d. the worship service and the praise service.
II. THE MIDDLE AGES AND RENAISSANCE
9. In the Middle Ages the organ
a. had not as yet been invented.
b. was considered the “king of instruments.”
c. was barely used in sacred music.
Multiple Choice d. was a prominent church instrument.
1. The phrase Middle Ages refers to the period of
European history spanning 10. An important woman composer of the Middle Ages
a. 450-1000. was
b. 1000-1150. a. Alicia de la Rocha.
c. 1150-1450. b. Amy Beach.
d. 450-1450. c. Hildegard of Bingen.
d. Mary Lowell.
2. In the Middle Ages, most important musicians were
a. priests. 11. Most medieval music was
b. traveling entertainers. a. instrumental.
c. peasants. b. vocal.
d. women. c. for the piano.
d. for the organ.
3. A virtual monopoly on learning during the Middle
Ages was held by 12. The view of the later medieval church on music
a. knights in castles. during religious services was that it should be
b. professors in universities. a. performed by as many musical instruments as
c. monks in monasteries. possible.
d. wandering minstrels or jongleurs. b. used only as a discreet accompaniment.
c. banned entirely.
d. used only with wind instruments.
4. During the Middle Ages, women
a. were not permitted to sing in church. 13. Gregorian chant
b. sang at all church services. a. is set to sacred Latin texts.
c. could sing only in monasteries. b. retained some elements of the Jewish synagogue
d. were not permitted to participate in church of the first centuries after Christ.
services. c. was the official music of the Roman Catholic
church for more than 1,000 years.
5. The church frowned on instruments because of their d. all of these
a. earlier roles in pagan rites.
b. association with minstrels and jongleurs. 14. Gregorian chant
c. sacred quality and background. a. is monophonic in texture.
d. use in early Jewish religious ceremonies. b. is polyphonic in texture.
c. is homophonic in texture.
6. The use of organs in church d. has no texture.
a. distracted the listeners from worship.
b. added a sacred quality to the mass. 15. Gregorian chant consists of
c. made it possible for more musicians to be a. one instrument playing alone.
employed. b. melody sung without accompaniment.
d. frustrated the nobles in their attempts to control c. several voices singing in harmony.
the church. d. several instruments playing together.
7. The music the Medieval monks and nuns sang was 16. Which of the following is not true of Gregorian
a. Gregorian chant. a. It conveys a calm, otherworldly quality.
b. contemporary gospel. b. Its rhythm is flexible, without meter.
c. estampies. c. The melodies tend to move stepwise within a
d. Trouvère songs. narrow range of pitches.
d. It is usually polyphonic in texture.
8. The two types of services at which monks and nuns 17. Pope Gregory the Great
sang were a. composed all of the Gregorian chants after a
a. the office and the mass. dove sent from God whispered them in his ear.
b. the salvation service and the holiness service. b. published all of the Gregorian chants.
c. the monastery and the convent. c. reorganized the liturgy of the Catholic church
during his reign from 590 to 604. 26. The notation of the secular songs of the Middle
d. all of these Ages does not indicate
18. The earliest surviving chant manuscripts date from b. pitch.
about the _______ century. c. duration.
a. sixth d. any of these.
c. thirteenth 27. The medieval jongleurs, important sources of
d. fourteenth information in a time when there were no
19. The church modes were a. ranked at a high social level.
a. forms of religious ritual. b. ranked at the lowest social level.
b. only used in the music of the Catholic church. c. equal in rank to the troubadours and trouvères.
c. the basic scales of western music during the d. welcomed by the nobility as honorable guests.
d. chalices to hold holy relics. 28. An estampie is a medieval
20. Alleluia b. method of soil cultivation.
a. may be translated as “praise ye the Lord.” c. type of jewelry.
b. is a Latinized form of the Hebrew hallelujah. d. version of apple pie.
c. is often used in Gregorian chants.
d. all of these 29. Which of the following statements is not true of the
21. Hildegard of Bingen was a. It is one of the earliest surviving pieces of
a. the first woman composer to leave a large instrumental music.
number of works that have survived. b. It was intended for religious services.
b. abbess of the convent at Rupertsberg. c. It is monophonic in texture.
c. a visionary and mystic active in religious and d. The manuscript does not indicate which
diplomatic affairs. instrument should play the melody.
d. all of these.
30. The first steps toward the development of polyphony
22. The first large body of secular songs that survives in were taken sometime between 700 and 900, when
decipherable notation was composed a. musicians composed new music based on sacred
a. during the ninth century by monks for church motets to accompany dancing.
services. b. the French nobles began to sing hunting songs
b. during the twelfth and thirteenth centuries by together.
French nobles called troubadours and trouvères. c. monks in monastery choirs began to add a
c. during the fourteenth century by Guillaume de second melodic line to Gregorian chant.
Machat and his contemporaries. d. all of these
d. during the fifteenth century by wandering
minstrels called jongleurs. 31. ______________ is a term applied to medieval
music that consists of Gregorian chant and one or
23. One function of secular music in the late Middle more additional melodic lines.
Ages was to provide accompaniment for a. Alleluia
a. dancing. b. Organum
b. monasteries. c. Jongleurs
c. church services. d. Ostinato
d. monks and nuns.
32. The earliest known composers to write music with
24. The French secular songs of the Middle Ages measured rhythm were
usually dealt with a. Pope Gregory and Chastelain de Couci.
a. the Crusades. b. Machaut and Josquin.
b. spinning. c. Leonin and Perotin.
c. love. d. all of these.
d. all of these.
