Medieval Exam
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| The most popular Greek wind instrument was the | aulos
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| Heterophony refers to | one person play a melody with embellishment while others sing or play the original
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| The rhythm of ancient Greek music was intimately tied to | poetic meter
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| Ancient Greek musical writings included | descriptions of musical practices of the time
doctrines on the nature of music
doctrines on the proper uses of music in society
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| The Doctrine of Ethos is the theory that music | can influence a person's morality
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| The Greater Perfect System consists of | a series of tetrachords linked to form a two-octave range of usable pitches
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| The eight church modes are defined primarily by their | range, final, and reciting tone
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| Charlemagne is credited with | attempting to bring chant practices in the Frankish kingdom into line with Roman chant practice
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| Which of the following is *not* an innovation by Guido of Arezzo? | modal theory
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| The prescribed texts and rites that collectively constitute the religious services of the church are known as the | liturgy
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| Psalms are typically preceded and followed by chants called | antiphons
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| A _________ chant is sung by a soloist in alternation with a choir | responsorial
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| The main sung parts of the Ordinary portion of the Mass are | Kyrie, Gloria, Credo, Sanctus, Agnus Dei
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| Chants that have sections with many notes per syllable are called | melismatic
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| Psalm tones consist of | intonation, tenor, mediant, and termination
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| The Divine Office is | a series of psalms and chants, performed eight times per day
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| The definition of trope is | an addition of words, music, or both to an established chant
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| Hymns were sung as part of | Divine Office
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| The aristocratic composer-poets of norther France were the | trouveres
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| The shawn was similar to what modern-day instrument? | oboe
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| Bar form can be expressed as | AAB
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| Which of the following statements is true of ancient Greek music education? | Music and gymnastics were considered to be essential subjects in education
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| Heterophony refers to one person playing a melody with embellishment while others sing or play the original. T/F | True
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| The doctrine of imitation holds that | a person will imitate the ethos of the music they hear
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| Ambrosian chant, named in honor of St. Ambrose, a bishop of Milan, is one of the chant traditions that has persisted to the present day. T/F | True
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| Chant was transmitted primarily through written notation from the earliest stages of its development. T/F | False
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| The definition of authentic in modal theory is | modes in which the melody ranges from a note below the final to approximately an octave above it
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| The six solmization syllables derived from the hymn *Ut queant laxis* and predecessors of the modern solfege system were, do, re, mi, fa, sol, la. T/F | False
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| The four acceptable modal finals for the church modes were | D, E, F, G
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| Tracts are the longest chants in the liturgy, with several psalm verses set in very florid style. T/F | True
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| Most sequences consist of an initial single sentence, a series of paired sentences or phrases, and a final unpaired sequence. T/F | True
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| In chantbooks, the letters EUOUAE indicate | the last vowels in the Lesser Doxology
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| The aristocratic composer-poets of southern France were the | troubadours
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| The term *conductus* refers to | one of the *formes fixes*
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| Which statement is true of surviving examples of secular song? | A few thousand tets survive, but only some have music
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| The coices that holds the chant melody is called the | tenor
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| Discant is the style of composition used to set the | melismatic sections of solo portions of chant
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| The new genre created by the musicians at Notre Dame in the early thirteenth century in which newly written Latin words were added to the upper voices of discant clausulae was the | motet
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| In an isorhythmic work, the repeating rhythmic pattern is called the | talea
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| The *Messe de Nostre Dame* is notable because | it was the first time the Ordinary of the mass was composed as a unit
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| Changes between red and black ink | indicated changes between duple and triple meter
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| Musica ficta is | the use of pitches outside of the gamut
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| In the earliest notations, signs called ___________ were placed above words to show the melodic gesture for each syllable, including the number of notes, whether the melody ascended, descended, or repeated a pitch, and perhaps rhythm or manner of performa | neumes
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| The cants of the Mass may be divided into two types. Those texts that remain the same are called the __________ whole those that change in order to reflect the day and season are called the ________ | ordinary, proper
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| ______ _______ are the simplest chants used for intoning prayers and Bible readings such as the Collect, Epistle, and Gospel. They were sung by priests who were not usually trained singers | Recitation formulas
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| Hymns are _____________ consisting of several stanzas that are all sung to the same melody | strophic
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| The two composers if the Notre Dame school identified by the writer known as Anonymous IV, as experts in the writing of organum were | Leoninus and Perotinus
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| ____________ chant is sung by two halves of the choir in alternation | Antiphonal
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| ____________ was the most revered authority on music in the Middle ages | Boethius
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| _____________ and an accompanying dialogue, *Scolica enchiriadis* were among the most important musical treatises of the ninth century | Musica enchiriadis
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| Time referred to the division of the | breves
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| Prolation referred to the division of the | semibreves
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| "Perfect" meant ________ subdivision | triple
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| Musical instruments of the fourteenth century were divided into high and low depending on | volume
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