Test Bank For Music Then And Now By Thomas Forrest Kelly
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Test Bank For Music Then And Now By Thomas Forrest Kelly
CHAPTER 2: Christmas Mass at Notre Dame Cathedral
MULTIPLE CHOICE
1. Between which two historical eras did the Middle Ages occur?
a.
the Greek and the Romantic
d.
antiquity and the Renaissance
b.
the Classical and the modern
e.
the ancient and the Classical
c.
the Renaissance and the Baroque
ANS: D DIF: Easy REF: p. 31 TOP: Introduction
MSC: Factual
2.All of the following artistic developments date from the Middle Ages EXCEPT:
a.
the motets of Josquin
d.
Chaucer’s Canterbury Tales
b.
the stained glass windows of Chartres
e.
Leoninus’s organum
c.
the frescoes of Giotto
ANS: A DIF: Medium REF: p. 31 TOP: Introduction
MSC: Factual
3.Medieval secular French poet-composers were known as:
a.
Minnesingers
d.
clerics
b.
laudesi
e.
auteurs
c.
troubadours
ANS: C DIF: Medium REF: p. 32 TOP: Medieval Secular Music
MSC: Factual
4.Why is the majority of the medieval music that has survived to the present day religious music?
a.
The church suppressed music on nonreligious topics.
b.
Much secular music was not written down.
c.
Secular styles changed too rapidly to be passed down.
d.
The Catholic musical tradition has not changed since the Middle Ages.
e.
all of the above
ANS: B DIF: Medium REF: p. 32 TOP: Introduction
MSC: Conceptual
5.During the earliest part of the Middle Ages, how did musicians transmit their repertoire from one generation to the next?
a.
They wrote musical notation on manuscripts.
b.
They created memory aids with their fingers.
c.
They learned it directly from the pope.
d.
They wrote descriptive instructions.
e.
They passed it down orally.
ANS: E DIF: Medium REF: p. 32 TOP: Introduction
MSC: Applied
6.The repertoire of monophonic religious melodies sung in Latin during the worship service is known as:
a.
organum
d.
cantata
b.
Gregorian chant
e.
the Mass
c.
troubadour songs
ANS: B DIF: Medium REF: p. 32 TOP: Introduction
MSC: Factual
7.A ninth-century monk named Guido of Arezzo was responsible for what essential innovation in the development of musical notation?
a.
rhythmic values
d.
the staff
b.
dynamic markings
e.
defining “high” and “low” notes
c.
time signatures
ANS: D DIF: Medium REF: p. 33 TOP: Early Musical Notation
MSC: Applied
8.Which of the following discipline was NOT a part of the medieval Quadrivium?
a.
arithmetic
d.
music
b.
geometry
e.
logic
c.
astronomy
ANS: E DIF: Medium REF: p. 33 TOP: Introduction
MSC: Factual
9.The largest, most elaborate worship service performed each day is known as:
a.
the Mass
d.
Matins
b.
Vespers
e.
Lauds
c.
Sext
ANS: A DIF: Easy REF: p. 33 TOP: Introduction
MSC: Factual
10.The earliest composers whose names we know are associated with which body of music?
a.
Gregorian chant
d.
the First Viennese School
b.
the Notre Dame repertory
e.
Byzantine chant
c.
Old Roman chant
ANS: B DIF: Medium REF: p. 34 TOP: Introduction
MSC: Factual
11.The Catholic Church unified Western Europe during the Middle Ages through all of the following means EXCEPT:
a.
its organization and coordination of a very large institution
b.
its international scope
c.
its use of the Latin language
d.
its focus on the individual relationship between God and each believer
e.
its universal rituals
ANS:DDIF:HardREF:p. 34
TOP: The Setting: The Church in the Middle Ages MSC: Conceptual
12.Which of the following groups was centrally responsible for maintaining and performing the medieval Catholic rite?
a.
peasants and farmers
d.
poets
b.
aristocrats
e.
monks and nuns
c.
regional kings and queens
ANS:EDIF:MediumREF:p. 34
TOP: The Setting: The Church in the Middle Ages MSC: Applied
13.A majority of literate people in the Middle Ages were trained and supported by what institution?
a.
universities
d.
aristocratic patrons
b.
local governments
e.
their families
c.
the church
ANS:CDIF:MediumREF:p. 34
TOP: The Setting: The Church in the Middle Ages MSC: Applied
14.During the 1100s, Paris was one of the largest cities in Western Europe, with a population of:
a.
15,000
d.
200,000
b.
100,000
e.
300,000
c.
150,000
ANS: D DIF: Easy REF: p. 35 TOP: The Setting: Medieval Paris
MSC: Factual
15.Because of the language traditionally used in medieval educational settings, the area surrounding the University of Paris came to be known as:
a.
the Latin Quarter
d.