33. The term ars nova refers to
25. A famous French woman troubadour was a. French and Italian music of the fourteenth
a. Hildegard of Bingen. century.
b. Frauenlob. b. German music of the sixteenth century.
c. Chastelain de Couci. c. the new art of baroque painters.
d. Beatriz de Dia. d. paintings from the new world.
34. One of the major characteristics of ars nova music is c. Spain.
its use of d. Scandinavia.
b. organum. 42. Which of the following statements is not true of
c. Gregorian chant. Renaissance music?
d. monophonic texture. a. The texture of Renaissance music is chiefly
35. The foremost composer of fourteenth-century b. Instrumental music became more important than
France was vocal music during the Renaissance.
a. Guillaume de Machaut. c. The Renaissance period is sometimes called “the
b. Hildegard of Bingen. golden age” of a cappella choral music because
c. Charles V. the music did not need instrumental
d. Perotin. accompaniment.
d. Renaissance composers often used word
36. The Notre Dame Mass by Guillaume de Machaut painting, a musical representation of specific
was poetic images.
a. written for three voices without instrumental
accompaniment. 43. Renaissance music sounds fuller than medieval
b. is the only mass from the middle ages to music because
incorporate the entire proper of the mass into a. composers considered the harmonic effect of
one work. chords rather than superimposing one melody
c. the first polyphonic treatment of the mass above another.
ordinary by a known composer. b. the bass register is used for the first time.
d. all of these. c. the typical choral piece has four, five, or six
voice parts of nearly equal melodic interest.
37. Cantus firmus is the term used for d. all of these.
a. a part of the Catholic church’s religious service.
b. a chant that is used as the basis for polyphony. 44. The texture of Renaissance music is chiefly
c. the melody added to a Gregorian chant to form a. monophonic.
organum. b. homophonic.
d. the singers of a church choir. c. polyphonic.
38. The Renaissance in music occurred between
a. 1000 and 1150. 45. A cappella refers to
b. 1150 and 1450. a. unaccompanied choral music.
c. 1450 and 1600. b. men taking their hats off in church.
d. 1600 and 1750. c. singing in a hushed manner because one is in
39. The dominant intellectual movement of the d. any form of music appropriate for church use.
Renaissance was called
a. feudalism. 46. Renaissance melodies are usually easy to sing
b. humanism. because
c. classicism. a. the level of musicianship in the Renaissance was
d. paganism. not very high, so easy music was composed.
b. the music was mostly homophonic, so that one
40. Which of the following statements is not true of the could sing it with a group.
intellectual movement of the Renaissance known as c. there was a sharply defined beat, which kept the
humanism? performers together.
a. The Virgin Mary was treated as a beautiful d. the melody usually moves along a scale with
young woman. few large leaps.
b. The humanists were basically atheistic in their
beliefs. 47. The two main forms of sacred Renaissance music
c. The humanists were captivated by the cultures are the mass and the
of ancient Greece and Rome. a. Kyrie.
d. The humanists focused on human life and its b. motet.
accomplishments. c. madrigal.
41. Many prominent Renaissance composers, who held
important posts all over the continent, came from an 48. The Renaissance motet is a
area of Europe known at that time as a. polyphonic choral composition made up of five
a. Great Britain. sections.
b. Flanders. b. piece for several solo voices set to a short poem,
usually about love. the Renaissance was intended for
c. dance-like song for several solo voices. a. the concert hall.
d. polyphonic choral work set to a sacred Latin text b. religious worship.
other than the ordinary of the mass. c. dancing.
d. the piano.
49. Josquin Desprez was a contemporary of
a. Christopher Columbus. 58. A versatile plucked string instrument with a body
b. Perotin. shaped like half a pear, popular during the
c. Palestrina. Renaissance, was the
d. Queen Elizabeth of England. a. lute.
50. Palestrina’s career centered in c. viol.
a. the Netherlands. d. shawm.
c. Naples. 59. The passamezzo is a
d. Rome. a. lively dance in triple meter.
b. stately dance in duple meter.
51. Giovanni Pierluigi da Palestrina’s c. gay, sprightly dance in duple meter.
a. career centered in Florence. d. lute with additional strings.
b. training, like Josquin’s, was in Flanders.
c. music includes 104 masses and some 450 other 60. Among the most important Italian Renaissance
sacred works. composers was
d. all of these a. Giovanni Pierluigi da Palestrina.
b. Allesandro Scarlatti.
52. An attempt was made to purify Catholic Church c. Giovanni Gabrieli.
music as a result of the d. Johann Christian Bach.
a. founding of the Jesuit order in 1540.
b. deliberations of the Council of Trent.
c. complaints of Desiderius Erasmus.
d. music of Palestrina.
53. During the Renaissance every educated person was
a. read musical notation.
b. play a musical instrument.
c. be skilled in dance.
d. all of these
54. The Renaissance madrigal is a
a. polyphonic choral composition made up of five
b. piece for several solo voices set to a short poem,
usually about love.
c. dance-like song for several solo voices.
d. polyphonic choral work set to a sacred Latin text
describing the virtues of the Madonna.
55. The madrigal anthology The Triumphes of Oriana
was written in honor of
a. Queen Elizabeth I.
b. King Henry VIII.
c. the goddess Diana.
d. Queen Anne.
56. Thomas Weelkes’s As Vesta Was Descending is
notable for its
a. word painting.
b. completely homophonic texture.
c. instrumental accompaniment.
d. monophonic texture.
57. Much of the instrumental music composed during