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Music History > final exam > Flashcards

final exam Flashcards

1
Q

which of the following did not contribute to new songs during the revival of the native flute playing tradition?

  1. limited availability of materials for flute making
  2. programmatic influences like the weather, landscape, and relationships
  3. fusion of native flute and common western instruments
  4. emergence of new market among non natives interested in native music
A

limited availability of materials for flute making

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2
Q

Which of the following did NOT have an impact of climate change on low lying islands of oceania, such as the Marshall Islands?

  1. loss of lands and homes
  2. saltwater intrusion into freshwater sources
  3. loss of identity
  4. increase in island biodiversity
A

increase in island biodiversity

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3
Q

How are the low lying islands in oceania like Tuvalu, affected by the impacts of climate change?

  1. expandsion of agricultural lands due to warmer climates
  2. increased need for the preservation of cultural traditions
  3. growth of the tourism industry dude to climate induced landscapes
  4. improved access to clean drinking water due to changes in rainfall patterns
A

increased need for the preservation of cultural traditions

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4
Q

How did the Tuvalu pacific project primarily aim to address the challenges faced by Tuvalu ?

  1. digitalization and preservation of a large collection of archival recordings of traditional music
  2. revitalization of traditional arts and crafts
  3. documentation of oral history and traditional storytelling
  4. preservation and promotion of indigenous languages through educational programs
A

digitalization and preservation of a large collection of archival recordings of traditional music

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5
Q

How did the concept of whanaungatanga primarily shape the approach to the research and conservation efforts of the Tuvalu: pacific project?

  1. utilized modern technologies to enhance traditional storytelling methods
  2. focused on developing new practices to adapt to climate change
  3. emphasized the importance of building relationships, collaboration, and sharing of knowledge
  4. integrated western methods of studying music traditions
A

emphasized the importance of building relationships, collaboration, and sharing of knowledge

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6
Q

how do rapa nut’s music and dance help them express their cultural identity?

  1. adopting Spanish lyrics and European dance styles to blend with their own traditions
  2. integration of chilean musical instruments and rhythms into their performances
  3. use of western music notation to preserve and transmit traditional song
  4. traditional songs and dances help reinforce their own cultural identity and connect with other Polynesian cultures
A

traditional songs and dances help reinforce their own cultural identity and connect with other Polynesian cultures

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7
Q

Which of the following is not a way the chilean government has influenced rapa nui’s culture?

  1. encouragement of traditional Rapa Nui language and arts in public institutions
  2. education policies requiring Spanish to be taught in schools
  3. official communication in spanish impacts the daily language used on the island
  4. introduction of strict regulations prohibiting the teaching of traditional Rapa Nui language and culture
A

introduction of strict regulations prohibiting the teaching of traditional Rapa Nui language and culture

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8
Q

How has music contributed to the revival of traditional Rapa Nui culture?

  1. music has served as a vehicle of language revitalization
  2. music has led to the abandonment of traditional dances in favor of contemporary styles
  3. music has reinforced negative stereotypes about Rapa Nui cultures
  4. music has facilitated the complete replacement of traditional Rapa Nui instruments with western instruments
A

music has served as a vehicle of language revitalization

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9
Q

How has the group Matato’a’s music evolved over time

  1. evolved from traditional Rapa Nui styles to strict use of only modern influences
  2. evolved from traditional Rapa Nui styles to a fusion of traditional and modern influences
  3. shifted focus from only cultural themes to only commercial pop trends
  4. Matato’a’s style has not evolved the course of the music group’s career
A

evolved from traditional Rapa Nui styles to a fusion of traditional and modern influences

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10
Q

which answer best describes the impact groups like Matt’s have on Rapa nui’s cultural identity?

  1. increased reliance on foreign musicians and producers in order to diminish the authenticity of Rapa Nui music
  2. created a decrease in interest in traditional Rapa Nui intrsuments and dance styles among younger generations
  3. evolution has helped preserve traditional Rapa Nui music while adapting it to contemporary tastes and international audiences
A

evolution has helped preserve traditional Rapa Nui music while adapting it to contemporary tastes and international audiences

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11
Q

What is a time line in African music?

