REF:   98                  TOP:   Perotinus Organum

MSC:  Applied

 

8. It is likely that Perotinus composed the surviving examples of organum quadruplum.

 

ANS:  T                    DIF:    Easy               REF:   98                  TOP:   Perotinus Organum

MSC:  Factual

 

9. Early motets could be secular.

 

ANS:  T                    DIF:    Easy               REF:   101                TOP:   Early Motets

MSC:  Factual

 

10. The motets of Petrus de Cruce are unmetered.

 

ANS:  F                    DIF:    Medium         REF:   106–107

TOP:   Motets in the Later Thirteenth Century                              MSC:  Applied

 

SHORT ANSWER

 

1. A type of organum described in Musica enchiriadis that includes intervals of seconds and thirds in order to avoid tritones is called

 

ANS:

mixed parallel and oblique organum

 

DIF:    Hard               REF:   86–87            TOP:   Early Organum

MSC:  Applied

 

2. How is composing organum similar to the practice of troping chants?

 

ANS:

Both are additions or ornaments to the authorized chant.

 

DIF:    Medium         REF:   88                  TOP:   Note-Against-Note Organum

MSC:  Conceptual

 

3. How were substitute clausulae used?

 

ANS:

Settings of segments of chants within a larger piece of organum were self-contained sections. These sections could be replaced by new self-contained settings of the same segment of chant.

 

DIF:    Hard               REF:   97                  TOP:   Substitute Clausulae

MSC:  Applied

 

4. Can the following excerpt be from a conductus? Why or why not?

 

ANS:

It cannot. In a conductus all the voices are set in essentially the same rhythm. In this passage the tenor is sustained and the quadruplum has longer notes than the other voices towards the end. A conductus is syllabic. This passage is an extended melisma on the syllable “Vi-.”

 

DIF:    Medium         REF:   99–100          TOP:   Polyphonic Conductus

MSC:  Applied

 

5. Why do motets have compound titles, with two or more phrases separated by slashes (for example, Super te Ierusalem/Sed fulsit virginitas/Dominus)?

 

ANS:

Each voice of the motet has a different text, each of which is identified in the title of the motet by the first few words.

 

DIF:    Easy               REF:   101                TOP:   Early Motets

MSC:  Applied

 

6. What is the difference between a substitute clausula and an early motet?

 

ANS:

Compositionally they are the same; the difference is in the text. Motets have newly added words in the upper voices and are syllabic. Substitute clausulae were composed for chant melismas, so the only text is a single syllable on which the chant melisma was sung.

 

DIF:    Medium         REF:   97 | 101 | 103                                  TOP:   Substitute Clausulae| Motet

MSC:  Conceptual

 

7. How many voice parts are in a double motet? Explain your answer.

 

ANS:

Three: one voice carries the chant (tenor) and two composed voices present different texts above the tenor. A triple motet would have four voices.

 

DIF:    Hard               REF:   102                TOP:   Early Motets

MSC:  Applied

 

8. Why were thirteenth-century motets most likely intended for elite audiences?

 

ANS:

The interplay of texts and combination of borrowed and new elements required an educated audience already familiar with the repertory to appreciate the subtleties.

 

DIF:    Hard               REF:   103                TOP:   Early Motets

MSC:  Conceptual

 

9. What is the primary innovation in notation described by Franco of Cologne in his treatise Ars cantus mensurabilis?

 

ANS:

The shape of the note indicates its relative duration or rhythmic value. This is in contrast to modal notation, in which rhythmic values were determined according to the patterns of two- and three-note ligatures.

 

DIF:    Hard               REF:   104                TOP:   Motets in the Later Thirteenth Century

MSC:  Conceptual

 

10. Why do motets from the second half of the thirteenth century show more rhythmic flexibility than motets from the first half of the century?

 

ANS:

The development of Franconian notation allowed for more rhythmic freedom and variety than the previous system of the rhythmic modes.

 

DIF:    Medium         REF:   105                TOP:   Motets in the Later Thirteenth Century

MSC:  Conceptual

 

MATCHING

 

Match each score excerpt to the correct description.

a.
b.
c.
d.
e.

 

 

1. Aquitanian-style discant

 

2. conductus

 

3. motet

 

4. Notre Dame–style discant

 

5. parallel organum

 

1. ANS:  B

 

2. ANS:  D

 

3. ANS:  E

 

4. ANS:  C

 

5. ANS:  A

 

Match each manuscript or collection to the repertory it contains.

a.	Codex Calixtinus	d.	Winchester Troper
b.	Magnus Liber Organi	e.	Worcester Fragments
c.	Montpellier Codex

 

 

6. Aquitanian polyphony

 

7. early note-against-note organum

 

8. English rondellus and rotas

 

9. motets in Franconian notation

 

10. Notre Dame polyphony

 

6. ANS:  A

 

7. ANS:  D

 

8. ANS:  E

 

9. ANS:  C

 

10. ANS:  B

 

ESSAY

 

1. Discuss the role of improvisation and oral transmission in the development of organum.

 

ANS:

Answers will vary.

 

2. Compare and contrast the rhythmic style of polyphony from the Notre Dame school with that of motets from the thirteenth century. How do you account for the similarities and differences?

 

ANS:

Answers will vary.