QUES: Following the Army of the Loire's defeats, Gambetta turned to General Faidherbe's Army of the North. The army had achieved several small victories at towns such as Ham, La Hallue, and Amiens and was protected by the belt of fortresses in northern France, allowing Faidherbe's men to launch quick attacks against isolated Prussian units, then retreat behind the fortresses. Despite access to the armaments factories of Lille, the Army of the North suffered from severe supply difficulties, which depressed morale. In January 1871, Gambetta forced Faidherbe to march his army beyond the fortresses and engage the Prussians in open battle. The army was severely weakened by low morale, supply problems, the terrible winter weather and low troop quality, whilst general Faidherbe was unable to command due to his poor health, the result of decades of campaigning in West Africa. At the Battle of St. Quentin, the Army of the North suffered a crushing defeat and was scattered, releasing thousands of Prussian soldiers to be relocated to the East.
This position in the north allowed whose men to launch fast attacks against Prussian units?

ANS: Faidherbe's

QUES: Bern was occupied by French troops in 1798 during the French Revolutionary Wars, when it was stripped of parts of its territories. It regained control of the Bernese Oberland in 1802, and following the Congress of Vienna of 1814, it newly acquired the Bernese Jura. At this time, it once again became the largest canton of the confederacy as it stood during the Restoration and until the secession of the canton of Jura in 1979. Bern was made the Federal City (seat of the Federal Assembly) within the new Swiss federal state in 1848.
When did the canton of Jura seceed?

ANS: 1979

QUES: The polyphony of Christian a cappella music began to develop in Europe around the late 15th century, with compositions by Josquin des Prez. The early a cappella polyphonies may have had an accompanying instrument, although this instrument would merely double the singers' parts and was not independent. By the 16th century, a cappella polyphony had further developed, but gradually, the cantata began to take the place of a cappella forms. 16th century a cappella polyphony, nonetheless, continued to influence church composers throughout this period and to the present day. Recent evidence has shown that some of the early pieces by Palestrina, such as what was written for the Sistine Chapel was intended to be accompanied by an organ "doubling" some or all of the voices. Such is seen in the life of Palestrina becoming a major influence on Bach, most notably in the aforementioned Mass in B Minor. Other composers that utilized the a cappella style, if only for the occasional piece, were Claudio Monteverdi and his masterpiece, Lagrime d'amante al sepolcro dell'amata (A lover's tears at his beloved's grave), which was composed in 1610, and Andrea Gabrieli when upon his death it was discovered many choral pieces, one of which was in the unaccompanied style. Learning from the preceding two composeres, Heinrich Schütz utilized the a cappella style in numerous pieces, chief among these were the pieces in the oratorio style, which were traditionally performed during the Easter week and dealt with the religious subject matter of that week, such as Christ's suffering and the Passion. Five of Schutz's Historien were Easter pieces, and of these the latter three, which dealt with the passion from three different viewpoints, those of Matthew, Luke and John, were all done a cappella style. This was a near requirement for this type of piece, and the parts of the crowd were sung while the solo parts which were the quoted parts from either Christ or the authors were performed in a plainchant.
Who's compositions marked the begining of secular a cappella music

ANS: unanswerable

QUES: Modern historiography on the period has reached a consensus between the two extremes of innovation and crisis. It is now (generally) acknowledged that conditions were vastly different north and south of the Alps, and "Late Middle Ages" is often avoided entirely within Italian historiography. The term "Renaissance" is still considered useful for describing certain intellectual, cultural, or artistic developments, but not as the defining feature of an entire European historical epoch. The period from the early 14th century up until – and sometimes including – the 16th century, is rather seen as characterised by other trends: demographic and economic decline followed by recovery, the end of western religious unity and the subsequent emergence of the nation state, and the expansion of European influence onto the rest of the world.
Which mountain range isn't seen as a dividing line when considering conditions during the Middle Ages?

ANS:
unanswerable