John S. Kitts-Turner, Professor Emeritus

Office: MUB 133, School of Music, University of Florida, Gainesville, FL 32611
Phone: 392-0223, extension 206
Office hours: immediately after class or by appointment
E-mail: bassoon@ufl.edu

2nd EXAMINATION, 1997 - MUH 3211

    1. Match up the numbers on the list below with the letters which follows.

    • ___ 1. Rhythmic Modes
    • ___ 2. Discant clausula
    • ___ 3. Magnus Liber Organi
    • ___ 4. Perotin
    • ___ 5. Quadruplum
    • ___ 6. Stimmtausch, or Voice Exchange
    • ___ 7. Conductus motet
    • ___ 8. Petronian/Franconian motet
    • ___ 9. Hurdy-Gurdy
    • ___ 10. Leonin
    • ___ 11. Motet
    • ___ 12. Ars Antiqua
    • ___ 13. Polytextuality
    • ___ 14. Chansonnier
    • ___ 15. Jongleurs
    • ___ 16. Tempus or Time
    • ___ 17. Organum Triplum
    • ___ 18. Ars Antiqua melismatic Organum
    • ___ 19. Cauda
    • ___ 20. Troubadours
    • ___ 21. Trouveres
    • ___ 22. Virelai
    • ___ 23. Rondeaux
    • ___ 24. Ballade
    • ___ 25. Cantigas de Santa Maria
    • ___ 26. Minnesingers
    • ___ 27. Estampie
    • ___ 28. Shawm
    • ___ 29. Roman de Fauvel
    • ___ 30. Ars Nova
    • ___ 31. Isorhythm
    • ___ 32. Color
    • ___ 33. Talea
    • ___ 34. Cantus prius factus
    • ___ 35. Musica Ficta
    • ___ 36. Guillaume de Machaut
    • ___ 37. Francesca Landini
    • ___ 38. Mannerist Style
    • ___ 39. Italian Ars Nova Madrigal
    • ___ 40. Haut/ Bas


  1. The following correspond to the numbers above. Note that there is one correct or best answer, with no duplications or omissions.

    • A. Melismatic "tail" in a Polyphonic Conductus
    • B. Leonin's successor at Notre Dame
    • C. Form generating device which superimposes an original rhythm on a borrowed melody - Ars Nova characteristic
    • D. Later, northern French practitioners of secular monody
    • E. Poetically based rhythmic notation
    • F. Probable composer of the Magnus Liber Organi
    • G. Simultaneous use of contrasting texts, sometimes in different languages
    • H. Italian form like the Virelai NOT BALLATA
    • I. Designation for "loud" and "soft" in instrumental practice
    • J. Collection of Spanish monody in praise of Mary
    • K. Notre Dame Organum in which both voices proceed in modal rhythm
    • L. The melodic aspect of Isorhythm
    • M. Illuminated manuscript collections of secular monody
    • N. "Haut" oboe-like instrument
    • O. Initially, a discant clausula with words
    • P. LeoninÕs collection of organum
    • Q. Many by Landini, a two-part, non-imitative composition
    • R. compositions or poems in the form: ABaAabAB
    • S. Instrumental dance, similar in form to the sequence
    • T. Ars Antiqua polytextual composition with similar rhythms in all parts
    • U. Period in which the clausula, conductus and motet developed
    • V. Any borrowed melody - a song previously written
    • W. The appearance in a voice of something heard in previously in another voice - not real imitation
    • X. Ars antiqua 3-part melismatic composition - not polytextual
    • Y. End of the 14th century complex rhythmic compositional manner
    • Z. Sustained tone organum with the upper part in measured rhythm
    • AA. Chromatic notes outside of the normal liturgical modes
    • BB. The third voice above the tenor in a Perotin organum
    • CC. Earlier French practitioners of secular monody - scattered by the Albigensian Crusade
    • DD. AbbaA
    • EE. Wandering entertainers and practitioners of secular monody
    • FF. De VitryÕs treatise on rhythmic notation
    • GG. Stringed instrument, with a cranked wheel instead of a bow, which produced a drone as well as a melody
    • HH. The rhythmic aspect of isorhythm
    • II. Late Ars Antiqua composition featuring diversity among the parts
    • JJ. Early 14th century literary-musical work featuring isorhythmic compositions
    • KK. Outstanding composer of Italian Ars Nova music
    • LL. German practitioners of secular monody
    • MM. In modern rhythmic notation, the structure and division of the measure
    • NN. Outstanding composer of French Ars Nova music


