Study Guide MA.docx – Test Bank Part 1 The Middle Ages 476 CEu2013Early Fifteenth Century You will need to read the chapters again and find the answers to
476 CE to the Early Fifteenth Century (Part 1 of Test Bank): The Middle Ages This means you’ll have to go back over the chapters and look for solutions to the study guide questions. The titles of the parts (Topics) that may be found in the book are provided beneath each individual question to assist you in locating the answers to your questions. Hildegard of Bingen is featured in Chapter 1 of this book. Satan does not sing in Hildegard’s Play of Virtues, but rather _shouts_ (as opposed to singing).
Hildegard’s Play of Virtuesis a dramatized _morality play_ about the struggle between good and evil.
Describe a musical situation in which each letter of the alphabet is represented by a different note.
The Clarity of Monophonic Texture is the subject of this paper.
- During the Middle Ages, the texture of Gregorian Chant was mostly _monophonic_ in nature.
- Topic: Hildegard von Bingen (1098–1179), a historical figure.
- _Hildegard von Bingen_ was a female composer who rose to prominence during the Middle Ages.
- What are their names?
- From Chapter 3 – Plainchant Alleluia, Hildegard von Bingen’s “Play of Virtues” is the topic of discussion.
- chanting in response to anything Soloist and chorus perform in a timbre that is appropriate for the topic.
Despite the presence of a choir, the texture of the “Caro mea” is monophonic due to the fact that they all sing in unison_.
In which Catholic church service is the Alleluia a significant part of the celebration?
Plainchant Alleluia, “Caro mea” is the subject of this article.
The Alleluia for the Feast of Corpus Christi is taken from the Gospel of _John6:55-56_.
Who is responsible for singing the section of the “Caro mea” Alleluia that contains biblical verses?
Throughout the year, which element of the Alleluia wording remains consistent is question 14.
decrease the level of blood pressure Performance: Chilling to Chant is the topic of discussion.
_Love_ was already the source of life in the Middle Ages, centuries before Shakespeare invented the expression.
17. A clergyman called Perotin, who served at the Cathedral of Notre Dame in the twelfth century, composed vast and comprehensive compositions that included the earliest harmonies, known as _organum_. In medieval times, _courtly_ love was considered to be the height of the etiquette.
Call and response (music) – Wikipedia
Test BankPart 1: The Middle Ages: 476 CE to the Early Fifteenth Century Reading the chapters a second time will be necessary in order to locate the solutions to the study guide questions. Detailed descriptions of the parts (Topics) that may be found in this book are provided beneath each individual question to assist you in your search for the answers. Hildegard of Bingen is included in Chapter 1 of the book. _Shouting_ is the term used by Hildegard for Satan in her play of virtues. ‘Hildegard von Bingen’s Virtues in Action’ is the topic for this week (excerpt) Secondly, Hildegard’s _Play of Virtues_ is an adaptation of a _morality play_ about the struggle between good and evil The Morality Play is the subject of this paper.
- The Clarity of Monophonic Texture is the subject of this article.
- During the Middle Ages, the texture of Gregorian Chant was mostly _monophonic_ in character.
- Topic: Hildegard von Bingen (1098–1179), a woman of great spirituality 8.
- Satan, Victory, TheSouls, Humility, and the virtues are all mentioned in the book of Job.
- Which sort of chant involves the response of a chorus to the performance of a soloist?
Because the choir sings in unison_, there is no polyphony in the “Caro mea,” even though there is a choir.
Alleluia in plainchant, “Caro mea” is the topic of this post!
The text for the Alleluia during the Feast of Corpus Christi is taken from the Gospel of _John 6:55-56 .
Who is responsible for singing the section of the “Caro mea” Alleluia that contains biblical verses?
Melody is the subject of this discussion.
Which section of the Alleluia text remains consistent throughout the year?
Aspects of the subject: words and music Singing Syllables and Relationships How does plainchant affect the body’s physiological functions?
Chilling to Chant is the topic of this performance.
_organum_ is a term that refers to a collection of vast and elaborate writings written by a 12th-century clergyman named Perotin who served at the Cathedral of Notre-Dame. In medieval times, _courtly_ love was considered to be the norm.
