World music final Flashcards by Gloria Lutsik

What country is Tito Puente from?

New York, US

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What country is Bob Marley from?

Jamaica

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What country is Sayyid Darwish from?

Egyptian

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What country is the musical group called The Chieftains from?

Ireland

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What country is Ravi Shankar from?

India

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What country is Toumani Diabate from?

Mali, Africa

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French composer Claude Debussy was influenced by music from where?

Bali

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The basic property of all music is ….

a. sound
b. tone
c. Timbre
d. tone and timbre

a. sound

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a tone possesses…

a. duration
b. timbre
c. frequency
d. all of the above

d. All of the above

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The HIP (human intention and perception) approach to understanding music emphasizes _____________

a. Exclusiveness
b. Inclusiveness
c. that music is inescapable from the people that make it and experience it.
d. both b and c

d. both b and c

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Paul Pena was a…..

a. Latin-American singer
b. African American blues singer and songwriter
c. blind singer who taught himself how to sing harmonics by listening to recordings
d. American performer who travelled to Tuva and performed in a throat singing contest there.
e. answers B, C, and D, but not A.

e. answers b, c, d but not a

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Throat singing is …..

a. the practice of producing high-pitched tones from the upper throat.
b. the practice of producing a second or third tone at the same time as singing the fundamental tone.
c. practiced in Tuva, Mongolia, and among Buddhist monks.
d. B and C but not A

d. B and C but not A

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Paul Pena …..

a. appeared at the Newport Folk Festival
b. Wrote the song “Jet Airliner,” which was a hit for The Steve Miller Band.
c. Helped make American listeners aware of Tuvan throat singing.
d. all of the above

d. all of the above

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Music is significant to human life in what people do, who they think they are, what they believe, and what they value.

a. true
b. false
c. no answer in text provided
d. no answer in text provided

a. true

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Ethnomusicology is an academic field that draws on musicology, _________, and other disciplines in order to study the world’s musics.

a. archeology
b. entomology
c. archietecture
d. anthropology

d. anthropology

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Edward Tyler’s 1871 definition of culture states that it includes knowledge, belief, art, ___________, custom, and any other capabilities acquired by mankind as a member of society.

a. habits
b. Transportation modes
c. morals
d. rituals

c. morals

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Musical tones are meaningful in at least two ways:

a. they have meaning relative to the text or lyrics that accompany them.
b. they have meaning relative to one another.
c. Musical sounds acquire meaning in relation to things beyond themselves.
d. b and c but not a

d. b and c but not a

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“Rabbit Dance” by Eagle and Hawk (as played in class; link in your text) includes vocal sounds with no linguistic meaning, called _____________.

a. noteables
b. parables
c. vocables
d. phonables

c. vocables

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A society is a group of persons forming a community of _______________, _______________ individuals.

a. related, independent
b. unrelated, dependent
c. related, codependent
d. related, interdependent

d. related, interdependent

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A nation-state is different from a nation because ___________________

a. a nation-state has a government.
b. a nation-state has a homeland
c. a nation-state has a country name.
d. a nation does not have a society or culture.

b. a nation-state has a homeland

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A dispora is _________________

a. a group of people living away from their ancestral homeland, often with no guarantee of return.
b. communities linked together by identification with a common ancestral homeland.
c. found in most places in the world.
d. all of the above

d. all of the above

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In many societies, music plays a role in worship because ______________________________

a. it can serve as a bridge between the earthly realm and the world beyond.
b. music can facilitate transcendence.
c. Music is sacred.
d. a and b but not c

d. a and b but not c

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Dance is the ____________

a. movement of the gods.
b. way people communicate with animals
c. performed by people and insects
d. the physical expression of culture.

d. the physical expression of culture

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can music be a commodity?

a. yes
b. no

a. yes

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Patronage involves ___________ a. cooking with musical accompaniment b. file-sharing your favorite music with your friends. c. the support of musicians and musical institutions. d. rejecting common music in favor of higher-class music.

c. the support of musicians and musical institutions.

All music transmission involves ________________ and ___________ a. data and a data file. b. notes and rhythms c. production and reception. d. musicians and recordings

c. production and reception

Arranging music is the ________ a. craft of taking an existing musical work and transforming it into something new, while still retaining it's core musical identity. b. sometimes written and sometimes not written c. can be improvised d. all of the above

a. craft of taking an existing musical work and transforming it into something new, while still retaining it's core musical identity.

