Part VII. Nonwestern Music
Student: ___________________________________________________________________________
1.
Nonwestern music is most often transmitted
A. orally from parent to child or teacher to student.
B. through the imitation of radio broadcasts.
C. through music notation.
D. All answers are correct.
Answer: A
2.
Singers in the Middle East and North Africa cultivate a vocal timbre that
A. has a nasal, intense, and strained tone.
B. can produce two sounds at the same time.
C. is relaxed and open-throated.
D. is guttural and raspy.
Answer: A
3.
A nasal, intense, and strained tone is cultivated by singers from
A. Peru.
B. Siberia.
C. the Middle East and north Africa.
D. sub-Saharan Africa.
Answer: C
4.
The most important way of making music in most nonwestern cultures is by
A. playing native instruments.
B. singing.
C. playing European instruments.
D. playing the radio.
Answer: B
5.
Musical instruments whose sound generator is a stretched skin or other membrane are classified as
A. aerophones.
B. chordophones.
C. idiophones.
D. membranophones.
Answer: D
6.
Chordophones are instruments whose sound generator is a
A. stretched skin.
B. stretched string.
C. column of air.
D. drum.
Answer: B
7.
Musical instruments whose sound generator is a column of air are classified as
A. aerophones.
B. chordophones.
C. idiophones.
D. membranophones.
Answer: A
8.
Musical instruments whose own material is the sound generator are classified as
A. aerophones.
B. chordophones.
C. idiophones.
D. membranophones.
Answer: C
9.
The choice of musical instruments in nonwestern cultures frequently depends on
A. the musical style of a culture.
B. the culture's geography.
C. religion.
D. All answers are correct.
Answer: D
10. Which of the following statements is not true?
A.
In some parts of the world, including India and the middle east, improvisation is a highly
disciplined art that requires years of training.
B. Nonwestern music primarily employs the same major and minor scales as western music.
C. Singing is the most important way of making music in the vast majority of nonwestern
cultures.
D. Many nonwestern musical cultures do not have written notation.
Answer: B
11. Nonwestern musical scales often contain ________ tones.
A. five
B. six
C. seven
D. all of these
Answer: D
12. Music that has a texture in which all parts perform the same basic melody, but in versions that
differ in ornamentation or rhythm, is called
A. heterophonic.
B. homophonic.
C. monophonic.
D. polyphonic.
Answer: A
13. Most of the music of sub-Saharan Africa features
A. a wide variety of instrumental ensembles.
B. complex rhythms and polyrhythms.
C. percussive sounds.
D. All answers are correct.
Answer: D
14. A performance style in which the phrases of a soloist are repeatedly answered by those of a chorus
is known as
A. yodeling.
B. call and response.
C. polyphony.
D. campfire singing.
Answer: B
15. The mbira may be described as a(n)
A. hourglass-shaped drum.
B. African form of string instrument.
C. form of xylophone used in orchestras.
D. melodic idiophone with tongues of metal or bamboo attached to a sounding board.
Answer: D
16. A melodic idiophone with tongues of metal or bamboo attached to a sounding board, used in subSaharan Africa, is known as the
A. vina.
B. talking drum.
C. mbira.
D. akadinda.
Answer: C
17. Vocalists in Africa often use the ___________ to accompany themselves.
A. mbira
B. pressure drum
C. xylophone
D. nose flute
Answer: A
18. 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.
Answer: B
19. Drums in sub-Saharan Africa
A. come in a wide variety of sizes, shapes, and forms.
B. are essential to many religious and political ceremonies.
C. are usually played in groups of two to four.
D. All answers are correct.
Answer: D
20. Drums in sub-Saharan Africa are often considered
A. symbolical of power and royalty.
B. sacred or magical.
C. the property of the group, rather than of an individual.
D. All answers are correct.
Answer: D
21. A type of music of the Akan-speaking peoples of Ghana is known as
A. sansa.
B. kalimba.
C. ompeh.
D. ogyamba.
Answer: C
22. In the song “Ompeh” there are
references to death.
A. two
B. three
C. four
D. not any
Answer: B
23.
In the song “Ompeh” the performers combine
of the languages spoken in Ghana.
A. two
B. three
C. four
D. all
Answer: A
24. Which of the following is not characteristic of Indian music?
A. Melodies are highly embellished.
B. The basic texture is polyphonic.
C. Improvisation, which plays an important role, is highly developed and sophisticated.
D. Melodies often move by microtones.
Answer: B
25. A pattern of notes used in Indian music to create melody is called
A. sitar.
B. tabla.
C. vina.
D. raga.
Answer: D
26. A repeated cycle of beats, or rhythmic pattern, in Indian music is called
A. sitar.
B. alap.
C. tambura.
D. tala.
Answer: D
27. The ________ is a long-necked lute with movable frets, seven strings, and nine to thirteen
sympathetic strings, popular in north India.
A. sitar
B. tabla
C. tambura
D. tala
Answer: A
28. The _______ is a fretted long-necked plucked instrument with four melody and three drone strings,
popular in south India.
A. sitar
B. tabla
C. vina
D. alap
Answer: C
29. The _______ is a pair of single-headed drums played by one performer, popular in north India.
A. tambura
B. vina
C. tabla
D. alap
Answer: C