Term
• The main sung parts of the Ordinary portion of the Mass are __________.
A. Kyrie, Gloria, Alleluia, Credo, Greater Doxology
B. Kyrie, Gloria, Credo, Sanctus, Agnus Dei
C. Kyrie, Alleluia, Gradual, Responsory
D. Kyrie, Gloria, Credo, Sanctus, Divine Office
E. Kyrie, Psalm Tone, Matins, Alleluia, Ite missa est |
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Definition
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Term
• What kind of prayer/chant takes up the bulk of the daily Catholic office (especially Vespers)?
A. Melismas
B. Kyries
C. Hymns
D. Psalms
E. Graduals |
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Definition
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Term
• Which of these is the principal difference between proper and ordinary prayers/chants?
A. The chants of the ordinary were an oral tradition, those of the proper were an
entirely written tradition
B. The chants of the proper change day by day, those of the ordinary stay the same in
every service
C. The chants of the proper are melismatic, those of the ordinary are entirely syllabic
D. The chants of the proper are used only in the mass, those of the ordinary only in the
office
E. The chants of the proper are Gregorian, those of the ordinary are Charlemagnian |
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Definition
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Term
• Psalms are typically preceded and followed by chants called __________.
A. Alleluias
B. antiphons
C. responsories
D. psalm tones
E. doxologies |
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Definition
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Term
• Which of these is the best description for a melismatic text setting?
A. There is one note for each syllable of text
B. It has a very wide range (from high to low)
C. There are several notes for each syllable of text
D. It is rhythmically very complex
E. There are several syllables of text for each note |
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Definition
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Term
• Which of these statements is true?
A. Nuns were prohibited from singing or speaking during services.
B. Nuns were permitted to speak but not to sing during services.
C. Nuns were permitted to sing, but only during Mass.
D. Nuns never heard or sang any music because they believed it could hurt their
character.
E. Nuns were required to sing the same music as males in monasteries. |
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Definition
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Term
• Which of these is NOT true of medieval sequences?
A. They were composed starting sometime in the 800s CE
B. They are considered Gregorian chant
C. Most were eliminated from the liturgy during Catholic reform in the 1500s
D. Some are attributed to specific composers
E. They tend to have regular repeating musical structures |
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Definition
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Term
• Which of these is NOT a permissible style of troping in medieval liturgical practice?
A. Adding a new text that expands on the sentiment of the prayer
B. Adding a new melodic idea at the beginning that elaborates on the existing
plainchant
C. Adding a new melody and text that make the prayer more specific to a special
occasion
D. Adding a new text that makes fun of one’s fellow choristers
E. Adding a new melodic idea in the middle that elaborates on the existing plainchant |
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Definition
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Term
• A(n) __________ chant is sung by a soloist in alternation with a choir.
A. antiphonal
B. direct
C. responsorial
D. melismatic
E. proper |
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Definition
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Term
• The definition of trope is __________.
A. the vestment worn by the cantor
B. the portion of chant sung by the cantor
C. an addition of words, music, or both to an established chant
D. the formula used by the cantor or priest for reciting the Bible readings for the day
E. a passage that was probably descended from an oral tradition of improvising music
according to set guidelines |
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Definition
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Term
• Hildegard of Bingen is known for __________.
A. composing both the words and music for chants and liturgical dramas
B. writing a treatise on the Divine Office
C. being put to death for her outlandish singing style
D. creating a system of notation for use in convents
E. teaching Notker Balbulus how to sing |
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Definition
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Term
• The aristocratic composer-poets of northern France were the __________.
A. troubadours
B. trouvères
C. Meistersinger
D. Minnesinger
E. jongleurs |
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Definition
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Term
• Which of the following statements is true of the notation of secular song in the middle
ages?
A. It was never written down.
B. Only pitch was notated precisely.
C. Pitch and rhythm were notated precisely.
D. Pitch, rhythm, and vocal inflections were notated precisely.
E. Pitch, rhythm, and instrumentation were notated precisely. |
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Definition
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Term
• Which statement is true of surviving examples of medieval secular song?
A. Only a few fragments survive.
B. They were meticulously preserved by the kings of Spain, France, and Germany.
C. A few dozen survive in a manuscript dedicated to the king of France.
D. A few thousand texts survive, but only some have music.
E. Thousands of texts survive, all with music. |
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Definition
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Term
The term conductus refers to....