Improvisation is ____________ a. composing music in the moment of performance. b. a long-standing historical practice. c. a core value of jazz. d. all of the above

d. all of the above

Interpretation of an existing piece of music is not a creative act. a. true b. false

b. false

All musical performance involves some degree of creativity. a. true b. false

a. true

Composition involves planning out the design of a work ______ a. and writing it down. b. and recording it. c. prior to it's performance. d. and obtaining a copyright for it.

c. prior to it's performance

Tradition in music is a process of ________ a. creative transformation. b. includes continuity c. Keeping things from changing d. a and b but not c

d. a and b but not c

Rhythm is the musical correlate of a. amplitude b. duration c. frequency d. timbre

b. duration

A stream of sixteenth notes against a quarter-note beat creates a ___________subdivision. a. duple b. triple c. quadruple d. free rhythm

c. quadruple

The number of beats in a measure define the music's ____ a. rhythm b. meter c. tempo d. length

b. meter

When meters are longer and more complex, the term _________ is used a. metric cycle b. quadruple meter c. syncopation d. symphony

a. metric cycle

An accented note that falls between beats is called a a. subdivision b. syncopation c. free rhythm d. mistake

b. syncopation

The rate at which beats pass (speed) in music is called a. beat b. meter c. tempo d. process

c. tempo

When music is nonmetric, we say that is is in _____________ a. free rhythm b. tempo c. syncopation d. polyrhythm

a. free rhythm

A grouping of beats in Western music is called a _______ a. meter b. subdivision c. measure d. no answer in text provided

c. measure

Pitch is most closely related to ___ a. amplitude b. duration c. frequency d. timbre

c. frequency

We can apply letter names to notes if they have ____ a. determinate pitch b. indeterminate pitch c. frequency d. timbre

a. determinate pitch

A well-known scale influenced by the African scale is the _______________ scale. a. minor b. Botswana c. blues d. pentatonic

a. minor

Moving from one key to another is called ______ a. modulation b. ornamentation c. articulation d. harmonization

a. modulation

When we describe notes as staccato or legato, we are referring to their a. harmonization b. ornamentation c. articulation d. microtones

c. articulation

Ornamentation refers to _______ a. playing shorter, clipped notes b. playing longer, sustained tones c. moving from one key to another d. decorating the main pitches of the melody

d. decorating the main pitches of the melody

defining features of a mode are likely to include _____ a. a specific set of ascending and descending pitches. b. rules for how to perform particular notes and how to move from one note to another c. extramusical references d. all of the above

d. all of the above

When each note of a melody is reinforced by an additional note or notes of different pitch to create a chord, this is called ________________. a. ornamentation b. modulation c. harmonization d. Arpeggio

c. harmonization

When we speak about dynamics, we are referring to music's __________ a. Amplitude b. Duration c. Frequenct d. Timbre

a. amplitude

_______________ is the character, sound quality, or tone color of a musical composition or tone. a. Timbre b. harmonics c. acoustics d. instrumentation

a. timbre

A tone is actually comprised of a fundamental pitch, plus multiple other pitches known as ______ a. Dynamic range b. ensembles c. harmonics d. subtones

c. harmonics

"Instrumentation" refers to the _______________ of instruments in an ensemble. a. melody b. dynamics c. volume and pitch d. type and number

d. type and number

Drums are classified as ________ a. Chordophones b. Idiophones c. Membranophones d. Instruments of the devil

c. Membranophones

A piano is classified as a _________ a. Chordophone b. Idiophone c. Membranophone d. Instrument of the devil

a. chordophone

An instrument which uses the body of the instrument to produce the sound is a(an) ______ a. Chordophone b. Idiophone c. Membranophone d. Instrument of the devil

b. idiophone

A didjeridu is classified as ____ a. Chordophone b. Membranophone c. Idiophone d. Aerophone

D. AEROPHONE

An electric guitar is classified as _____ a. an acoustic chordophone b. a hybrid electronophone c. a pure electronophone d. an instrument of the devil.

b. a hybrid electronophone

Digital samplers are ________ a. electronophones that are sound generators b. electronophones that are sound modifiers c. hybrid electronophones d. Only for computer geeks

b. electronophones that are sound modifiers

A trumpet and a saxophone are similar because ____________ a. They are both idiophones b. they are both aerophones c. They are both used in marching bands d. answers b and c are correct

d. answer b and c are correct

The only membranophone that plays determinate pitches is the ______________ a. bongos b. Timbales c. Timpani d. Xylophone

c. timpani

Texture in music can be compared to texture in fabric by an analogy that says texture is a result of the instruments or voices that are used, and _______ a. The length of the piece b. the intent of the composer c. the way the instruments and voices are used d. the number of a certain type of instruments that are used

c. the way the instruments and voices are used

The simplest musical texture is a single-line texture. This is called a a. monophonic texture b. polyphonic texture c. solo texture d. drone texture

a. monophonic texture

The simplest type of harmony is created by adding a __________ to a single line a. chord b. second melody c. drone d. polyrhythm

c. drone

Textures with two or more distinct parts are considered a. monophonic texture b. polyphonic texture c. solo texture d. drone texture

b. polyphonic texture

A drone is ____________ a. a simple type of harmony b. a repeated rhythmic pattern c. a sustained, continuous, tone d. A and C but not B

d. a and c but not b

When different pitches occur together to form chords, this is called a _____________. a. church hymn. b. chord progression. c. harmonized texture d. solo song

harmonized texture

Multiple-melody texture is considered a “musical Africanism” because a. Africa is the only place we hear this type of music b. it is common in parts of Africa c. it was a feature of “The Lion King” film d. it is used in Jazz.

