Test Bank For A History of Western Music, 10th Edition

TEST BANK A History of Western Music TENTH EDITION By Anthony Barone UNIVERSITY OF NEVADA, LAS VEGAS Melissa Lesbines APPALACHIAN STATE UNIVERSITY Stephanie P. Schlagel UNIVERSITY OF CINCINNATI, COLLEGE CONSERVATORY OF MUSIC Laurel Zeiss BAYLOR UNIVERSITY With Joanie Brittingham, Anne-Marie Houy, and Ariana Phillips W • W • NORTON & COMPANY • NEW YORK • LONDON W. W. Norton & Company has been independent since its founding in 1923, when William Warder Norton and Mary D. Herter Norton first published lectures delivered at the People’s Institute, the adult education division of New York City’s Cooper Union. The firm soon expanded its program beyond the Institute, publishing books by celebrated academics from America and abroad. By midcentury, the two major pillars of Norton’s publishing program—trade books and college texts—were firmly established. In the 1950s, the Norton family transferred control of the company to its employees, and today—with a staff of four hundred and a comparable number of trade, college, and professional titles published each year—W. W. Norton & Company stands as the largest and oldest publishing house owned wholly by its employees. Copyright © 2019 by W. W. Norton & Company, Inc. All rights reserved. W. W. Norton & Company, Inc., 500 Fifth Avenue, New York, N.Y. 10110–0017 wwnorton.com W. W. Norton & Company Ltd., Castle House, 75/76 Wells Street, London W1T 3QT CONTENTS Part One: The Ancient and Medieval Worlds 1 | Music in Antiquity 3 2 | The Christian Church in the First Millennium 15 3 | Roman Liturgy and Chant 27 4 | Song and Dance Music to 1300 38 5 | Polyphony through the Thirteenth Century 49 6 | New Developments in the Fourteenth Century62 Part Two: The Renaissance 7 | Music and the Renaissance 77 8 | England and Burgundy in the Fifteenth Century89 9 | Franco-Flemish Composers, 1450–1520 102 10 | Madrigal and Secular Song in the Sixteenth Century 115 11 | Sacred Music in the Era of the Reformation 127 12 | The Rise of Instrumental Music 138 Part Three: The Seventeenth Century 13 | New Styles in the Seventeenth Century 151 14 | The Invention of Opera 164 15 | Music for Chamber and Church in the Early Seventeenth Century 175 16 | France, England, Spain, and the New World in the Seventeenth Century 17 | Italy and Germany in the Late Seventh Century199 Part Four: The Eighteenth Century 18 | The Early Eighteenth Century in Italy and France 213 19 | German Composers of the Late Baroque 223 20 | Musical Taste and Style in the Enlightenment233 21 | Opera and Vocal Music in the Early Classic Period 243 22 | Instrumental Music: Sonata, Symphony, and Concerto 23 | Classical Music in the Late Eighteenth Century266 256 186 Part Five: The Nineteenth Century 24 | Revolution and Change 279 25 | The Romantic Generation: Song and Piano Music 290 26 | Romanticism in Classic Forms: Choral, Chamber, and Orchestral Music 27 | Romantic Opera and Musical Theater to Midcentury 313 28 | Opera and Musical Theater in the Later Nineteenth Century 325 29 | Late Romanticism in German Musical Culture336 30 | Diverging Traditions in the Later Nineteenth Century 348 Part Six: The Twentieth Century and After 31 | The Early Twentieth Century: Vernacular Music361 32 | The Early Twentieth Century: The Classical Tradition 33 | Radical Modernists 383 34 | Between the World Wars: Jazz and Popular Music 395 35 | Between the World Wars: The Classical Tradition 407 36 | Postwar Crosscurrents 418 37 | Postwar Heirs to the Classical Tradition 428 38 | The Late Twentieth Century 440 39 | The Twenty-First Century 451 372 302 PART ONE: THE ANCIENT AND MEDIEVAL WORLDS chapter 1 Music in Antiquity MULTIPLE CHOICE 1. The earliest surviving musical instruments were made from a. bone. d. stone. b. clay. e. wood. c. metal. ANS: A DIF: MSC: Remembering Easy REF: 5 TOP: The Earliest Music 2. All of the following types of evidence