Chapter 11 Josquin des Prez and Renaissance Polyphony
TRUE/FALSE
1. The making of music in parts began as a very complex procedure.
ANS: F REF: Chapter 11, "Early Counterpoint", pg. 68
2. By the twelfth century, composers had begun to notate measured rhythms.
ANS: T REF: Chapter 11, "Early Counterpoint", pg. 68
3. The proper of the mass is the part that is unchanging.
ANS: F REF: Chapter 11, "The Mass", pg. 69
MULTIPLE CHOICE
1. Counterpoint is a. the practice of composing music by d. the movement which countered the punching holes in paper Reformation b. the practice of combining melodically e. a compositional technique for creating interesting parts hymns and chorales c. pointing out the heretics in the Catholic Church
ANS: B REF: Chapter 11, "Polyphony and Counterpoint", pg. 68
2. Early counterpoint was created by either adding a drone to a chant melody or a. having the monks sing and hum d. adding the nuns an octave above the monks simultaneously b. composing a secular tune in contrast to the e. playing a lyre along with a voice chant c. having the voices move in parallel motion
ANS: C REF: Chapter 11, "Early Counterpoint", pg. 68
3. More measured rhythms make possible a. more intricate coordination among the d. the addition of more percussion parts instruments b. wider vocal ranges e. the use of less paper c. dancing in the worship service
ANS: A REF: Chapter 11, "The Innovations of Renaissance Polyphony", pg. 68
4. Singing a round such as “Row, Row, Row Your Boat” or” Frere Jacques” is an example of a. alliteration d. monophonic singing b. imitation e. cantus firmus c. boerdom
ANS: B REF: Chapter 11, "The Innovations of Renaissance Polyphony", pg. 68
5. The heart of the Mass is the a. septuigent d. transubstantiation b. lifting up of the saints e. gloria c. Kyrie
ANS: D REF: Chapter 11, "Symbolism In Music For the Mass", pg. 69
6. ***Sound File EV_Ch11_Q06.mp3 attatched*** The texture of this example is a. monophonic d. canophonic b. polyphonic e. nonphonic c. homophonic
ANS: B [EV_Ch11_Q06.mp3 is in the Listening Items for Tests section of Instructor Companion Site. Go to
www.cengage.com/music to find the Instructor Companion Site for MUSIC.]
REF: Chapter 11, "Listen Up!", pg. 70
7. ***Sound File EV_Ch11_Q07.mp3 attatched*** The tenor voice is stating the melody of “L’homme arme’” as a a. drone d. round b. cantus firmus e. requirement for all Kyrie segments c. monophonic introduction
ANS: B [EV_Ch11_Q07.mp3 is in the Listening Items for Tests section of Instructor Companion Site. Go to
www.cengage.com/music to find the Instructor Companion Site for MUSIC.]
REF: Chapter 11, "Listen Up!", pg. 70
COMPLETION
1. _____ was the most esteemed composer of the early sixteenth century.
ANS: Josquin, or Josquin des Prez
REF: Chapter 11, "Josquin de Prez (Fast Facts)", pg. 67
2. ______is the polyphonic technique in which other parts restate a melodic idea.
ANS: Imitation
REF: Chapter 11, "The Innovations of Renaissance Polyphony", pg. 68
3. The medieval practice of manuscript ______parallels early counterpoint in that both involved the
elaborate decoration of sacred text.
ANS: Illumination
REF: Chapter 11, "The Innovations of Renaissance Polyphony (caption)", pg. 69
4. The Agnus Dei is sung shortly before ______.
ANS: communion or Eucharist
REF: Chapter 11, "The Five Mass Movements", pg. 69
5. The part of the Ordinary of the Mass that means “holy” is the ______.
ANS: Sanctus
REF: Chapter 11, "The Five Mass Movements", pg. 69
MATCHING
a. parts of the mass that change from day to f. parts of the mass that do not change day b. bread and wine literally change to body and g. means against blood of Christ c. highly regarded composer in France h. means holy d. three part form in which each section is i. added to a chant melody to create early different polyphony e. polyphonic technique in which other parts j. texture with more than one voice restate a melodic idea soon after its first presentation
1. drone
2. Josquin
3. proper
4. imitation
5. contra
6. Sanctus
7. transubstantiation
8. ABC
9. polyphonic
10. ordinary
1. ANS: I REF: Chapter 11, "Early Counterpoint", pg. 68
2. ANS: C REF: Chapter 11, Introduction, pg. 67
3. ANS: A REF: Chapter 11, "The Mass", pg. 69
4. ANS: E REF: Chapter 11, "The Innovations of Renaissance Polyphony", pg. 68
5. ANS: G REF: Chapter 11, "Polyphony and Counterpoint", pg. 67
6. ANS: H REF: Chapter 11, "The Five Mass Movements", pg. 69
7. ANS: B REF: Chapter 11, "Symbolism In Music For the Mass", pg. 69
8. ANS: D REF: Chapter 11, "Listen Up!", pg. 70
9. ANS: J REF: Chapter 11, "Polyphony and Counterpoint", pg. 67
10. ANS: F REF: Chapter 11, "The Mass", pg. 69
ESSAY
1. What was the major innovation in Renaissance polyphony? How did this affect the music of the
Renaissance?
ANS: the distribution of rhythmically and melodically distinctive material among all of the parts polyphony measured rhythm most obvious in use of imitation More instrumental and dance music
more complex vocal parts in sacred works
REF: Chapter 11, "The Innovations of Renaissance Polyphony", pg. 68
2. List the five parts of the ordinary of the mass, define the Latin term and describe the purpose for each in
the service.
ANS: Kyrie - Lord Have Mercy - forgiveness Gloria - Glory to God in the highest - praise Credo - creed, statement of faith Sanctus - Holy proclaiming God as Holy
Agnus Dei - Lamb of God, takes away the sin of the world, sung before communion
REF: Chapter 11, "The Five Mass Movements", pg. 69
3. What are some of the reasons that Josquin’s music was so popular among his peers?
ANS: Well written use of familiar cantus firmus tunes praised by Martin Luther
master of polyphonic composition
REF: Chapter 11, Introduction, pg. 67