b. it is common in parts of Africa

Polyrhythm occurs when rhythmic patterns ___ a. Shift back and forth between two different pulses b. are complex and varied c. based on duple subdivision are played against patterns based on triple subdivision d. are not popular in modern music

c. based on duple subdivision are played against patterns based on triple subdivision

Interlocking texture involves a. dividing a melody between two or more instruments or voices b. being careful to make sure all players are playing in time c. being certain the beats are correctly placed in the melody d. playing rapidly, and in time with the other instruments

A. dividing a melody between two or more instruments or voices

Call-and-response is considered a. a conversational element in music b. a back-and-forth- alternation between different instruments or voices c. playing the correct phrase at the right time d. A and B, but not C

d. A and B, but not C

Call-and-response is common in which of these types of music a. West African. b. American blues music. c. jazz music. d. all of the above

d. all of the above

Key features that help create form in music are a. use of repetition b. using numbered measures c. use of patterns d. A and C, but not B

d. A and C, but not B

A form built almost entirely from repeated patters is called (a) an a. song with a "hook.” b. verse-chorus form c. ostinato-based form. d. loop

c. ostinato-based form

The Qui Bushmen (Africa) song “Xai” (Elephants) played on the musical bow, is an example of an a. “hook” song. b. verse-chorus form c. ostinato-based form. d. loop

c. ostinato-based form

Tito Puente’s song “Oye Como Va” is an example of a. a “hook” song b. verse-chorus form c. layered ostinato based form d. loop

c. layered ostinato based form

A cyclic form occurs when a. a chorus is repeated more than once b. a pattern is played at the beginning and end of the song c. the entire form is repeated multiple times d. the song is part of a “song-cycle

c. the entire form is repeated multiple times

Modern use of cyclic form includes which of these forms a. blues b. jazz c. rock and roll d. all of the above

d. all of the above

Verse- Chorus form is a. a common form in popular music b. often used in modern Christian music c. a feature of American country music d. all of the above.

a. a common form in popular music

Verse chorus form involves A. a melody that is repeated with different words B. a new melody that is repeated with the same words each time C. a “refrain,” or chorus D. all of the above.

a. a melody that is repeated with different words

___________ is the generic term fora large variety of percussion-based ensembles in Indonesia. a. gamelan b. gangsa c. banjar d. Belaganjur

a. gamelan

Balinese Hinduism (Agama Tirta) is a blend of Hinduism and ___ a. Islam b. Buddhism c. Indigenous spiritual beliefs d. both b and c

d. both b and c

Central Javanese court gamelan and Balinese gamelan gong keybar are similar because. a. they share cyclic musical forms b. they have related types of instruments c. they sound similar to each other d. A and B only

d. a and b only

Non-Hindus known as the "original Balinese" are called ___ a. Agama Tirta b. Bali Aga c. Bahasa Indonesia d. Wayang Kulit

b. Bali Aga

The interlocking rhythms in Balinese gamelan music may be interpreted as symbols of a. unity in diversity b. core values of communal interdependence in Balinese culture c. the three worlds of the Balkinese cosmos d. the Religion of Holy Water

b. core values of communal interdependence in Balinese culture

The Balinese dance-drama Kecak a. enacts scenes from the Hindu epic called The Ramayana b. has roots in an ancient trance-ritual called Sanghyang Dedari c. was actually invented for inclusion in a 1930s German film that was shot in Bali d. all of the above

d. all of the above

The function of gamelan beleganjur in cremation rituals is a. to intimidate and drive away evil spirits b. to show off both tradition and innovation in musical composition c. to win a competition d. all of the above

a. to intimidate and drive away evil spirits

The word banjar refers to _____. a. the Balinese cremation ceramony b. the soul of the deceased c. a Balinese neighborhood organization d. sacred verses sung by men and women

c. a Balinese neighborhood organization

The "crossroads" style of beleganjur music (called malpal) usedin the cremation processions features ____. a. driving, interlocking rhythms of eighth notes b. intricate sixteenth note interlocking patterns c. quiet songs of farewell to accompany the departing soul d. sacred verses sung by men and women

a. driving, interlocking rhythms of eighth notes

Beleganjur music has been used symbolically as a weapon in a. cremation ceremonies b. Balinese warfare c. music competitions d. all of the above

