978-1259892707 A Famous French Woman Troubadour Was ______

Part II

1. The phrase Middle Ages refers to the period of European history spanning ______.

A. 450-1000

2. In the Middle Ages, most important musicians were _______.

D. women

3. A virtual monopoly on learning during the Middle Ages was held by _______.

A. knights in castles

4. During the Middle Ages, what institution was the center of musical life?

5. Church officials expected monks to sing _______.

D. with the members of the congregation

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Bloom’s: Remember

Learning Objective: Describe performers of religious music in the Middle Ages

Topic: Medieval music

Feedback: Church officials considered tone quality and pronunciation to be of utmost importance in communicating the sacred

texts. For example, Saint Bernard advised singers to pronounce “the words of the Holy Spirit with becoming manliness and

resonance and affection; and correctly, that while you chant you ponder on nothing but what you chant.”

6. Bernard of Clairvaux ordered his monks to sing _______.

A. quietly with reverence

7. The church frowned on instruments because of their ______.

A. association with minstrels and jongleurs

8. The use of organs in church _______.

A. was strictly forbidden

9. What we know about instruments in church comes mainly from _______.

D. old recordings

10. Most medieval music was _______.

A. instrumental

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C. for the piano

D. for the organ

11. We know from paintings and literary descriptions of the Middle Ages that _______.

D. large orchestras existed

12. During the late Middle Ages, the church believed that music during religious services should be ______.

A. performed by as many musical instruments as possible

13. Church authorities in the Middle Ages ____________________ their religious services.

A. encouraged the use of music as a highlight of

14. The music the medieval monks sang was called _______.

A. contemporary gospel

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Feedback: Gregorian chant, named after Pope Gregory I, was the official music of the Roman Catholic church for over 1,000

years, beginning in the early Middle Ages.

15. Gregorian chant _______.

A. is set to sacred Latin texts

16. Gregorian chant ________.

D. has no texture

17. Gregorian chant consists of _______.

A. one instrument playing alone

18. Which of the following is not true of Gregorian chant?

A. It conveys a calm, otherworldly quality.

19. Why is Gregorian chant seldom heard today?

A. Congregations do not find it interesting.

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Bloom’s: Understand

Learning Objective: Recognize the musical characteristics of Gregorian chant, especially its melody and rhythm

Learning Objective: Recount events in the development of Gregorian chant

Topic: Gregorian chant

Feedback: Gregorian chant evolved over hundreds of years and consequently became a highly elaborate and refined art. As such,

it is difficult to perform and the aesthetics are considered old-fashioned for modern worship. Further, the Vatican encouraged

services to be held in the native language of the worshipper’s country.

20. How do Gregorian chant melodies tend to move?

A. By leaps over a wide range of pitches

21. Gregorian chant is named after Pope Gregory I, who ______.

A. composed all the chants presently in use

22. Pope Gregory the Great _________.

A. composed all of the Gregorian chants

23. What were the two types of services at which monks and nuns sang?

A. The salvation service and the holiness service

24. The highlight of the day for monks and nuns was ______.

A. the service before sunrise

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C. the evening feast

D. the mass

25. The earliest surviving chant manuscripts date from about the _______ century.

A. sixth

26. The church modes were ______.

A. forms of religious ritual

27. The church modes are ______.

A. different from the major and minor scales in that they consist of only six different tones

28. The word Alleluia _______.

29. The form of the chant Alleluia: Vidimus stellam is ______.

A. theme and variations

30. Who was Hildegard of Bingen?

A. The first woman composer to leave a large number of works that have survived

31. The earliest extant liturgical morality play, Ordo virtutum (Play of the Virtues), was composed by ______.

A. the nuns of Rupertsberg

32. An outstanding composer of the school of Notre Dame was ______.

D. Pope Gregory I

33. For what is the term cantus firmus used?

A. A part of the Catholic church’s religious service

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Feedback: Cantus Firmus is a chant that is used as the basis for polyphonic compositions, such as organum, over which faster

melodies are sung. The cantus firmus used by medieval (and later Renaissance) composers was always a preexisting melody,

often Gregorian chants.

34. The first large body of secular songs that survives in decipherable notation was composed ______.

D. during the fifteenth century

35. The first large body of secular songs that survives in decipherable notation was composed by _______.

36. The French secular songs of the Middle Ages were often concerned with ______.

A. the Crusades

37. _________ lived in Southern France and wrote poems in the Provençal language; while _________ flourished in Northern

France and wrote in Old French.