Sub-Saharan African cultures are characterized by a widespread pattern of democratic involvement that may be found in public assemblies for the debate of civic issues, in religious rites, and in the expression of musical expression through vocal and instrumental instruments.
In the New World, enslaved Africans brought call and response music with them, and it has been passed down through the centuries in various forms of cultural expression, including religious observance, public gatherings, sporting events, even children’s rhymes, and, most notably, African-American music in all of its forms and descendants. Soul, gospel, blues, rhythm and blues, rock & roll, funk, and hip hop are some of the genres covered. Listen to, for example, the recordings entitled “Negro Folklore from Texas State Prisons,” which were gathered by Bruce Jackson and released on an Electra Records album.
Invoking and responding is a custom that stimulates discourse, and its legacy lives on today as it is an important component of oral traditions.
Additionally, it may be found in the music of the Afro-Caribbean communities of Jamaica, Trinidad & Tobago, the Bahamas, Barbados, Belize, and many other countries of the diaspora, particularly in the music of Brazil.
Cuban music (salsa, son, etc.)
In the New World, enslaved Africans brought call and response music with them, and it has been passed down through the centuries in various forms of cultural expression, including religious observance, public gatherings, sporting events, even children’s rhymes, and, most notably, African-American music in all of its forms and descendants, among others. Soul, gospel, blues, rhythm and blues, rock & roll, funk, and hip hop are just a few of the genres represented here. Check to the recordings entitled “Negro Folklore from Texas State Prisons,” which were captured by Bruce Jackson and released on the Electra Records label.
Invoking and responding is a custom that promotes communication, and its legacy lives on today as it is an important component of oral traditions.
It may also be found in the music of the Afro-Caribbean communities of Jamaica, Trinidad and Tobago, the Bahamas, Barbados, Belize, and many other countries of the diaspora, particularly in the music of the Brazilian population.
Peruvian music (marinera, festejo, landó etc.)
African communities that had been imported to labor in coastal agricultural districts of Peru during colonial times took their musical traditions with them to the new location. The Afro-Peruvian musical heritage developed in Peru as a result of the mixing of those traditions with Spanish popular music from the nineteenth century, as well as indigenous music from the country, finally resulting in what is generally recognized as “Afro-Peruvian music.” Afro-Peruvian musical forms such as marinera, festejo, landó, tondero, zamacueca, and contrapunto de zapateo are all distinguished by the use of competitive call-and-response verses.
Known as “huachihualo,” it is characterized by competitive call-and-response verses.
Colombian music (Cumbia)
African communities that had been imported to labor in coastal agricultural districts of Peru during colonial times took their musical traditions with them to the new land. The Afro-Peruvian musical heritage developed in Peru as a result of the mixing of those traditions with Spanish popular music from the nineteenth century, as well as indigenous music from the country, and finally developed into what is today known as “Afro-Peruvian music.” Afro-Peruvian musical forms such as marinera, festejo, landó, tondero, zamacueca, and contrapunto de zapateo are all distinguished by the use of competitive call-and-response verses.
Known as “huachihualo,” it is characterized by call-and-response verses.
When the Westminster Assembly established the practice of “lining out,” in which one person sang a solo (a precentor) and others followed, it was to be used for psalm singing in English churches. It has had an impact on the vocal styles of popular music. Precenting the line was distinguished by a lengthy, drawn-out, heterophonic, and frequently elaborately embellished melody, which was recited line by line by a clerk or precentor (song leader) before the congregation joined in. The practice of precenting the line in Scottish Gaelic psalm-singing was the first type of congregational singing to be adopted by Africans in North America.
It is also a frequent form of songs and carols that have their roots in the Middle Ages, such as “All in the Morning” and “Down in yon Forest,” both of which are ancient Derbyshire carols.
It is also a frequent pattern of songs and carols that have their roots in the Middle Ages, such as “All in the Morning” and “Down in yon Forest,” which are both ancient Derbyshire carols.