d. all of the above

The contest style of beleganjur became popular in a. ancient times b. the late 19th century c. the 1930s d. the 1980s

d. the 1980's

Groups competing in modern beleganjur contests (lomba beleganjur) aim to a. intimidate and drive away evil beings b. demonstrate a strict and unwavering adhenence to the traditional musical principles and values of traditional beleganjur c. effectively blend and integrate elements of musical tradition and innovation d. inspire the souls of the deceased (atma) in whose honor the contest is held to sacend to the Upper World of the Hindu-Balinese cosmos

c. effectively blend and integrate elements of musical tradition and innovation

Choreographed sequences in kresai belaganjur compositions are called a. gilak b. gerak c. gangsa d. gong ageng

b. gerak

Kreasi Belaganjur places a high value on a. compositional originality b. showmanship c. varied textures d. all of the above

d. all of the above

Kreasi beleganjur pieces are typically structured in three contrasting sections; the sequence of tempos (speeds) for these three sections is a. slow-fast-slow b. slow-slow-fast c. fast-slow-fast d. fast-fast-slow

a. slow-fast-slow

. The borrowing of elements from the formal design of older styles of gamelan music that occurs in kresai beleganjur may be described as a. kebayarization b. classicization c. malpal d. No answer text provided.

b. classicization

The kreasi beleganjur composer I Ketut Saundita is well known for a. creating new innovation in beleganjur composition b. winning Bali's most prestigious competition three consecutive years c. Including synthesizers and turntables in a beleganjur composition d. a and b only

d. a and b only

The first major western composer influenced by gamelan music was a. Richard Wagner b. Claude Debussy c. Ludwig Van Beethoven d. John Cage

b. Claude Debussy

The island of Ireland is divided between ____ a. an independent republic and a northern province of The United Kingdom b. a predominately Protestant republic and a predominately Catholic northern province c. a predominately Catholic republic and a predominately Protestant northern province d. both a and c

d. both a and c

On the uilleann pipes, the main melody is played on the _______ a. drone pipes b. regulators c. chanter d. bellows

c. chanter

Which of these is not a rhythm used in Irish dances? a. reel b. jig c. hornpipe d. roll

d. roll

The emergence of a pan-Irish approach to music was influenced by ____________ a. the priority of dancing to music at rural gatherings. b. urbanization, which brought musicians from different regions of Ireland together c. radio broadcasting d. both B and C,

d. both B and C,

_____ are premier international ambassadors of Irish music and have been a major force in Irish music since the release of their first album in 1963. a. Ceolto cualann b. The Chieftians c. Clannad d. Altan

b. the Cheiftans

The music of Eileen Ivers represents ____. a. a conservative revival of traditional Irish music b. a broad and eclectic range of musical styles c. an innovative approach to pan-Irish music developed by a leading contemporary musician who was born and raised in Dublin, Ireland. d. all of the above

b. a broad and eclectric range of musical styles

The song "Sunday, Bloody Sunday" by the Irish rock band U2, is about a. the British shooting of unarmed civilian protesters during "The troubles" in 1972 b. The 1916 Easter Uprising in Ireland c. the 1921 Bloody Sunday in Belfast, Northern Ireland d. The 1939-1940 "sabotage campaign" waged by the Irish in England

a. the British shooting of unarmed civilian protesters during "The troubles" in 1972

The success of the group Celtic Woman is an example of a. the immense popularity of Irish music in the world today b. an authentic presentation of traditional Irish performance practices c. a mix of popular performance practices, with American and Irish popular and traditional music. d. both A and C

both A and C

Although India has great religious diversity, the majority of people in India are ___. a. Muslims b. Hindus c. Buddhists d. Christians

b. Hindus

The four ________________ are ancient Hindu scriptures fundamental to the religion. Their texts are often chanted. a. Vedas b. Bhajans c. Qawwalis d. Bhangras

a. Vedas

An important part of Sufi religious belief is that ____. a. many gods are recognized b. religious images should be cherished c. music may serve as a pathway to the divine d. all of the above

c. music may serve as a pathway to the divine

Nusrat Fateh al Khan became an international star singing a style of Sufi music called _______ a. bhajan b. bhangra c. gawwali d. veda

c. gawwali

The "two great traditions" of Indian classical music are known as a. Raga and Tala b. Hindustani and Karnatic c. Filmi git and Bhangra d. Qawwali and Bhajan

b. Hindustani and Karnatic

Bhangra is a musical style that a. in it's traditional form features lively Punjab folk songs and dances. b. is today often featured in "Bollywood" films. c. is very popular among South Asian diasporic communities outside of India. d. all of the above

d. all of the above

Hindustani and Karnatak music are similar in that they both a. use rage as a basis of melody. b. use tala as a basis of rhythm/meter. c. are heavily influenced by Islamic culture d. A and B only

d. A and B only

Hindustani and Karnatak music are different in that a. Hindustani is more focused on singing b. Karnatak music has more influence outside India c. the specific ragas, talas, and music technologies are different in the two traditions d. all of the above

c. the specific ragas, talas, and music technologies are different in the two traditionsq