about musical culture from ancient civilizations survive today EXCEPT a. musical instruments. d. visual images of music-making. b. notated music. e. writings about music. c. recorded sound. ANS: C DIF: MSC: Remembering Easy REF: 5 TOP: Music in Antiquity 3. Historians mark the end of the prehistoric era at the time when people a. created the first cave paintings. d. learned how to carve stone. b. invented printing. e. learned how to work with metal. c. invented writing. ANS: C DIF: MSC: Remembering Easy REF: 5 TOP: The Earliest Music 4. The origins of Western music can be traced to civilizations from a. Arabia. d. Greece and Turkey. b. China and India. e. Iraq and Syria. c. Egypt and Israel. ANS: E DIF: Moderate REF: 5 TOP: Music in Ancient Mesopotamia; Other Civilizations MSC: Analyzing 5. Why, throughout history, do scholars know more about the music-making activities of elite members of any given society than of others in that society? a. The elite suppressed information about music-making in lower socioeconomic groups. b. Music-making activities of the elite are probably representative of the society as a whole. c. Only the elite could afford to pay composers to write music and artisans to make instruments. d. People of lower social status did not make music. e. The music of lower socioeconomic groups is not interesting. ANS: C DIF: Moderate TOP: Music in Ancient Mesopotamia REF: 7 MSC: Analyzing 6. All of the following instruments existed in ancient Mesopotamia EXCEPT a. harps. d. percussion instruments. b. bowed instruments. e. pipes. c. lyres. ANS: B DIF: Easy TOP: Music in Ancient Mesopotamia REF: 6 MSC: Remembering 7. The instrument shown in this image was used in which region? a. b. c. Arabia Babylonia Egypt ANS: B MSC: Applying d. e. DIF: Moderate REF: Greece the Roman Empire 6–7 TOP: The Earliest Music 8. ________ is a type of music found in ancient Mesopotamia, but no longer used in Western cultures today. a. Dance music d. Music to accompany epic poetry b. The funeral lament e. The nursery song c. Military music ANS: D DIF: Easy TOP: Music in Ancient Mesopotamia REF: 7 MSC: Remembering 9. Enheduanna, the first composer known by name, was an Akkadian a. king. d. queen. b. priest. e. servant. c. priestess. ANS: C DIF: Difficult TOP: Music in Ancient Mesopotamia REF: 7 MSC: Remembering 10. The earliest surviving complete piece of music is written on a. a clay tablet. d. paper. b. papyrus. e. a stone tablet. c. parchment. ANS: A DIF: Difficult TOP: Music in Ancient Mesopotamia REF: 8 MSC: Remembering 11. In ancient Greek mythology, the lyre was associated with a. Apollo. d. Homer. b. Aristotle. e. Plato. c. Dionysus. ANS: A DIF: Moderate REF: 10 TOP: Music in Ancient Greek Life and Thought: Instruments and Their Uses MSC: Remembering 12. Scholars think that memory and improvisation played an important role in Greek music-making because a. ancient Greek writings explain techniques for playing by ear. b. ancient Greek writings praise musicians for their excellent memories. c. images of music-making from ancient Greece rarely show performers reading music. d. no musical notation from ancient Greece survives. e. the musical notation from ancient Greece provides chord progressions on which to improvise. ANS: C DIF: Moderate REF: 10 TOP: Music in Ancient Greek Life and Thought: Instruments and Their Uses MSC: Analyzing 13. In this image a woman is playing the a. b. c. aulos. bone flute. kithara. d. e. lyre. panpipes. ANS: A DIF: Moderate REF: 9, 11 TOP: Music in Ancient Greek Life and Thought: Instruments and Their Uses MSC: Applying 14. The ancient Greek civilization lasted for approximately how many years? a. 300 d. 1,500 b. 500 e. 2,000 c. 1,000 ANS: C DIF: Difficult REF: TOP: Music in Ancient Greek Life and Thought 9 (timeline); 10 (map and caption); 17 MSC: Remembering 15. All of the following wrote about Greek music EXCEPT a. Aristides