  1. a strict metronome with only a pulse keeping function
    ‘
  2. short repeated rhythmic patterns usually played on a bell
  3. traditional African musical notation
  4. a way to write a musical map of the song
A

short repeated rhythmic patterns usually played on a bell

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12
Q

What is polyrhythm in African music?

  1. unfolding of several different rhythmic patterns in a texture saturated with repetition
  2. playing multiple instrument simultaneously
  3. creating a single unchanging rhythm

4, type of drumming where rhythm is constantly changing

A

unfolding of several different rhythmic patterns in a texture saturated with repetition

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13
Q

Which of these words describes the practice of stylized gesture in African music?

  1. singing
  2. drumming
  3. speaking
  4. dancing
A

dancing

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14
Q

what is the primary way of transmission of African music?

  1. oral transmission
  2. written notation
  3. musical maps
  4. there is no way to transmit drumming patterns in African music
A

oral transmission

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15
Q

which of the following is NOT a role of the lead drummer in African music?

  1. acts as conductor, directing the dance responding to needs of group
  2. keeps a steady beat for the other musicians in the ensemble
  3. takes charge of the ensemble through use of gesture
  4. tells stories through use of variety of patterns
A

keeps a steady beat for the other musicians in the ensemble

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15
Q

What is the form of many dance genres in African music?

  1. there us a lack of form within dance gestures
  2. a focus solely on individual expression rather than communal participation
  3. succession of speech mode followed by song mode and dance
  4. strict adherence to western musical forms and structures
A

succession of speech mode followed by song mode and dance

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16
Q

Indonesian gamelan can be described by being:

  1. in repeating cycle that get developed, varied and elaborated over time
  2. following a strict notated form
  3. improved freely without any sense of form
  4. known for its use of long continues melodies without repetition
A

in repeating cycle that get developed, varied and elaborated over time

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17
Q

What does the term betas mean?

  1. translates to free and means that improvisation is completely made up of spontaneous patterns
  2. translates to free and means that improv is made up of a recycling learned phrases in drummers vocabulary
  3. translates to slow and indicates a slow tempo must be used throughout the piece
  4. translates to constrained and means that the drummer must play with strict adherence to the established rhythm
A

translates to free and means that improv is made up of a recycling learned phrases in drummers vocabulary

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18
Q

what does th term taksu mean?

  1. signifies the use of vocal percussion within the gamelan ensemble, similar to beatboxing
  2. translates to fast tempo and indicates a lively and energetic performance
  3. refers to blend of technical mastery and spiritual inspiration believed to elevate musicians and enhance performances
  4. musical fusion and indicates blend of different musical styles of influences
A

refers to blend of technical mastery and spiritual inspiration believed to elevate musicians and enhance performances

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19
Q

role of the drummer in modern gamelan practices?

  1. serves as leader dictating tempo and dynamic changes
  2. provides melodic accompaniment by playing pitches drums
  3. serves as purely decorative role, adding only visual interest to performance
  4. there are no drummers used
A

serves as leader dictating tempo and dynamic changes

20
Q

what best describes ancient gamelan ensembles?

  1. secular, reformed outdoors, larger in size, include drums
  2. sacred, perfumed inside temples, smaller in size, includes no drums
  3. experiemental, performed in concert halls, includes on drums
  4. improvisatory, larger in size, flashy performance, drums play a significant role
A

sacred, perfumed inside temples, smaller in size, includes no drums

21
Q

Which best describes modern gamelan ensembles

  1. secular, perfumed outdoors, larger in size, includes drums
  2. sacred, performed inside temples, smaller in size, no drums
  3. experimental, performed in concert halls, no drums
  4. improvisatory, larger in size, flashy performance, drums play a significant role
A

improvisatory, larger in size, flashy performance, drums play a significant role

22
Q

what are the two tuning systems of instruments within full gamelan

  1. slendro and pelog
  2. diatonic and chromatic
  3. major and minor
  4. whole tone and pentatonic
A

slender and pelog

23
Q

Which best describes the style of performance on the darbuka

  1. styles of performance are strictly standardized and uniform across all musicians
  2. styles of performers range from musician to musician
  3. styles of performance are limited to a specific set of techniques
  4. styles of performance are determined solely by the audience’s preference.
A

styles of performers range from musician to musician

24
Q

What are the two fundamental strokes in the technique of playing this instrument?