In contemporary Western popular music, the call and respond format is prevalent. Cross-over rhythm and blues, rock ‘n’ roll, and rock music are all examples of music that exhibits call-and-response qualities. The Who’s song ” My Generation ” is a good illustration:
Leader/chorus call and response
In contemporary Western popular music, call and response is frequent. Aspects of call-and-response music can be found in cross-over rhythm and blues, rock n’ roll, and rock music. To give an example, the Who’s song “My Generation” says:
Question/answer call and response
A musical “question,” or a phrase that feels incomplete, is posed by one section of the band, and another section of the band “answers” (completes) the query. The B part of the blues is frequently structured in a question-and-answer format (dominant-to-tonic). For instance, the Christmas carol “Must Be Santa” from 1960 serves as an example: CALL: Who is it that laughs in this manner, ho ho ho? RESPONSE: “Ho ho ho!” says Santa, who chuckles in this manner. In the 1942 film Casablanca, a similar question-and-answer dialogue occurs between Sam (Dooley Wilson) and the band during the song ” Knock On Wood “: WHO GETS THE CALL: Who’s in trouble?
PHONE: How much difficulties are you having?
- An unfinished musical “question” is posed by one section of the band, which is then “answered” (completed) by another section of the band. The B portion of the blues frequently follows a question-and-answer format (dominant-to-tonic). The Christmas carol ” Must Be Santa ” from 1960 is an example of this: WHEN TO CALL: Who is it that laughs in this manner, who is it that laughs in this manner? RESPONSE: “Ho ho ho!” says Santa, who laughs like this. In the song ” Knock On Wood ” from the 1942 film Casablanca, Sam (Dooley Wilson) and the band engage in a similar question-and-answer exchange: ” TELEPHONE: Who’s having problems? REPLY: We’re in big danger here. PHONE: How much difficulty do you want to go through today? RESPONSE: It’s just too much trouble for you!
- Courlander, Harold, and others A Treasury of Afro-American Folklore: The Oral Literature, Traditions, Recollections, Legends, Tales, Songs, Religious Beliefs, Customs, Sayings, and Humor of People of African Descent in the Americas is a collection of oral literature, traditions, recollections, legends, tales, songs, religious beliefs, customs, sayings, and humor of people of African descent in the Americas. It was published by MarloweCompany in New York in 1976. Orovio, Helio 2004. Orovio, Helio 2004. Cuban music from beginning to end. Sue Steward has made revisions to the text. ISBN0-8223-3186-1 A biographical dictionary of Cuban music, artists, composers, groups, and phrases, as well as their respective biographies. p191
- Duke University, Durham, North Carolina
- Tumi, Bath
- Ned Sublette published a book in 2004 called Cuba and its music: from the first drumbeats to the mambo, everything is there. Chicago.ISBN1-55652-516-8
- Shepherd, John abShepherd (2003). A C Black’s Continuum Encyclopedia of Popular Music of the World: VolumeII: Performance and Production, Volume 11, p. 146
- Continuum Encyclopedia of Popular Music of the World: VolumeII: Performance and Production, Volume 11, p. 146
- There are 43 innovations that Scotland has given the world, ranging from Charles Mackintosh’s waterproof to Dolly the sheep. The Independent, published on January 3, 2016
- Ian Russel is the author of this work (2012). The Derbyshire Book Of Village Carols is a collection of village carols from around the county of Derbyshire. “Antiphony,” an article in the New Grove Dictionary of Music, is on page 2 of Sheffield’s Village Carols (2001). Oxford University Press is a publishing house based in Oxford, England. The Oxford History of Western Music
- The Seventeenth and Eighteenth Centuries.Oxford University Press. abTaruskin, R. (2005, p. 69)The Oxford History of Western Music
- The Seventeenth and Eighteenth Centuries.Oxford University Press
- Taruskin, R. (2005, p. 68-69)The Oxford History of Western Music
- The Seventeenth and Eighteenth Centuries.Oxford University (2013, p.470) Music in the Castle of Heaven: a Portrait of Johann Sebastian Bach is available online. Grove, G. (1898, p.153) Beethoven and his Nine Symphonies. London: Allen Lane Publishing Company. The Nine Symphonies of Beethoven are published by Constable in London. Hopkins, A. (1981, p.137) describes Beethoven’s nine symphonies as follows: Heinemann, London
- Maconie, R. (1976, p. 111)The Works of Stockhausen. London: Heinemann. London, Marion Boyars
- Worner, K. H. London, Marion Boyars
- Worner, K. H. Worner, K. H. (1973). Stockhausen: A Biography and a Catalogue of Works p.163
- AbMiddleton, Richard, London, Faber & Faber (1990). Popular music is being studied. Open University Press, Milton Keynes, United Kingdom, ISBN 0-335-15275-9, p. 49
- Call and Response in the Blues — with allusions to blues songs and the growth of the genre throughout history
- Call and answer in black gospel music is mentioned in the history of gospel music. Call and response and gospel music styles have their beginnings in several sorts of call and response and gospel music styles, according to the Gospel Music History section of the Gospel Music Encyclopedia.
