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Knud Jeppesen received extensive formal music training from renowned professors starting from a very young age.
Answer: False
Explanation: Jeppesen's early musical development was largely self-directed, although he received encouragement and later pursued formal studies at Copenhagen University under Angul Hammerich and received instruction from Carl Nielsen and Thomas Laub.
Jeppesen's musical education encompassed studies in Copenhagen under Carl Nielsen and Thomas Laub, following a period working as an opera coach in Germany.
Answer: True
Explanation: Following his tenure as an opera coach in Germany, Jeppesen returned to Denmark and pursued musical studies in Copenhagen, receiving instruction from prominent figures such as Carl Nielsen and Thomas Laub.
Knud Jeppesen was a contemporary and direct rival of the renowned Danish composer Carl Nielsen.
Answer: False
Explanation: While Jeppesen was a contemporary of Carl Nielsen and served as his closest associate for a significant period, they were not rivals. Jeppesen also authored articles discussing Nielsen's music.
According to the source material, what was a notable characteristic of Jeppesen's early musical education?
Answer: He was primarily self-taught before formal university studies.
Explanation: Jeppesen displayed early musical aptitude but was largely self-taught before pursuing more formal studies at Copenhagen University and receiving instruction from notable figures.
What was the nature of Knud Jeppesen's association with Carl Nielsen?
Answer: Jeppesen was Nielsen's closest associate for about 15 years.
Explanation: From 1916 to 1931, Knud Jeppesen served as Carl Nielsen's closest associate, during which time he also authored critical articles discussing Nielsen's music and life.
Knud Jeppesen, a Danish figure, was primarily recognized as a composer who also engaged in musicological research concerning contemporary composers.
Answer: False
Explanation: While Jeppesen was both a composer and a musicologist, his primary renown stemmed from his extensive scholarship, particularly his work on Giovanni Pierluigi da Palestrina, rather than his compositional output or research on contemporary figures.
Knud Jeppesen obtained his doctorate in musicology from the Royal Danish Conservatory of Music following a dissertation examination by Danish scholars.
Answer: False
Explanation: Jeppesen was awarded his doctorate by the University of Vienna, not the Royal Danish Conservatory of Music, after his dissertation was reviewed by Guido Adler.
Guido Adler, a distinguished professor at the University of Vienna, reviewed Knud Jeppesen's doctoral dissertation, which led to the award of his doctorate.
Answer: True
Explanation: The University of Vienna, under the review of Professor Guido Adler, conferred Jeppesen's doctorate in musicology in recognition of his dissertation.
Jeppesen taught musicology at Aarhus University, where he was instrumental in establishing the Institute of Musicology.
Answer: True
Explanation: At Aarhus University, Jeppesen not only taught musicology but also founded the Institute of Musicology in 1950, directing it until his retirement.
Knud Jeppesen imparted instruction in music theory at the Royal Danish Academy of Music until his retirement in 1957.
Answer: False
Explanation: Jeppesen taught music theory at the Royal Danish Academy of Music from 1920 to 1947, not until 1957.
The composer Vagn Holmboe was among Knud Jeppesen's students at Aarhus University.
Answer: False
Explanation: While Vagn Holmboe was a student of Knud Jeppesen, the instruction occurred in Copenhagen, not Aarhus University.
Knud Jeppesen's musicological research is primarily associated with the study of Baroque opera librettos.
Answer: False
Explanation: Jeppesen's musicological focus was predominantly on Renaissance and early Baroque polyphony, particularly the works of Palestrina, rather than Baroque opera librettos.
Jeppesen's musicological writings predominantly explored German composers of the Baroque era.
Answer: False
Explanation: Jeppesen's scholarly focus was primarily on Italian and Danish composers of the Renaissance and early Baroque periods, particularly Palestrina.
Knud Jeppesen's musicological research primarily focused on 20th-century avant-garde music.
Answer: False
Explanation: Jeppesen's research was predominantly centered on Renaissance and early Baroque music, particularly the polyphonic vocal style of the 16th century.
Guido Adler was a Danish musicologist who supervised Jeppesen's early studies at Copenhagen University.
Answer: False
Explanation: Guido Adler was a professor at the University of Vienna who reviewed Jeppesen's dissertation. Angul Hammerich supervised Jeppesen's studies at Copenhagen University.
The University of Vienna rejected Jeppesen's dissertation, compelling him to seek a doctorate elsewhere.
Answer: False
Explanation: The University of Vienna accepted Jeppesen's dissertation, with Guido Adler reviewing it and awarding him his doctorate. He sought external review because Copenhagen University lacked a suitable examiner.