Quintilianus. d. Plato. b. Aristotle. e. Pythagoras. c. Orpheus. ANS: C DIF: Moderate REF: TOP: Greek Musical Thought; Ancient Rome 11–13 MSC: Remembering 16. ________ discovered the relationship between consonant intervals and mathematical ratios. a. Aristotle d. Ptolmey b. c. Aristoxenus Plato e. ANS: E DIF: MSC: Remembering Moderate REF: Pythagoras 13 TOP: Greek Musical Thought 17. Plato asserted that music was an essential component of education because a. music and poetry are inseparable. b. music is enjoyable to listen to. c. musicians were valued in society. d. studying music helps to balance mental and physical activity. e. studying music helps to understand mathematics. ANS: D MSC: Analyzing DIF: Moderate REF: 13–14 TOP: Music and Ethos 18. According to Aristotle, different kinds of melodies could cause the listener to experience a. emotions. d. physical health. b. hallucinations. e. religious epiphanies. c. philosophical thoughts. ANS: A MSC: Analyzing DIF: Moderate REF: 14 TOP: Music and Ethos 19. Who is likely to have written this: “It is . . . plain that music has the power of producing certain effect on the ethos of the soul, and if it has the power to do this, it is clear that the young must be directed to music and must be educated in it”? a. Aristides Quintilianus d. Homer b. Aristotle e. Pythagoras c. Aristoxenus ANS: B DIF: Difficult REF: 14 TOP: Music and Ethos; Source Reading: Aristotle on the Doctrine of Imitation, Ethos, and Music in Education MSC: Applying 20. According to Aristoxenus, rhythm in music closely aligns with a. astronomical movements. d. mythology. b. the doctrine of imitation. e. poetry. c. the Greater Perfect System. ANS: E MSC: Analyzing DIF: Easy REF: 15 TOP: Greek Music Theory 21. In Greek musical theory, the various tonoi were associated with different a. dynamics. d. regional styles. b. emotional states. e. rhythmic patterns. c. instrument groupings. ANS: B MSC: Analyzing DIF: Difficult REF: 17 TOP: Greek Music Theory 22. The names Cleonides used for octave species (Dorian, Phrygian, and Lydian) were derived from a. ethnic names originally associated with styles of music practiced in different regions of Greece. b. the Greek names of the pitches on which each scale began. c. the Greek names of the planets. d. the Greek words for the emotional states evoked by each scale. e. revered Greek theorists, writers, and philosophers. ANS: A DIF: MSC: Remembering Easy REF: 16 TOP: Greek Music Theory 23. The Epitaph of Seikilos is a musical composition from a. ancient Babylon. d. b. the Bronze Age. e. c. ancient Greece. ANS: C DIF: MSC: Remembering Moderate REF: ancient Rome. the Stone Age. 18 TOP: Ancient Greek Music 24. The fragmentary ode from Euripides’s Orestes exhibits all of the following musical qualities EXCEPT the a. employment of instruments to support vocal music. b. idea that music imitates ethos. c. importance of poetic rhythm and structure in shaping the melody. d. use of diatonic, chromatic, and enharmonic genera. e. use of virtuosic improvisation. ANS: E MSC: Applying DIF: Moderate REF: 18 TOP: Ancient Greek Music TOP: Music in Ancient Rome 25. The tibia, tuba, cornu, and buccina are instruments from ancient a. Babylon. d. Mesopotamia. b. Egypt. e. Rome. c. Greece. ANS: E DIF: MSC: Remembering Moderate REF: 18 TRUE/FALSE 1. The cultures of Europe and America have their roots in the Near East and Greece. ANS: T DIF: MSC: Remembering Easy REF: 4 TOP: Music in Antiquity 2. There is no surviving evidence of music-making before the Bronze Age (ca. 4000 B.C.E.). ANS: F DIF: MSC: Remembering Easy REF: 5 TOP: The Earliest Music 3. Ancient Babylonians developed a system of musical notation. ANS: T DIF: Moderate TOP: Music in Ancient Mesopotamia REF: 8 MSC: Remembering 4. Scholars believe that the ancient Greek musical system of modes, and thus the European musical system, was influenced by the Babylonian system. ANS: T DIF: Moderate TOP: Music in Ancient Mesopotamia REF: 8 MSC: Remembering 5. In ancient Greece, instruments were used only to accompany the voice. ANS: F DIF: Moderate REF: 12 TOP: In Performance: Competitions and Professional Musicians MSC: Applying 6. The Greater Perfect System was a scale based on the concept of an absolute fixed pitch. ANS: F DIF: Difficult REF: 16 TOP: Greek Music Theory MSC: Analyzing 7. Ancient Greek musical notation indicates pitches and durations. ANS: T DIF: MSC: Remembering Moderate REF: 18 TOP: Ancient Greek Music 8. Surviving examples of Greek music show a close correlation between theory and practice. ANS: T MSC: Analyzing DIF: Moderate REF: 19 TOP: Ancient Greek Music 9. Music was used in ancient Roman religious, state, and military ceremonies. ANS: T DIF: MSC: Remembering Easy REF: 19–20 TOP: Music in Ancient Rome 10. There is much evidence that ancient Roman musical culture influenced Western European musical culture. ANS: F MSC: Applying DIF: Moderate REF: 20 TOP: Music in Ancient Rome SHORT ANSWER 1. Describe where ancient Mesopotamia was located, relative to today’s political boundaries. ANS: Ancient Mesopotamia was located between the Tigris and Euphrates rivers in the regions occupied by modern-day Syria and Iraq. DIF: Moderate MSC: Applying REF: 6 TOP: Music in Ancient Mesopotamia 2. Does notated music from ancient Egypt survive? Explain. ANS: Possibly. Some scholars think that Egyptian hieroglyphics, wall paintings, and bibles may contain musical indications. But even if they do, their meanings are unclear. DIF: Difficult MSC: Analyzing REF: 8–9 TOP: Other Civilizations 3. What is a kithara? ANS: A kithara is a large lyre that was used in ancient Greek processions and sacred ceremonies. DIF: Moderate MSC: Applying REF: 10 TOP: Instruments and Their Uses 4. Define perfect melos. ANS: Perfect melos was an ancient Greek practice in which melody, text, and stylized dance were conceived as a whole. DIF: Moderate REF: MSC: Remembering 12 TOP: Greek Musical Thought: Music, Poetry, and Dance 5. The concept in Greek philosophy that the universe is an orderly, unified system integrating everything from mathematical proportions, astronomy, philosophy, and social structures to a person’s soul is called ________. ANS: harmonia DIF: Moderate MSC: Analyzing REF: 13 TOP: Greek Musical Thought 6. The ancient Greek notion that unheard music was produced by the revolutions of the planets is known as ________. ANS: the music of the spheres DIF: Moderate REF: MSC: Remembering 12 TOP: Greek Musical Thought 7. In Greek thought, the idea of one’s ethical character or way of behaving was called ________. ANS: ethos DIF: Easy REF: MSC: Remembering 13 TOP: Music and Ethos 8. Diatonic, chromatic, and enharmonic are types of ________. ANS: tetrachords DIF: Easy MSC: Applying REF: 15 TOP: Greek Music Theory 9. In 1969 the British band The Who created a rock opera called Tommy, an album of rock and roll songs produced in a recording studio that tells a story about a visually, hearing-, and speech-impaired youth who excels at pinball despite his disabilities. The different vocalists sing the songs on the album, each representing a character in the story. Eventually the album was turned into a film, a live theater work, and a ballet. Would Plato have approved of this fusion of classical and popular idioms and adaptations to different media? Why or why not? ANS: No. Plato did not approve of the mixing of genres and instruments and thought that musical conventions should not be changed. This reflected a well-ordered society. Opera is a classical genre and rock is a popular genre, so Plato would not have approved of a “rock opera.” Breaking conventions, such as turning a film into a live theater work, could lead to anarchy. OR Yes. “Perfect melos” is when melody, text, and stylized dance are conceived as a whole. Any opera, whether “classical” or “rock,” is conceived as whole (music, text, dance, staging, costumes, etc.). One can argue that opera is an extension of perfect melos. DIF: Difficult MSC: Applying REF: 12, 13–14 TOP: Greek Musical Thought; Music and Ethos 10. The two-octave span of available musical pitches in the Greek theoretical system is called ________. ANS: the Greater Perfect System DIF: Moderate REF: 16 TOP: Greek Music Theory MSC: Remembering MATCHING Match each term to the correct definition below. a. genus b. interval c. scale d. e. species tetrachord 1. 