The music performed by a choir is known as choral music, and each part is sung by two or more voices. Choral music is inherently polyphonic, meaning that it is composed of two or more autonomous vocal lines. It has a long and illustrious history in the music of European churches. Choral music is one of numerous musical forms that are susceptible to misinterpretation as a result of erroneous historical views or misinterpretation as a result of the uncertainty produced by unresolved semantic issues.
Consequently, the term choral can be used in a broad sense (choral music, choral method) or in a more particular sense (for example, Beethoven’sChoral Symphony and Beethoven’sChoral Fantasia).
Because of the circumstances and usage, the concept of choral music has been obliged to encompass a far broader range of territory than a comparable description of an instrumental genre.
However, much of the music that is now performed by choirs was originally intended for soloists; and, while the lack of historical authenticity may be deplored in this instance, it is clear that a choral performance of amadrigal (equivalent to an orchestral performance of a string quartet movement) allows many amateur musicians to enjoy music that would otherwise be beyond their comprehension as members of a team.
However, while it is true that the reverse of a choral performance of genres for several solo voices, such as the madrigal, ballett, villanella, and part-song, results in a more neutral sound and a less personal intensity of expression, it is also true that the reverse of a choral performance of genres for choir alone, such as when a work written for choir alone is performed by a group of soloists, can provide unexpected benefits.
Due to the fact that each strand of melody within the texture carries an individual rather than a collective emotion, the work may take on a new and improved character in some instances.
While a chamber choir need only comprise a dozen or so voices, and probably not more than twenty, a chorus formed for the Handel Festivals in the nineteenth century, or for the Berliozconcerts monstres in Paris during the same time, may number thousands.
8 in E Flat Major (often known as the “Symphony of a Thousand”), which contains vestiges of these effects in the modern day.
As an example, the French composerOlivier Messiaen’s Cinq rechants (1949) appears to have been written with a chamber choir in mind, owing to the difficulty and intricacy of the composition.
Both forms of singing can coexist, since a choir may have multiple talented soloists who, at certain periods, may sing as a group without the chorus or with the choir as a background, depending on the circumstances.
Examples of this may be found in choral music of all genres and ages, as well as in popular music.
During the Renaissance, when the massed choir became a popular vehicle for choral performance, the Christe Eleison, certain sections of the Gloria and of the Credo, and the Benedictus, as well as theAgnus Dei, were regularly given to a group of soloists from within the choir.
Similar effects may be seen in music composed for special events, oratorios, verse anthems, and Passion settings, among other genres of music.
Soloists have exclusive use of polyphony in their compositions.
Early systems of musical notation were not accurate enough to enable for choral performance of even the most basic two-part polyphony to be performed by a group of people.
A few number of initiates were first granted access to the nuances of mensural (precisely metered) music, and this was their privilege.
However, during the 14th century, the teaching of musical theory expanded fast, and vocalists were better prepared and schooled than they had ever been before.
It was decided that royal chapels should impress (that is, seek out and enroll) qualified provincial choirboys for the major central institutions, and as a result, every boy was treated as a soloist in his own right, exactly as the countertenors and tenors were treated.
Throughout history, there has been no decline in interest in choral music, which is performed at both amateur and professional levels all across the world, and this has continued today.