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Question
Antonin Dvork predicted in the late nineteenth century that the foundation for American music would come from _______.
A. the European classical tradition
B. Protestant hymns
C. African American and Native American melodies
D. Irish jigs
Answer
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Related questions
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15. Which of the following statements is not true with regard to sub-Saharan Africa? A. Many African languages are "tone languages," in which the meaning of a word is determined by the relative pitch at which it is spoken. B. Vocalists in Africa often use the pressure drum to accompany themselves. C. Sub-Saharan Africa includes several thousand peoples with different religions, social customs, and ways of life, speaking over 700 different languages. D. African drummers are among the most sophisticated in the world, producing not only complicated rhythms but a wide range of tone colors and pitches as well. However, drums are not usually used to accompany vocalists as they do produce a little sense of harmony.
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What is the mbira?
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A. The musical style of a culture
B. The culture's geography
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D. All answers are correct.
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Rock performances have taken place in _______.
A. auditoriums
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Bla Bartk was a leading authority on ______. A. peasant music B. twelve-tone music C. American jazz D. the music of ancient Greece
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Which of the following statements is not true? A. Typical of expressionist composers, Berg scored his opera Wozzeck for a small chamber orchestra. B. The vocal line in Berg's opera Wozzeck includes speaking, shrieking, Sprechstimme, distorted folk songs, and melodies with wide leaps that are difficult to sing. C. Though written in the early 1830s, Georg Bchner's play Woyzeck is amazingly modern in its starkly realistic dialogue and disconnected scenes. D. A novel feature of Berg's opera Wozzeck is that the music for each scene is a self-contained composition with a particular form or of a definite type.
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A. going to concerts
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Minimalist music is characterized by ______. A. the development of musical materials through random methods B. rapidly changing dynamics and textures C. a steady pulse, clear tonality, and insistent repetition of short melodic patterns D. the use of twelve-tone techniques to organize the dimensions of music