Choral Methods - Quiz 1

What are the major geographical regions within Medieval and Renaissance periods?

France, Franco-Flemish, Germany, Occitan, Italy, Spain, England

Name 2 composers from France

Léonin, Pérotin

Name 2 Franco-Flemish composers

Josquin des Prez, Orlando di Lasso

Name 2 composers from Germany

Hildegard von Bingen and Martin Luther

Name 2 composers from Occitan

Bernart de Ventadorn and Comtessa de Dia

Name 2 composers from Italy

Giovanni Pierluigi da Palestrina and Claudio Monteverdi

Name 2 composers from Spain

Francesco Guerrero, Tomás de Victoria

Name 2 composers from England

Thomas Tallis and William Byrd

What are the major sacred and secular genres within the Medieval and Renaissance Periods?

Organum, Gregorian Chant, Sacred Motet, Medieval Motet, Mass, Conductus, Requiem Mass, Anthem, Madrigal, Lute Song, Chanson, Canon, Hymn, Chorale, Troubadour Song, German Lied, Ballade, Trouvère, Minnesang

What is organum?

Medieval; chant + added voice; parallel/contrary motion

Which piece is an example of organum?

Viderunt omnes by Pérotin — Latin; occasionally vernacular

What is Gregorian Chant?

Monophonic; Latin; unaccompanied; free rhythm (Middle Ages)

Which piece is an example of Gregorian Chant?

Veni Sancte Spiritus by Anonymous — Latin

What is a sacred motet?

Sacred; usually Latin; polyphonic/imitative (Middle Ages and Renaissance)

Which piece is an example of sacred motet?

Illibata Dei virgo nutrix by Josquin des Prez — Latin

What is a Medieval motet?

Multiple texts; different texts in different voices (Middle Ages) - sacred AND secular??

Which piece is an example of Medieval motet?

Quant en moy / Amour et biaute / Amara valde by Guillaume de Machaut — Latin, French, and sometimes Italian

How to identify Mass?

Kyrie, Gloria, Credo, Sanctus, Agnus Dei

Which piece is an example of Mass?

Messe de Nostre Dame by Guillaume de Machaut — Latin

What is conductus?

Medieval; Latin; homorhythmic; sacred

Which piece is an example of conductus?

Beata viscera by Pérotin — Latin

Regular Mass vs. Requiem Mass

A regular Mass is the weekly/daily service, while the Requiem Mass is a funeral Mass

What is a requiem?

A Mass for the dead

Which piece is an example of Requiem Mass?

Requiem by Johannes Ockeghem — Latin

What is an anthem?

English sacred text; English church music (Renaissance)

Which piece is an example of an anthem?

Be unto me by William Byrd — English

What is an Italian madrigal?

Italian; secular; polyphonic; word painting; expressive (Renaissance)

What is an English madrigal?

English; secular; polyphonic; often playful; word painting (Renaissance)

Which piece is an example of a madrigal?

Solo e pensoso by Luca Marenzio — Italian

What is a lute song?

Solo voice + lute; usually English (Renaissance)

Which piece is an example of a lute song?

Flow, My Tears by John Dowland — English

What is chanson?

French; secular; polyphonic (Middle Ages and Renaissance)

Which piece is an example of a chanson?

D’où vient cela, belle by Claudin de Sermisy — French

Which piece is an example of a canon?

Sumer is icumen in by Anonymous — Old English

What is a hymn?

Sacred; strophic; congregational; vernacular (Renaissance)

Which piece is an example of a hymn?

Ein feste Burg ist unser Gott — German

What is a chorale?

German Lutheran; 4-part; homophonic (Renaissance)

Which piece is an example of a chorale?

Wachet auf, ruft uns die Stimme — German

Hymn vs. Chorale

Hymn is more general (any sacred praise song), while chorale is a German Protestant hymn

What is a troubadour song?

Occitan; secular; courtly love (Middle Ages)

Which piece is an example of a troubadour song?

Can vei la lauzeta mover by Bernart de Ventadorn - Occitan

What is a German Lied?

German; solo voice + accompaniment (Renaissance)

Which piece is an example of German Lied?

Wach auff myn Hort by Oswald von Wolkenstein — German

What is a ballade?

French song with rigid structure that tells a story; secular; strophic (Middle Ages)

Which piece is an example of a ballade?

Amours me fait desirer by Guillaume de Machaut - French

What is a trouvere?

Old French; secular; courtly love (Middle Ages)

Troubadour Song vs. Trouvere

Troubadour songs are in Occitan, while trouveres are in Old French

Which piece is an example of trouvere?

A l’entrant d’este by Anonymous — Old French

What is minnesang?

