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Passage A

Notation gave western music a means of written record, but at first only for a kind of music, chant, that was believed to have originated half a millennium and more in the past—to be effectively, ageless. Early medieval chants sprang from the whole time of eternal sameness, which they so readily convey, and similarly there was no measure of the time within them—the rhythm. Then measure came. And with it came the first identifiable composers and precisely datable works.
Where chant was of a piece with other musical traditions in being self-sufficient melody, working within a modal system, belonging to no creator (but to God) and designed for worship, the new music of the twentieth century opened a distinctively western path. The measuring of time was the beginning not only of rhythmic notation—known, far beyond Europe, to the Indian theorist Sarngadeva in the first half of the thirteenth cen
A. The Development of Rhythm
B. Time Measured.
C. Notation and Time
D. Music and Civilization

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Notation gave western music a means of written record, but at first only for a kind of music, chant, that was believed to have originated half a millennium and more in the past—to be effectively, ageless. Early medieval chants sprang from the whole time of eternal sameness, which they so readily convey, and similarly there was no measure of the time within them—the rhythm. Then measure came. And with it came the first identifiable composers and precisely datable works.
Where chant was of a piece with other musical traditions in being self-sufficient melody, working within a modal system, belonging to no creator (but to God) and designed for worship, the new music of the twentieth century opened a distinctively western path. The measuring of time was the beginning not only of rhythmic notation—known, far beyond Europe, to the Indian theorist Sarngadeva in the first half of the thirteenth cen
A. music was always renewed and could last only as long as memory
B. music presented people with three times at once: the now in which they heard it, the then in which it was made, and the further then of when the piece was composed
C. polyphony had already been developed to such a degree that different melodies carried by different singers could form a coordinated harmony
D. music mostly was not improvised and was not dated with precision

[单项选择]The history of Western music properly begins with the music of the Christian, Church. But all through the Middle Ages and even to the present time men have continually turned back to Greece and Rome for instruction, for correction, and for inspiration in their several fields of work; this has been true in music--though with some important differences. R6man literature, for example, never ceased to exert influence in the Middle Ages, and this influence became much greater in the fourteenth and fifteenth centuries when more Roman works became known, at the same time, too, the surviving literature of Greece was gradually recovered. But in literature, as well as in some other fields (notably sculpture), medieval or Renaissance artists had the advantage of being able to study and, if they so desired, imitate the models of antiquity. The actual poems or statues were before them. In music this was not so. The Middle Ages did not possess a single example of Greek or Roman music--nor, it may be
A. Roman and Greek works were better than the those of medieval Christian church
B. Roman and Greek works were different from Medieval works
C. the Roman and Greek music became known
D. a lot of Roman and Greek works were discovered

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