CHAPTER 1 Music in Ancient Greece and Early Christian Rome
MULTIPLE CHOICE
1. Which of the following describes the sources for notated music of ancient Greece?
a. There are few surviving examples.
b. There are hundreds of surviving examples.
c. The only surviving examples are those that were composed for plays.
d. There are no surviving examples.
e. The surviving examples do not notate rhythm.
ANS: A
2. Heterophony refers to __________.
a. all performers singing or playing one melody in unison
b. one person playing a melody with embellishment while others sing or play the
original
c. a complex set of principles based on the relationship between intervals and the
movement of celestial bodies
d. a scale of four notes
e. playing a two-bored reed instrument frequently portrayed on clay pots
ANS: B
3. The rhythm of ancient Greek music was intimately tied to __________.
a. poetic meter
, b. religious beliefs
c. dance rhythms
d. the mode of the melody
e. its ceremonial function
ANS: A
4. The Doctrine of Ethos is the theory that music __________.
a. should be performed ethically
b. has eight tonoi
c. is a sacred gift from God
d. creates a sound in the heavens
e. influences a person’s morality
ANS: E
5. Ancient Greek music theory included the concepts of __________.
a. counterpoint, semitones, and intervals
b. major and minor intervals, and a system of twelve modes
c. intervals, scales, and tetrachords
d. dissonant intervals and interval inversion
e. major and minor keys and triads
ANS: C
6. The person who first recognized the numerical relationships that underlay musical
intervals was _________.
, a. Pythagoras
b. Plato
c. Aristotle
d. Aristoxenus
e. Cleonides
ANS: A
7. The three genera of tetrachords in the Greek system of music theory are __________.
a. Dorian, Phrygian, and Lydian
b. diatonic, chromatic, and enharmonic
c. Platonic, Aristotelian, and Boethian
d. sacred, secular, and mixed
e. major, minor, and harmonic
ANS: B
8. For the ancient Greeks, harmonia was __________.
a. the sound of two or more pitches together
b. a common musical instrument
c. the study of matters concerning pitch
d. the concept of an orderly whole divisible by parts
e. a theory of consonance and dissonance
ANS: D
, 9. Which of the following statements is true of art music in ancient Rome?
a. There is no written documentation of art music in ancient Rome.
b. Images, written descriptions, and some instruments are all that remain.
c. Several examples in indecipherable notation survive, along with dozens of texts.
d. Gregorian chant was sung in ancient Rome and survives in Catholic church books.
e. Numerous examples of music and text survive.
ANS: B
10. Lyric poetry was primarily accompanied by a(n) __________.
a. aulos
b. kithara
c. shofar
d. lyre
e. drum
ANS: D
11. Milan
a. Mozarabic
b. Gallican
c. Ambrosian
d. Beneventan
e. Old Roman
ANS: C
MULTIPLE CHOICE
1. Which of the following describes the sources for notated music of ancient Greece?
a. There are few surviving examples.
b. There are hundreds of surviving examples.
c. The only surviving examples are those that were composed for plays.
d. There are no surviving examples.
e. The surviving examples do not notate rhythm.
ANS: A
2. Heterophony refers to __________.
a. all performers singing or playing one melody in unison
b. one person playing a melody with embellishment while others sing or play the
original
c. a complex set of principles based on the relationship between intervals and the
movement of celestial bodies
d. a scale of four notes
e. playing a two-bored reed instrument frequently portrayed on clay pots
ANS: B
3. The rhythm of ancient Greek music was intimately tied to __________.
a. poetic meter
, b. religious beliefs
c. dance rhythms
d. the mode of the melody
e. its ceremonial function
ANS: A
4. The Doctrine of Ethos is the theory that music __________.
a. should be performed ethically
b. has eight tonoi
c. is a sacred gift from God
d. creates a sound in the heavens
e. influences a person’s morality
ANS: E
5. Ancient Greek music theory included the concepts of __________.
a. counterpoint, semitones, and intervals
b. major and minor intervals, and a system of twelve modes
c. intervals, scales, and tetrachords
d. dissonant intervals and interval inversion
e. major and minor keys and triads
ANS: C
6. The person who first recognized the numerical relationships that underlay musical
intervals was _________.
, a. Pythagoras
b. Plato
c. Aristotle
d. Aristoxenus
e. Cleonides
ANS: A
7. The three genera of tetrachords in the Greek system of music theory are __________.
a. Dorian, Phrygian, and Lydian
b. diatonic, chromatic, and enharmonic
c. Platonic, Aristotelian, and Boethian
d. sacred, secular, and mixed
e. major, minor, and harmonic
ANS: B
8. For the ancient Greeks, harmonia was __________.
a. the sound of two or more pitches together
b. a common musical instrument
c. the study of matters concerning pitch
d. the concept of an orderly whole divisible by parts
e. a theory of consonance and dissonance
ANS: D
, 9. Which of the following statements is true of art music in ancient Rome?
a. There is no written documentation of art music in ancient Rome.
b. Images, written descriptions, and some instruments are all that remain.
c. Several examples in indecipherable notation survive, along with dozens of texts.
d. Gregorian chant was sung in ancient Rome and survives in Catholic church books.
e. Numerous examples of music and text survive.
ANS: B
10. Lyric poetry was primarily accompanied by a(n) __________.
a. aulos
b. kithara
c. shofar
d. lyre
e. drum
ANS: D
11. Milan
a. Mozarabic
b. Gallican
c. Ambrosian
d. Beneventan
e. Old Roman
ANS: C
