Multiple Choice
1. A ______ is defined as a group of persons regarded as forming a single community of related, interdependent individuals.
a. society
b. culture
c. diaspora
d. nation-state
2. A culture is best defined by
a. the complex identities of individuals
b. how individuals make and listen to music
c. the collective worldview shared by its members
d. spirituality in music
3. People who share a sense of homeland but do not have political autonomy over that homeland can be described as belonging to a
a. nation
b. nation-state
4. Special events during which individuals or communities enact their core beliefs, values, and ideals through performance are called
a. patronages
b. syncretisms
c. social institutions
d. rituals
5. A people defined by shared identification with a “homeland” where they themselves do not reside represent a
a. diaspora
b. society
c. zaar
d. nation-state
6. The merging of formerly distinct styles of music into new forms of expression is called
a. culture
b. diaspora
c. musical syncretism
d. virtual communitas
7. The practice of studying music by living in a community for an extended time is called ethnomusicological
a. syncretism
b. transubstantiation
c. interpretation
d. fieldwork
8. When music causes individuals to become “possessed” by spirits this is called
a. transubstantiation
b. musical syncretism
c. identity
d. ritual
9. The process by which music moves from one person or community to another is referred to as
a. composition
b. transmission
c. transubstantiation
d. musical syncretism
10. The two basic features of music transmission are
a. performer and audience
b. production and reception
c. composition and improvisation
d. interpretation and arranging
11. To compose in the moment of performance is called
a. composition
b. interpretation
c. improvisation
d. arranging
12. To plan the design of a musical work prior to its performance is called
a. composition
b. interpretation
c. improvisation
d. arranging
13. All societies are built around aggregates of intersecting
a. cultures
b. nation-states
c. social institutions
d. all of the above
14. When music is owned by individuals or is the property of a family lineage it is considered a
a. commodity
b. ritual
c. diaspora
d. all of the above
15. _____________ draws on musicology, anthropology, and other disciplines in order to study the world’s musics.
a. Fieldwork
b. Ethnomusicology
c. Cultured
d. Globalization
16. Dance may serve as a lens through which to view
a. the performance of identity
b. community solidarity
c. the physical expression of culture
d. all of the above
17. ________ is a process of creative transformation whose most remarkable feature is the continuity it nurtures and sustains.
a. Ethnomusicology
b. Interpretation
c. Improvisation
d. Tradition
18. “That complex whole which includes knowledge, belief, art, law, morals, custom, and any other capabilities and habits acquired by man as a member of society” is a definition of
a. tradition
b. society
c. culture
d. music
19. The ways in which people think about and represent themselves and one another through music is called
a. patronage
b. identity
c. diaspora
d. transmission
20. Ethnomusicologists are interested in understanding music as _____________.
a. a musicultural phenomenon
b. a composition
c. a dance
d. fieldwork
21. When royal courts or churches support musicians or musical institutions it is called
a. commodity
b. identity
c. globalization
d. patronage
22. The recording of Eagle & Hawk’s “Dance”
a. combines elements of traditional First Nations/Native American music with elements of rock music
b. is a traditional powwow song
c. features singing and drumming only; there are no instruments used other than the large powwow drum
d. is most notable for its didgeridoo accompaniment
23. In Bali,
a. gamelan music is today played by both men and women
b. gamelan music is played exclusively by men, even today
c. only women are allowed to play gamelan music
d. the best gamelan performers are always women
24. Paul Pena’s “Kargyraa Moan”
a. includes elements of both blues music and Tuvan khoomei
b. is a traditional Tuvan khoomei song in the kargyraa style
c. was one of the first Mississippi Delta blues songs ever recorded
d. was first recorded by the legendary Mississippi bluesman Charlie Patton
Listening
1. Listen to disk 2, track 12, “Jaya Semara” (Balinese gamelan). Gamelan is best described as
a. a large group of percussion instruments played randomly by a group of musicians
b. an orchestra traditionally consisting of men and women
c. an Indonesian orchestra consisting mainly of percussion instruments played by a large group of musicians in an intricately coordinated way
d. an orchestra that performs and is maintained independent of Balinese society
2. This piece is clearly an example of
a. musical syncretism
b. Santeria
c. the use of metallophones
d. a ritual
3. The types of social institutions usually responsible for preserving and developing music of this type are
a. called sekehe gong
b. virtual music communities
c. family-based ensembles
d. church groups
4. This music tradition is similar to that of the Javanese example (disk 1, track 7) in terms of
a. the fast, energetic style
b. its instrumentation, history and musical principles
c. its dance-party context
d. nothing at all; they are completely unrelated
5. The singing in disk 1, track 8, “Rabbit Dance (opening)” is an example of
a. Native American rock style
b. Native American jazz style
c. singing vocables
d. singing in a foreign language
6. This song (disk 1, track 10, “Dance” by Eagle and Hawk) is an example of
a. singing vocables
b. “crow hop” rhythm
c. a powwow song transformed into modern rock
d. all of the above
7. While this music is recognized as Irish, this artist calls ____________ home (disk 3, track 11, E. Ivers)
a. Germany
b. Japan
c. The United States
d. South Africa
8. _________, a master of musical syncretism, is featured on disk 4, track 7, “Oye Como Va.”
a. Tito Puente
b. Charlie Patton
c. Eileen Ivers
d. Sting
Essay
1. What is the difference between a nation-state and a nation? What common feature do nationalist musics share? Discuss contrasting ways in which protest music can be supportive or critical of nationalist ideologies.
2. How is music an expression of identity? Think of a musician you’re familiar with and describe how that musician uses music to express who they are, what distinguishes them from others, and what communities they represent.
3. How does music (and dance) function in relation to spirituality and transcendence? Explain the spiritual function of music in your own culture and compare it with another culture that has a different approach.
4. Discuss four different processes of musical creation. What makes each approach distinct?
5. What is the difference between “traditional music” as defined by Spiller and “music of tradition” as described in the text? Provide an example of how this new definition can expand our concept of musical and cultural boundaries.