The members of a gharana a. are all identified with a particular lineage or "school" of raga performance b. share a fundamentally distinctive style or approach to musical performance practice c. are always related to one another through blood or marital relationship. d. A and B only

d. A and B only

The _________ is a complete and self-contained melodic system that serves as the basis for all the melodic material in any composition or performance that derives from it. a. tala b. tintal c. raga d. rakha

c. raga

A Hindustani raga contains which of the following features? a. An identifying set of pitches b. Melodic ornaments and motives c. Extramusical associations d. All of the above

d. all of the above

Which of the following is not a standard feature of tala? a. a basic, skeletal rhythmic pattern b. a strong first beat, called a sam c. flexible and changing number of beats d. specific patterns of relatively stronger and weaker beats

c. flexible and changing number of beats

The alap section of a raga features a. a tala metric cycle b. improvisation that explores the raga's principal tones c. drumming accompaniment d. all of the above

b. improvisation that explores the raga's principal tones

the gat section of a raga features a. a tala metric cycle b. drumming accompaniment c. passages of improvisation d. all of the above

d. all of the above

During the gat, the "growth" of a raga is evident in a. the slow and abstract movement of the melody and the omission of the tala b. the gradual and steady increase in tempo and intensity c. patterns that become increasingly longer and more complex d. both B and C

d. both B and C

The "empty" or weak beat of a rhythmic cycle is called the a. sam b. tali c. Khali d. tintal

c. Khali

Ravi Shankar believed that Indian rage and American Jazz a. should be thought of as similar and related, since both feature virtuosic improvisations and exciting rhythms. b. should be thought of as distinct and separate, despite the fact that both feature virtuosic improvisation and exciting rhythms. c. were both rooted fundamentally in the tradition of Western classical music. d. had absolutely nothing in common.

b. should be thought of as distinct and separate, despite the fact that both feature virtuosic improvisation and exciting rhythms.

Which of the following landmark cross-cultural recordings was the first to be recorded and released?ImIm a. Ravi Shankar and Yehudi Menuhin's West Meets East. b. Ravi Shankar and Bud Shank's Improvisations. c. Shakti's "Joy." d. The Beatles "Within You, Without You."

b. Ravi Shankar and Bud Shank's Improvisations.

Gua-zou, or glissando, is an important technique on the zheng best described as ______ a. rapid ascending or descending sweeps across the strings. b. the simultaneous plucking of strings an octave apart. c. the quick back-and-forth plucking motion of the thumb. d. No answer text provided.

a. rapid ascending or descending sweeps across the strings.

The Chinese philosopher Confucius a. is known to have played the zheng b. claimed that music could be used to establish a moral society c. believed that music should never be played by "superior individuals." (junzi) d. became an important political leader during the Qing dynasty

b. claimed that music could be used to establish a moral society

The zheng was played in an ensemble and became a "woman's instrument" during the ___________ dynasty. a. han b. tang c. ming d. qing

b. tang

During the Ming dynasty, the zheng a. became a standard item to have in the home b. was used to accompany regional Chinese Opera. c. was prohibited from being used by women d. A and B only

d. A and B only

Each regional style of zheng music has it's own regional style called _________. a. yun b. ban c. yijing d. gua-zou

a. yun

During the Republican Period of Chinese history (1912 - 1949) a. Chinese traditional music was look down upon as inferior. b. Western music was prized for it's modernity c. Chinese traditional music was modernized with Western elements d. all of the above

d. all of the above

During the Republican era, Liu Tianhua argued that traditional Chinese music should _______ a. return to it's folk roots and ancient styles b. be modernized with Western elements c. be discarded entirely d. be modified to better serve the goals of Chinese communism

b. be modernized with Western elements q

Lou Shuhua's "Return of The Fishing Boats" differed from earlier music for zheng because a. it broke away from the baban form b. it introduced baban form c. it did not allow for any changes in tempo during the performance d. it was teh first piece to combine the zhend with the pipa.

a. it broke away from the baban form

After 1949, Mao Zedong's communist agenda for music called for a. the elimination of Chinese folk music b. collection of and research on Chinese folk and minority music traditions c. the eradication of the zheng from Chinese music culture and its replacement by the piano d. a and c

a. the elimination of Chinese folk music

The influence of "pianistic" style in zheng music led to a. development of "flashier" playing techniques b. the development of more technically demanding pieces. c. modifications of the zheng instrument d. all of the above

d. all of the above

During the years of the Cultural Revolution (1966 - 1976) a. all forms of music making were banned by the government b. there were severe restrictions placed on all musical activities, including in the areas of Chinese opera. c. reviving musical forms from the Chinese dynastic era was actively encouraged as an aid to cultural development d. more compositions for zheng were composed than ever before.

b. there were severe restrictions placed on all musical activities, including in the areas of Chinese opera.