  1. snap and crackle
  2. dum and tek
  3. boom and pop
  4. kik and sweep
A

dum and tek

25
Q

What is the primary way of transmission of the darbuka rep?

  1. oral transmission
  2. written notation
  3. musical maps
  4. there is no way to transmit the darbuka rep
A

oral transmission

26
Q

What makes it so hard to draw a cultural map of the darbuka?

  1. the absence of the cultural significance or symbolism attached to the instrument
  2. the instruments wide historical, cross cultural use across a range of time periods
  3. the instruments limited range and tonal capabilities
  4. its recent introduction and lack of historical significance
A

the instruments wide historical, cross cultural use across a range of time periods

27
Q

Which of the following is NOT a primary way of gather information in ethnomusicology

  1. fieldwork and participant observation
  2. archival research and studying musical recordings
  3. studying only written and notated sources
  4. attending live performances
A

studying only written and notated sources

28
Q

How does performance analysis contribute to the study of ethnomusicology?

  1. provides insight into the cultural meanings and contexts of musical traditions
  2. helps nontate non notated musical traditions in order to preserve them
  3. primarily concerned with promoting commercial recordings of traditional music
  4. it focuses solely on the technical aspects of performance rather than the cultural aspects of musical traditions
A

provides insight into the cultural meanings and contexts of musical traditions

29
Q

What claim does the notation of rhythm within these traditions is NOT true?

  1. all forms of notating rhythm have their limitations
  2. notation rhythm can shed light on the role of form within a tradition
  3. notating rhythm is the only way to preserve the tradition
  4. notating rhythm can facilitate study and performance
A

notating rhythm is the only way to preserve the tradition

30
Q

what is diaspora?

  1. type of dance originating in Kenya
  2. specific type of culture
  3. dispersion of people from their original homeland
  4. a style of music originating in Brazil
A

dispersion of people from their original homeland

31
Q

What is maracatu?

  1. genre associate with classical music of India
  2. genre associated with singling of aboriginal Australian groups
  3. genre associated with dance in Kenya
  4. genre associated with ceremonies of African diasporic groups in northeast Brazil
A

genre associated with ceremonies of African diasporic groups in northeast Brazil

32
Q

Since the beginning of the 21st century, what two genres domination the Kenyan popular music scene?

  1. rap and gospel
  2. rap and reggae
  3. rock and gospel
  4. rap and blue
A

rap and gospel

33
Q

What is the primary way of transmitting and dissminating rap to the Kenyan public?

  1. live performances, cultural festivals
  2. social media, streaming services
  3. community storytelling, oral traditions
  4. radio, music videos, MTV
A

radio, music videos, MTV

34
Q

Which of the following is NOT commonly associated with the genre of Kenyan rap?

  1. representing dialects, slang, idioms. and street talk
  2. historial and cultural preservation
  3. urban youth culture
  4. involvement with DJing, emceeing, dancing, radio, TV
A

historial and cultural preservation

35
Q

which of the following is NOT a common subject matter typically covered in the lyrics of Kenyan rap?

  1. familial and social relationships
  2. political ideologies
  3. disenfranchisement and repression
  4. technological advancements and digital innovation
A

technological advancements and digital innovation

36
Q

What is raga?

  1. a melodica framework consisting of rules in the form of musical scales and phrases that evoke moods and emotions
  2. a traditional Indian dance form orginiating from south India
  3. a style of drumming used in traditional Carnatic music of south India
  4. a set of scales that use western solfège that map Carnatic music of south India
A

a melodica framework consisting of rules in the form of musical scales and phrases that evoke moods and emotions

37
Q

What alapana?