Knud Jeppesen is most renowned for his contributions in which primary area of musicology?
Answer: Leading scholarship on Giovanni Pierluigi da Palestrina.
Explanation: Jeppesen is widely celebrated as the foremost scholar on Giovanni Pierluigi da Palestrina, dedicating a significant portion of his career to studying and disseminating knowledge about the composer's works and style.
How did Knud Jeppesen ultimately obtain his doctorate in musicology?
Answer: By submitting his dissertation to the University of Vienna for review by Guido Adler.
Explanation: Due to the lack of a suitable examiner at Copenhagen University, Jeppesen submitted his dissertation to the University of Vienna, where Guido Adler reviewed it and awarded him his doctorate.
What key role did Knud Jeppesen assume at Aarhus University?
Answer: Founder and director of the Institute of Musicology.
Explanation: Upon appointment as professor of musicology at Aarhus University in 1946, Jeppesen established the Institute of Musicology in 1950 and served as its director until his retirement.
Which composer studied under Knud Jeppesen in Copenhagen?
Answer: Vagn Holmboe
Explanation: The composer Vagn Holmboe was a student of Knud Jeppesen during Jeppesen's time teaching in Copenhagen.
Knud Jeppesen's name is most strongly associated with the study of what fundamental musical element?
Answer: Musical counterpoint, especially Palestrina's style.
Explanation: Jeppesen is preeminently recognized for his scholarly contributions to the understanding of musical counterpoint, with a particular specialization in the polyphonic techniques of Giovanni Pierluigi da Palestrina.
Jeppesen's musicological writings predominantly focused on composers from which regions and periods?
Answer: Italian and Danish composers of the 16th and 17th centuries.
Explanation: Jeppesen's scholarly output primarily addressed the music of Italian and Danish composers active during the Renaissance and early Baroque eras, with a particular emphasis on the 16th century.
Who reviewed Knud Jeppesen's doctoral dissertation for the University of Vienna?
Answer: Guido Adler
Explanation: Guido Adler, a prominent professor at the University of Vienna, reviewed Knud Jeppesen's doctoral dissertation, leading to the award of his degree.
Knud Jeppesen, a distinguished Danish scholar, achieved significant recognition principally for his profound research on the composer Giovanni Pierluigi da Palestrina.
Answer: True
Explanation: The source material consistently identifies Jeppesen as the foremost authority on Giovanni Pierluigi da Palestrina, highlighting his extensive studies and publications concerning the composer's life and musical oeuvre.
Knud Jeppesen's magnum opus, *La frottola*, is a scholarly examination of Renaissance polyphonic masses.
Answer: False
Explanation: *La frottola*, Jeppesen's magnum opus, is a comprehensive study of Italian popular, secular songs from the late 15th and early 16th centuries, not Renaissance polyphonic masses.
The work *La frottola*, published between 1968 and 1970, is recognized as Knud Jeppesen's most significant scholarly contribution.
Answer: True
Explanation: *La frottola*, published in two volumes between 1968 and 1970, is widely regarded as Jeppesen's seminal scholarly achievement, offering a definitive bibliography and study of the frottola genre.
Jeppesen's seminal 1930 book, *Counterpoint: The Polyphonic Vocal Style of the Sixteenth Century*, became a standard textbook and was translated into multiple languages.
Answer: True
Explanation: Originally published in Danish as *Kontrapunkt*, this influential work on sixteenth-century vocal counterpoint was translated into German (1935) and English (1939), establishing itself as a foundational text in musicological pedagogy.
Jeppesen's doctoral dissertation primarily focused on Palestrina's innovative application of chromaticism in his masses.
Answer: False
Explanation: Jeppesen's doctoral dissertation, later published as *The Style of Palestrina and the Dissonance*, concentrated on Palestrina's treatment of dissonance, not chromaticism.
Jeppesen compiled the first comprehensive thematic catalog of Palestrina's complete musical works in 1962.
Answer: True
Explanation: In 1962, Jeppesen published the first complete thematic catalog of Giovanni Pierluigi da Palestrina's musical output, a monumental contribution to Palestrina scholarship.
In 1946, Jeppesen edited a significant keyboard work by Dietrich Buxtehude.
Answer: False
Explanation: In 1946, Jeppesen edited Dietrich Buxtehude's motet 'Min Gud er med mig (Der Herr ist mir)', not a keyboard work.
Jeppesen's 1930 work *Kontrapunkt* analyzed the harmonic practices of the Classical era.