Little Italy
b.
Germantown
e.
New England
c.
the French Quarter
ANS: A DIF: Medium REF: pp. 35–36 TOP: The Setting: Medieval Paris
MSC: Factual
16.Who is the most recorded composer of medieval sacred monophony?
a.
Master Leoninus
d.
Master Perotinus
b.
Guido of Arezzo
e.
Hildegard of Bingen
c.
Pope Gregory
ANS:EDIF:MediumREF:p. 36
TOP: Hildegard of Bingen (1098–1179) MSC: Factual
17.St. Germain des Prés was:
a.
an eleventh-century Parisian composer of chant
b.
one of the oldest abbeys in France
c.
a type of incense used in the medieval Catholic ritual
d.
a region of southern France that was home to many important composers
e.
the father of Gregorian chant
ANS: B DIF: Medium REF: p. 36 TOP: The Setting: Medieval Paris
MSC: Applied
18.The grounds of the Cathedral of Paris included all of the following EXCEPT:
a.
the king’s palace
b.
the school of theology of the University of Paris
c.
Notre Dame Cathedral
d.
a school for choirboys
e.
houses for the clergy
ANS: A DIF: Medium REF: pp. 36–37 TOP: The Setting: Medieval Paris
MSC: Applied
19.According to tradition, who laid the cornerstone at Notre Dame Cathedral?
a.
Bishop Maurice of Sully
d.
Guido of Arezzo
b.
Master Leoninus
e.
Hildegard of Bingen
c.
Pope Alexander III
ANS:CDIF:EasyREF:p. 37
TOP: The Setting: Notre Dame Cathedral MSC: Factual
20.In what way is Notre Dame Cathedral acoustically suited to monophonic chant?
a.
It creates long, sustained reverberations.
b.
It generates a unified sound from the choir.
c.
Its resonant sound leads the listener to a meditative state.
d.
Its large and enveloping sound evokes the divine and the infinite.
e.
all of the above
ANS:EDIF:HardREF:p. 38
TOP: The Setting: Notre Dame Cathedral MSC: Conceptual
21.When the choir splits into two parts and sings alternates phrases back and forth, the choristers are singing:
a.
a round
d.
homophony
b.
antiphonally
e.
an echo
c.
polyphony
ANS:BDIF:HardREF:p. 39
TOP: Christmas Day at Notre Dame: The Singers MSC: Applied
22.All of the following chants are part of the Ordinary of the Mass EXCEPT the:
a.
Kyrie
d.
Gradual
b.
Credo
e.
Agnus Dei
c.
Sanctus
ANS:DDIF:MediumREF:p. 40
TOP:Christmas Day at Notre Dame: Musical Shape of the Mass
MSC: Applied
23.In very broad terms, the musical form of the Introit can be understood as:
a.
ABA
d.
AAB
b.
AB
e.
ABC
c.
ABAC
ANS:ADIF:HardREF:p. 40
TOP: The Music: The Mass Begins: The Introit MSC: Conceptual
24.Modern scholars believe that the Gregorian chant repertory was codified by a group of musicians in which century?
a.
the seventh
d.
the tenth
b.
the eighth
e.
the eleventh
c.
the ninth
ANS:BDIF:EasyREF:p. 41
TOP: The Music: Backgrounds: Music and Ritual MSC: Factual
25.The musical style of a piece of Gregorian chant is most directly influenced by which of the following factors?
a.
the meaning of the words
d.
the emotion to be expressed by the choir
b.
the day of the church year
e.
the size of the cathedral
c.
the function of the music within the Mass
ANS:CDIF:HardREF:p. 43
TOP: The Music: Backgrounds: Music and Ritual MSC: Conceptual
26.A musical setting that features two or three notes per syllable of text is called:
a.
syllabic
d.
neumatic
b.
melismatic
e.
homophonic
c.
polyphonic
ANS:DDIF:MediumREF:p. 43
TOP: The Music: Backgrounds: Music and Ritual MSC: Factual
27.What is the collective name for the eight worship services performed each day in medieval monasteries?
a.
Mass
d.
liturgy
b.
psalms
e.
Vespers
c.
Divine Office
ANS:CDIF:MediumREF:p. 44
TOP: The Music: Backgrounds: Music and Ritual MSC: Factual
28.In what language is the Kyrie sung?
a.
Latin
d.
Italian
b.
French
e.
Hebrew
c.