  2. (T) or false (F) portion

    • ___ 1. Prolation refers to the division of the beat into duple or triple values.
    • ___ 2. Causa pulchritudinis was one of the specific theoretical reasons for the application of musica ficta.
    • ___ 3. The color in an isorhythmic motet is always a distinctly recognizable theme.
    • ___ 4. The formes fixes of the trouveres disappeared from use with the advent of polyphony.
    • ___ 5. The Caccia and the Chace were Italian and French versions of an imitative form
    • ___ 6. Isorhythm is a form-generating device which is obvious to the ear.
    • ___ 7. There is always a specific theoretical reason for the use of musica ficta.
    • ___ 8. Depending on the prolation, the breve could be the equivalent of our modern half-note, dotted half-note or double dotted half-note.
    • ___ 9. "Hocket" comes from the Italian word for hiccup. "Caccia" comes from their word for sneeze, and the corresponding German Ars Nova form is the "Gesundheit".
    • ___ 10. The terms "Haut" and "Bas" in 16th century music refer to the degree of secular, profane or even bawdy influence in a tune and can be compared to the terms "hot" and "square" in modern usage.
    • ___ 11. In the Ars Nova period, three types of organs were in use: portative, positive and the large organs installed in large churches.
    • ___ 12. Perfect time and minor prolation correspond to modern 3/4 time
    • ___ 13. The Virelai and the Rondeau both feature a refrain, that is, a section of repeated words and music
    • ___ 14. The Roman de Fauvel was an Italian (Roman) polyphonic song form.
    • ___ 15. The terms ÒDuxÓ and ÒComesÓ in Ars Nova music refer to the leading and following voices in Italian imitative polyphony.
    • ___ 16. Isorhythm was a form not generally followed by Italian Ars Nova composers
    • ___ 17. Carl OrffÕs "Carmina Burana" uses texts from Goliard poems.
    • ___ 18. If no text is indicated, it would be impossible to differentiate between a discant clausula and an early Parisian motet.
    • ___ 19. Typical of later French motets was a diversity of rhythm between the different parts, made possible by notational advances set forth in the Ars Cantus Mensurabilis.
    • ___ 20. "Conductus style" refers to voice movement in nearly the same rhythms.
    • ___ 21. Practitioners of secular monody sang in Latin, because it was a universal language, understood by all.
    • ___ 22. AbbaAbbaAbbaA would be a triple virelai
    • ___ 23. The rhythmic modes were melodic patterns of varying intervals.
    • ___ 24. There is very little instrumental music from the Medieval period, so there probably was very little instrumental music performed.
    • ___ 25. Early motets in the Ars Antiqua are very similar to Discant Clausulae, but with texts (words)
    • ___ 26. Musica ficta refers to the changing of durational values among the long, breve and semi-breve.
    • ___ 27. An Ars Nova Parisian motet is identified by its incipit.
    • ___ 28. Typical of later French motets was a diversity of rhythm between the different parts, made possible by notational advances set forth in the Ars Cantus Mensurabilis. USED TWICE
    • ___ 29. In early notation, a "perfection" refers to a three beat duration.
    • ___ 30. A cauda is the syllabic setting of a motet section.


  3. Identify the order in which selections from the following are played:

    • ___ Perotin: Alleluia, Nativitas (organum triplum)
    • ___ Anonymous: Hac in anni janua (conductus)
    • ___ Anon: En non Diu-Quant voi-Eius in Oriente (early polytextual motet)
    • ___ Anonymous: Pucelete-Je languis-Domino (later polytextual motet)
    • ___ Petrus de Cruce: Aucuns vont souvent-Amor qui cor-Kyrie (same)
    • ___ Anonymous: Sumer is icumen in
    • ___ Giraut de Bornelh: Reis glorioso (secular monody)
    • ___ Raimbut de Vaqueiras: Kalenda maya (same)
    • ___ Adam de la Halle: Le jeu de Robin et de Marion (same)
    • ___ Anonymous: Porque trobar (Cantiga de Santa Maria)
    • ___ Anonymous: Des oge mÕer de so (same)
    • ___ Walther von der Vogelweide: Palastinalied (Crusade song)
    • ___ Machaut: Agnus Dei, from the Messe de Notre Dame
    • ___ Machaut: Ma fin est mon commencement
    • ___ Gherardello da Firenze: Tosto che lÕalba (caccia)
    • ___ Landini: Si dolce non sono

    MUH 3211 1997, 2nd Exam, take-home

    1. I. Construct a Complete Landini Cadence in the Mixolydian Mode, indicating chromatic alterations. Label the clefs and the melodic and harmonic elements:
      • ____________________________________
      • ____________________________________
      • ____________________________________
      • ____________________________________
      • ____________________________________

      • ____________________________________
      • ____________________________________
      • ____________________________________
      • ____________________________________
      • ____________________________________

    2. Answer the following questions:
      • What does 7-6-1 mean in a Landini Cadence?
      • What does "Ars Nova" mean?
      • In Isorhythm, what was borrowed, and what was original?
      • What modern time signatures correspond to the following:
        1. Perfect time and minor prolation:
        2. Imperfect time and major prolation:
        3. Perfect time and major prolation:
        4. Imperfect time and minor prolation:
      • Cadential formulae include the expansion of what interval to the octave?
      • What is the incipit of a motet?
      • What does double leading tone mean in a Landini Cadence?
      • What is the chief importance of the rhythmic modes to the development of polyphony?
      • Why are Petronian or Franconian motets called by those names?
      • In your Anthology #20. "Hac in anni Ianua", what do we call the texture in measures 17 to the end?
      • In #21, "En non diu-Quant voi-Eius in Oriente", what term do we use to describe the texture of this motet?
      • In #26, What is the form of "Reis Glorioso"?
      • In #36, "Palastinalied", what is the form?
      • In #28, "Tosto che l'alba": What is the form-generating device in this work?
      • In #37, "Garrit gallus-In nova fert-N(euma)", what is the form generating device? Describe it in detail:
      • What is the form-generating device in #40: Machaut's "Ma fin est mon commencement?
      • For Extra Credit: In #32, The text identifies the form as a Rondeau. Comment on this identification.