2. 3. 4. 5. the arrangement of tones and semitones within an interval of a fourth, fifth, or octave the distance between two notes of different pitches one of three arrangements of notes within a span of a perfect fourth a series of four notes spanning a perfect fourth a series of three or more different pitches in ascending or descending order 1. 2. 3. 4. 5. ANS: ANS: ANS: ANS: ANS: D B A E C Match each author to the correct title below. a. Anonymous b. Aristotle c. Aristoxenus 6. 7. 8. 9. 10. Epitaph of Seikilos Harmonic Introduction Poetics and Politics Republic and Timaeus Rhythmic Elements and Harmonic Elements 6. 7. 8. 9. 10. ANS: ANS: ANS: ANS: ANS: d. e. Cleonides Plato A D B E C ESSAY 1. Discuss how theories and practices of music-making in ancient Greece are similar to those still in use today. ANS: Answers will vary. 2. What did the ancient Greeks believe about music’s relation to the behavior of the individual, the functioning of a well-ordered society, and the motions of the planets? ANS: Answers will vary. chapter 2 The Christian Church in the First Millennium MULTIPLE CHOICE 1. Emperor Theodosius made Christianity the official religion of the Roman Empire in the year a. 70 C.E. d. 395 C.E. b. 313 C.E. e. 476 C.E. c. 392 C.E. ANS: C DIF: MSC: Remembering Moderate REF: 23 2. The main practice shared by early Judaism and early Christianity was a. the chanting of psalms. c. living in monasteries. e. b. dancing. d. sacrificing a lamb. ANS: A MSC: Applying DIF: Easy REF: 23–24 TOP: The Diffusion of Christianity the singing of hymns. TOP: The Judaic Heritage 3. The Judaic system of chanting sacred texts according to a system of melodic formulas matching phrase divisions is called a. cantillation. d. reciting tone. b. echoi. e. tonoi. c. psalmody. ANS: A DIF: MSC: Remembering Easy REF: 24 TOP: The Judaic Heritage 4. The focal point of the Christian Mass is a symbolic reenactment of the a. birth of Christ. d. Last Supper. b. choir of Levites singing psalms. e. ritual sacrifice of a lamb. c. crucifixion of Christ. ANS: D DIF: MSC: Remembering Moderate REF: 24 TOP: The Judaic Heritage 5. The group of influential Christian writers known as the “church fathers” includes all of the following EXCEPT a. St. Augustine. d. St. John Chrysostom. b. St. Basil. e. St. Paul. c. St. Jerome. ANS: E DIF: Moderate TOP: Music in the Early Christian Church REF: 25 MSC: Remembering 6. The “church fathers” advocated the singing of psalms because it a. distanced Christian worship from pagan rituals. b. made it easier to remember the words. c. provoked devout thoughts and ideas of divine beauty. d. reminded worshippers of Jesus of Nazareth’s Jewish heritage. e. was enjoyable and gave pleasure. ANS: C DIF: Difficult TOP: Music in the Early Christian Church REF: 25 MSC: Applying 7. When did the Roman Empire split into the Eastern (Byzantine) Empire, centered in Constantinople, and the Western Empire, centered in Rome and Milan? a. 70 C.E. d. 395 C.E. b. c. 313 C.E. 392 C.E. e. ANS: D DIF: Difficult REF: TOP: Divisions of the Church and Dialects of Chant 476 C.E. 25 MSC: Remembering 8. Who is likely to have written this: “When the Holy Spirit saw that mankind was ill-inclined toward virtue and that we were heedless of the righteous life because of our inclination to pleasure, what did he do? He blended the delight of melody with doctrine on order that through