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

MUH 3211 Third Examination, 1997

1. Match the numbers below with the letters which follow

___ 1. Authentic/Plagal
___ 2. Binchois
___ 3. Burgundian Cadence
___ 4. Burgundian Chanson (specific)
___ 5. Chanson (general)
___ 6. Cancrizans
___ 7. Canon
___ 8. Contenance Angloise
___ 9. Contratenor
___ 10. Contratenor bassus
___ 11. Duke of Burgundy
___ 12. Duke of Bedford
___ 13. Dufay
___ 14. Dunstable
___ 15. English discant
___ 16. Fauxbourdon
___ 17. Formes fixes
___ 18. Harmonice musices odhecaton
___ 19. Josquin des Prez
___ 20. Landini Melodic Embellishment
___ 21. Landini Cadence (general)
___ 22. L'Homme Arme
___ 23. M. Caput
___ 24. M. Prolationem
___ 25. Musica ficta
___ 26. Musica Reservata
___ 27. Mensuration canon
___ 28. Non-imitative Counterpoint
___ 29. Notre-Dame, Cambrai
___ 30. Octave Leap Cadence
___ 31. Obrecht
___ 32. Petrucci
___ 33. Parody Technique
___ 34. Secular Cantus Firmus
___ 35. Soggetto Cavato

Choose from below the correct or best definition for the terms on the first page of this examination.

A. Publisher of the first printed music
B. Chord progression sounding like an authentic cadence, but "an accident of counterpoint"
C. Chordal progression characteristic Franco-Netherlandish cadences
D. Realization of a canonic voice in retrograde motion
E. Deriving a musical theme from non-musical material
F. Ockeghem's mass consisting of double canons, some of which were mensuration canons
G. First published music printed with movable type
H. Transitional English-Burgundian composer, anticipating many Flemish characteristics
I. Literally the "English Guise" of Dunstable's music
J. First to write a significant body of instrumental music
K. John Dunstable's employer, English regent of France
L. Chaplain at the Burgundian court, composer of chansons
M. Binchois' employer, important patron of music on continental Europe.
N. Parallel thirds and sixths, as in Dunstable's music
O. Parallel thirds and sixths, as in Dufay's music
P. (specific) Approaching a Landini cadence with fauxbourdon
Q. (specific) Dufay's form-generating device in the Missa Se La Face ay Pale
R. Popular secular cantus firmus used in Masses
S. Characteristic composition of Binchois
T. Old poetic formal organizations used in 15th century chansons
U. Franco-Netherlandish composer admired by Martin Luther
V. Cathedral school in which Dufay trained
W. The name of a Mass, based on a plainchant melisma on the word "Caput"
X. Direction for deriving an unwritten part from a notated one.
Y. A smoothly flowing web of contrapuntal lines, not derived from each other
Z. General term for a setting of a French text, most often for solo voice with instrumental accompaniment
AA. The "harmonietrager" or third voice of a Burgundian Chanson
BB. Suiting the music to the meaning of the text
CC. 7-6-1 melodic motive, sometimes seen over authentic cadences
DD. Harmonic-melodic progression characteristic of English-Burgundian cadences
EE. The "English" of English Burgundian
FF. Polyphonic technique in which the derived voice proceeds at a different metric ratio than the notated voice
GG. Chromatic alterations
HH. Dufay's 4th voice, below the tenor
I I. Deriving a new polyphonic composition from the entire texture of the borrowed composition

Indicate whether the following statements are true (T) or false (F).