Answer: False
Explanation: *Kontrapunkt* (Counterpoint) analyzed the principles of vocal polyphony and the musical style of the sixteenth century, not the harmonic practices of the Classical era.
Jeppesen's doctoral thesis explored Palestrina's handling of dissonance in his compositions.
Answer: True
Explanation: Jeppesen's doctoral thesis, later published as *The Style of Palestrina and the Dissonance*, meticulously examined Palestrina's treatment of dissonances within his polyphonic compositions.
The 'Dania Sonans' series, founded by Jeppesen, was established to publish contemporary Danish compositions.
Answer: False
Explanation: The 'Dania Sonans' series, founded and edited by Jeppesen, was dedicated to publishing editions of early Danish music, not contemporary compositions.
Jeppesen's 1943 publication *Die italienische Orgelmusik am Anfang des Cinquecento* focused on Italian organ music from the early 16th century.
Answer: True
Explanation: This publication by Jeppesen delves into the stylistic developments and significant works of Italian organ music during the early Cinquecento (16th century).
Jeppesen's 1961 paper addressed challenges in musical notation related to the development of graphic scores.
Answer: False
Explanation: Jeppesen's 1961 paper discussed technical issues concerning sixteenth-century musical notation, including the use of bar lines, rather than graphic scores.
Knud Jeppesen's 1968 paper investigated the question of whether Monteverdi served as Kapellmeister at Santa Barbara in Mantua.
Answer: True
Explanation: Jeppesen's paper 'Monteverdi, Kapellmeister an S. Barbara?' critically examined the historical evidence regarding Monteverdi's potential role as music director at the church of Santa Barbara in Mantua.
The *Missa Papae Marcelli* is a work that Knud Jeppesen discovered and attributed to Palestrina.
Answer: False
Explanation: The *Missa Papae Marcelli* is one of Palestrina's most famous works, well-documented prior to Jeppesen's research. Jeppesen's significant discovery involved ten previously unknown masses by Palestrina.
In Knud Jeppesen's scholarly context, the term *frottole* refers to complex polyphonic liturgical music from the Renaissance.
Answer: False
Explanation: The term *frottole* in Jeppesen's work denotes Italian popular, secular songs of the late 15th and early 16th centuries, not liturgical polyphony.
Jeppesen's research on Palestrina focused mainly on cataloging Palestrina's performance dates.
Answer: False
Explanation: Jeppesen's research on Palestrina was comprehensive, focusing on stylistic analysis (e.g., dissonance treatment), cataloging works, and exploring historical context, rather than solely performance dates.
The 1935 German translation of Jeppesen's *Kontrapunkt* focused specifically on Gregorian chant.
Answer: False
Explanation: The 1935 German translation of Jeppesen's *Kontrapunkt* focused on the polyphonic vocal style of the sixteenth century, not Gregorian chant.
What musical genre is the subject of Knud Jeppesen's magnum opus, *La frottola*?
Answer: Italian popular, secular songs of the late 15th and early 16th centuries.
Explanation: *La frottola* is a comprehensive study of the principal genre of Italian popular, secular songs that flourished during the late fifteenth and early sixteenth centuries.
What was the primary significance of Knud Jeppesen's 1930 book, *Counterpoint: The Polyphonic Vocal Style of the Sixteenth Century*?
Answer: It became a standard textbook on 16th-century vocal counterpoint, widely translated.
Explanation: This seminal work, originally published in Danish, achieved widespread influence upon its translation into German and English, establishing itself as a definitive textbook on sixteenth-century vocal counterpoint.
Jeppesen's doctoral dissertation, later published in English, primarily analyzed which aspect of Palestrina's music?
Answer: His treatment of dissonance.
Explanation: The dissertation, published as *The Style of Palestrina and the Dissonance*, focused critically on Palestrina's sophisticated handling of dissonances within his polyphonic compositions.
What was the purpose of the 'Dania Sonans' series founded by Knud Jeppesen?
Answer: To publish editions of early Danish music.
Explanation: The 'Dania Sonans' series, established and edited by Jeppesen, aimed to make historical Danish musical compositions more accessible through scholarly editions.
What specific historical question did Jeppesen explore in his 1968 paper concerning Monteverdi?
Answer: If Monteverdi served as Kapellmeister at Santa Barbara in Mantua.
Explanation: Jeppesen's 1968 paper critically examined the historical evidence concerning Monteverdi's potential tenure as Kapellmeister (music director) at the church of Santa Barbara in Mantua.
What specific work by Dietrich Buxtehude did Jeppesen edit in 1946?