  1. translates to ascending and describes particular notes one will sing in the ascending scale
  2. translates to descending and describes particular notes one will sing in descending scale
  3. translates to running over the notes and describes rhythmically free improvisation based on the raga
  4. translates to scale and describes the particular set of notes one will sing based on a set composition
A

translates to running over the notes and describes rhythmically free improvisation based on the raga

38
Q

What is gamaka?

  1. ornamentation or inflection to help give essence of raga
  2. specific rhythmic patterns created to help evoke specific emotions
  3. a style of vocal harmony specific to Indian Carnatic music
  4. a type of dance movement used in traditional Indian storytelling
A

ornamentation or inflection to help give essence of raga

39
Q

How is Carnatic music primarily taught?

  1. taught primarily through written notation
  2. taught aurally with emphasis on learning by rote
  3. taught through interactive online video tutorials
  4. taught through hands-on workshops and group rehearsals
A

taught aurally with emphasis on learning by rote

40
Q

what role does written notation play within the Carnatic music tradition?

  1. serves as primary method for teaching and learning
  2. plays central role in improvisation and composition
  3. determines arrangment and hierarchy among musicians in Carnatic music ensembles
  4. Assists in recall and aids in memorization
A

Assists in recall and aids in memorization

41
Q

What is the primary purpose of improvisation in Indian classical music?

  1. to adhere strictly to the composed melody
  2. to showcase the musicians ability to sing fast passages
  3. to express creativity and artistry within the raga
  4. to mimic western classical improvisatory techniques
A

to express creativity and artistry within the raga

42
Q

What us a songline (kujika)?

  1. a term used in aboriginal Australian cultures for tracks or paths that map the land, sea, and sky
  2. a type of traditional song sung during initiation ceremonies
  3. a method of playing instruments in a circular breathing pattern
  4. a from of traditional vocal performance involving complex harmonies with no percussion
A

a term used in aboriginal Australian cultures for tracks or paths that map the land, sea, and sky

43
Q

how are the song lines primarily preserved?

  1. in ancient artifacts and arhcaeological sites
  2. recorded in written form and archived in physical libraries
  3. transmitted through online courses and digital platforms
  4. preserved by elders and the responsibility of each generation to learn and pass down
A

preserved by elders and the responsibility of each generation to learn and pass down

44
Q

Which of the following is NOT an examples of a challenged faced by Aboriginal people in preserving their traditional knowledge?

  1. death of elders
  2. colonization

3, missionary era

  1. cultural exchange
A

cultural exchange

45
Q

Which of the following is a reason why policies like the Aboriginal Protection Act impacted the transmission and preservation of Aboriginal knowledge and tradiitons?

  1. forced assimilation, deeming practices as barbaric and uncivilized savagery
  2. enhanced access to educational resources and cultural institutions
  3. positively impacted spread of awareness and support for practices
  4. caused lack of interest or effort from younger generation to learn traditional practices
A

forced assimilation, deeming practices as barbaric and uncivilized savagery

46
Q

What impact did the United Nations Declaration on the Rights of Indigenous People have?

  1. imposed restrictions on tradiiotnal practices and cultural expressions
  2. led to the loss of traditional knowledge and practices due to increased globalization
  3. recognized and protected rights to culture, identity, language, and traditional knowledge
  4. increased government intervention and control over indigenous affairs
A

recognized and protected rights to culture, identity, language, and traditional knowledge

47
Q

Which of the following is NOT an example of how longlines play a crucial role in Aboriginal Australian culture?

  1. they are used solely for entertainment purposes during concerts
  2. they carry knowledge, beliefs, and stories of the land, sea, and sky
  3. they help strengthen the connection of future generation to the land and ancestor s
  4. they help promote a sense of identity and belonging
A

they are used solely for entertainment purposes during concerts

48
Q

How doe the ethnomusicology contribute to our understanding of culture?

  1. by studying music, ethnomusicologists can gain insight into values, beliefs, and practices of different cultures
  2. by documentation traditional music, ethnomusicologist can ensure its preservation for future generations
  3. can uncover hidden cultural messages
  4. by comparing different non notated music, can identify universal patterns in human behavior.
A

by studying music, ethnomusicologists can gain insight into values, beliefs, and practices of different cultures

Music History (3 decks)

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