Chapter 4

1.

2.

3.

4.

5.

6.

7.

8.

9.

The only known song by a trobairitz to survive with

music is:
a) Palastinalied
b) Non sofre Sancta Maria
c) Robins maime
d) A chanter 79
The most popular social dance in France from the
twelfth century through the fourteenth century was
the:
a) Estampie
b) Carole 82
c) Rondeau
d) Istampita
Melodies in troubadour and trouvere songs move
mostly:
a) by steps with reoccurring skips of a fourth
b) by skips with occasional ascending steps
c) by steps with occasional skips of a third 77
d) by steps with occasional skips of a fifth
A medieval double reed instrument similar to the
oboe is a (an):
a) transverse flute
b) tabor
c) shawm 81
d) Vielle
Poet composers of southern France were known as:
a) trouveres
b) troubadours 73
c) bards
d) chansonniers
Trouvere and troubadour songs are preserved in
manuscript anthologies known as
a) Vidas
b) Missals
c) Chansonniers 75
d) Cantigas
The principal medieval bowed instrument was the:
a) Vielle 80
b) Psaltery
c) Lute
d) Hurdy-gurdy
A medieval wind instrument similar to the modern
flute but made of wood or ivory and without keys is
the:
a) Transverse flute 81
b) Shawm
c) Pipe
d) Tabor

The most common melodic form of the Minnelieder

was:
a) AAB 79
b) ABB
c) ABA

d) ABC
10. The most famous chanson de geste is:
a) Song of Roland 72
b) Song of the Nibelungs
c) The Norse Eddas
d) Beowulf
11. Latin songs dating from the late tenth through the

12.

13.

14.

15.

16.

early thirteenth centuries and associated with

wandering students and clerics are known as:
a) epics
b) goliard songs 71
c) versus
d) trouvere songs
Knightly poet musicians of Germany who flourished
between the twelfth and fourteenth centuries are
known as:
a) Minnelieder
b) Minnesinger 79
c) Liedermeister
The following instrument is a type of medieval harp
that originated in the British Isles:
a) Vielle
b) Psaltery 80
c) Shawm
d) hurdy-gurdy
Traveling performers who made their living
performing tricks, telling stories, and playing music
were called:
a) Jongleurs 73
b) Minstrels
c) Bards
d) Troubadours
Monastic churches began to utilize early forms of
the organ by:
a) 1000
b) 1100 81
c) 1200
d) 1300
A collection of more than four hundred songs in
Gaican-Portugese in honor of the Virgin Mary were
collected in the:
a) Cantigas de Santa Maria 80
b) Chansonnier d'Arras
c) Musica enchiriadis
d) Winchester Troper

17. Medieval musical plays were built around:

a) sung epics
b) narrative pastoral songs 78
c) liturgical dramas
d) goliard songs
18. By the thirteenth century, the following term denoted
a specialized musician:
a) Jongleur
b) Minstrel 73
c) Bard
d) Troubadour

19. All French estampies are in:

20.

21.

22.

23.

24.

25.

a) duple meter
b) triple meter 83
c) compound meter
A type of Latin song characterized by rhymed
poetry that usually follows a regular pattern of
accents is a (an):
a) goliard song
b) epic
c) versus 71
d) conductus
The musical play Jeu de Robin et de Marion was
composed by:
a) Adam de la Halle 78
b) Bernart de Ventadorn
c) Comtessa de Dia
d) Walther von der Vogelweide
A type of Latin song akin to the sequence but
without paired phrases is the:
a) Conductus 71
b) Versus
c) Epic
d) goliard song
The Song of the Nibelungs is an example of a (an):
a) goliard song
b) trouvere song
c) epic 72
d) narrative pastoral song
A sacred Italian monophonic song was known as a
(an):
a) Cantiga
b) Lauda 79
c) Abgesang
d) Chanson
A smaller type of organ that could be carried or
suspended around the neck is known as a:
a) hurdy-gurdy
b) portative organ
c) positive organ
d) diminutive organ 82

Chapter 5
1. Rules for composing in free organum are preserved
in:
a) Musica enchiriadis
b) Winchester Troper
c) Ad organum faciendum 88
d) Codex Calixtinus
2. Composers began to draw motet tenor melodies
from sources other than the Notre Dame clausula
after the mid
a) twelfth century
b) thirteenth century 105
c) fourteenth century
d) fifteenth century

