1. Why did most church fathers condemn instrumental music?

Tuning instruments well was difficult and the resultant sounds offended the church
fathers.
Without words, instrumental music could not open the mind to Christian teachings
and encourage holy thoughts.
The expense of instruments made them inaccessible for most.
Instrumental music was associated with women.

2. How did the growth of worship spaces in the early church impact musical life?
Music became less practical in large basilicas, and therefore its frequency dwindled.
Music became a specialist art.
Singing the text helped increasing numbers learn the words.
Sung words carried better than spoken words in large spaces.

3. What was the language of the Western Roman Church?

Greek Hebrew Italian Latin

4. What is the liturgy?

the body of sacred texts and prescribed ritual actions
the body of sacred text
prescribed ritual actions

5. What are chant dialects?

the starting and ending note in a chant
regional repertories of chant
the study of chant diction
regional differences in the modal system

6. What aspect of Byzantine chant served as a model for the Western church?
the use of a reciting tone
classification of melodies into eight modes, or echoi
notation
use of the Greek language

7. Which chant dialect originated in Milan?

Ambrosian chant
Old Roman chant
Gregorian chant
Byzantine chant

8. What is one reason for the church’s invention of notation?

to ensure uniform practice across a large geographical area
to compose more complicated chants
to preserve chants for posterity
to teach

9. The earliest surviving notated chants date from when?

the late fifth century
the late ninth century
the late seventh century
the late eleventh century

10. What distinguishes heighted neumes from other neumes?

Heighted neumes utilize more space and were thus clearer for whole choirs to read
as more people learned the notational system.
Heighted neumes are placed on a lined staff.
The placement of heighted neumes is measured to indicate the size of the interval, as
well as its general direction.

11. What are neumes?

early solmization syllables
an early term for clefs
early names of pitches on the four-line staff
early music notational symbols

12. Select one contribution of Guido of Arezzo.

He composed many liturgical chants.
He invented a system of lines and dots that became modern rhythmic notation.
He devised an arrangement of lines and spaces that developed into the musical staff.
He conventionalized the church modes.

13. Solesmes notation includes how many clefs?

Two four one three

14. When one neume is stacked atop another neume, how are they read?
top to bottom
it is considered a copying mistake
they sound simultaneously
bottom to top

15. What does an oblique neume designate?

an accidental
a copying mistake
three notes
four notes

16. Why are descending patterns written with diamond-shaped neumes?

for additional clarity
to save space
to indicate faster rhythm
as a solmization tool

17. On whom did Boethius draw in his treatise De institutione musica?

St. Gregory
Roman music theorists
Greek music theorists
Guido of Arezzo

18. According to Boethius, which type of music is audible?

musica enchiriadis
musica mundana
musica humana
musica instrumentalis

19. What differentiates authentic modes from plagal modes?

Psalms are usually sung in plagal modes. All other chants are sung in authentic
modes.
In authentic modes, chants end by moving from a fifth above the final to the final. In
plagal modes, chants end by moving from a fourth above the final to the final.
In authentic modes, the range spans a step below the final to an octave above it. In
plagal modes, the range spans a fourth below the final to a fifth or sixth above it.

20. What is a reciting tone?

in the solmization system, the bottom note
the most important note in a church mode, on which a chant generally ends
a characteristic note in a mode that is often the most frequent or prominent note but
is not the final
a drone that undergirds Gregorian chant

21. In the church modes, how many finals are there?

Five four seven six

22. What did Guido of Arezzo introduce to aid sight-singing?

a pedagogical aid that involved changing shapes of notes to indicate pitch level
a set of syllables that corresponded to steps of the modal scales
a university to train singing teachers
a method book

23. In the hexachord system, how was the hexachord “mutated,” or changed, in the
middle of a chant?
a note that was shared between two hexachords began as if in one hexachord and
ended as if in another
hexachords never changed in the middle of chants
by adjusting the syllable before
by decree of Guido of Arezzo