D. trouvères; jongleurs

38. William IX, Duke of Aquitaine, Prince Jaufre Rudel, Bernart de Ventadorn and Guillaume le Vinier were all famous ______.

D. poets

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Accessibility: Keyboard Navigation

Bloom’s: Remember

Learning Objective: Explain the roles of musicians in medieval society

Topic: Secular music

Feedback: Troubadours and trouvères came from diverse social backgrounds: some were nobles, such as William IX, Duke of

Aquitaine (1071-1126), the first known troubadour, and Prince Jaufre Rudel (mid-twelfth century), a troubadour who died during

the second Crusade around 1147. Others came from modest backgrounds, like the troubadour Bernart de Ventadorn (c. 1140-

1200), son of a baker, and the trouvère, Guillaume le Vinier (c. 1190–1245), whose parents were middle-class.

39. Trouvère songs of the Middle Ages dealt with all of the following subjects except ______.

A. love

40. Which of the following statements is not true of secular music in the Middle Ages?

A. Troubadours and trouvères came from diverse social backgrounds.

41. A famous French woman troubadour was ______.

A. Hildegard of Bingen

42. What did Beatriz de Dia compose?

A. Gregorian chant

43. The notation of troubadour and trouvère melodies does not indicate ______.

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C. duration

D. All answers are correct.

44. The medieval jongleurs, important sources of information in a time when there were no newspapers, were ______.

A. ranked on a high social level

45. The wandering minstrels, or jongleurs, of the Middle Ages ______.

A. entertained in castles, taverns, and town squares

46. As a young student in Paris, Henri de Malines sang ______.

A. Gregorian chant

47. One function of secular music in the late Middle Ages was to provide accompaniment for ______.

A. monasteries

48. An estampie is a medieval ______.

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D. song of worship

49. Which of the following statements is not true of the medieval estampie?

A. It is one of the earliest surviving pieces of instrumental music.

50. A(n) _____ can be defined as two simultaneous, repeated notes at the interval of a fifth, played on a psaltery (a plucked or

struck string instrument).

D. troubadour

51. In the recording of the medieval estampie, the melody is played on a rebec, a ______.

A. medieval drum

52. The first steps in a revolution that eventually transformed Western music began sometime between 700 and 900 with the

______.

D. addition of chords to the melody line

53. The first steps toward the development of polyphony were taken sometime between 700 and 900, when ______.

A. musicians composed new music to accompany dancing

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D. All answers are correct.

54. ______________ is a term applied to medieval music that consists of Gregorian chant and one or more additional melodic

lines.

A. Alleluia

55. Medieval music that consists of Gregorian chant and one or more additional melodic lines is called ______.

A. ars nova

56. Which of the following statements is not true?

D. Perotin was among the first known composers to write music with more than two voices.

57. The center of polyphonic music in Europe after 1150 was ______.

D. London

58. In medieval times, most polyphonic music was created by ______.

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C. having some singers embellish the sermon during church services

D. adding orchestral instruments to church music

59. Why are Leonin and Perotin notable?

A. They are the first important composers known by name.

60. The earliest known composers to write music with measured rhythm were ______.

A. Pope Gregory and Chastelain de Couci

61. Among other causes, why did secular music become more important than sacred music in the fourteenth century?

A. The literature of the time stressed earthly sensuality.

62. One of the major characteristics of ars nova music is its use of _______.

D. monophonic texture

63. Secular music in the fourteenth century _______.

A. became more important than sacred music

64. The term ars nova refers to ______.

D. paintings from the new world

65. A new system of music notation that allowed composers to specify almost any rhythmical pattern had evolved by the ______.

A. late twelfth century

66. The ars nova or new art differed from older music in that ______.

A. the subjects were all secular

67. An outstanding composer of the ars nova was ______.

D. Pope Gregory I

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Feedback: Guillaume de Machaut was a well-known composer of ars nova music. Perotin, Leonin, and Pope Gregory I all lived

before ars nova came into existence.

68. Guillaume de Machaut was a ______________ as well as a musician.

A. carpenter

69. Guillaume de Machaut’s compositions consist mainly of ______.

A. symphonies

D. Credo

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Learning Objective: Understand measured rhythm in later medieval polyphony 9

Topic: Fourteenth-century music 9

Topic: Gregorian chant 10

Topic: Guillaume de Machaut 3

Topic: Hildegard of Bingen 2

Topic: Medieval music 13

Topic: Organum 4

Topic: Polyphony 6

Topic: Rhythm 3

Topic: Sacred music 7

Topic: Secular music 17