the pleasantness and softness of sound we might unawares receive what was useful in the words. . . . For this purpose these harmonious melodies of the Psalms have been designed for us”? a. St. Ambrose d. St. Gregory b. St. Basil e. St. Peter c. St. Benedict ANS: B DIF: Difficult REF: 26 TOP: Music in the Early Church; Source Readings: St. Basil on Psalms MSC: Applying 9. The schedule of days commemorating special events in the lives of Christ and the saints or times of year is called the a. Christian Rite. d. Mass. b. church calendar. e. service. c. liturgy. ANS: B DIF: Easy REF: TOP: Divisions of the Church and Dialects of Chant 10. Byzantine chant spread from the Eastern Empire to a. France. d. b. Germany. e. c. Italy. ANS: D DIF: MSC: Remembering Easy REF: 27 MSC: Applying Russia. Spain. 28 TOP: Byzantine Chant 11. The Frankish kings Pippin the Short and Charlemagne (Charles the Great) reigned a. ca. 675–ca. 750. d. ca. 875–ca. 950. b. ca. 750–ca. 815. e. ca. 950–1025. c. ca. 815–ca. 875. ANS: B DIF: Moderate TOP: The Creation of Gregorian Chant REF: 29 MSC: Remembering 12. Popes and secular rulers from the eighth century on sought to standardize the Catholic liturgy in order to a. centralize political and spiritual authority. b. create a sense of unity among congregants. c. identify and persecute non-believers. d. reunite the Eastern and Western Empires. e. revive the ideas of the church fathers. ANS: A MSC: Analyzing DIF: Moderate REF: 29 TOP: Western Dialects 13. The Holy Roman Empire was established when a. Emperor Theodosius declared Christianity the official religion of the Roman Empire. b. Frankish king Pippin the Short brought the Roman liturgy and chant to his domain. c. Pope Leo III crowned Charlemagne, King of the Franks, emperor. d. the Roman Empire fell. e. the Roman Empire was partitioned into the Eastern and Western Empires. ANS: C DIF: Difficult TOP: The Creation of Gregorian Chant REF: 29 MSC: Remembering 14. Which best describes the Schola Cantorum? a. a chant repertory preserved in the twelfth and thirteenth centuries compiled by Pope Stephen II b. a school created by Pippin the Short meant to teach Gallican chant to the Franks c. a widely copied music theory treatise by Boethius that was cited and copied for over 1,000 years d. a catalogue of books grouping chant melodies together by church modes e. a choir established in the late seventh century that sang when the pope officiated at observances and that had a role standardizing chant texts ANS: E DIF: Moderate TOP: The Creation of Gregorian Chant REF: 26 MSC: Remembering 15. The similarities and differences from phrase to phrase of this melody provide evidence that a. b. c. d. e. chant melodies may have been composed using a pool of melodic contours and formulas. early notation was only an approximate way of preserving chant melodies. oral transmission was unreliable. the melody resulted from a blend of various chant dialects. the Schola Cantorum purposely taught the Franks incorrect melodies. ANS: A MSC: Analyzing DIF: Difficult REF: 31–32 TOP: Oral Transmission TOP: Stages of Notation 16. Why did church musicians develop a system for notating chant? a. It helped advance the goal of disseminating a unified liturgy. b. The vast repertory was too difficult to learn by rote memorization. c. They wanted congregants to be able to join in the singing. d. They wanted it to be a secret repertory, available only to the literate. e. They wanted to preserve the music for posterity. ANS: A MSC: Analyzing DIF: Moderate REF: 32 17. When did chant notation evolve from unheightened neumes to staff notation? a. ca. 500–600 d. ca. 850–1025 b. ca. 600–750 e. ca. 1025–1150 c. ca. 750–850 ANS: D DIF: MSC: Remembering Moderate REF: 18. The idea of staff lines and clefs was suggested by a. Boethius. b. Guido of Arezzo. c. Martianus Capella. d. e. 32–35 TOP: Stages of Notation St. Gregory. the Monks of