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Q:
The church modes were ______. A. forms of religious ritual B. only used in the music of the Catholic church C. the basic scales of Western music during the Middle Ages D. chalices to hold holy relics
Q:
The earliest surviving chant manuscripts date from about the _______ century. A. sixth B. ninth C. thirteenth D. fourteenth
Q:
The highlight of the day for monks and nuns was ______.
A. the service before sunrise
B. the service after sunset
C. the evening feast
D. the mass
Q:
What were the two types of services at which monks and nuns sang? A. The salvation service and the holiness service B. The monastery and the convent C. The office and the mass D. The worship service and the praise service
Q:
Pope Gregory the Great _________. A. composed all of the Gregorian chants B. published all of the Gregorian chants C. reorganized the Catholic church liturgy during his reign from 590 to 604 D. All answers are correct.
Q:
Gregorian chant is named after Pope Gregory I, who ______. A. composed all the chants presently in use B. had his name put on the first printed edition C. was credited by medieval legend with having created it D. wrote the texts for the chants
Q:
How do Gregorian chant melodies tend to move? A. By leaps over a wide range of pitches B. Stepwise within a narrow range of pitches C. Infrequently, remaining on a single tone for long stretches D. Only by perfect intervals
Q:
Why is Gregorian chant seldom heard today?
A. Congregations do not find it interesting.
B. The Second Vatican Council of 1962 to 1965 forbade its use.
C. It is only sung in the Vatican.
D. The Second Vatican Council of 1962 to 1965 decreed services be in the native language of each country.
Q:
Which of the following is not true of Gregorian chant?
A. It conveys a calm, otherworldly quality.
B. Its rhythm is flexible, without meter.
C. The melodies tend to move by step within a narrow range of pitches.
D. It is usually polyphonic in texture.
Q:
Gregorian chant consists of _______. A. one instrument playing alone B. melody sung without accompaniment C. several voices singing in harmony D. several instruments playing together
Q:
Gregorian chant ________. A. is monophonic in texture B. is polyphonic in texture C. is homophonic in texture D. has no texture
Q:
Gregorian chant _______.
A. is set to sacred Latin texts
B. retained some elements of the Jewish synagogue of the first centuries after Christ
C. was the official music of the Roman Catholic church for more than 1,000 years
D. All answers are correct.
Q:
The music the medieval monks sang was called _______. A. contemporary gospel B. Gregorian chant C. estampies D. Trouvre songs
Q:
Church authorities in the Middle Ages ____________________ their religious services. A. encouraged the use of music as a highlight of B. forbade the use of music in C. wanted music only as a discreet accompaniment to D. preferred instrumental music in
Q:
During the late Middle Ages, the church believed that music during religious services should be ______. A. performed by as many musical instruments as possible B. used only as a discreet accompaniment C. banned entirely D. used only with wind instruments
Q:
We know from paintings and literary descriptions of the Middle Ages that _______. A. instruments were used B. trumpets and trombones were prominent C. instruments were seldom used D. large orchestras existed
Q:
Most medieval music was _______. A. instrumental B. vocal C. for the piano D. for the organ
Q:
What we know about instruments in church comes mainly from _______. A. the pictures and literary descriptions of the day B. surviving musical manuscripts C. the work of Pope Gregory the Great D. old recordings
Q:
The use of organs in church _______.
A. was strictly forbidden
B. made it possible for more musicians to be employed
C. frustrated the nobles in their attempts to control the church
D. bothered the clergy because they distracted the listeners from worship
Q:
The church frowned on instruments because of their ______. A. association with minstrels and jongleurs B. sacred quality and background C. earlier role in pagan rites D. use in early Jewish religious ceremonies
Q:
Bernard of Clairvaux ordered his monks to sing _______. A. quietly with reverence B. vigorously with manliness C. loudly with boisterous tone quality D. somberly with proper dignity
Q:
Church officials expected monks to sing _______. A. with proper pronunciation and tone quality B. exclusively in the English language C. away from the actual religious services D. with the members of the congregation
Q:
During the Middle Ages, what institution was the center of musical life? A. The church B. The castle C. The merchant's living room D. The king's court
Q:
A virtual monopoly on learning during the Middle Ages was held by _______. A. knights in castles B. professors in universities C. monks in monasteries D. wandering minstrels or jongleurs
Q:
In the Middle Ages, most important musicians were _______. A. priests B. traveling entertainers C. peasants D. women
Q:
The phrase Middle Ages refers to the period of European history spanning ______.
A. 450-1000
B. 1000-1150
C. 1150-1450
D. 450-1450
Q:
Which of the following is not a part of the mass ordinary? A. Ave Maria B. Gloria C. Kyrie D. Credo
Q:
Guillaume de Machaut's compositions consist mainly of ______.
A. symphonies
B. Gregorian chants
C. dance music
D. love songs with instrumental accompaniment
Q:
Guillaume de Machaut was a ______________ as well as a musician. A. carpenter B. poet C. monk D. All answers are correct. Champagne.