Answer: The motet 'Min Gud er med mig (Der Herr ist mir)'.
Explanation: In 1946, Jeppesen undertook the scholarly editing of Dietrich Buxtehude's motet titled 'Min Gud er med mig (Der Herr ist mir)'.
What was the primary focus of Knud Jeppesen's musicological research concerning Giovanni Pierluigi da Palestrina?
Answer: His handling of dissonance.
Explanation: Jeppesen's seminal work on Palestrina, *The Style of Palestrina and the Dissonance*, critically analyzed the composer's sophisticated techniques in managing dissonances within his polyphonic compositions.
Knud Jeppesen ceased composing for over a decade following an initial period where his works received unfavorable reception.
Answer: True
Explanation: Due to the poor reception of his early compositions, Jeppesen suspended his compositional activities for approximately fifteen years before resuming them.
During his career, Jeppesen primarily composed orchestral symphonies and chamber music.
Answer: False
Explanation: Jeppesen's compositional output included songs, church music, motets, cantatas, and an opera, but not primarily orchestral symphonies.
The opera *Rosaura*, composed by Knud Jeppesen, premiered in Germany in 1950.
Answer: False
Explanation: *Rosaura*, Knud Jeppesen's opera, premiered in 1950 at the Royal Danish Theatre, not in Germany.
Knud Jeppesen's compositional style was exclusively influenced by contemporary Danish folk music.
Answer: False
Explanation: Jeppesen's compositional style integrated influences from early counterpoint, such as Palestrina's techniques, and later periods like late Viennese Romanticism, alongside other elements, not solely Danish folk music.
Knud Jeppesen's earliest known composition, 'Nordisk Festmarche' (1906), was scored for a full orchestra.
Answer: False
Explanation: The earliest listed composition, 'Nordisk Festmarche' (1906), was written for three violins, cello, and harmonium or piano, not a full orchestra.
The 1911 composition *Staka* by Jeppesen is classified as a sacred motet.
Answer: False
Explanation: *Staka*, composed in 1911, is described as a symphonic poem intended for tenor and piano, not a sacred motet.
Knud Jeppesen's 1937 composition 'Domine, refugium factus es nobis' is a cantata featuring a soprano soloist and a flute accompaniment.
Answer: True
Explanation: The 1937 composition 'Domine, refugium factus es nobis' is indeed a cantata scored for soprano soloist and either a flute or violin solo.
The 'Te Deum Danicum', composed circa 1942-1945, was written for the inauguration of a new university faculty.
Answer: False
Explanation: The 'Te Deum Danicum', composed between 1942 and 1945, was created for the inauguration of the Danish Radio concert hall, not a university faculty.
Knud Jeppesen's 1941 composition 'Lille Sommertrio' is a chamber piece for flute, cello, and piano.
Answer: True
Explanation: The 1941 composition 'Lille Sommertrio', also known as 'Little Summer Trio', is a chamber music work scored for flute, cello, and piano.
Jeppesen's primary contribution to Danish music history was through composing patriotic anthems.
Answer: False
Explanation: Jeppesen's contributions to Danish music history were primarily through his musicological scholarship and editions of early Danish music, not through composing patriotic anthems.
Knud Jeppesen's compositions were strictly limited to imitating 16th-century polyphonic styles.
Answer: False
Explanation: While Jeppesen's compositions often drew upon historical styles like 16th-century polyphony, they also incorporated influences from later periods, such as late Viennese Romanticism, demonstrating a broader stylistic range.
Why did Knud Jeppesen initially cease composing music around 1919?
Answer: His early compositions received poor reception.
Explanation: Jeppesen suspended his compositional activities in 1919 due to the unfavorable reception of his early works, resuming them approximately fifteen years later.
Which of the following was NOT listed as a type of musical work composed by Knud Jeppesen?
Answer: Orchestral symphonies.
Explanation: Jeppesen's compositional output included songs, church music, motets, cantatas, and an opera, but the source material does not indicate he composed orchestral symphonies.
Knud Jeppesen's opera *Rosaura* premiered in 1950 at which venue?
Answer: The Royal Danish Theatre.
Explanation: The opera *Rosaura* by Knud Jeppesen premiered on September 20, 1950, performed by the Royal Danish Theatre.
Jeppesen's compositional style demonstrated a blend of influences, including:
Answer: Early counterpoint (Palestrina) and late Viennese Romanticism (Mahler).
Explanation: Jeppesen's compositions integrated his deep knowledge of early counterpoint, exemplified by Palestrina, with influences from later stylistic periods, such as the late Viennese Romanticism associated with composers like Mahler.