Solesmes. ANS: B DIF: MSC: Remembering Moderate REF: 35 TOP: Stages of Notation 35 TOP: Stages of Notation 36–38 TOP: Solesmes Chant Notation 19. F and C clefs were the most often used in chant notation because they are a. a fifth apart. b. positioned just above the semitones in the diatonic scale. c. the finals of the most often used modes. d. the first notes of two of the hexachords. e. the reciting tones of the most often used modes. ANS: B MSC: Analyzing DIF: Moderate REF: 20. What is the correct transcription of this phrase? a. d. b. e. c. ANS: C MSC: Applying DIF: Difficult REF: 21. Which writer was one of the first to articulate the concept of the seven liberal arts, which include music? a. Guido of Arezzo d. St. Augustine b. Martianus Capella e. St. Gregory c. Pippin the Short, King of the Franks ANS: B DIF: Easy REF: TOP: The Transmission of Greek Music Theory 38 MSC: Remembering 22. Which mode is recognizable by its distinctive semitone interval above the final? a. Dorian d. Mixolydian b. Hypodorian e. Phrygian c. Lydian ANS: E MSC: Applying DIF: Moderate REF: 40 TOP: The Church Modes 23. A melody that occupies a range from a fourth or fifth below the final to a sixth above the final is called a. authentic. d. plagal. b. hard. e. soft. c. natural. ANS: D MSC: Applying DIF: 24. What is the mode of this chant? Moderate REF: 40–41 TOP: The Church Modes a. b. c. d. e. Dorian Phyrgian Lydian Mixolydian The chant does not clearly conform to any mode. ANS: C MSC: Applying DIF: Difficult REF: 40–42 TOP: The Church Modes 42 TOP: The Church Modes TOP: Music in the Early Church 25. Which best describes a reciting tone? a. the first note of a chant b. the highest note of a chant c. the last note of a chant d. the lowest note of a chant e. the most frequent or prominent note of a chant ANS: E DIF: MSC: Remembering Moderate REF: TRUE/FALSE 1. The early church leaders discouraged the use of music for pleasure. ANS: T MSC: Applying DIF: Moderate REF: 25 2. The system of classifying Gregorian chants into eight church modes had its origins in Byzantine chant. ANS: T DIF: MSC: Remembering Moderate REF: 28 TOP: Byzantine Chant 3. The Schola Cantorum was the institution musicians attended in order to learn Gregorian chant. ANS: F DIF: Easy TOP: The Creation of Gregorian Chant REF: 29 MSC: Remembering 4. Heightened neumes indicate the specific pitches of chant melodies. ANS: F DIF: MSC: Remembering Moderate REF: 30 TOP: Stages of Notation 5. Guido of Arezzo suggested an arrangement of lines and spaces in notation, using a link of red ink for F and of yellow ink for C. ANS: T DIF: MSC: Remembering Easy REF: 30 TOP: Stages of Notation 6. Chant notation from the Middle Ages gives consistent indications of rhythmic values. ANS: F DIF: MSC: Remembering Moderate REF: 36–37 TOP: Stages of Notation 7. In the Middle Ages, music was considered a verbal art, along with grammar and rhetoric. ANS: F DIF: Moderate REF: TOP: The Transmission of Greek Music Theory 38 MSC: Remembering 8. The eight church modes (Dorian, Hypodorian, Phrygian, Hypophrygian, etc.) correspond to the ancient Greek modes. ANS: F MSC: Analyzing DIF: Moderate REF: 42–43 TOP: The Church Modes REF: 43 TOP: Solmization 9. The medieval solmization system had six notes. ANS: T MSC: Applying DIF: Moderate 10. The reciting tone is the main note in a church mode and usually the last note in the melody. ANS: F DIF: MSC: Remembering Easy REF: 36–38 TOP: The Church Modes SHORT ANSWER 1. Who issued the Edict of Milan, making it legal to practice Christianity in the Roman Empire? ANS: Emperor Constantine DIF: Moderate REF: MSC: Remembering 23 TOP: The Diffusion of Christianity 2. Why did the church fathers disapprove of using musical instruments in church? ANS: They believed that only music that delivered Christian teaching and holy thoughts was worthy of hearing in church and that music without words could not do this. It