Q:
An outstanding composer of the ars nova was ______. A. Guillaume de Machaut B. Perotin C. Leonin D. Pope Gregory I
Q:
The ars nova or new art differed from older music in that ______. A. the subjects were all secular B. there was no syncopation C. a new system of notation permitted composers to specify almost any rhythmic pattern D. the music emphasized homophonic texture
Q:
A new system of music notation that allowed composers to specify almost any rhythmical pattern had evolved by the ______. A. late twelfth century B. early thirteenth century C. early fourteenth century D. late fourteenth century
Q:
The term ars nova refers to ______. A. Italian and French music of the fourteenth century B. German music of the sixteenth century C. the new art of baroque painters D. paintings from the new world
Q:
Secular music in the fourteenth century _______.
A. became more important than sacred music
B. was not based on Gregorian chant
C. included drinking songs and pieces in which bird calls, dog barks, and hunting shouts were imitated
D. All answers are correct.
Q:
One of the major characteristics of ars nova music is its use of _______. A. syncopation B. organum C. Gregorian chant D. monophonic texture
Q:
Among other causes, why did secular music become more important than sacred music in the fourteenth century?
A. The literature of the time stressed earthly sensuality.
B. Rival popes claimed authority at the same time, thereby weakening the authority of the church.
C. The feudal system had gone into decline.
D. All answers are correct.
Q:
The earliest known composers to write music with measured rhythm were ______. A. Pope Gregory and Chastelain de Couci B. Machaut and Josquin C. Leonin and Perotin D. All answers are correct.
Q:
Why are Leonin and Perotin notable?
A. They are the first important composers known by name.
B. They indicated definite time values and a clearly defined meter in their music.
C. They were the leaders of the school of Notre Dame.
D. All answers are correct.
Q:
In medieval times, most polyphonic music was created by ______. A. placing new melodic lines against known chants B. harmonizing melodies with chords C. having some singers embellish the sermon during church services D. adding orchestral instruments to church music
Q:
The center of polyphonic music in Europe after 1150 was ______. A. Paris B. Rome C. Reims D. London
Q:
56. Which of the following statements is not true? A. Medieval music theorists favored the use of triads, the basic consonant chords of music. B. Medieval music that consists of Gregorian chant and one or more additional melodic lines is called organum. C. Paris was the intellectual and artistic capital of Europe during the late medieval period. D. Perotin was among the first known composers to write music with more than two voices.
Q:
Medieval music that consists of Gregorian chant and one or more additional melodic lines is called ______. A. ars nova B. organum C. cantus firmus D. alleluia
Q:
______________ is a term applied to medieval music that consists of Gregorian chant and one or more additional melodic lines. A. Alleluia B. Organum C. Jongleurs D. Ostinato
Q:
The first steps toward the development of polyphony were taken sometime between 700 and 900, when ______.
A. musicians composed new music to accompany dancing
B. the French nobles began to sing hunting songs together
C. monks in monastery choirs began to add a second melodic line to Gregorian chant
D. All answers are correct.
Q:
The first steps in a revolution that eventually transformed Western music began sometime between 700 and 900 with the ______. A. addition of a second melodic line to Gregorian chant B. addition of an organ accompaniment C. transcription of the music for several different instruments D. addition of chords to the melody line
Q:
In the recording of the medieval estampie, the melody is played on a rebec, a ______. A. medieval drum B. bowed string instrument C. tubular wind instrument D. plucked string instrument
Q:
A(n) _____ can be defined as two simultaneous, repeated notes at the interval of a fifth, played on a psaltery (a plucked or struck string instrument). A. drone B. ostinato C. hurdy-gurdy D. troubadour
Q:
49. Which of the following statements is not true of the medieval estampie? A. It is one of the earliest surviving pieces of instrumental music. B. It was intended for religious services. C. The manuscript contains only a single melodic line. D. The manuscript does not indicate which instrument should play the melody.
Q:
An estampie is a medieval ______. A. dance B. stringed instrument C. secular song form D. song of worship
Q:
One function of secular music in the late Middle Ages was to provide accompaniment for ______. A. monasteries B. church services C. dancing D. monks and nuns
Q:
As a young student in Paris, Henri de Malines sang ______. A. Gregorian chant B. monophonic songs in various languages C. Renaissance lute songs D. organums and motets
Q:
The wandering minstrels, or jongleurs, of the Middle Ages ______. A. entertained in castles, taverns, and town squares B. lived on the lowest level of society C. played instrumental dances on harps, fiddles, and lutes D. All answers are correct.
Q:
The medieval jongleurs, important sources of information in a time when there were no newspapers, were ______. A. ranked on a high social level B. on the lowest social level C. equal in rank to the troubadours and trouvres D. welcomed by the nobility as distinguished guests
Q:
The notation of troubadour and trouvre melodies does not indicate ______. A. rhythm B. pitch C. duration D. All answers are correct.