A. any serious Latin song with a rhymed, rhythmical text regardless of the subject
B. a french song about an unattainable woman at lengths a man will go to meet her
C. a musical instrument used by the leader in circular dances
D. the standards of behavior expected of noblemen when approaching women
E. instrumental music having paired stanzas with open and closed endings |
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Definition
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Term
• Bar form can be expressed as __________.
A. AAB
B. ABCDA
C. AABCA
D. AaABabA
E. AbaabAB |
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Definition
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Term
• A chansonnier was __________.
A. a singer who traveled from castle to castle
B. an entertainer who juggled as well as sang
C. a songwriter who specialized in love songs
D. the northern French equivalent of a trobairitz
E. a book of songs |
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Definition
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Term
• In organum, the voice that holds the chant melody is called the __________.
A. Tenor
B. cauda
C. organal voice
D. original voice
E. trope |
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Definition
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Term
• Improvised polyphony became a feature of Christian sung prayer
A. Before 900 CE
B. Between 900-1100 CE
C. Between 1100-1300 CE
D. After 1300 CE
E. Never |
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Definition
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Term
• How are the “discant clausulae” in NAWM 18 DIFFERENT from the equivalent passage
(over the Dominus melisma) in the Léonin organum, NAWM 17?
A. They have a different text
B. They use a different plainchant melody
C. They use a different (and regular) rhythmic pattern
D. They require a different number of voices
E. The original passage is not in discant style |
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Definition
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Term
• How is the passage beginning with “notum” of Perotin’s organum in NAWM 19 SIMILAR to
the parallel passage in the Léonin organum, NAWM 17?
A. It uses the same pitches in the Tenor
B. It uses the same rhythm in the newly-composed part(s)
C. The section before the clausula is the same duration
D. It has the same number of newly-composed part(s)
E. It uses the same pitches in the top part |
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Definition
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Term
• Discant was the style of composition used to set the __________.
A. troped sections of chant
B. melismatic sections of solo portions of chant
C. syllabic sections of solo portions of chant
D. melismatic sections of choral portions of chant
E. syllabic sections of choral portions of chant |
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Definition
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Term
• Discant was the style of composition used to set the __________.
A. troped sections of chant
B. melismatic sections of solo portions of chant
C. syllabic sections of solo portions of chant
D. melismatic sections of choral portions of chant
E. syllabic sections of choral portions of chant |
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Definition
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Term
• The six rhythmic modes of the “Notre Dame” tradition were indicated by __________.
A. the rhythm of the syllables
B. different note shapes for different durations
C. meter signs at the beginnings of lines
D. vertical lines between measures
E. patterns of ligatures |
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Definition
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Term
• In the 1100 and 1200s, polyphonic treatment was applied to __________.
A. solo portions of the Proper and troped parts of the ordinary of the Mass and Office
B. solo portions of the Ordinary of the Mass and Office
C. choral portions of the Proper of the Mass and Office
D. choral portions of the Ordinary of the Mass and Office
E. solo and choral portions of both the Ordinary and Proper of the Mass and Office |
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Definition
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Term
• Which of these elements of the motet does NOT change through its development in the
1100s?
A. The number of simultaneous newly-composed voices
B. The use of the genre in worship situations
C. The presence of plainchant excerpts in the Tenor
D. The rhythmic options available in the notation methods
E. The choice of language or topics for the motetus text |
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Definition
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Term
• A new system of rhythmic notation based on relationships among the shapes of individual
notes and their duration was described in the thirteenth century by _______.
A. Guido of Arezzo
B. Perotinus
C. Franco of Cologne
D. Johannes de Garlandia
E. Anonymous IV |
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Definition
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Term
• What do all the motets of NAWM 21 have in common?
A. All are clearly designed to be inserted into the worship service
B. All are in Latin throughout
C. All tenors are based on the melody of the “Dominus” melisma
D. All were certainly composed in Paris
E. All have the same number of vocal parts |
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Definition
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Term
• Conductus was exceptional in early polyphony because __________.
A. It was the only polyphony sung in regular rhythmic patterns
B. It was not based on pre-existing plainchant
C. It was not sacred, but rather entirely secular and in the Occitan language
D. It required instrumental accompaniment
E. It used an entirely different system of notation |
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Definition
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Term
• Discant was the style of composition used to set the __________.
A. troped sections of chant
B. melismatic sections of solo portions of chant
C. syllabic sections of solo portions of chant
D. melismatic sections of choral portions of chant
E. syllabic sections of choral portions of chant |
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Definition
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Term
• In a fourteenth century madrigal
A. All voices sing a different text
B. The most common subjects were: love, satire, pastoral life
C. There is canonic imitation
D. The ritornello is based on the same music as the stanza
E. The tenor is drawn from a plainchant source |
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Definition
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Term
• How is imitation realized in NAWM 30?
