2. What is the Old Hall Manuscript? In general, what kinds of works does it con-
      tain?--p. 134

3. What is the contenance angloise? How did English style spread to the conti-
      nent?--p. 134

4. What types of works did Dunstable write?--p. 134-135 What techniques are
      found in his three-part sacred pieces?--p. 135

5. What is the new meaning of "motet" in the early 15th century?--p. 137

6. What territories were included in the Duchy of Burgundy during the 15th cen-
      tury?--p. 138

7. Where was Dufay active as a composer? Where did most manuscripts of his
      works originate?--p. 141-142

8. What types of compositions are represented in Burgundian music? What is their
      general style?--p. 142

9. What is the new Burgundian cadence? How did it evolve from the double leading-
      tone cadence?--p. 142***

10. Be able to describe Burgundian rhythm--p. 142-143

11. What is a 15th-century chanson?--p. 143

12. What new technique for using a borrowed chant melody is found in Burgundian
      motets? When was the archaic isorhythmic motet used?--p. 143-144

13. How did the settings of the Mass Ordinary change and develop in the 15th cen-
      tury?--p. 144-145

14. What is a cantus firmus (or tenor) Mass? How does it create musical unity?--p.
      145

15. Where is the tenor (and the borrowed melody) in the four-part cantus firmus
      Mass? Why? What is the rhythmic style of such a tenor? What sources are used
      for the borrowed melodies?--p. 146

16. What is significant about the song L’homme armé?--p. 146

17. In his Missa Se la face ay pale, how does Dufay employ his cantus firmus?--p.
      147-148 How do the melodic lines maintain their diversity?--p. 148 How does
      Dufay organize his rhythm?--p. 148-149 How does he treat consonance and
      dissonance?--p. 149

18. In summary, what progressive features, found particularly in the late Masses of
      Dufay, are clear ingredients of Renaissance style?--p. 149