Soundscapes 3rd Edition By Kay Kaufman Shelemay - Test Bank

Soundscapes 3rd Edition By Kay Kaufman Shelemay – Test Bank

 

Instant Download – Complete Test Bank With Answers

 

 

Sample Questions Are Posted Below

 

Chapter 05: Music and Memory

 

MULTIPLE CHOICE

 

1. Which of the following types of music is often written and composed to transmit specific memories of people, places, and events?

a.	The hymn	d.	The pizmon
b.	The corrido	e.	The spiritual
c.	The muwashshah

 

 

ANS:  B                    DIF:    Easy               REF:   206                TOP:   The Corrido | North America

MSC:  Conceptual

 

2. Which of the following statements about the phonograph era is NOT true?

a.	It lasted from 1888 to 1940.
b.	It produced technology for recording and playing wax cylinders and 78-rpm discs.
c.	It fed an ethnic recordings market.
d.	It primarily affected North America and Europe.
e.	It enabled immigrants to bring recordings, as well as memories, of music to their new homelands.

 

 

ANS:  D                    DIF:    Medium         REF:   205                TOP:   Memory

MSC:  Conceptual

 

3. A ballad, such as the Mexican corrido, usually does NOT:

a.	tell a story.
b.	use strophic form.
c.	have an elaborate melody.
d.	transmit detailed memories in the lyrics.
e.	convey a historical narrative.

 

 

ANS:  C                    DIF:    Medium         REF:   206                TOP:   The Corrido | North America

MSC:  Applied

 

4. What musical aspect of a corrido helps the singer recall its long, detailed texts?

a.	Rhythm	d.	Timbre
b.	Texture	e.	Melody
c.	Harmony

 

 

ANS:  E                    DIF:    Medium         REF:   206                TOP:   The Corrido | North America

MSC:  Conceptual

 

5. Which of the following corridos exemplifies the transformation of the corrido genre in response to changing political, social, and cultural conditions?

a.	The victim corrido	d.	The Ballad of Osama bin Laden
b.	The revolutionary corrido	e.	All of the above
c.	The narco-corrido

 

 

ANS:  E                    DIF:    Easy               REF:   207–210         TOP:   The Corrido | North America

MSC:  Conceptual

 

6. Which of the following is NOT a reason why the melody of the corrido Gregorio Cortez makes it easy to perform the long lyrics?

a.	It is highly repetitive.
b.	It uses a very narrow range.
c.	It uses mainly conjunct motion.
d.	It is supported by complex harmonies.
e.	It is set to the lyrics in mostly syllabic text setting.

 

 

ANS:  D                    DIF:    Easy               REF:   208                TOP:   The Corrido | North America

MSC:  Applied

 

7. The New Orleans jazz band developed from all of the following types of bands EXCEPT:

a.	jug bands.	d.	dance bands.
b.	tonk bands.	e.	society bands.
c.	brass bands.

 

 

ANS:  A                    DIF:    Hard              REF:   213

TOP:   The Jazz Funeral | North America    MSC:  Conceptual

 

8. Which of the following types of music is NOT typically performed in the first half of a jazz funeral?

a.	Hymns	d.	Lively marches
b.	Dirges	e.	Slow or medium-tempo marches
c.	Spirituals

 

 

ANS:  D                    DIF:    Easy               REF:   212–214

TOP:   The Jazz Funeral | North America    MSC:  Applied

 

9. Which of the following is a sacred song used for worship?

a.	A dirge	d.	A lament
b.	A hymn	e.	A muwashshah
c.	A layali

 

 

ANS:  B                    DIF:    Easy               REF:   212

TOP:   The Jazz Funeral | North America    MSC:  Factual

 

10. Which instrument plays an important role in signaling transitional moments in a jazz funeral?

a.	The snare drum	d.	The sousaphone
b.	The tambourine	e.	All of the above
c.	The saxophone

 

 

ANS:  A                    DIF:    Medium         REF:   213–214

TOP:   The Jazz Funeral | North America    MSC:  Factual

 

11. When the Saints Go Marching In begins with a drum passage called a:

a.	call.	d.	half cadence.
b.	double time.	e.	marching cadence.
c.	half time.

 

 

ANS:  E                    DIF:    Medium         REF:   215

TOP:   The Jazz Funeral | North America    MSC:  Applied

 

12. Which of the following statements about the process of creating a song by setting a new text to an existing melody is true?

a.	It results in a song called a contrafactum.
b.	It helps ensure that the new words can be easily remembered.
c.	It is used in many musical traditions.
d.	It is a songwriting technique that has a long history.
e.	All of the above are true.

 

 

ANS:  E                    DIF:    Medium         REF:   217

TOP:   The Syrian Jewish Pizmon | Middle East                           MSC:  Conceptual

 

13. In Arab music, a category of melodies that share pitch content, range, and ornaments is called a:

a.	layali.	d.	darabukkah.
b.	maqam.	e.	muwashshah.
c.	pizmon.

 

 

ANS:  B                    DIF:    Easy               REF:   217

TOP:   The Syrian Jewish Pizmon | Middle East                           MSC:  Factual

 

14. Maqam nahawand was especially memorable and attractive to Arab immigrants to the New World because it:

a.	sounds similar to the major scale of Western music.
b.	sounds similar to the minor scale of Western music.
c.	sounds completely different from Western music.
d.	was strongly associated with longing and nostalgia for the homeland.
e.	was strongly associated with concepts of pride and honor.

