MUSIC APPRECIATION – Quizzes
Practice Test Number Two DESCRIPTION OF THE MIDDLE AGES AND RENAISSANCE (476-1400) ����Answers Questions with a true or false answer: 1. The term “Middle Ages” refers to a period of European history that spans over a thousand years. The majority of learning during the Middle Ages was monopolized by monks who lived in monasteries. Music manuscripts from the Middle Ages reveal that the majority of medieval music was instrumental in nature. 4. The Gregorian chant has a homophonic structure in terms of sound.
The melodies of Gregorian chants tend to advance in leaps and bounds across a wide range of pitch values.
Organum is a term used to refer to medieval music that comprises of Gregorian chant plus an extra melodic line in addition to the chant.
During the Renaissance, educated individuals were frequently instructed in music, literature, drama, and visual arts.
- The texture of Renaissance music is predominantly homophonic in nature.
- A large portion of the instrumental dance music written during the Renaissance was intended for use in the ecclesiastical setting.
- Troubadours were poets and musicians who lived throughout the Middle Ages.
- During the 1400s, there was a decline in the emphasis placed on secular music.
- During the Renaissance, solo instrumental music, particularly on the lute, witnessed an increase in popularity.
- The madrigal’s text is religious in nature, while the texture is homophonic in nature.
- The Renaissance madrigal was very expressive, employing tactics such as word painting to achieve this effect.
The Renaissance Mass was composed in a single movement for singers and instruments.
The creation of the printing press in Western Europe was a development associated with the Renaissance period.
The Second Part consists of the following sections: Fill in the blanks 18.
The few surviving medieval dances, as well as the music that accompanied them, are collectively referred to as_.
Hildegard of Bingen is recognized by the following titles: a.
The mother of Richard the Lion-Hearted was a nun, a church composer, a natural historian, and a poet.
Who has usually been tasked with the task of collecting and codifying the chants of the Catholic Church?
Single line melodies from the early Christian Church that are performed in unison are referred to as_.
It has a monophonic texture in terms of sound.
It is mostly always not metricated.
Which of the following genres was most popular among medieval entertainers?
Chants of the Gregorian calendar 25.
This was dubbed as_ by the media.
In the Renaissance mass, melodies travel from one voice to another, mimicking one another; this texture is referred as as_.
This is the name given to the expressive method employed by Renaissance composers to musically pictorialize words from sung text.
a.Mass celebrated by Pope Marcellus A Madrigal in the style of “As Vesta Was from Latmos Hill Descending Descending” by Thomas Weelkes; c.Organum Leonin’s on the theme of “Benedicamus Domino” by William Byrd; d.Monsiers Almain by William Byrd 34.
This technique is known as_ 35.
instrumental music to accompany the singing in church.
There were two forms of Renaissance chansons: the pavane and the galliard.
Raissance danced in the same meter as a couple of Raissance dancers d.
35 Which of the following works was authored by Bernard de Ventadorn?
What is the title of the work composed by Hildegard of Bingen?
Plainchant “Columba aspexitb.
Motet “Quant en moyd.
Troubadour song “La dousa votz 38 Which of the following works was authored by Guillaume de Machaut?
Plainchant “Columba aspexitb.
Motet “Quant en moyd.
Troubadour song “La dousa votz For number forty, which of the following works was written by Leonin or Perotin?
Plainchant “Columba aspexitb.
Motet “Quant en moyd.
Troubadour song “La dousa votz 41.
Lute solo “Fantasia No.
Madrigal “As Vesta was” d.
Mass “Pange lingua” b. Lute solo “Fantasia No. 7” John Dowland is the author of which piece of work? a. Mass “Pange lingua” b. Lute solo “Fantasia No. 7” c. Madrigal “As Vesta was” d. Pavane “Celeste giglio” a. Mass “Pange lingua” b. Lute solo “Fantasia No. 7” Reactions to the question
Test 1 Flashcards
University of Bloomsburg’s MUSIC 101: Music Listening In general, the smaller the vibrating part, the higher the pitch of the vibration. A. softer B. lower C. louder D. louder A. softer B. lower C. higher An A. dynamic accent is a term used to describe the gap between the lowest and highest tones that a voice or instrument may generate. B. the timbre C. the range of pitch D. an octave of pitch This transition from one key to another within the same piece is referred to as _quality of sound of an instrument or voice is also known as _a shift from one key to another within the same composition is referred to as A.
- any twelve random notes that are played on the instrument D.
- The three-part form is represented by the letters A.