Q:
What did Beatriz de Dia compose? A. Gregorian chant B. O successores C. A chantar D. Estampie
Q:
A famous French woman troubadour was ______.
A. Hildegard of Bingen
B. Frauenlob
C. Pronne d'Armentires
D. Beatriz de Dia
Q:
40. Which of the following statements is not true of secular music in the Middle Ages? A. Troubadours and trouvres came from diverse social backgrounds. B. The medieval jongleurs, important sources of information in a time when there were no newspapers, were accordingly ranked on a high social level. C. Only about a tenth of the 2,500 existing troubadour songs have survived with their melodies. D. There were women troubadours, called trobairitz, and trouvres.
Q:
Trouvre songs of the Middle Ages dealt with all of the following subjects except ______.
A. love
B. dancing
C. the Crusades
D. religion
Q:
William IX, Duke of Aquitaine, Prince Jaufre Rudel, Bernart de Ventadorn and Guillaume le Vinier were all famous ______. A. troubadours B. religious leaders C. noblemen D. poets
Q:
_________ lived in Southern France and wrote poems in the Provenal language; while _________ flourished in Northern France and wrote in Old French. A. troubadours; trouvres B. priests; monks C. troubadours; jongleurs D. trouvres; jongleurs
Q:
The French secular songs of the Middle Ages were often concerned with ______.
A. the Crusades
B. dancing
C. love
D. All answers are correct.
Q:
The first large body of secular songs that survives in decipherable notation was composed by _______. A. priests and monks B. French nobles called troubadours and trouvres C. wandering minstrels or jongleurs D. professional dancers and singers
Q:
What is a polychoral motet? A. A polyphonic composition for mixed voices B. A motet for two or more choirs, often including groups of instruments C. A homophonic composition for brass choir D. A five-voiced choral composition
Q:
Who was Giovanni Gabrieli?
A. The most important Venetian composer of the late Renaissance
B. An organist at St. Mark's Cathedral from 1585 until his death in 1612
C. A student of Andrea Gabrieli
D. All answers are correct.
Q:
Unlike most Renaissance choral music, Venetian choral music of the late sixteenth century often ______. A. used both male and female voices B. was scored for four to six voices C. contained parts written exclusively for instruments D. was predominantly in triple meter
Q:
St. Mark's Cathedral in Venice was noted for its ______. A. underground treasuries B. two widely separated choir lofts C. regressive attitude toward contemporary music D. use of musicians performing in gondolas
Q:
The focal point of music in Venice was ______.
A. the Tivoli Gardens
B. the Venetian school
C. the Villa d'Este
D. St. Mark's Cathedral
Q:
Which of the following composers was not a member of the Venetian school of the sixteenth century? A. Andrea Gabrieli B. Giovanni Gabrieli C. Carlo Gesualdo D. Adrian Willaert
Q:
47. Which of the following is not true of Venice in the sixteenth century? A. It was a part of the Papal states on the northeastern coast of Italy. B. It was a seaport built on tiny islands separated by canals. C. It was a thriving commercial center for trade between Europe and the near east. D. It became a center of instrumental and vocal music.
Q:
What is the galliard? A. A lively dance in triple meter B. A stately dance in duple meter C. A musician who plays many instruments D. A French lute instrument
Q:
A versatile plucked string instrument with a body shaped like half a pear, popular during the Renaissance, was the ______. A. lute B. recorder C. viol D. shawm
Q:
What is the passamezzo? A. A lively dance in triple meter B. A stately dance in duple meter similar to the pavane C. A silly, humorous dance in duple meter D. A wooden instrument with a cup-shaped mouthpiece
Q:
Terpsichore, a collection of over 300 dance tunes, was arranged for instrumental ensemble by ______. A. Michael Praetorius B. Pierre Francisque Caroubel C. Thomas Weelkes D. Thomas Morley
Q:
Much of the instrumental music composed during the Renaissance was intended for ______. A. the concert hall B. religious worship C. dancing D. the piano
Q:
Which of the following statements regarding the Renaissance is not true?
A. Secular vocal music was written for groups of solo voices and for solo voice with instrumental accompaniment.
B. Secular music contained more rapid changes of mood than sacred music.
C. A wealth of dance music published during the sixteenth century has survived.
D. Much of the instrumental music composed during the Renaissance was intended for church use.
Q:
In most lute songs, the lute accompaniment _______. A. is given equal prominence with the voice is subordinate to the voice C. is more prominent that the voice D. plays the same melody as the voice
Q:
John Dowland's Flow My Tears consists of _______ musical sections that are each immediately repeated. A. two B. three C. four D. five
Q:
The expression of ________, as heard in John Dowland's Flow My Tears, was a prominent feature of English literature and music in the time of William Shakespeare.
A. bliss
B. patriotism
C. rebellion
D. melancholy
Q:
A leading English composer of lute songs was ______. A. John Dowland B. Thomas Weelkes C. Josquin Desprez D. Paul Hillier
Q:
Lute songs are mostly __________ in texture. A. monophonic B. polyphonic C. homophonic D. imitative