Greek
ANS:CDIF:EasyREF:p. 44
TOP: The Music: The Mass Continues: The Kyrie MSC: Factual
29.Which are the two most musically elaborate chants within the Mass?
a.
the Introit and the Kyrie
d.
the Credo and the Offertory
b.
the Gradual and the Alleluia
e.
the Communion and the Ite, missa est
c.
the Sanctus and the Agnus Dei
ANS:BDIF:MediumREF:p. 46
TOP:The Music: The Mass Continues: The Gradual and the Alleluia
MSC: Applied
30.Through what methods did medieval church musicians embellish the Mass while staying within the prescribed structures?
a.
adding extended musical glosses to pieces of chant
b.
adding poems to particular chants
c.
adding an additional melody on top of the chant
d.
adding multiple melodies on top of the chant
e.
all of the above
ANS:EDIF:MediumREF:p. 46
TOP:The Music: The Mass Continues: The Gradual and the Alleluia
MSC: Applied
31.A polyphonic setting in which all voices move at roughly the same speed is known as:
a.
organum
d.
discant
b.
neumatic
e.
sequence
c.
syllabic
ANS: D DIF: Medium REF: p. 48 TOP: Leoninus and Perotinus
MSC: Factual
32.What important innovation enabled the composers at Notre Dame to write multiple notes of organum for each note of chant?
a.
rhythmic notation
d.
music printing
b.
the Guidonian hand
e.
solfège
c.
staff lines
ANS:ADIF:MediumREF:p. 48
TOP:The Music: The Mass Continues: The Gradual and the Alleluia
MSC: Factual
33.Which members of the Notre Dame worship community sang the new polyphonic music composed by Leoninus and Perotinus?
a.
the congregation
d.
the bishop
b.
the soloists
e.
all of the above
c.
the choir
ANS:BDIF:MediumREF:p. 49
TOP: The Music: The Alleluia in Polyphony MSC: Factual
34.The clear rhythmic patterns in all three solo voices of the Perotinus Viderunt omnes were previously used by Leoninus in what sections of his polyphonic work?
a.
pure organum
d.
climactic moments
b.
cadences
e.
introduction
c.
discant
ANS:CDIF:MediumREF:p. 49
TOP: The Music: The Alleluia in Polyphony MSC: Applied
35.At the start of the Perotinus Viderunt omnes, each of the upper voices sings how many notes for each syllable of the original chant?
a.
five
d.
fifty
b.
ten
e.
one hundred
c.
twenty
ANS:EDIF:MediumREF:p. 53
TOP:The Music: The Gradual of the Mass: Perotinus, Viderunt Omnes
MSC: Factual
TRUE/FALSE
1.In the Middle Ages, the only people who knew how to read and write were those who had been trained by the church.
ANS: T DIF: Easy REF: p. 31 TOP: Introduction
MSC: Factual
2.The only music created during the Middle Ages was for religious purposes.
ANS: F DIF: Medium REF: p. 31 TOP: Introduction
MSC: Factual
3.All of the medieval sacred chant repertory is sung in Latin and without instrumental accompaniment.
ANS: T DIF: Easy REF: p. 34 TOP: Introduction
MSC: Factual
4.Chant, which was once central to many religious rituals, is no longer sung today.
ANS:FDIF:EasyREF:p. 35
TOP: The Setting: The Church in the Middle Ages MSC: Factual
5.During her lifetime, Hildegard of Bingen was famous for her visions and prophecies.
ANS:TDIF:EasyREF:p. 36
TOP: Hildegard of Bingen (1098–1179) MSC: Factual
6.The Cathedral of Notre Dame could hold approximately four hundred people.
ANS:FDIF:EasyREF:p. 37
TOP: The Setting: Notre Dame Cathedral MSC: Factual
7.In all, the choir at Notre Dame numbered approximately forty-eight singers.
ANS:TDIF:EasyREF:p. 39
TOP: Christmas Day at Notre Dame: The Singers MSC: Factual
8.The sections of the Mass in which the text remains the same every day are known as the Proper.
ANS:FDIF:MediumREF:p. 40
TOP:Christmas Day at Notre Dame: Musical Shape of the Mass
MSC: Factual
9.In the medieval Mass at Notre Dame, much of the service was spoken and only a small portion was sung.
ANS:FDIF:MediumREF:p. 41
TOP: The Music: Backgrounds: Music and Ritual MSC: Applied
10.The music of Gregorian chant is intended primarily to depict the literal meaning of the text.
ANS:FDIF:MediumREF:p. 43
TOP: The Music: Backgrounds: Music and Ritual MSC: Conceptual
11.The complete set of prescribed texts and ritual actions performed in all churches is known as the liturgy.
ANS:TDIF:EasyREF:p. 43
TOP: The Music: Music and Ritual MSC: Factual
12.The daily Mass contains the most elaborate music of the Catholic liturgy.