- ABA’ D.
- all answers are correctD.
- all answers are right A.
- When it comes to music, A.
how it makes you feel when you listen to it, all responses are valid.
whether it is monophonic, homophonic, or polyphonic (n) An arpeggio, a consonant chord transitioning to a dissonant chord, a composer making the decision to construct a piece, and a dissonant chord transitioning to a consonant chord D.
There are no other orchestral drums with a consistent pitch than the .
It is the practice of placing a focus in music where it is not anticipated.
kept some features of the Jewish synagogue from the first decades after Christ B.
is set to sacred Latin texts D.
All of the responses are correct.
It is often polyphonic.
the melodies tend to progress in a step-by-step manner within a limited range of pitchesB.
composed all of the Gregorian chants B.
reorganized the Catholic church liturgy during his reign from 590 to 604 D.
reorganized the Catholic church liturgy during his reign from 590-604 D.
reorganized the Catholic church liturgy during his reign from 590-604 D.
types of religious ceremony, B.
the basic scales of western music during the Middle Ages were D.
she sang at all church services; B.
she was not authorized to participate in church services; B.
The travelling minstrels, or jongleurs, of the Middle Ages were known as jongleurs.
they lived on the lowest level of society B.
they performed music and acrobatics at castles, taverns, and town squares D.
the French nobles began to sing hunting songs together B.
Musicians composed new music to accompany dancing The first step towards the development of polyphony was taken sometime between 700 and 900 when: B.
In some ways, the Renaissance may be regarded as an age ofA.
discovery and adventure C.
all answers are correctD.
all answers are accurate It is considered a _Thomas Weelkes’s piece_ when a composition for numerous solo voices is adapted to a short poem, most commonly about love.
The was the most often used instrument in the Renaissance household, according to historians.
the Reformation B.
the Counter-Reformation When it came to the Renaissance, every educated person was expected to: A.
play a musical instrument C.
be proficient in dancing D. all answers are right For example, a large proportion of instrumental music created during Renaissance times was meant for A) the performance hall B) religious services C) dance and singing accompaniment C. dance and musical accompaniment to a song
Which among the following statement is NOT true about the Gregorian Chant? a. It is sung by priest and – Brainly.ph
Answer:Which of the following statements regarding the Gregorian Chant is NOT correct? Chants were composed verbally, as evidenced by the answer b. Explanation: The Roman Catholic Church’s liturgical music is known as Gregorian chantis. It might be in monophonic or unison, and it was employed to accompany the text of the mass as well as the canonical hours, or divine office, throughout the centuries. The emphasis is determined by the text, but the phrase is determined by the melodic contour. It was common for composers to set texts to traditional melodies, which they then modified and adapted to the needs of the text; some melodic formulas were used exclusively at the beginning of a chant, while others were used at the end of a chant or in both places; and others were used in either place or both places.
Each text syllable was evaluated in terms of its location within the word to which it belonged, defining variables such as “the syllable has or does not have the major accent,” “the syllable is or does not occur at the conclusion of a word,” and in terms of the specific sounds generated by the syllable (for instance, the syllable contains the vowel “i”).
Gregorian chanting without the use of a rhythm or a normal metric accent is a frequent modern practice that is primarily motivated by aesthetic considerations.
More intricate chants were performed by trained soloists and choruses.
The Middle Ages
Identify which one of the following statements regarding the Gregorian Chant is not correct. Chants were composed verbally, as evidenced by the following:b Explanation: The Roman Catholic Church’s liturgical music is based on the Gregorian chant style. When used to accompany the text of the mass and the canonical hours, or holy office, it can be either monophonic or unison in style. In music, the emphasis is determined by the text, while the phrasing is determined by the melody’s melodic contour.
In Gregorian chant, the text setting is critical since it determines the sounds that will be created.
Also taken into consideration is the length of the syllables, which is measured in hundredths of a second.
This practice is primarily motivated by aesthetic concerns.
A greater variety of chants were performed by trained soloists and choruses. BRAINLYFAST
Gregorian chant is a type of liturgical music performed in unison or in monophony by the Roman Catholic Church to accompany the readings of the mass and the canonical hours, sometimes known as the divine office. The Gregorian chant is named after St. Gregory I, who was Pope from 590 to 604 and during whose reign it was collected and codified. King Charlemagne of the Franks (768–814) brought Gregorian Chant into his country, which had previously been dominated by another liturgical style, the Gallican chant, which was in general usage.
The passages that are repeated from one mass to the next are included in theOrdinary of the Mass.