For what event was Knud Jeppesen's 'Te Deum Danicum' composed around 1942-1945?
Answer: The inauguration of the Danish Radio concert hall.
Explanation: The 'Te Deum Danicum', composed between 1942 and 1945, was commissioned for the inauguration of the Danish Radio concert hall.
What instruments are featured in Knud Jeppesen's 1941 chamber composition 'Lille Sommertrio'?
Answer: Flute, cello, and piano.
Explanation: The chamber piece 'Lille Sommertrio', composed by Jeppesen in 1941, is scored for flute, cello, and piano.
Knud Jeppesen served as the organist at Holmen Church in Copenhagen for a period exceeding three decades.
Answer: False
Explanation: Jeppesen's tenure as organist at Holmen Church spanned from 1932 to 1947, a period of fifteen years, not over three decades.
Prior to his appointment at Holmen Church, Jeppesen held the position of organist at St. Stephen's Church in Copenhagen.
Answer: True
Explanation: Jeppesen's career included serving as the organist at St. Stephen's Church in Copenhagen from 1917 to 1932, before moving to Holmen Church.
Knud Jeppesen held the esteemed position of President of the International Musicological Society from 1949 to 1952.
Answer: True
Explanation: Jeppesen served as President of the International Musicological Society for a three-year term, from 1949 to 1952.
In 1963, Jeppesen was elected to the Italian Accademia dei Lincei, an institution primarily focused on contemporary music composition.
Answer: False
Explanation: While Jeppesen was elected to the Accademia dei Lincei in 1963, this prestigious institution is dedicated to the sciences and humanities broadly, not exclusively contemporary music composition.
Knud Jeppesen served as president of the International Musicological Society for a decade.
Answer: False
Explanation: Jeppesen served as President of the International Musicological Society for a single three-year term, from 1949 to 1952, not for ten years.
Membership in the Accademia dei Lincei, achieved in 1963, signified Jeppesen's recognition by a leading Italian institution.
Answer: True
Explanation: Jeppesen's election to the prestigious Accademia dei Lincei in 1963 marked a significant acknowledgment of his scholarly contributions by a prominent Italian academic body.
What was the duration of Knud Jeppesen's tenure as organist at Holmen Church in Copenhagen?
Answer: From 1932 to 1947.
Explanation: Knud Jeppesen served as the organist at Holmen Church in Copenhagen from 1932 until 1947, a period of fifteen years.
What significant leadership role did Knud Jeppesen hold within the International Musicological Society?
Answer: President (1949-1952)
Explanation: Knud Jeppesen served as the President of the International Musicological Society for the term spanning 1949 to 1952.
Knud Jeppesen served as organist at Holmen Church in Copenhagen during which period?
Answer: 1932-1947
Explanation: Jeppesen held the position of organist at Holmen Church in Copenhagen from 1932 to 1947.
Following his retirement, Knud Jeppesen relocated to Denmark to dedicate himself to composition.
Answer: False
Explanation: After retiring in 1957, Jeppesen resided in Italy, which facilitated his research, rather than returning to Denmark to compose.
In 1949, Knud Jeppesen announced the discovery of several previously unknown madrigals by Palestrina.
Answer: False
Explanation: The significant discovery Jeppesen announced in 1949 pertained to ten previously unknown masses by Palestrina, not madrigals.
Following his retirement, Jeppesen discovered previously unknown works by J.S. Bach in Italian libraries.
Answer: False
Explanation: Jeppesen's significant discoveries in Italian libraries after his retirement pertained to previously unknown masses by Giovanni Pierluigi da Palestrina, not works by J.S. Bach.
Where did Knud Jeppesen reside after his retirement in 1957?
Answer: In Italy, to facilitate research.
Explanation: Following his retirement in 1957, Jeppesen established his residence in Italy, which provided advantageous access to Italian libraries for his continued scholarly research.
What significant discovery did Knud Jeppesen make regarding Palestrina's compositions in 1949?
Answer: Ten previously unknown masses.
Explanation: In 1949, Jeppesen announced the momentous discovery of ten previously unknown masses composed by Giovanni Pierluigi da Palestrina, unearthed during his research.
After retiring, Jeppesen's research in Italian libraries led to which significant finding?
Answer: Ten previously unknown masses by Palestrina.
Explanation: During his post-retirement research in Italian libraries, Jeppesen made the significant discovery of ten previously unknown masses composed by Giovanni Pierluigi da Palestrina.