Q&A Hero

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Q: The primary role of a __________ in Mandinka society (West Africa) is as an oral historian. (A) hosho (B) atumpan (C) jali (D) kora (E) mbube

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Q: __________ refers to the number of pitches per syllable of sung text. (A) Scale (B) Syllabic (C) Melismatic (D) Semantic (E) Text setting

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Q: The melodic contour of the vocal line in Native American powwow performance is best described as __________. (A) cascading (B) ascending (C) vibrato (D) drone (E) disjunct

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Q: __________ is an important composer associated with spirituals and lined hymns often performed in African-American churches in the United States.(A) Isaac Watts(C) Bill Monroe(D) Robert Johnson(E) R. Carlos Nakai

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Q: According to ethnomusicologists, why is music considered a universal, but not a unviersal language? (A) Musical activity is found in every human culture, but the meanings of such activity are interpreted differently from culture to culture, even person to person. (B) Like language, musical activity is a learned process, so a person must participate in that activity from birth to understand it. (C) Not every culture has music, so music cannot be universal. (D) Instruments cannot communiate the same meaning cross-culturally. (E) As singing requires language and there is no ""universal"" language understood by all peoples, music cannot be a universal language.

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Q: Popular music can best be defined as music that is __________. (A) learned informally (B) disseminated through the media (C) learned formally (D) simple (E) complex

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Q: In the early years of the study of world music, ""armchair"" scholars did not do their own __________. (A) preparation (B) analysis (C) dissemination (D) fieldwork (E) representation

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Q: Ethnomusicological research is most strongly influenced by __________ and __________. (A) anthropology, linguistics (B) musicology, linguistics (C) musicology, technology (D) anthropology, technology (E) anthropology, musicology

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Q: __________ scholarship focuses on ""relative truths"" or ""interpretation of text."" (A) Post-modernist (B) Modernist (C) Emic (D) Etic (E) Relativistic

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Q: __________ are the musical manifestations of the African emphasis on community. (More than one answer.) (A) dance (B) call-and-response (C) polyrhythm (D) harmony (E) praise-singing

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Q: A __________ aerophone requires the performer to ""buzz"" his/her lips to play. (A) trumpet (B) reed (C) flute (D) woodwind (E) recorder

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Q: A tuba is an example of a(n) _________. (A) aerophone (B) chordophone (C) membranophone (D) idiophone (E) electrophone

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Q: A harmonica is an example of a(n) __________. (A) aerophone (B) chordophone (C) membranophone (D) idiophone (E) electrophone

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Q: __________ was the first country in the Caribbean islands to attain independence from colonial rule. (A) Cuba (B) Trinidad (C) The Bahamas (D) Jamaica (E) Haiti

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Q: The lead voice of a Bahamian rhyming spiritual is known as a __________. (A) rhymer (B) basser (C) tribble (D) orisha (E) loa

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Q: The three musical manifestations of the ""collective community"" in Sub-Saharan Africa include __________, __________, and __________. (A) call & response, polyrhythm, harmony (B) polyrhythm, harmony, dance (C) dance, call & response, social singing (D) dance, call & response, polyrhythm (E) call & response, social singing, polyrhythm

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Q: The __________ is the primary instrument of Palm Wine ""Highlife"" music. (A) atumpan (B) guitar (C) apremprensemma (D) mbira dza vadzimu (E) kora

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Q: A unique aspect of pygmy music performance is the use of __________. (A) call and response vocal organization (B) speech rhythm (C) instrumental improvisation (D) vocal polyrhythm (E) circle dances

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Q: The akadinda, amadinda and embaire are types of __________ common to Uganda. (A) hourglass pressure drums (B) lamellophones (C) plucked chordophones (D) xylophones (E) vocal ensembles

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Q: _________ is a popular music tradition from Trinidad that developed from Calypso. (A) Soca (B) Son (C) Reggae (D) Merengue (E) Plena

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Q: The __________ is a type of button-box accordion common to tango music. (A) sikuri (B) berimbau (C) charango (D) vihuela (E) bandoneon

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Q: ""Silk and Bamboo"" is a reference to __________. (A) the organological classification of instruments used in the Chinese sizhu ensemble (B) the materials used to make the scenery and figures in Japanese bunraku puppet theatre (C) the Chinese gu qin, which is made of these materials (D) a Japanese membranophone struck with bamboo beaters (E) a Korean narrative theatre, known as p'ansori

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Q: __________ are Zen Buddhist priests from Japan, who often utilize shakuhachi music performance for meditative and ritual behavior. (A) Khoomei (B) P'ansori (C) Chuida (D) Gagaku (E) Komuso

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Q: __________ is a Confucian ceremony associated with Japan. (A) Khoomei (B) P'ansori (C) Chuida (D) Gagaku (E) Komuso

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Q: __________ is generally not considered geographically part of the ""Middle East."" (A) Israel (B) Turkey (C) Afghanistan (D) Iraq (E) Egypt

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Q: __________ is the major religion of Java, Indonesia. (A) Buddhism (B) Hinduism (C) Islam (D) Taoism (E) Animism

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Q: __________ is a “Teacher-Honoring” ceremony common to Thailand. (A) Wai Khru (B) Piphat (C) Lam Klawn (D) Ramayana (E) Luk Thung

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Q: The __________ bagpipes are often used as a symbol of the British military. (A) Irish (B) English (C) Union (D) Uilleann (E) Scottish

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Q: The Uilleann pipes is an instrument most associated with music performance from __________. (A) Hungary (B) Spain (C) Scotland (D) Ireland (E) Bulgaria

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Q: The European medieval lute is thought to derive from the Middle Eastern __________. (A) ud (B) santur (C) maqam (D) takht (E) dastgah

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