___ 1. It is not characteristic of most English-Burgundian music to use imitation or cantus firmus technique.
___ 2. In fauxbourdon, the middle part would often not be notated, requiring the singer to improvise by singing the cantus part a fourth lower.
___3. English music affected continental music in the early 15th century.
___4. English discant and Fauxbourdon sound alike
___5. The formes fixes of the trouveres disappeared from use with the advent of polyphony.
___6. The chanson is the characteristic secular composition of the English-Burgundian period.
___7. Unlike Ars Antiqua and Ars Nova music, English-Burgundian music is composed in three distinct tessituras (layers).
___8. The Landini cadence is characteristic of Italian Ars Nova and disappears after 1400.
___9. It is characteristic of English-Burgundian music to have only three parts.
___10. Dufay writes in three different styles: the Ars Nova style of his teachers, the English-Burgundian style and an anticipation of the following Flemish style.
___ 11. In Dufay's Missa "Se La Face Ay Pale", the tenor line of his own chanson of the same name is used as the cantus firmus.
___ 12. In English-Burgundian chansons, the Contratenor line is almost always a lyrical, vocal line, with words.
___ 13. Characteristically for English-Burgundian music, Binchois composed sacred and secular music in distinctly different styles
___ 14. The name of the cantus firmus is usually acknowledged in the title of a Mass
___15. The term "Chorus" on a piece of Flemish music was likely to indicate liturgical music.
___ 16. The essential quality of Ockeghem's music is joyous, featuring points of imitation, short melodic sections with frequent cadences and an essentially high tessitura for all voices.
___ 17. The paraphrase technique featured borrowing only a melodic line for contrapuntal working in the derived composition.
___ 18. The canon (rule) will indicate the tempo of the derived part.
___ 19. A Cyclic Mass is based on borrowed material.
___ 20. Polytextuality and isorhythm lingered into the 15th century.
___ 22. The earliest Flemish music actually contains the later works of Dufay.
___ 23. An example of Soggetto Cavato would be deriving a cantus firmus from the music of a royal fanfare.
___ 24. Isorhythm disappeared as a form-generating device at the end of the Ars Nova
___ 25. Petrucci was an entrepreneur, publishing music that was commercially successful.
___26. Ockeghem composed in two main styles, Canonic and Non-imitative
___ 27. The "drive to cadence" featured a gradual lessening of harmonic and contrapuntal textures, so that the composition faded away - almost like a decrescendo and rallentando.
___ 28. Motets tended to be nationalistic compositions, written in the language of the country of origin.
___ 29. In a cyclic mass, the cantus firmus is not used.
___ 30. Familiar style, like the earlier conductus texture, was often note-against-note and syllable-against-syllable.
___ 31. The popularity of Chant Source Cantus Firmi is due to the implications of form and harmony found in them.
___ 32. It is common in English-Burgundian music for the final chord of a composition to contain only medieval consonances - no thirds.
___ 33. Dufay's melodies evolved into rhythmically free lines which seem to change from meter to meter or even misplace the accents off the beat.
___ 34. a "Mensur-strich" is the English-Burgundian version of an "Os-strich".
___ 35. Since most composers of the 15th century were chaplains or priests, there was little secular music composed.

Indicate the order in which selections from the following are played:

____Dunstable: Quam Pulchra Es
____Dufay: Vergene Bella
____Dufay: Se la face ay Pale
____Dufay: Nuper rosarum flores - Terribilis locus est iste
____Dufay: Agnus Dei, from M. L'Homme arme
____Binchois: De plus en plus
____Ockeghem: Kyrie, from M. Missa Prolationem
____Josquin: Ave Maria

The following questions refer to the scores in your DWM anthology:

Comment on the texture and the cadence in measures 143 to 155 in Josquin's motet Ave Maria (don't forget to read the C clefs)
In Josquin's motet "Ave maria..." name the texture in the last thirteen measures. Why did Josquin use this texture?
In the chanson Se la face ay pale:
- describe the cadence in measures 17-18
- describe the cadence in measures 9-10
In the chanson De plus un plus:
- describe the cadence in measures 7-8
- Looking at the text, can you name the form of this chanson? Is there anything missing in the printed text?
Nuper rosarum flores - Terribilis locus est iste:
- What is the form-generating device of this motet?
- What is the source for the motet tenors?
"Quam pulchra es": describe Dunstable's texture in measures 12-15
Describe Obrecht's treatment of the cantus firmus in "Parce Domine"
Missa L'Homme Arme:
- What is the cantus firmus of this work?
- How is the CF used in sections A (measure 1),
- How is it used at B (measure 40)
- How is it used at C (measure 75)
Analyze Josquin's "Absalom, fili mi," and list specific details that identify this composition as a Franco-Netherlandish work.