3. The addition of newly written words for the upper

voices of discant clausulae resulted in the
development of the:
a) Motet 102
b) polyphonic conductus
c) caudae
4. A polyphonic setting in which all four voices sing
the text together in essentially the same rhythm is
called a polyphonic:
a) Caudae
b) Conductus 102
c) Motet
5. Melodic formulas in which the duplum is dependent
are known as:
a) Colores 98
b) Organa
c) Clausula
d) Tempora
6. Rhythmic modes are indicated by signs called:
a) Ligatures 92
b) Breves
c) Longs
d) Tempora
7. A system for notated duration developed by
musicians at Notre Dame was described in a
thirteenth-century treatise attributed to:
a) Leoninus
b) Perotinus
c) Johannes de Garlandia 92
d) Guido of Arezzo
8. An early form of polyphony in which two voices
move in parallel motion is known as
a) parallel organum 86
b) parallel discant
c) oblique organum
d) mixed parallel organum
9. A self-contained section of organum, setting a word
or syllable from the chant and closing with a
cadence is known as a
a) Colores
b) Clausula 98
c) Discant
d) Organa
10. In English polyphony, a perpetual canon or round at
the unison is called a
a) Rondellus
b) Rota 111
c) Caude
11. The basic time unit in the rhythmic modes is known
as:
a) Tempus 93
b) Breve
c) Long
12. According to most music historians, the first
polyphony to be read from notation rather than
improvised was created in:
a) Paris 92
b) London
c) Barcelona

d) Winchester
13. The largest collection of notated organal voices is
the:
a) Musica enchiriadis
b) Winchester Troper 86 - 87
c) Ad organum faciendum
d) Codex Calixtinus
14. The treatise Musica enchiriadias provides
instructions for avoiding the following interval:
a) Major third
b) Perfect fourth
c) Augmented fourth 86
d) Augmented fifth
15. The use of harmonic thirds and sixths is most
common in the polyphony of:
a) England 109-110
b) Germany
c) France
d) Italy
16. The earliest surviving manuscripts of Notre Dame
polyphony date from the:
a) eleventh century
b) twelfth century
c) thirteenth century 92
d) fourteenth century

b) a texture in which the upper voice sings note

groups of varying lengths above each note of the
lower voice.
c) both parts moving in parallel motion, with one
note in the upper voice for each note in the
lower voice.
d) both parts moving independently, with an
unlimited number of notes in the upper voice
above an unlimited number of notes in the lower
voice.
22. A style of organum in which both voices move in
modal rhythm is called:
a) organum style
b) discant style 97
c) florid style
d) modal style
23. Perotinus' Viderunt omnes is an example of:
a) organum duplum
b) organum triplum
c) organum quadruplum 99

24. In English polyphony, an elaborate form of voice

exchange in which two or three phrases are first
sung simultaneously and then by each voice in turn
is known as:
a) Rondellus 110
b) Rota
c) Caudae
25. According to anonymous treatises from the ninth
century, two or more voices singing different notes
according to given rules is a process called
a) Drone
b) Counterpoint
c) Organum 85
d) Harmony

17. The following names Leoninus and Perotinus as the

two creators of Notre Dame polyphony:
a) Magnus liber organi
b) Anonymous IV treatise 94
c) Ad organum faciendum
d) Codex Calixtinus
18. Relative durations signified by note shapes were first
introduced by Franco of Cologne in his treatise:
a) Magnus liber organi
b) Ars cantus mensurabilis 105
c) Ad organum faciendum
Chapter 6
d) Anonymous IV treatise
19. According to the Anonymous IV treatise, the
1. A formes fixes that contains only one stanza framed
Magnus liber organi was compiled by:
by a refrain that includes both sections of music used
a) Johannes de Garlandia
b) Perotinus
for the stanza is a:
c) Leoninus 94
a) Ballade
d) Adam de la Hall
b) Rondeau 127
20. In Aquitanian polyphony, the lower voice,
c) Virelai
2. The form of each stanza of a ballade is:
responsible for the melody, is called the:
a) Abba
a) Tenor 89
b) aabC 127
b) Duplum
c) AAba
c) Altus
d) bbaA
d) Soprano
3. The following composer is credited with the
21. In Aquitanian polyphony, discant is described as:
a) both parts moving at the same rate, with one to
establishment of the Ars Nova style:
a) Francesco Landini
three notes in the upper part for each note of the
b) Guillaume de Machaut
lower voice. 89
c) Philippe de Vitry 116
d) Giovanni Boccaccio