The first appearance of the Gloria was in the 7th century.
The Gloria chants that follow are neumatic.
TheSanctus andBenedictus are most likely from the period of the apostles.
Since its introduction into the Latin mass from the Eastern Church in the 7th century, theAgnus Dei has been written mostly in neumatic form.
The Proper of the Mass is a collection of texts that are different for each mass in order to highlight the significance of each feast or season celebrated that day.
During the 9th century, it had taken on its current form: a neumatic refrain followed by a psalm verse in psalm-tone style, followed by the refrain repeated.
As time progressed, it evolved into the following pattern: opening melody (chorus)—psalm verse or verses in a virtuously enriched psalmodic structure (soloist)—opening melody (chorus), which was repeated in whole or in part.
Its structure is similar to that of the Gradual in several ways.
Synagogue music has a strong connection to this cry.
Sacred poems, in their current form, the texts are written in double-line stanzas, with the same accentuation and amount of syllables on both lines for each two lines.
By the 12th century, just the refrain had survived from the original psalm and refrain.
The Offertory is distinguished by the repeating of text.
The song has a neumatic feel to it.
Responses are short texts that precede or follow each psalm and are mostly set in syllabic chant; psalms, with each set to a psalm tone; hymns, which are usually metrical and in strophes or stanzas and set in a neumatic style; and antiphons or refrains, which are short texts that precede or follow each psalm and are mostly set in syllabic The Gradual’s form and style are influenced by the sponsor’s contribution.
Amy Tikkanen has made the most current revisions and updates to this page.
MUL1010 Section 2 – Subjecto.com
|The phrase Middle Ages refers to the period ofEuropean history spanning_||450-1000|
|In the Middle Ages, most important musicians were_||priests|
|A virtual monopoly on learning during the MiddleAges was held by_||monks and monasteries|
|During the Middle Ages, women_||were not permitted to sing in church|
|The church frowned on instruments because of their_||earlier roles in pagan rites|
|The use of organs in the church_||distracted the listeners from worship|
|The music the Medieval monks and nuns sang wascall_||Gregorian Chant|
|The two types of services at which monks and nunssang were_||the office and the mass|
|In the Middle Ages, the organ_||was a prominent church isntrument|
|An important woman composer of the Middle Ages was_||Hildegard of Bingen|
|Most medieval music was_||vocal|
|The view of the later medieval church on musicduring religious services was that it should be_||used only as a discreet accompaniment|
|Gregorian chant_||All of these|
|Gregorian chant is_||monophonic in texture|
|Gregorian chant consists of_||melody sung without accompaniment|
|Which of the following is not true of Gregorianchant?||It is usually polyphonic in texture|
|Pope Gregory the Great_||reorganized the liturgy of the Catholic churchduring his reign from 590-604|
|The earliest surviving chant manuscripts date fromabout the_century||ninth|
|The church modes were_||the basic scales of western music during the MiddleAges|
|Alleluia_||-may be translated as “praise ye theLord” -is Latinized form of the Hebrew hallelujah -is often used inGregorian chants all of these are correct|
|Hildegard of Bingen was_||-the first woman composer to leave a large numberof works that have survived -abbess the convent at Rupertsberg -a visionaryand mystic active in religious and diplomatic affairs all of these arecorrect|
|The first large body of secular songs that survivesin decipherable notation was composed_||during the twelfth and thirteenth centuries byFrench nobles called troubadours and troveres|
|One function of secular music in the late MiddleAges was to provide accompaniment for_||dancing|
|The French secular music in the late Middle Ageswas to provide accompaniment for_||dancing|
|A famous French woman troubadour was_||Beatriz de Dia|
|The notation of the secular songs of the MiddleAges does not indicate_||rhythm|
|The medieval jongleurs, important sources ofinformation in a time when there were no newspapers, were_||ranked at the lowest social level|
|An estampie is a medieval||dance|
|Which of the following statements is not true ofthe medieval estampie?||It was intended for religious services|
|The first steps toward the development of polyphonywere taken sometime between 700 and 900, when_||monks in monastery choirs began to add a secondmelodic line the Gregorian chant|
|_is a term applied to medieval music thatconsists of Gregorian chant and one more additional melodic lines||Organum|
|The earliest known composers to write music withmeasured rhythm were_||Leonin and Perotin|
|The terms ars nova refers to_||French and Italian music of the fourteenth century|
|One of the major characteristic of ars nova musicis its use of_||syncopation|
|The foremost composer of fourteenth-century Francewas_||Guillaume de Machaut|