also distanced them from pagan spectacles involving large choruses, instruments, and dancing. DIF: Difficult MSC: Analyzing REF: 25 TOP: Music in the Early Church 3. Why did different dialects of chant develop in various regions of Western Europe in the fifth through ninth centuries? ANS: After the fall of the Roman Empire, Europe was controlled by different groups of people in different regions, such as the Franks in Gaul (approximate modern-day France). They all had different local and regional rites with their own bodies of chants or dialects. DIF: Difficult MSC: Analyzing REF: 28 4. This painting illustrates what legend? TOP: Western Dialects ANS: It illustrates the legend that the Holy Spirit appeared in the form of a dove to St. Gregory and dictated the repertory of Catholic chant to him. DIF: Moderate MSC: Applying REF: 30–31 TOP: The Creation of Gregorian Chant 5. What is a neume? ANS: A neume is an early notation sign that indicates the melodic gesture for each syllable, including the number of notes, the melodic contour, and whether notes are repeated. It might indicate rhythm or manner of performance. DIF: Moderate REF: MSC: Remembering 35 TOP: Stages of Notation 6. Today we think of music as an applied, practical, or performing art. Why did theorists in the Middle Ages consider it a liberal art, along with such disciplines as dialectic (logic) and arithmetic? ANS: Theorists in the Middle Ages thought more about the mathematical and philosophical aspects of music. They thought about how ratios and proportions create consonances, dissonances, and tuning. They also thought about how music can affect the body and soul, and how it would prepare the student for more advanced philosophical studies. Music was an object of knowledge and inquiry. DIF: Difficult MSC: Analyzing REF: 39 TOP: The Transmission of Greek Music Theory 7. This music theorist divided music into three categories: musica mundana (music of the universe), musica humana (human music), and musica instrumentalis (instrumental music). ANS: Boethius DIF: Easy REF: MSC: Remembering 39 TOP: The Transmission of Greek Music Theory 8. Some chants do not conform to the rules of modal theory. Why is this? ANS: Modal theory was first described in the later Middle Ages, for example in Musica enchiriadis and in the writings of Guido d’Arezzo (ca. 1025–1028). However, many chants were composed before the system was codified. Many of these do not conform to the so-called rules. Chants composed after the tenth century often conform very clearly. DIF: Difficult MSC: Analyzing REF: 42, 44–45 TOP: The Church Modes 9. Describe the difference between authentic and plagal church modes. ANS: The odd-numbered modes are called authentic, covering a range from a step below the final to an octave above it. Each authentic mode is paired with a plagal mode that has the same final but is deeper in range, moving from a fourth (or sometimes a fifth) below the final to a fifth or sixth above it. DIF: Moderate MSC: Analyzing REF: 36–37 TOP: The Church Modes 10. Identify this image. How was it used? ANS: This is the Guidonian Hand. It was used to teach music students how to find pitches of a melody on the system of hexachords. It shows the solmization syllables for each note. DIF: Moderate MSC: Applying REF: 44 TOP: The Hexachord System MATCHING Match each author to the correct title. a. Anonymous b. Boethius c. Guido of Arezzo 1. Confessions d. e. Martianus Capella St. Augustine 2. 3. 4. 5. De institutione musica (The Fundamentals of Music) The Marriage of Mercury and Philology Micrologus Musica enchiriadis (Music Handbook) 1. 2. 3. 4. 5. ANS: ANS: ANS: ANS: ANS: E B D C A ESSAY 1. In what ways is the history of Western music indebted to and intertwined with Christianity? ANS: Answers will vary. 2. Discuss the role of memory and notation in the learning and performance of chant in the Middle Ages. ANS: Answers will vary.