The Chinese musician Cui Jian is famous a. for applying piano techniques tom the zheng. b. as a Chinese rock star c. for his sone "Nothing to My Name" ("Yi Wu Suo You"), which became the unofficial anthem of the Chinese democracy movement in the late 1980s. d. both B and C.

d. both B and C.

Tibetian Buddhist chant (gyu-ke) features a. songs of protest against the Chinese government b. songs of praise for the Chinese Communist Party. c. manipulation of the voice to produce multiple tones (multiphonics) d. instrumental accompanimant on the seven-string zither

c. manipulation of the voice to produce multiple tones (multiphonics)

The communist government's policy for the arts after 1979 a. resulted in more creative freedom for musicians and composers b. frowned upon composers influenced by Western music of any kind c. led to major increases in government support of music conservatories d. had a disasterous impact on the development of zheng music following the zheng's "golden age" during the Cultural Revolution

a. resulted in more creative freedom for musicians and composers

The Uigher maquam is a. possibly the best known regional style of zheng playing. b. essentially identical to the Arab maquam c. large-scale precomposed suite of songs and instrumental music. d. often performed as an accompaniment to Tibetan Buddhist chant

c. large-scale precomposed suite of songs and instrumental music.

"Music For The Muqam" a. faithfully recreates the Uigher muqam musical tradition b. is a piece composed for zheng with zap accompaniment c. is a piece composed in the modern and Western-influenced Chinese conservatory zheng style that draws upon Uigher musical elements and influences. d. Both B and C

d. Both B and C

A tonal language is one in which the meaning of a word is determined not just by the actual sounds of its syllables, but also by a. Specific patterns of pitch b. specific patterns of rhythm c. specific patterns of timbral inflection d. any or all of the above

d. any or all of the above

Which of the following was NOT associated with the African diaspora? a. the Euro-American slave trade of the 17th-19th centuries b. the establishment of large communities of people of African descent in the Americas c. the spread of Islam from northern Africa to the Middle East d. the global impact of African and African-derived musics on other music traditions of the world

c. the spread of Islam from northern Africa to the Middle East

The iron bell that plays a repeating pattern in Akan Fontomfrom music is called a. ostinato b. gongon c. from d. kora

b. gongon

the Fontomfrom ensemble provides music for a. ceremonies honoring Akan chiefs b. royal processions c. nightclub dancing d. a and b only

d. a and b only

A musical texture featuring multiple layers of rhythm that imply different beats and meters occurring all at the same time may be described as a. eguankoba b. polyrhythmic c. ostinatic d. heterophonic

b. polyrhythmic

Which of the following is NOT identified as a "musical A a. Complex polyphonic textures b. Layered ostinatos with varied repetition c. Emphasis on timbral uniformity and discouragement of timbral variety d. no answer in text provided

c. Emphasis on timbral uniformity and discouragement of timbral variety

The kora is classified as a a. spike harp chordophone b. spike fiddle chordophone c. board zither chordophone d. musical bow chordophone

a. spike harp chordophone

Which of the following is NOT true of musicians representative of the jeliya tradition? A. They sing praise songs B. The women specialize in playing instruments c. Many can trace their lineage across many generations d. They have traditionally had exclusive rights to play certain instruments

B. The women specialize in playing instruments

The xylophone-type idiophone played by jeli musicians is the a. bala b. koni c. kora d. atumpan

a. bala

The layered ostinato style of playing the kora that typically accompanies singing is called a. birimintingo b. kumbengo c. sataro d. sauta

b. kumbengo

A virtuosic melodic flourish in kora playing is called a. birimintingo b. kumbengo c. sataro d. sauta

a. birimintingo

Angélique Kidjo is notable for singing the majority of her songs in a. English b. French c. Fon d. Yoruba

c. Fon

The first kora master to bring international attention to the instrument was a. Toumani Diabate b. Sidiki Diabate c. Seckou Keita d. Angélique Kidjo

b. Sidiki Diabate

One of the four principal modes in kora playing is called a. birimintingo b. kumbengo c. sataro d. sauta

d. sauta

"Atlanta Kaira" features the kora master Toumani Diabate playing together with the guitarist a. John McLaughlin b. Ali Farka Toure c. Taj Mahal d. Ballake Sissoko

c. Taj Mahal

At least partially because of different histories and patterns in the institution of slavery, a. African-American blues music sounds much more distinctively "African" than many forms of African-derived Cuban music b. many forms of African-derived Cuban music sound much more distinctively "African" than African-American blues music c. a blending of African- and European-derived musical elements occurred in musics that developed in the United States, but this never happened in Cuba d. musicians in the United States and Cuba have never influenced one another musically

b. many forms of African-derived Cuban music sound much more distinctively "African" than African-American blues music

