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| Question | Answer |
|---|---|
| The Great Roman scholar Boethius discussed music in his treatise entitled: | De institution musica |
| Roman music was more restrained than that of Greek music. | False |
| The fundamental groupings of the liberal arts in the education system from the late Roman period through the Middle Ages were the work of: | Capella |
| The Romans had developed brass instruments more than the Greeks. | True |
| Music in the late Roman scheme of human knowledge and study was closely allied with what discipline? | Mathematics |
| The Greek belief that music can affect the listener's character and behavior is embodied in the doctrine of: | ethos |
| The aulos was what type of instrument? | woodwind |
| The culture of ancient Greece greatly impacted the philosophical and intellectual roots for much of later Western culture. | True |
| It is evident that the rhythm of Greek music (as exemplified in both the Seikilos fragments) is closely tied to poetry. | True |
| The total pitch spectrum of the Greek music theorists was laid out according to the: | Greater Perfect System |
| The Greek tonos was a kind of: | scale |
| The fundamental scalar unit of Greek music theory was the: | tetrachord |
| It appears that the Greeks had a rather simple and unsophisticated system of music theory. | False |
| In a(n) ____________________ performance, sections of a musical work are sung by two groups of singers in alternation. | antiphonal |
| A song based on a biblical text but not taken from the book of Psalms is called a(n): | canticle |
| Early Christian worship and music were derived from the practices of the ancient Greeks. | False |
| According to the anthology, the genre we will be examining during lecture is a(n): | Mass |
| Unlike the music of the Greeks, Jewish and early Christian music are based on: | modes |
| In the early Christian period, an eastern branch of the Roman Catholic Church was centered in: | Byzantium |
| The style of chant associated with the region of Spain and Portugal is referred to as: | Mozarabic |
| The type of chant associated with France and the Netherlands is often referred to as: | Gallican |
| The diversification of various musical styles in the Christian church was primarily a result of: | conflicting theological opinions ineffective means of communication decentralization of political power |
| The service of Vespers in the Divine Office is celebrated at: | Sunset |
| The most important element of the Divine Office is the singing of: | Psalms |
| The parts of a Mass whose text remains the same throughout the liturgical year are referred to as: | Ordinaries |
| Pope Gregory I, who led the Roman church from 590 to 604, also composed the music, leading to the term "Gregorian Chant." | False |
| Due to the number of actual music manuscripts dating from the Middle Ages, it is evident that music was mostly disseminated through written documents. | False |
| For what major Christian celebration does the sequence "Victimae paschale lauded" belong: | Easter |
| The setting of the text of the the sequence is clearly: | syllabic |
| In what category of chant would you place the sequence? | Proper |
| The eleventh-century music theorist ____________________ had an important hand in the development of music education for church singers. | Guido of Arezzo |
| The church modes consist of eight-note diatonic scales beginning on d, e, f, and g, respectively | True |
| The troubadours worked in the region that today is ____________________. | Souther France |
| The secular, sometimes bawdy songs sung by renegade clerical students in the eleventh and twelfth centuries are called ____________________. | Goliard Songs |
| The structural basis of many secular songs was a stanza whose form may be outlined ____________________. | aab |
| Bernart de Ventadorn was known primarily as a: | Trouvere |
| What mode would you most often expect to find in a secular song? | Dorian |
| The most important instrumental genre of the medieval period was the: | istampita |
| One of the defining characteristics of the instrumental work of the medieval dance piece was its: | open and closed endings |
| The term ____________________ was used to characterize instruments that were appropriate for outdoor performance. | haut |
| A small organ that could be carried and played by a single player was called ____________________. | portative |
| The musicians of the centuries before 1300 employed a wide variety of chordophones (string instruments). | True |
| The composer believed to have been responsible for the addition of voices ( up to 4 or 5) to organum duplum was: | Perotin |
| The development of medieval polyphony took place primarily at the cathedral of: | Notre Dame |
| In what type of motion did organum duplum (two voice organum) typically move? | parallel motion oblique motion contrary motion |
| The first composer of organum is believed to have been: | Leonin |
| The system of rhythmic modes is illustrated in music contained in ____________________. | Magnus Liber Organi |
| The Ars Nova is a term often associated with what composer: | DeVitry |
| The motets composed in the late middle ages were often organized by a what is known as: | isorhythmic |
| The slowest moving voice in the motet is most often the: | tenor |
| The text of the motet In arboris centers around: | Virgin Mary |
| The term "Ars Nova" literally translates as: | New Art |
| The form of Machaut's Rose, liz printemps is: | Rondeau |
| Which of the following contributed to the secularization of European culture? | Schism Bubonic Plague |
| The name of the treatise that addressed the complex rhythms of the 14th-century was the: | Ars Nova |
| The development of structural procedures in 14th-century polyphonic love songs is best illustrated by the use of: | formes fixes |
| The term that best describes that late 14th-century music in France where composers created works with extreme elaborateness and intricacy is: | ars subtilior |
| The musical style period of the fourteenth century in Italy is referred to as ____________________. | Trecento |
| One of the most important composers in 14th-century Italy was: | Landini |
| Non avra ma pieta is an example of a(n): | ballata |
| In the 1300's, in contrast to French composers, the Italian composers concentrated more on sacred music than in secular music. | False |
| The lyrical style associated with Italian music of the 14th century came to be known as: | Cantilena style |