Explanation: The source defines monophony as a single melodic line without accompaniment, while multiple independent melodic lines characterize polyphony.

Explanation: Heterophony is described as a musical texture where two singers or instrumentalists perform varied versions of the same melody simultaneously, not different melodies.

Explanation: Homophony is characterized by a melody supported by chords, providing harmonic support, which differs from the unaccompanied melody of monophony.

Explanation: The musical texture of a song or piece is determined by assessing whether varying components are used, such as the presence of an accompaniment part or multiple independent polyphonic melody lines, not solely by the number of instruments.

Explanation: The primary distinction is that monophony consists of a single melodic line, while polyphony involves two or more independent melodic lines played simultaneously.

Explanation: Monophony is defined as a single melody performed without any harmonic accompaniment.

Explanation: A fugue by Bach is a polyphonic composition and is therefore not cited as an example of monophonic music, unlike folk songs, troubadour songs, or early organum with parallel fifths.

Explanation: The defining characteristic of heterophony is the simultaneous performance of varied versions of the same melody by two or more performers.

Explanation: Homophony is best described as a melody supported by chordal accompaniment.

Explanation: According to the fundamental definition, monophonic music is characterized by a single melody without harmony.

Explanation: A choir singing the same melody in unison is an example of monophony, as per the definition of unison in musical texture.

Explanation: The text identifies plainchant, including Gregorian chant, as an early form of Christian monophony.

Explanation: The source states that the majority of songs created by troubadours, active from 1100 to 1350, were monophonic.

Explanation: Monophony was the first type of musical texture utilized in the Lutheran Church.

Explanation: Richard DeLone provides a broader definition of monophony, describing it as passages where notes sound alone, even if those notes are instrumentally doubled or involve multiple instruments or voices playing the same melody.

Explanation: Troubadour songs typically focused on themes related to chivalry or courtly love, not religious doctrine.

Explanation: The melody for 'Pop Goes the Weasel' is described as monophonic as long as it is performed without any chordal accompaniment, meaning it is sung or played as a single line of music.

Explanation: Minnesänger were German poets and singers who composed music in a style similar to the French troubadours and trouvères, but their compositions were in Middle High German.

Explanation: The term 'fixed interval' in monophony implies that multiple voices playing the same melody maintain a consistent interval, which could be an octave or a fifth, among other possibilities.

Explanation: Several plainsong styles are identified as monophonic, including Mozarabic chant and Byzantine Chant, not heterophonic.

Explanation: Jehan de Lescurel composed monophonic songs in various forms, including virelais, ballades, rondeaux, and diz entés, meaning he did not compose *only* monophonic ballades.

Explanation: The 'Liber Usualis' contains the monophonic antiphon titled 'O Adonai II: Great Advent Antiphon'.

Explanation: A melody remains monophonic if it is performed by multiple instruments playing the same melody with a fixed interval, such as a perfect fifth, as the core melodic line is preserved.

Explanation: The earliest recorded Christian monophony was plainchant, with Gregorian chant being a well-known style within this category.

Explanation: Gregorian chant is a well-known style within the broader category of plainchant.

Explanation: In monophonic singing, unison means multiple voices singing the same melody at the same pitch.

Explanation: Lais and virelais emerged in the 14th century as secular monophonic forms that extended the tradition established by the troubadours.

Explanation: Monophony was the primary musical texture initially employed within the Lutheran Church.

Explanation: Early organum developed by adding a second voice that paralleled the original plainchant melody, maintaining a monophonic quality, rather than by introducing complex harmonic progressions.

Explanation: Guido d'Arezzo's notation system allowed for the precise preservation of melodies, moving beyond the approximate indications of earlier neumes.

Explanation: The earliest manuscripts containing plainsong used neumes, a primitive system that recorded only the general outline or contour of the melody, rather than precise pitches.

Explanation: By the 11th century, organum had evolved into a style called 'free organum,' where the voices became more independent, marking a transition towards a polyphonic tradition.

Explanation: Heinrich Glarean's *Dodecachordon*, published in 1547, included plainsong, specifically mentioning Gregorian chant, highlighting its continued study and inclusion in theoretical works.

Explanation: Early organum related to plainchant by adding a second voice that paralleled the original melody, often using parallel octaves or fifths, thus maintaining a monophonic quality.

Explanation: Neumes in early plainsong manuscripts served to record the general contour or outline of the melody, rather than precise pitches or rhythms.

Explanation: Guido d'Arezzo is credited with developing a musical notation system that allowed for the exact preservation of melodies, a significant advancement over earlier methods.

Explanation: The 11th century saw the evolution of organum into 'free organum,' characterized by more independent voices moving towards polyphony.

Explanation: Heinrich Glarean's 'Dodecachordon' included plainsong, specifically mentioning Gregorian chant, indicating its continued relevance in theoretical discourse.

Explanation: Monody refers to a single melodic line that does have instrumental accompaniment, distinguishing it from monophony, which is unaccompanied.

Explanation: Indian classical music is ancient and primarily features monophonic melodies (ragas) played over drones, not complex polyphonic arrangements.

Explanation: Martin Luther's hymn 'Ein feste Burg ist unser Gott' is a well-known example of a monophonic chorale.

Explanation: Vernacular genres refer to musical forms sung or composed in the common language of the people, as opposed to Latin.

Explanation: Geisslerlieder, or Flagellant songs, popularized a tradition of sacred songs known as Lauda, which were composed in the style of troubadour songs and were monophonic.

Explanation: Ardis Butterfield states that monophony is the dominant mode for European vernacular genres as well as Latin song, and it remains a central compositional principle even within polyphonic works.

Explanation: In Indian classical music, monophonic melodies called ragas are played over drones, which provide a continuous harmonic foundation or reference point, rather than serving as a polyphonic layer.

Explanation: Erik Satie's 'The Four Ogives' are characterized by their calm, slow melodies, which are constructed from paired phrases that are reminiscent of the style of plainchant.

Explanation: Monody describes a single melodic line that is accompanied by instrumental support, differentiating it from monophony which lacks accompaniment.

Explanation: In Indian classical music, drones provide the continuous harmonic foundation for monophonic melodies known as ragas.

Explanation: Martin Luther is associated with the monophonic chorale 'Ein feste Burg ist unser Gott'.

Explanation: Erik Satie's 'The Four Ogives' are described as having calm, slow melodies reminiscent of plainchant.

Explanation: The source suggests that monophony remains a central compositional principle even within polyphonic works.

Explanation: English is not listed as a language associated with compositions in Carnatic music; Kannada, Telugu, Sanskrit, and Malayalam are mentioned.