A. The three voices form a perfect canon
B. The upper two voices are placed at a distance of a fifth
C. The tenor imitates the upper voices with augmented values
D. The upper two voices form a canon at the unison, while the un-texted tenor is freely
composed
E. The tenor and top voice are in canon at the unison, the middle voice is freely
composed |
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Definition
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Term
• Machaut’s Messe de Nostre Dame is notable because __________.
A. it was composed for the Cathedral of Notre Dame in Paris
B. it was the first mass composed using isorhythm throughout
C. it was the first time Ordinary portions of the mass were set in polyphony
D. it was the first time Proper portions of the mass were set in polyphony
E. it was the first time the Ordinary of the mass was composed as a cycle |
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Definition
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Term
• In an isorhythmic work, the repeating rhythmic pattern is called the __________.
A. Tempus
B. Diminution
C. Color
D. Prolation
E. talea |
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Definition
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Term
• Which feature of Ars Nova composition was most offensive to conservatives?
A. Isorhythm
B. duple meter
C. division of semibreves
D. fast-moving upper parts
E. secular texts |
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Definition
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Term
• In what way did the Hundred Years’ War influence music?
A. It put a halt to all secular music.
B. The nobility could no longer afford to support music.
C. English composers spent time in France.
D. Composers from different regions became isolated from one another.
E. It inspired nationalistic genres. |
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Definition
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Term
• Court chapels were significant for music history because __________.
A. musicians deposited copies of their manuscripts there
B. contracts for guilds, the predecessors of unions, were signed there
C. they hired musicians for both sacred and secular music
D. they settled disputes between musicians and employers
E. they published the works of important composers |
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Definition
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Term
• Musical instruments of the fourteenth century were divided into high and low depending on ____.
A. pitch
B. length of tubing or strings
C. social status of the performer
D. loudness or softness
E. whether they were performed in towers or on the ground |
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Definition
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Term
• Trecento composers used all but which of these genres?
A. caccia
B. rondeau
C. madrigal
D. ballata
E. discant clausulae |
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Definition
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Term
• Musica ficta is __________.
A. any accidental
B. the use of pitches outside of the gamut
C. music added by an editor
D. a duple relationship between the breve and the semibreve
E. notation made into the shape of a circle or other artistic image |
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Definition
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Term
• A mass that quotes more than one voice of a pre- existing polyphonic work is called a(n)
______.
A. motto mass
B. plainsong mass
C. imitation mass
D. cantus-firmus mass
E. proper mass |
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Definition
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Term
• A mass in which all movements are based on the clear presence of the same pre-existing
melody is called a(n) __________.
A. motto mass
B. plainsong mass
C. imitation mass
D. cantus-firmus mass
E. proper mass |
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Definition
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Term
• Du Fay’s career was spent __________.
A. entirely in the service of the duke of Burgundy
B. entirely in the Church, at a cathedral in Cambrai and one in Paris
C. divided between secular posts in Italy and a cathedral post in Cambrai
D. traveling from court to court, including courts in England, France, Italy, and Spain
E. at the University of Paris, where he taught composition and rhetoric |
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Definition
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Term
• Which of these statements best describes women’s role in Renaissance music-making?
A. Women were not permitted to perform in public.
B. Women could perform in public but only in the theater.
C. Only nuns were permitted to learn to read music.
D. Upper-class women were expected to learn music as part of their education.
E. Women performed extensively and were considered equal with men. |
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Definition
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Term
• For much of the Renaissance, musicians working in Italy had been trained in __________.
A. Italy
B. France, the Netherlands, or Flanders
C. England
D. Spain
E. Byzantium |
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Definition
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Term
• Court chapels were significant for music history because __________.
A. musicians deposited copies of their manuscripts there
B. contracts for guilds, the predecessors of unions, were signed there
C. they hired musicians for both sacred and secular music
D. they settled disputes between musicians and employers
E. they published the works of important composers |
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Definition
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Term
Difference between
Parallel organum
free organum
florid/ melismatic organum |
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Definition
parallel: organal voice moves 5th below principal voice in parallel motion
free: added voice moves anove chant in consonant harmony (contrary, oblique, parallel or similar motion)
florid: upper voice sings note groups above each note of lower voice. (upper moves faster than lower) |
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