1. What historical circumstances may have led to the spread on the Continent of English music and musical style? 

2. What political conditions aided the rise of Burgundian musicians to prominence in the fifteenth century? What kinds of musicians were employed by the dukes of Burgundy? How did music at the Burgundian court influence music across Europe? 

3. What were the principal polyphonic genres in the mid-fifteenth century? 

4. Why is Binchois significant to our study of Western music? 

5. Write out the musical form of Binchois�s De plus en plus (NAWM 35). List the other titles of works in NAWM (and their composers) that use the same form. 

6. Describe the melodic style of the top voice and treatment of the text in Binchois�s De plus en plus. How do these traits differ from Machaut�s style as seen in Rose, liz (NAWM 28)? 

7. What type of cadences does Binchois use in De plus en plus? Where do parallel fifths and octaves occur? Where do vertical sonorities of sixths and thirds appear?

8. Briefly summarize Du Fay�s career. How was it typical of musicians of his era? How did his life facilitate the creation of an international style? 

9. How does Du Fay use the tenor of his chanson Se la face ay pale (NAWM 38a) in the tenor of the Gloria from his Missa Se la face ay pale (NAWM 38b)? How is this like isorhythm? How does it provide a form for the Gloria movement? 

10. Where in the Gloria does Du Fay borrow material from the other two voices of his chanson? What purpose might this borrowing serve? 

11. How do the four voices of the Gloria differ from each other in function and style?

12. What important books or treatises did Johannes Tinctoris, Gioseffo Zarlino, and Heinrich Glarean write (that you know of)? What significant ideas did those books contain, and when were they published? 

13. What were the new approaches to text setting in music of the Renaissance? How do these approaches embody ideals of humanism? 

14. When did printing of polyphonic music from movable type begin? Who was the first printer to use this technique, and where was he active? Name his first publication and characterize the kind of music it contained. Describe the usual format for printing ensemble music in the sixteenth century. 

15. Summarize the musical careers of Machaut, Du Fay, Ockeghem, and Josquin des Prez, emphasizing each composer's major musical contributions with mention of examples from relevant works in your required anthologies, NAWM and NRAWM.




16. What main types of instrumental music were practiced in the seventeenth century? 

17. What is an organ mass? What was the function of toccatas in the Catholic Mass? 

18. What was a sonata in the sixteenth century? How was the term used in the seventeenth century? 

19. What role did toccatas, preludes, and chorale preludes play in the Protestant church? 

20. Where and in what position was Dietrich Buxtehude employed for most of his career? What types of music did he compose for use in that position? 

21. How does Buxtehude�s Praeludium in E Major (NAWM 95) fit the definition of a late seventeenth-century toccata or prelude given in CHWM, page 215? What type of texture and figuration does it use? How does it fall into sections? 

22.
a. What are agr�ments, and what is their purpose? 
b. Define and describe style bris� (broken stye). 
c. On what instrument did style bris� and agr�ments originate, and why were they necessary on that instrument? 

23. What is a stylized dance? How do we know that Denis Gaultier�s La Coquette virtuose (NAWM 87) and Jacquet de La Guerre�s Suite No. 3 (NAWM 88) are stylized? 

24. What two main types of sonata began to be distinguished after about 1660? Describe each type as practiced by Corelli. 

25. What was the most common instrumentation for sonatas in the late seventeenth century? What was a sonata in this instrumentation called? 

26. What is a collegium musicum? What are Stadtpfeifer? Where and when were each of these institutions active?