ANS:TDIF:EasyREF:p. 44
TOP: The Music: Music and Ritual MSC: Factual
13.In the earliest examples of medieval polyphony, all of the voices move at exactly the same pace.
ANS:TDIF:MediumREF:p. 48
TOP:The Music: The Mass Continues: The Gradual and the Alleluia
MSC: Applied
14.In “pure” organum, the soloist can sing as many as twenty notes for each note of chant.
ANS:TDIF:EasyREF:p. 49
TOP: The Music: The Alleluia in Polyphony MSC: Factual
15.Today, Gregorian chant is sung only in concerts.
ANS: F DIF: Easy REF: p. 53 TOP: Notre Dame Then and Now
MSC: Factual
SHORT ANSWER
1.Also known as the Middle Ages, the period from 450 to 1450 is commonly referred to as the ___________.
ANS:
medieval period
DIF: Easy REF: p. 31 TOP: Introduction MSC: Factual
2.One of the few medieval instrumental pieces that was written down was a “jumping” Italian dance called a(n) ___________.
ANS:
saltarello
DIF: Medium REF: p. 32 TOP: Medieval Secular Music
MSC: Factual
3.Guido of Arezzo derived his system of note names from the text of a chant called ___________.
ANS:
“Ut queant laxis”
DIF: Medium REF: p. 33 TOP: Early Musical Notation
MSC: Factual
4.For medieval scholars, the ___________ defined the musical ratios that were understood to organize the motion of the planets.
ANS:
“music of the spheres”
DIF: Medium REF: p. 33 TOP: Introduction MSC: Applied
5.Paris’s central market, established in the Middle Ages and still running today, is known as ___________.
ANS:
Les Halles
DIF: Medium REF: p. 36 TOP: The Setting: Medieval Paris
MSC: Factual
6.The arched supports used in the construction of Notre Dame Cathedral are called ___________.
ANS:
flying buttresses
DIF: Medium REF: p. 37 TOP: The Setting: Notre Dame Cathedral
MSC: Factual
7.In religious services at Notre Dame Cathedral, the ___________ would quietly sing chants into the soloist’s ear to make sure that he began the proper melody on a comfortable pitch.
ANS:
rulers of the choir
DIF: Medium REF: p. 39 TOP: Christmas Day at Notre Dame: The Singers
MSC: Factual
8.Medieval singers erroneously thought that the chant repertory had been developed through the efforts of ___________.
ANS:
Pope Gregory the Great
DIF: Easy REF: p. 41 TOP: The Music: Backgrounds: Music and Ritual
MSC: Factual
9.A(n) ___________ is a florid melody in which many notes are sung on a single syllable of text.
ANS:
melisma
DIF: Easy REF: p. 43 TOP: The Music: Backgrounds: Music and Ritual
MSC: Factual
10.Master Leoninus began work on the ___________ around the year 1180.
ANS:
Magnus liber organi (Great Book of Organum)
DIF: Easy REF: p. 48 TOP: Leoninus and Perotinus
MSC: Factual
MATCHING
Match each item to the correct description below.
a.
nave
d.
choir
b.
transept
e.
apse
c.
portal
1.the U-shaped “front” of the cathedral
2.the part of the church in front of the altar where most of the service is performed
3.a “side arm” of a cross-shaped cathedral
4.an entryway into the church, adorned with statues of saints
5.the soaring public space inside of a cathedral
1.ANS:E
2.ANS:D
3.ANS:B
4.ANS:C
5.ANS:A
Match each person to the correct description below.
a.
cantor
d.
vicar
b.
clerk of matins
e.
canon
c.
chancellor
6.responsible for assigning readings for each day’s worship
7.an assistant canon who was expected to know the entire Book of Psalms
8.the leader of the medieval choir
9.in charge of the day-to-day operations of the cathedral, and also teaching at the university
10.a member of the cathedral choir
6.ANS:C
7.ANS:D
8.ANS:A
9.ANS:E
10.ANS:B
ESSAY
1.Discuss the eighth-century codification of the chant repertory. How did Catholic musicians create a unified body of music, and how did they transmit that music to all corners of the Catholic world? In your opinion, why did the church leaders decide that this massive project was an important undertaking?
ANS:
Answers will vary
MSC: Conceptual
2.Why was music so prevalent within the medieval Catholic Mass? Discuss the practical and spiritual uses of chant as a part of worship. Why was musical performance useful within Notre Dame Cathedral? What was it intended to communicate to the congregation?
ANS:
Answers will vary
MSC: Conceptual
3.Compare and contrast the music of the two versions of the Alleluia Dies sanctificatus presented in the chapter. What characteristics do they have in common? How do they differ? In the end, how is the meaning or impact of the Alleluia changed by Leoninus’s additions?
ANS:
Answers will vary
MSC: Conceptual
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