Quiz Questions Answer Key

Chapter Thirteen

1. Music has been regarded as an important component of political life in China
d. for more than 3000 years

2. The zheng is best described as
b. a board zither chordophone

3. The koto is
c. an instrument that is used in only some forms of gagaku music

4. The koto is a traditional instrument
b. but is nonetheless sometimes used in contemporary Japanese popular music

5. The earliest forms of the zheng are believed to date from the
a. Qin dynasty (3rd century BCE)

6. Gua-zou, or glissando, is an important technique on the zheng and is best described as
c. rapid ascending or descending sweeps across the strings

7. The ancient Chinese philosopher Confucius
b. claimed that music could be used in aid of establishing a good and moral society

8. The zheng was played in ensembles and became an important “women’s instrument” during the ________ dynasty. The emperor Xuanzong was an important figure in this development.
b. Tang

9. During the Ming dynasty, the zheng
d. A and B, but not C

10. Which of the following is NOT characteristic of Beijing Opera in the traditional style?
d. socialist propaganda themes

11. During the communist era, Beijing opera
b. was revised to serve as a vehicle of state propaganda

12. Each regional style of zheng music has its own regional character, or
a. yun

13. During the Republican era of Chinese history (1912-1949),
d. all of the above

14. During the Republican era, Liu Tianhua argued that traditional Chinese music should
b. be modernized with Western elements

15. Lou Shuhua’s “Return of the Fishing Boats” differed from earlier solo zheng pieces  because it
a. broke away from the baban form

16. After 1949, Mao Zedong’s communist agenda for music called for
b. collection of and research on folk and minority musical traditions

17. The influence of “pianistic” style in zheng music led to
b. the development of more technically demanding pieces

18. During the years of the Cultural Revolution (1966-1976),
a. the oppression of “ethnic minorities” such as the Uighurs and Tibetans escalated

19. The Chinese musician Cui Jian is famous for
d. B and C, but not A

20. Tibetan Buddhist chant (gyü-ke) features
c. manipulation of the voice to produce multiple tones (multiphonics)

21. The communist government’s policy for the arts after 1979
a. resulted in more creative freedom for musicians and composers

22. “Ethnic minorities” in China such as Uighurs and Tibetans
b. are often critical of the appropriation of their music and other forms of cultural expression by agents of mainstream Chinese culture

23. A Uighur muqam
d. B and C, but not A

24. In “Music for the Muqam,” Uighur musical influences are evident in
d. all of the above

25. “Hot Thursday,” by Bei Bei He and Shawn Lee,
c. features improvisations on the zheng within a musical context that also includes elements of jazz, rock, and funk