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Robert de Reins La Chievre was a medieval poet-composer from northern France, known as a trouvère, who wrote lyric poetry in Old French and was likely active in the thirteenth century.
Answer: True
Explanation: The source identifies Robert de Reins La Chievre as a trouvère from northern France, active in the thirteenth century, who composed lyric poetry in Old French.
Robert de Reins La Chievre is believed to have originated from the Provence region of France.
Answer: False
Explanation: The source indicates Robert de Reins La Chievre originated from the Ăle de France region, not Provence.
Robert de Reins La Chievre may have been a member of the La Chievre family, which was documented in Reims during the thirteenth and fourteenth centuries.
Answer: True
Explanation: The source states that Robert de Reins La Chievre may have belonged to the La Chievre family, documented in Reims during the thirteenth and fourteenth centuries.
The Roman de Renart attributed a poem about King Arthur to a 'Chievre de Reins,' potentially Robert de Reins La Chievre.
Answer: False
Explanation: The Roman de Renart attributed a poem about *Tristan* to a 'Chievre de Reins,' not King Arthur.
Wilhelm Mann concluded that Robert de Reins La Chievre was active before 1300, basing his assessment on the attribution in the Roman de Renart.
Answer: True
Explanation: Wilhelm Mann's conclusion that Robert de Reins La Chievre was active before 1300 was based on the attribution found in the Roman de Renart.
Some scholars disagree with Wilhelm Mann's dating of Robert de Reins La Chievre's activity, arguing for an earlier period based on linguistic evidence.
Answer: False
Explanation: Scholars disagree with Mann's dating, arguing for a *later* period (after 1300) based on linguistic evidence, not an earlier one.
What was the primary profession of Robert de Reins La Chievre?
Answer: A trouvère, a medieval poet-composer
Explanation: Robert de Reins La Chievre was a trouvère, a medieval poet-composer from northern France.
From which region of France was Robert de Reins La Chievre believed to originate?
Answer: Ăle de France
Explanation: The source states that Robert de Reins La Chievre was from the Ăle de France region.
What family might Robert de Reins La Chievre have belonged to, and where was this family documented?
Answer: The La Chievre family, documented in Reims
Explanation: Robert de Reins La Chievre may have been a member of the La Chievre family, documented in Reims during the thirteenth and fourteenth centuries.
Which literary work attributed a poem about Tristan to a 'Chievre de Reins'?
Answer: The Roman de Renart
Explanation: The Roman de Renart attributed a poem about Tristan to a 'Chievre de Reins'.
What was Wilhelm Mann's conclusion regarding Robert de Reins La Chievre's period of activity?
Answer: He was active before 1300, based on the Roman de Renart attribution.
Explanation: Wilhelm Mann concluded that Robert de Reins La Chievre was active before 1300, based on the attribution in the Roman de Renart.
Why do some scholars disagree with Wilhelm Mann's dating of Robert de Reins La Chievre's activity?
Answer: They base their arguments on linguistic grounds, suggesting a later period.
Explanation: Other scholars argue for a later period (after 1300) based on linguistic evidence in his works.
Robert de Reins La Chievre is associated with the early development of the madrigal, a polyphonic vocal form.
Answer: False
Explanation: Robert de Reins La Chievre is associated with the early development of the motet, not the madrigal.
The source suggests that trouvères associated with the early development of the motet, such as Robert de Reins La Chievre, were fewer in number than previously believed.
Answer: False
Explanation: The source suggests that trouvères associated with the early development of the motet may be *more* numerous than previously thought.
A significant characteristic of several of Robert de Reins La Chievre's attributed songs is that their first stanza is enhanced by a liturgical tenor in an anonymously appearing polyphonic motet.
Answer: True
Explanation: The source states that no fewer than four of his attributed songs have their first stanza enhanced by a liturgical tenor in an anonymously appearing polyphonic motet.
A clausula is a self-contained, discant-style section within a larger organum, and three of Robert de Reins La Chievre's motets are preserved this way.
Answer: False
Explanation: While the definition of a clausula is correct, only *two* of Robert de Reins La Chievre's motets are preserved as liturgical clausulae.
Three of Robert de Reins La Chievre's motets (numbers 2-4 in the list) share the same music and text as their corresponding song versions.
Answer: True
Explanation: The source explicitly states that three of these motets (numbers 2-4) share the same music and text as their song versions.
A contrafact Latin text refers to an original Latin text set to new secular music.
Answer: False
Explanation: A contrafact Latin text is a *new*, often sacred, Latin text set to *pre-existing secular music*, not an original Latin text set to new secular music.
A liturgical tenor is a pre-existing melody, often from plainchant, used as the structural foundation for a polyphonic composition like a motet.
Answer: True
Explanation: The source defines a liturgical tenor as a pre-existing melody, often from plainchant, serving as the structural foundation for a polyphonic composition such as a motet.
With what significant musical development is Robert de Reins La Chievre associated?
Answer: The early development of the motet
Explanation: Robert de Reins La Chievre is associated with the early development of the motet.