4. A fourteenth-century song for two or three voices

without instrumental accompaniment is a:
a) Chanson
b) Madrigal 134
c) Chace
d) Caccia
5. The use of coloration in the tenor indicates:
a) change of mode
b) voice exchange
c) change of meter 120
d) change of dynamics
6. A cadence in which the lower voice descends by a
semitone and the upper voices rise a whole tone is
called a:
a) Landini cadence
b) Phrygian cadence 142
c) Dorian cadence
d) Plagal cadence
7. The earliest works in the Ars Nova style were
composed by:
a) Guillaume de Machaut
b) Franceso Landini
c) Philippe de Vitry 118
d) Giovanni Boccaccio
8. Guillame de Machaut's Foy porter represents which
of the following formes fixes:
a) Virelai 126
b) Ballade
c) Rondeau
9. In an isorhythmic motet, the repeating rhythmic unit
is called the:
a) Talea 120
b) Color
c) Fusa
d) Minim
10. The instrument distinctions "haut" and "bas" referred
to the instrument's:
a) Volume 139
b) Pitch
c) Construction
d) Size
11. A rhythmic technique in which two voices alternate
in rapid succession, each resting while the other
sings, is called:
a) Hocket 122
b) Cache
c) Isorhythm
d) Chace
12. In an isorhythmic motet, the repeating melodic
segment is called the:
a) Talea
b) Color 120
c) Fusa
d) Minim
13. A fourteenth-century allegorical narrative poem
which used satire to comment on corruption in
politics and the church was:
a) Roman de Fauvel 115
b) Roman de la Rose

c) Chanson de Roland
d) Roman de Fergus
14. The following treatise contains keyboard versions of
ballades by Machaut and ballate and madrigals
composed by Landini:
a) Faenza Codex
b) The Robertsbridge Codex 140
c) Squarcialupi Codex
d) Aleppo Codex

15. A polyphonic song of the French Ars Nova:

a) Chanson 128
b) Air
c) Madrigal
d) Frottola
16. An Italian song form that uses a popular-style
melody in strict canon is a:
a) Chace
b) Caccia 135
c) Madrigal
d) Ritornello
17. Chromatic alterations employed to produce a more
melodic line or to avoid sounding an augmented
fourth were known as:
a) Musica ficta 141
b) Minims
c) Harmonia ficta
d) Diatematic notation
18. The leading composer of the ballata was:
a) Francesco Landini
b) Guillaume de Machaut
c) Philippe de Vitry
d) Giovanni Boccaccio
19. The most abundant source of Italian secular
polyphony is the:
a) Squarcialupi Codex 134
b) Non al suo amante
c) Speculum musicae
d) Notitia artis musicae
20. The Landini cadence is executed in the following
manner:
a) The tenor descends by step while the lower
voice descends to its lower neighbor followed
by a skip up a third. 136
b) The tenor ascends by step while the lower voice
descends a whole step followed by a skip up a
fourth.
c) The tenor retains the root while the upper voice
skips up a third.
d) The tenor descends by step while the upper
voice descends a third followed by a skip up a
fourth.
21. Ars Subtilior music was intended to be performed
by:
a) professional performers 132
b) amateur performers
c) church congregations

d) street performers
22. A rhythmic device in which the tenor is laid out in
segments of identical rhythm is called:
a) Isorhtyhm 117
b) Monorhythm
c) Heterorhythm
d) Homorhythm
23. The term Ars Subtilior (the more subtle manner) was
coined by music historian Ursula Gunther and based
on a treatise by:
a) Philippe de Vitry
b) Guillame de Machaut
c) Philippus de Caserta 130

d) Thomas Tallis
24. The following composition was one of the earliest
polyphonic settings of the Mass Ordinary and likely
the first mass to be composed by a single composer:
a) Messe de Nostre Dame 124
b) Missa Ad Fugam
c) Missa Ave Maria
d) Messe Concertata
25. The leading composer of the French Ars Nova was:
a) Guillame de Machaut 122
b) Philippe de Vitry
c) Francesco Landini
d) Giovanni Boccaccio