A secular style of Cuban social dance music that has had a major influence on many styles of Latin dance music is a. santeria b. bata c. rumba d. conga

c. rumba

_______ are descendants of the ngoma drums that were originally used in rumba performances. a. Bata b. Congas c. Timbales d. Bongos

b. congas

_____ is the rhythmic basis of virtually all forms of Latin dance music. a. Clave b. Conga c. Charanga d. salsa

a. clave

In 18th century Cuba, the emergence and popularity of creolized dance-music styles had much to do with a. the rejection of European dance genres like the waltz and the mazurka by white, urban Cubans b. the rejection of the rumba and the danzon by black, rural Cubans c. multicultural initiatives instituted by the Spanish colonial administration d. restrictions on Santeria ritual performances imposed by the Spanish colonial administration

a. the rejection of European dance genres like the waltz and the mazurka by white, urban Cubans

The danzon, Cuba's "national dance" of the 1920s, was accompanied by an ensemble called a. bata b. timbalero c. charanga d. son

c. charanga

Because of the influence of the son, charanga groups specializing in the performance of danzonn music a. faded from popularity and then disappeared b. began to play mainly waltzes and mazurkas c. began to play in a style that was more heavily Afro-Cubanized d. were all converted into son groups

c. began to play in a style that was more heavily Afro-Cubanized

The original cha cha cha style of Enrique Jorrin featured a. a steady, four-beat meter at a medium tempo b. a steady, four-beat meter at a fast tempo c. an irregular meter at a slow tempo d. alternating rhythms duple and triple time

a. a steady, four-beat meter at a medium tempo

During the 1950s, after the international dance craze for cha cha cha had passed, a. the dance was abandoned and disappeared entirely b. New York bandleaders such as Tito Puente adopted and transformed it c. it was "reborn" under the name of salsa d. Enrique Jorrin moved to San Francisco, where he would eventually become a founding member of the band Santana

b. New York bandleaders such as Tito Puente adopted and transformed it

Which of the following is NOT a feature of 1950s mambo? a. layered ostinatos b. big band instrumentation c. rock music influences d. fast tempos

c. rock music influences

During the 1950s, dances at the Palladium Ballroom a. were racially segregated b. were racially integrated c. featured "battles of the bands" d. both B and C

d. both B and C

1950s bandleaders such as Tito Puente fused elements of cha cha cha with elements of a. taino b. mambo c. merengue d. tango

b. mambo

Compared to the traditional style of cha cha cha developed by Enrique Jorrin (as represented by the recording of "El Bodeguero" on your CD set), the cha cha cha style of Tito Puente (as represented by his recording of "Oye Como Va") a. is slightly faster in tempo b. is more syncopated c. is quieter d. both A and B

d. both A and B

The first recorded hit by Santana to fuse rock and Latin dance music elements was a. "Oye Como Va" b. "Evil Ways" c. "Black Magic Woman" d. "Supernatural"

b. "Evil Ways"

Carlos Santana was born in a. Cuba b. Puerto Rico c. the United States d. Mexico

d. Mexico

According to Carlos Santana, he decided to have his band Santana play "Oye Como Va" because a. it would inspire people to dance b. it would counteract the growing influence of rock-and-roll on Latino/American culture c. he hoped it would become a symbol of pan-Latino identity d. all of the above

a. it would inspire people to dance

After Santana's "Oye Como Va," a. the music of Tito Puente was forgotten b. Tito Puente earned very little money from royalties on the song c. Tito Puente began to get more widespread recognition d. a and b only

c. Tito Puente began to get more widespread recognition

The Tito Puente Jr. recording of "Oye Como Va" on your CD set a. represents a total rejection of the Santana version of the song in favor of a return to the traditional style of the original Tito Puente (Sr.) recording of 1963 b. features the well-known singer La India, as well as a timbales solo by Tito Puente Sr. c. uses traditional charanga instrumentation as an homage to the seminal influence of Enrique Jorrin d. features both Carlos Santana (electric guitar solo) and Tito Puente Sr. (timbales solo)

b. features the well-known singer La India, as well as a timbales solo by Tito Puente Sr

Maqamat is the name of the _________ system of Arab music a. modal b. rhythmic c. dance accompaniment d. darabukka

a. modal

During an improvised musical performance such as a taqsim, the soloist a. may never modulate from one maqam to another b. typically modulates to several different maqamat during the course of the performance c. must be accompanied by a drum, usually a tabla d. must play in a very disciplined way so as not to evoke any emotional reaction from his audience

b. typically modulates to several different maqamat during the course of the performance