According to the source, how numerous might trouvères associated with the early development of the motet be?
Answer: More numerous than previously thought
Explanation: The source suggests that trouvères associated with the early development of the motet may be more numerous than previously thought.
What is a significant characteristic of at least four of Robert de Reins La Chievre's attributed songs in relation to motets?
Answer: Their first stanza is enhanced by a liturgical tenor in an anonymously appearing polyphonic motet.
Explanation: No fewer than four of his attributed songs have their first stanza enhanced by a liturgical tenor in an anonymously appearing polyphonic motet.
What is a clausula in the context of Robert de Reins La Chievre's motets, and how many are preserved this way?
Answer: A self-contained, discant-style section within a larger organum; two motets
Explanation: A clausula is defined as a self-contained, discant-style section within a larger organum, and two of his motets are preserved as liturgical clausulae.
How do three of Robert de Reins La Chievre's motets (numbers 2-4) relate to their song versions in terms of music and text?
Answer: They share the same music and text as their corresponding song versions.
Explanation: Three of these motets (numbers 2-4) share the same music and text as their corresponding song versions.
What is a contrafact Latin text?
Answer: A new, often sacred, Latin text set to pre-existing secular music.
Explanation: A contrafact Latin text refers to a new, often sacred, Latin text set to pre-existing secular music.
Which of Robert de Reins La Chievre's motets has the same music as its song version but transmits a contrafact Latin text?
Answer: The source mentions one of his motets, but does not specify which one by name.
Explanation: The source states that 'one of Robert de Reins La Chievre's motets has the same music as its song version but transmits a contrafact Latin text,' without specifying the name of the motet.
The RS number in the standard catalogue for songs identifies specific refrains within medieval French songs.
Answer: False
Explanation: The RS number identifies and categorizes medieval French songs, while the vdB number identifies specific refrains.
The vdB number refers to the catalogue of refrains compiled by Nico van den Boogaard.
Answer: True
Explanation: The vdB number is indeed a reference to the catalogue of refrains compiled by Nico van den Boogaard.
Motet voice numbers are references found in standard catalogues for motets, used to identify specific motet compositions or individual voices within them.
Answer: True
Explanation: Motet voice numbers serve as references in standard catalogues to identify specific motet compositions or their individual voices.
What does the RS number signify in the standard catalogue for songs related to Robert de Reins La Chievre's works?
Answer: A reference in Hans Spanke's Raynaud's Bibliographie des altfranzĂśsisches Liedes to identify medieval French songs.
Explanation: The RS number is a reference in Hans Spanke's Raynaud's Bibliographie des altfranzĂśsisches Liedes, used to identify and categorize medieval French songs.
What does the vdB number represent in the list of Robert de Reins La Chievre's works?
Answer: The catalogue of refrains compiled by Nico van den Boogaard.
Explanation: The vdB number refers to the catalogue of refrains compiled by Nico van den Boogaard.
What do the motet voice numbers indicate in the context of Robert de Reins La Chievre's compositions?
Answer: References in standard catalogues for motets to identify compositions or individual voices.
Explanation: Motet voice numbers are references in standard catalogues for motets, used to identify specific motet compositions or individual voices within them.
Ten songs are attributed to Robert de Reins La Chievre in the provided source.
Answer: False
Explanation: Nine songs are attributed to Robert de Reins La Chievre, not ten.
The songs 'L'autrier de jouste un rivage' and 'Quant voi le dous tens venir' are specifically noted for having their first stanza enhanced by a liturgical tenor in a motet.
Answer: True
Explanation: These two songs, along with 'Main s'est levee AĂŤlis' and 'Quant fueillissent li buisson,' are explicitly listed as having this characteristic.
The song 'L'autrier de jouste un rivage' (RS35) is found in TrouvX f.189v and includes refrain vdB1424 in stanza III.
Answer: False
Explanation: The song 'L'autrier de jouste un rivage' (RS35) includes refrain vdB1424 in *stanza II*, not stanza III.
The song 'Quant voi le dous tens venir' (RS1485) appears as a 3-voice motet with Triplum En mai quant rose in the Montpellier Codex.
Answer: True
Explanation: The source confirms that 'Quant voi le dous tens venir' (RS1485) appears as a 3-voice motet with Triplum En mai quant rose in the Montpellier Codex.
The song 'Main s'est levee AĂŤlis' (RS1510) is found in TrouvX f.190v and features refrain vdB689 in stanza II.
Answer: False
Explanation: The song 'Main s'est levee AĂŤlis' (RS1510) features refrain vdB689 in *stanza I*, not stanza II.
The motet version of 'Quant fueillissent li buisson' (RS 1852) is titled 'Quant florissent li buisson' and uses tenor DOMINO QUONIAM (M13).
Answer: True
Explanation: The source confirms that the motet version of 'Quant fueillissent li buisson' is titled 'Quant florissent li buisson' and uses tenor DOMINO QUONIAM (M13).
The song 'Plaindre m'estuet de la bele en chantant' (RS319) is preserved in the Berne Chansonnier (Trouv C) and TrouvK, among others.
