Chapter 2

Question 1

Psalms

Answer 1

Poems of praise from the Hebrew Book of Pslams

Question 2

Cantillation

Answer 2

Chanting of sacred texts by a solo singer, particularly in Jewish synagogues

Question 3

Western Empire (name, leader, church)

Answer 3

• Roman Empire
• Lead by the Pope
• Latin
• Roman Catholic Church

Question 4

Eastern Empire (name, leader, church)

Answer 4

• Byzantine Empire
• Emperor (Constantine I of Constantinople)
• Orthodox Church

Question 5

Rite (three elements)

Answer 5

The set of practices that defines a particular Christian tradition; includes a church calendar, a liturgy, and a repertory of chant

Question 6

Church Calendar

Answer 6

Schedule of days commemorating special events, individuals, or times of a year

Question 7

Liturgy

Answer 7

Body of texts to be spoken or sung and ritual actions to be performed in a religious service

Question 8

Plainchant/plainsong

Answer 8

A unison unaccompanied song, particularly a liturgical song to a Latin text

Question 9

Chant Dialects

Answer 9

Differs from region to region

Question 10

Ambrosial Chant

Answer 10

Song of Milanese rite (Western Empire)

Question 11

Gregorian Chant

Answer 11

Repertory of church music used in the Roman Catholic Church (Holy Roman Empire); credit attributed to Pope Gregory I;

Question 12

Old Roman Chant

Answer 12

Near relative to Gregorian Chant; local Roman tradition

Question 13

Neums

Answer 13

Signs placed above words to indicate melodic gesture (notes)

Question 14

Heighted Neums

Answer 14

Contour showed relative shape

Question 15

Boethius

Answer 15

Saw music as mathematical and scientific (object of knowledge); broke music into three categories:

1. Musica Mundana (the music of the universe)
2. Musica Humana (human music)
3. Musica Instrumentalis (instrumental music)

Question 16

Final

Answer 16

Main note in mode and usually last in melody (tonic); each mode is paired with another mode (relative mode) that shares the same final

I (Dorian) starts on D, every odd-numbered mode goes up by step (III’s final is E, V’s final is F, etc.)

Question 17

Authentic

Answer 17

Odd-numbered modes; range is one note before final to an octave above the final

Question 18

Plagal

Answer 18

Even-numbered modes; range is fourth/fifth below final to fifth/sixth above final

Question 19

Reciting Tone

Answer 19

Tone used to recite long passages; second-most-important note (similar to dominant)
Authentic: fifth above final
Plagal: third above final
*If the reciting tone should be B, it is raised to a C

Question 20

Solmization

Answer 20

Syllables assigned to notes; invented by Guido D’Arezzo (early solfege)

Question 21

Hexachords

Answer 21

Included six pitches; used as early pivot chords; three versions:

1. C “natural” (C-D-E-F-G-A)
2. G “hard;” B-natural = square “b” (G-A-B-C-D-E)
3. F “soft;” B-flat = round “b” (F-G-A-B-flat-C-D)

Question 22

Mutation

Answer 22

A note shared by two hexachords is begun as if in one hexachords and left as if in another (pivot note)

Question 23

Why was chant notation simplified?

Answer 23

Chant notation was simplified so that only those who knew how to read the notation could sing the chants; excluded common folk

Question 24

Charlemagne

Answer 24

Canonized the liturgy; king of the Holy Roman Empire

Question 25

Custos

Answer 25

Guard; tells the reader the first pitch on the following staff - Written at the end of a staff - Manuscripts were so big (literally), so the Custos allowed chanters to keep chanting while jumping to the next staff