.Outline the developments and innovations in musical notation, c.800-1600. Which developments strike you as particularly important? Perhaps consider this last question in relation to the later history of music.

1.Outline the developments and innovations in musical notation, c.800-1600. Which developments strike you as particularly important? Perhaps consider this last question in relation to the later history of music.

2. Burkholder et. al describe Ockeghem’s works as demonstrating “exceptional compositional virtuosity” (p.185, 10thed). What do they mean by this? Outline the range of “compositionally virtuosic” techniques of counterpoint that Ockeghem used during his career. What might explain why he was composing like this?(Alternatively, answer these questions in relation to Lassus.)

3. Aside from religious music and music for dancing, what were the main social roles of music in the Baroque period? How did these roles shape the sounds of the music (i.e., how did composers respond)?

4. What were the most important factors in the rise of the public concertin the eighteenthcentury?

5. Fandom is often thought of as something that emerged only in the twentieth century, in response to popular music. To what extent was intense adulation of musicians by audiences evident earlier? Were there particular audience behaviours or any other evidence for a kind of nineteenth-century fandom? Choose either Beethoven or Liszt and assess these questions.

6. Choose either Stravinsky or Debussy. How much did dance music influence this composer’s work? What was its influence?

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