Middle High German; secular; courtly love (Middle Ages)

Which piece is an example of minnesang?

Under der linden by Walther von der Vogelweide — Middle High German

What resources could you use to find Medieval or Renaissance periods discussed in classwork or group work? Identify websites, publishers, arrangers, repertoire databases, collections, and other resources.

JW Pepper, Choral Public Domain Library, International Music Score Library of Petrucci (IMSLP), RISM, Early Music Online, and British Library.

Boys experiencing changing voices should continue to sing while their voices are changing. Describe practical strategies a choral director can use to support singers who may experience discomfort, frustration, or low confidence during this changing period.

Explain voice change (reassurance), Create a safe environment (no mocking), Use vocalises, Voice frequently, Choose appropriate repertoire, Be flexible

Describe two warm-up or vocal exercise that are appropriate for singers experiencing a changing male voice. Explain briefly what each exercise is intended to accomplish.

Warm-Up 1: Vocalize downward on [u] using five-note patterns from sol–do, descending by a half step each time. This allows students to gradually move into their lower register. The goal is to carry the lighter quality of the voice downward as far as comfortably possible.

Warm-Up 2: Sing ascending scale patterns on a “gn”/nasal consonant exercise. This encourages students to explore the space within the mouth and develop a rounder, more resonant tone. It can also help students move upward through their changing range, since appropriate oral space and resonance are important when accessing higher pitches.

According to John Cooksey’s model of the changing male voice, identify the stages of voice changes and indicate the approximate range and tessitura associated with each stage.

• Stage 1: Boy soprano (10 to 12)

• Stage II: Midvoice I/alto (12 to 13)

• Stage III (Cambiata sound) (13-14)

• Stage IV: New Baritone (14-16/17)

• Stage V: (17/18 - ?)

Describe Stage 1 (Boy Soprano) of John Cooksey’s Changing Male Voice Model

Has a range of a3-e5/f5 and a tessitura of d4-c5. It lasts one to two years. 

Describe Stage II (Midvoice I/Alto) of John Cooksey’s Changing Male Voice Model

Has a range of g3/a3 to c5/d5 with a tessitura of d4-b4. It lasts three to nine months. 

Describe Stage III (Cambiata Sound) of John Cooksey’s Changing Male Voice Model

It lasts for about three to twelve months. It is a crucial period of vocal development. It has range from f3 to b4/c5 or d3-f4 and a tessitura of a3-g4 or f3-d5. 

Describe Stage IV (New Baritone) of John Cooksey’s Changing Male Voice Model

Lasts for one to two years. Has a range of b2/c3 to d4 and a tessitura of d3-a3.  

Describe Stage V of John Cooksey’s Changing Male Voice Model

It is the time when the voice is reasonably settled, but development continues on a less dramatic level. Lasts for a while! They have a range of g2/a2-e4/f4 with a tessitura of b3-c4 or c3-b3. It really depends on the voice part they arrive at.  

According to Lynne Gackle’s model of the female changing voice, identify the stages of vocal development and briefly describe the vocal characteristics of each stage.

• Stage I: Pre-pubertal (The Unchanged Voice) (ages 8–10/11)

• Stage II: Pre-menarcheal Voice (ages 11–12/13)

• Stage III: Post-menarcheal Voice (ages 12–14/15)

• Stage IV: Young Adult Female (14-17/18)

Describe Stage I: Pre-pubertal (The Unchanged Voice) of Lynne Gackle’s Model of the Changing Female Voice

Range of B♭3–F5 with a tessitura of D4–D5. The voice has a clear, flute-like quality.

Describe Stage II: Pre-menarcheal Voice of Lynne Gackle’s Model of the Changing Female Voice

Range of A3–G5 with a tessitura of D4–D5, with lift points around F4–A♯4. The voice becomes more breathy, and singers may begin to lose access to their upper range.

Describe Stage III: Post-menarcheal Voice of Lynne Gackle’s Model of the Changing Female Voice

Range of A3–F5 with a tessitura of A3–C5, with lift points around F4–A♯4 and D5–F♯5. The voice develops a huskier quality, register changes become more pronounced, and voice cracks and breathiness may occur. Vibrato may begin to develop.

Describe Stage IV: Young Adult Female of Lynne Gackle’s Model of the Changing Female Voice

Range of approximately A3/G3–A5/B5 with a tessitura of A3–G5. The voice develops a richer, fuller, and more consistent sound, with an increased range and decreased breathiness.

Guidelines for determining appropriate repertoire

• Range

• Tessitura

• Vocal difficulty

• Rhythm

• Texture

• Harmony

• Language/Text

• Part independence

• Age/experience

• Overall musical demands