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1 | |
Gregorian chant |
| | A) | is monophonic in texture |
| | B) | is polyphonic in texture |
| | C) | is homophonic in texture |
| | D) | has no texture |
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2 | |
The wandering minstrels, or jongleurs, of the Middle Ages |
| | A) | performed music and acrobatics 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 of the above |
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3 | |
The notation of the secular songs of the Middle Ages does not indicate |
| | A) | rhythm |
| | B) | pitch |
| | C) | duration |
| | D) | any of the above |
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4 | |
The church modes are |
| | A) | different from the major and minor scales in that they consist of only six different tones |
| | B) | different from the major and minor scales in that they consist of only five different tones |
| | C) | like the major and minor scales in that they consist of seven different tones |
| | D) | completely different from any other form of scale |
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5 | |
The first large body of secular songs that survives in decipherable notation was composed during |
| | A) | the ninth century by monks for church services |
| | B) | the twelfth and thirteenth centuries by French nobles called troubadoursand trouvères |
| | C) | the fourteenth century by Guillaume de Machaut and his contemporaries |
| | D) | the fifteenth century by wandering minstrels called jongleurs |
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6 | |
The ars nova, or new art, of the fourteenth century differed from older music in that |
| | A) | a new system of notation permitted composers to specify almost any rhythmic pattern |
| | B) | the subjects were all secular |
| | C) | there was no syncopation |
| | D) | the music emphasized homophonic texture |
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7 | |
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 of the above |
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8 | |
The Notre Dame Mass by Guillaume de Machaut was |
| | A) | written for three voices without instrumental accompaniment |
| | B) | written for the Cathedral of Notre Dame in Paris |
| | C) | the first polyphonic treatment of the mass ordinary by a known composer |
| | D) | all of the above |
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9 | |
Leonin and Perotin are notable because they |
| | A) | are the first important composers known by name |
| | B) | indicated definite time values and a clearly defined meter in their music |
| | C) | were the leaders of the school of Notre Dame |
| | D) | all of the above |
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10 | |
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, barks of dogs, |
| | D) | all of the above |
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11 | |
Gregorian chant is named after Pope Gregory I, who |
| | A) | composed all the chants presently in use |
| | B) | was credited by medieval legend with having created it |
| | C) | had his name put on the first printed edition |
| | D) | wrote the texts for the chants |
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12 | |
The center of polyphonic music in Europe after 1150 was |
| | A) | Paris |
| | B) | Rome |
| | C) | Reims |
| | D) | London |
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13 | |
Gregorian chant |
| | A) | was the official music of the Roman Catholic church for more than 1,000 years |
| | B) | retained some elements of the Jewish synagogue of the first centuries after Christ |
| | C) | is set to sacred Latin texts |
| | D) | all of the above |
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14 | |
The French secular songs of the Middle Ages usually dealt with |
| | A) | the Crusades |
| | B) | spinning |
| | C) | love |
| | D) | all of the above |
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15 | |
In the recording of the medieval estampie, the melody line is played on a rebec, a |
| | A) | medieval drum |
| | B) | bowed string instrument |
| | C) | tubular wind instrument |
| | D) | plucked string instrument |
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16 | |
Medieval music that consists of Gregorian chant and one or more additional melodic lines is called |
| | A) | ars nova |
| | B) | organum |
| | C) | alleluia |
| | D) | cantus firmus |
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17 | |
The foremost composer of fourteenth-century France was |
| | A) | Guillaume de Machaut |
| | B) | Hildegard of Bingen |
| | C) | Charles V |
| | D) | Perotin |
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2002 McGraw-Hill Higher Education