Egyptian nationalism in the 19th century was characterized by a. localism b. pan-Arabism c. Islamism d. all of the above

d. all of the above

The principal domain of women's dance in the Arab world is a. the concert stage b. the nightclub c. Egyptian movies d. women's domestic gatherings

d. women's domestic gatherings

The term ghawazi a. originally referred to a specific hereditary class of professional female dancers in Egypt b. is today used in reference to virtually all professional female dancers in Egypt and throughout the Middle East c. refers to the musicians who accompany female dancers when the dancers perform d. both a and b

d. both a and b

The zaar ritual a. is banned in Egypt and is therefore never performed anymore b. is central to Islamic religious worship in Egypt and must always be performed in a mosque c. involves dance movements that have been absorbed into the movement vocabularies of raqs sharqi and belly dance d. is performed exclusively by men, since women are believed to be too susceptible to the powers of the asyad to be allowed to participate

c. involves dance movements that have been absorbed into the movement vocabularies of raqs sharqi and belly dance

The music performed during a zaar consists of a. ritual songs accompanied by rhythms played on drums and other percussion instruments b. taqasim performed on 'ud or qanun c. instrumental pieces performed by a takht ensemble d. songs accompanied by a firqa ensemble

a. ritual songs accompanied by rhythms played on drums and other percussion instruments

Composer Sayyid Darwish was known for developing a musical style that a. incorporated Ottoman styles b. incorporated Gypsy styles c. expressed a "pure" Egyptian national identity d. all of the above

c. expressed a "pure" Egyptian national identity

During the Egyptian nationalist movement in the 1920s a. musicians and dancers rejected popular culture and returned to "pure" Egyptian folk roots b. hollywood (films, fashion, etc.) exerted a strong influence on Egyptian popular culture, and, in turn, on the cultural construction of "Egyptianness" broadly c. dance costumes became more conservative under Islamic influence d. the Tabla Solo performance style of Nagwa Fu'ad became a national symbol c. dance costumes became more conservative under Islamic influence d. the Tabla Solo performance style of Nagwa Fu'ad became a national symbol

b. hollywood (films, fashion, etc.) exerted a strong influence on Egyptian popular culture, and, in turn, on the cultural construction of "Egyptianness" broadly c. dance costumes became more conservative under Islamic influence d. the Tabla Solo performance style of Nagwa Fu'ad became a national symbol

182

The first Egyptian dancer to dance with a veil was reportedly a. Umm Kulthum b. Badiaa Masabni c. Samia Gamal d. Farida Fahmy

c. Samia Gamal

183

The most popular instrument in Egyptian traditional music, the _______, is also the lead instrument of the takht ensemble. a. nay b. qanun c. 'ud d. violin

c. 'ud

184

The famous composer Muhammad 'Abd al-Wahhab was known for a. drawing on Egyptian folk music in his compositions b. drawing from American popular music c. mixing Western instruments and traditional instruments d. all of the above

d. all of the above

185

Following the "bloodless revolution" of 1952, a. dancers such as Badiaa Masabni were glorified for their traditional virtues b. musicians such as Muhammad 'Abd al-Wahhab and Umm Kulthum were censored c. most nightclubs and other places of Western-style entertainment were shut down d. all of the above

c. most nightclubs and other places of Western-style entertainment were shut down

186

Farida Fahmy was a dancer a. from a peasant background who embodied authentic (asil) Egyptian values b. from an elite background who dressed in folkloric "peasant" costumes on stage c. who was censored by the government for setting a bad example for Arab women d. A and C only

b. from an elite background who dressed in folkloric "peasant" costumes on stage

187

Derived from the term "peasant," _________ is a staple rhythm of raqs sharqi and belly dance. a. fallahi b. Saaidi c. tahtib d. mizmar

a. fallahi

188

The popular folk dance rhythm 'Saaidi' a. connotes the traditional culture of Upper Egypt b. is closely linked to the martial art form called tahtib. c. Comes from the Nile Delta region of Lower Egypt d. A and B only

d. A and B only

189

Which of the following is NOT a rhythm used in Egyptian dance? a. maqsoum b. masmoudi c. maghrib d. malfuf

c. maghrib

190

In a Tabla Solo-dance a. the tabla player "leads" the dancer b. the dancer "leads" the tabla player c. there is no true leader or follower; rather, the dancer and the tabla player become dual manifestations of a single artistic expression d. the tabla player performs an intricately choreographed dance while he drums

c. there is no true leader or follower; rather, the dancer and the tabla player become dual manifestations of a single artistic expression

World music final Flashcards

(190 cards)