|The Notre Dame Mass by Guillaume de Machaut was_||-written for three voices without instrumentalaccompaniment -is the only mass from the middle ages to incorporate theentire proper of the mass into one work’ -the first polyphonic treatment ofthe mass ordinary by a known composer all of these are correct|
|Cantus firmus is the term used for_||a chant that is used as the basis of polyphony|
|The Renaissance in music occurred between_||1450-1600|
|The dominant intellectual movement of theRenaissance was called_||humanism|
|Which of the following statements is not true ofthe intellectual movement of the Renaissance known as humanism?||The humanists were basically atheistic in theirbeliefs|
|Many prominent renaissance composers, who heldimportant posts all over the continent, came from an area of Europe known atthat time as_||Flanders|
|Which of the following statements is not true ofRenaissance music?||Instrumental music became more important than vocalmusic during the Renaissance|
|Renaissance music sounds fuller than medieval musicbecause_||-composers considered the harmonic effect of chordsrather than superimposing one melody above another -the bass register is usedfor the first time -the typical choral piece has four, five, or six vocalparts of nearly equal melodic interest all of these are correct|
|The texture of Renaissance music is chiefly_||polyphonic|
|A cappella refers to_||unaccompanied choral music|
|Renaissance melodies are usually easy to singbecause_||the melody usually moves along a scale with fewlarge steps|
|The two main forms of sacred Renaissance music andthe mass are the_||motet|
|The Renaissance motet is a_||polyphonic choral work set to a sacred Latin textother than the ordinary of the mass|
|Josquin Desprez was a contemporary of_||Christopher Columbus|
|Palestrina’s career centered in_||Rome|
|Giovanni Pierluigi de Palestrina’s_||music includes 104 masses and some 450 other works|
|An attempt was made to purify Catholic Church musicas a result of the_||deliberations of the Council of Trent|
|During the Renaissance every educated person wasexpected to_||-read musical notation -play a musical instrument-be skilled in dance all of these are correct|
|The Renaissance madrigal is a_||piece for several solo voices set to a short poem,usually about love|
|The madrigal anthology The Triumphes of Oriana waswritten in honor of_||Queen Elizabeth I|
|Thomas Weelkes’s As Vesta Was Descending is notablefor its_||word painting|
|Much of the instrumental music composed during the Renaissancewas intended for_||dancing|
|A versatile plucked string instrument with a bodyshaped like half a pear, popular during the Renaissance, was the_||lute|
|The passamezzo is a_||stately dance in duple meter|
|Among the most important Italian Renaissancecomposers was_||Giovanni Pierluigi da Palestrina|
What is Gregorian Chant – GIA Publications
|Before reviewing the main Gregorian chant books and resources, perhaps it is good to state what Gregorian chant is.Gregorian chant is the church’s own music, born in the church’s liturgy. Its texts are almost entirely scriptural, coming for the most part from the Psalter. For centuries it was sung as pure melody, in unison, and without accompaniment, and this is still the best way to sing chant if possible. It was composed entirely in Latin; and because its melodies are so closely tied to Latin accents and word meanings, it is best to sing it in Latin. (Among possible exceptions are chant hymns, since the melodies are formulaic and are not intrinsically tied to the Latin text.) Gregorian chant is in free rhythm, without meter or time signature.Because the liturgy was sung almost entirely in Gregorian chant in the Middle Ages (with polyphony saved for special occasions), every type of liturgical text has been set in chant: readings, prayers, dialogs, Mass propers, Mass ordinaries, office hymns, office psalms and antiphons, responsories, and versicles. Although Pope St. Gregory the Great (590–604) certainly did not play a role in the creation or compilation of our chant melodies, popular legend led the church to name Gregorian chant after this great leader.Many other types and styles of music are similar to Gregorian chant or inspired by it, but one should distinguish them from Gregorian chant. Taizé chants, for example, are generally in Latin, similar to Gregorian chant antiphons. But the musical style is quite different: metered and with choral harmonies and/or instrumental accompaniments.Many psalm tones have been written since the Second Vatican Council. They are much like Gregorian chant psalm tones with their free rhythm and their repeatable melodic formulas. By Gregorian psalm tones, however, we mean a set of particular melodies, one for each of the Gregorian modes, always in the form of two measures. The Gregorian psalm tones are well suited to the Latin language, but do not work very well with English accents, unless one takes freedom in adapting them. For English psalm verses, it is probably wiser to use psalm tones written for the English language. Back to Gregorian Chant Resources|