MUSHISTCHAP9

MUSHISTCHAP9 - Homework Chapter 9 1. Ockeghem spent most of...

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Homework Chapter 9 1. Ockeghem spent most of his career in the service of _________. a. The nobility of Mantua b. Ferdinand and Isabella c. The Pope d. The kings of France e. The duke of Burgundy 2. Ockeghem’s Missa prolationem employs which compositional technique? a. Cantus-firmus b. Canon c. Motto d. The main motive is based on solfege syllables e. Imitation of all the voices of a motet whose text begins with the world Prolationem 3. The Missa Cuisvis toni is special because___________. a. It can be sung in any mode b. It was composed for the pope’s anniversary c. It uses all seven notes of the diatonic octave in its theme d. The solfege names for the notes spell the name of the person to whom it is dedicated e. The composer intended for it to be performed at his tomb after his death 4. Busnoys favored which form(s) for his chansons? a. The formes fixes, especially the rondeau b. Free compositions with no repetition c. Forms incorporating a burden section d. Paired stanzas with open and closed endings e. Cantus-firmus treatments based on chant melodies 5. Which of the following statements describes the ways(s) in which the bassus voice of the late fifteenth century differs from that of the masses of Du Fay? a. The range is a fourth lower . b. The range is a fourth higher. c. It sings the cantus-firmus melody instead of the tenor voice. d. It is a drone. e. There was no bassus voice in the late fifteenth-century mass. 6. Vocal ranges of the late fifteenth and early sixteenth centuries tended to span_______. a. Less than a fifth b. Slightly less than an octave c. About an octave d. Slightly more than an octave
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e. About a twelfth 7. Composers of the late fifteenth and early sixteenth centuries take what approach to cantus-firmus composition? a.
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This note was uploaded on 11/07/2010 for the course 700 291 taught by Professor Baird during the Fall '10 term at Rutgers.

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MUSHISTCHAP9 - Homework Chapter 9 1. Ockeghem spent most of...

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