Answer: True
Explanation: The source lists Trouv C (Berne Chansonnier) and TrouvK as manuscripts preserving 'Plaindre m'estuet de la bele en chantant' (RS319).
The song 'Jamais pour tant' (RS383) typically consists of three or four stanzas.
Answer: False
Explanation: The song 'Jamais pour tant' (RS383) typically consists of *five or six* stanzas.
The song 'Touse (Bergier) de vile' (RS957) is noted as having two stanzas.
Answer: False
Explanation: The song 'Touse (Bergier) de vile' (RS957) is noted as having *three* stanzas.
The song 'Bien s'est Amours honie' (RS1163) is preserved in TrouvC, TrouvK, TrouvN, TrouvP, TrouvX, and TrouvU.
Answer: True
Explanation: The source lists TrouvC, TrouvK, TrouvN, TrouvP, TrouvX, and TrouvU as manuscripts preserving 'Bien s'est Amours honie' (RS1163).
The song 'Qui bien veut Amours descrivre' (RS1655) is notable for including refrain vdB710 in only some of its sources.
Answer: False
Explanation: The song 'Qui bien veut Amours descrivre' (RS1655) is notable for including refrain vdB710 in *all* its sources.
The Montpellier Codex is a significant source for 2-voice motets by Robert de Reins La Chievre.
Answer: False
Explanation: The Montpellier Codex is mentioned as a source for a *3-voice* motet ('Quant voi le dous tens venir'), not specifically 2-voice motets by Robert de Reins La Chievre.
The song 'Quant voi le dous tens venir' (RS1485) has refrains vdB1149 in stanza I and vdB1580 in stanza II.
Answer: True
Explanation: The source confirms that 'Quant voi le dous tens venir' (RS1485) includes refrain vdB1149 in stanza I and vdB1580 in stanza II.
How many songs are attributed to Robert de Reins La Chievre?
Answer: Nine
Explanation: Nine songs are attributed to Robert de Reins La Chievre.
Which of the following songs by Robert de Reins La Chievre is NOT listed as having its first stanza enhanced by a liturgical tenor in a motet?
Answer: Plaindre m'estuet de la bele en chantant
Explanation: The songs 'L'autrier de jouste un rivage,' 'Quant voi le dous tens venir,' 'Main s'est levee AĂŤlis,' and 'Quant fueillissent li buisson' are listed as having this characteristic. 'Plaindre m'estuet de la bele en chantant' is not among them.
Which refrain is found in stanza II of the song 'L'autrier de jouste un rivage' (RS35)?
Answer: vdB1424
Explanation: The song 'L'autrier de jouste un rivage' (RS35) includes refrain vdB1424 in stanza II.
The song 'Quant voi le dous tens venir' (RS1485) is adapted into a 2-voice motet with which tenor?
Answer: Tenor LATUS (M14)
Explanation: The song 'Quant voi le dous tens venir' (RS1485) was adapted into a 2-voice motet with tenor LATUS (M14).
In which stanza of 'Main s'est levee AĂŤlis' (RS1510) is refrain vdB689 featured?
Answer: Stanza I
Explanation: Refrain vdB689 is featured in stanza I of 'Main s'est levee AĂŤlis' (RS1510).
What is the title of the motet form of 'Quant fueillissent li buisson' (RS 1852)?
Answer: Quant florissent li buisson
Explanation: The motet version of 'Quant fueillissent li buisson' (RS 1852) is titled 'Quant florissent li buisson'.
Which of the following manuscripts is NOT listed as preserving the song 'Plaindre m'estuet de la bele en chantant' (RS319)?
Answer: TrouvM
Explanation: The source lists Trouv C, TrouvK, TrouvN, TrouvP, and TrouvX as preserving 'Plaindre m'estuet de la bele en chantant' (RS319), but not TrouvM.
How many stanzas does the song 'Jamais pour tant' (RS383) typically have?
Answer: Five or six stanzas
Explanation: The song 'Jamais pour tant' (RS383) typically consists of five or six stanzas.
Which manuscript contains 'Touse (Bergier) de vile' (RS957) but only as an index entry due to a missing folio?
Answer: Trouva
Explanation: Trouva f.124 contains 'Touse (Bergier) de vile' (RS957) as an index entry, with the folio itself missing.
How many stanzas does 'Bien s'est Amours honie' (RS1163) typically have?
Answer: Four or six
Explanation: The song 'Bien s'est Amours honie' (RS1163) typically has four or six stanzas.
What is notable about the refrain vdB710 in the song 'Qui bien veut Amours descrivre' (RS1655)?
Answer: It is present in all its sources.
Explanation: The song 'Qui bien veut Amours descrivre' (RS1655) is notable for including refrain vdB710 in all its sources.
The song 'L'autrier de jouste un rivage' (RS35) is found in which manuscript?
Answer: TrouvX f.189v
Explanation: The song 'L'autrier de jouste un rivage' (RS35) is found in TrouvX f.189v.