 

 

ANS:  B                    DIF:    Medium         REF:   218–219

TOP:   The Syrian Jewish Pizmon | Middle East                           MSC:  Conceptual

 

15. Attah El Kabbir (You, God, Are Mighty) demonstrates the use of:

a.	polyphonic texture.	d.	an introductory layali.
b.	triple meter.	e.	maqam ajam.
c.	strophic form.

 

 

ANS:  D                    DIF:    Medium         REF:   218–221

TOP:   The Syrian Jewish Pizmon | Middle East                           MSC:  Applied

 

16. In Arab vocal music, a layali is typically:

a.	lengthy.	d.	sung to vocables.
b.	improvised.	e.	sung after a muwashshah.
c.	in duple meter.

 

 

ANS:  B                    DIF:    Hard              REF:   219–220

TOP:   The Syrian Jewish Pizmon | Middle East                           MSC:  Applied

 

17. Pizmonim with Hebrew texts are typically performed in all of the following settings EXCEPT:

a.	prayer services.
b.	social gatherings.
c.	celebrations of life-cycle occasions.
d.	an afternoon Sebet.
e.	an evening haflah.

 

 

ANS:  E                    DIF:    Hard              REF:   219–224

TOP:   The Syrian Jewish Pizmon | Middle East                           MSC:  Applied

 

18. The drum commonly used in the Arab Middle East is called the:

a.	‘ud.	d.	rebab.
b.	qanun.	e.	nay.
c.	darabukkah.

 

 

ANS:  C                    DIF:    Hard              REF:   223 | 230

TOP:   The Syrian Jewish Pizmon | Middle East                           MSC:  Factual

 

19. The pizmon Mifalot Elohim (The Works of God) uses:

a.	triple meter and a brisk tempo.
b.	A B A form, called ternary form.
c.	the melody of a popular Italian song, Santa Lucia.
d.	a newly composed melody written by Moses Ashear.
e.	maqam ajam, which sounds like the Western minor scale.

 

 

ANS:  A                    DIF:    Medium         REF:   224–225

TOP:   The Syrian Jewish Pizmon | Middle East                           MSC:  Applied

 

20. Pizmonim have been sung to the melody of a(n):

a.	school song.	d.	Arab muwashshah.
b.	Christmas song.	e.	All of the above
c.	popular Italian song.

 

 

ANS:  E                    DIF:    Easy               REF:   219 | 224–225

TOP:   The Syrian Jewish Pizmon | Middle East                           MSC:  Applied

 

TRUE/FALSE

 

1. Music enhances memory because it helps us recall aspects of our life experience.

 

ANS:  T                    DIF:    Easy               REF:   203                TOP:   Memory

MSC:  Conceptual

 

2. Each subsequent hearing of a piece of music, like Auld Lang Syne, adds new layers of associations that alter our musical memory over time.

 

ANS:  T                    DIF:    Medium         REF:   204                TOP:   Memory

MSC:  Applied

 

3. The ethnic recordings market emerged in the late twentieth century along with digital recording technology.

 

ANS:  F                    DIF:    Medium         REF:   205                TOP:   Memory

MSC:  Factual

 

4. The corrido emerged in the first half of the twentieth century as a song genre shaped by conflict between Mexicans and Anglo-Americans in the Mexico/US border region.

 

ANS:  F                    DIF:    Medium         REF:   206                TOP:   The Corrido | North America

MSC:  Factual

 

5. After the popularity of hero corridos declined in the early twentieth century, a new type of corrido called the victim corrido became popular.

 

ANS:  T                    DIF:    Medium         REF:   207                TOP:   The Corrido | North America

MSC:  Factual

 

6. Music performed in a jazz funeral is typically used to transmit detailed memories about the deceased person.

 

ANS:  F                    DIF:    Easy               REF:   206 | 211–212

TOP:   The Jazz Funeral | North America    MSC:  Conceptual

 

7. The jazz funeral emerged from the nineteenth-century New Orleans custom of funeral societies sponsoring funerals, which included music by a brass band.

 

ANS:  T                    DIF:    Medium         REF:   212

TOP:   The Jazz Funeral | North America    MSC:  Conceptual

 

8. Before the burial at the cemetery, the band in a jazz funeral plays upbeat songs to set the initial tone of celebration.

 

ANS:  F                    DIF:    Medium         REF:   212

TOP:   The Jazz Funeral | North America    MSC:  Conceptual

 

9. In Jewish religious tradition, setting a sacred Hebrew text to a non-Jewish melody is believed to bring out the melody’s “holy spark.”

 

ANS:  T                    DIF:    Hard              REF:   217

TOP:   The Syrian Jewish Pizmon | Middle East                           MSC:  Conceptual

 

10. Most pizmonim borrow their tunes from Jewish songs.

 

ANS:  F                    DIF:    Easy               REF:   217

TOP:   The Syrian Jewish Pizmon | Middle East                           MSC:  Factual

 

11. Pizmonim are performed unaccompanied at a Sebet because Jewish law prohibits playing instruments on the Sabbath.

 

ANS:  T                    DIF:    Hard              REF:   222

TOP:   The Syrian Jewish Pizmon | Middle East                           MSC:  Conceptual

 

SHORT ANSWER

 

1. The Mexican ________ is a type of song that is designed to convey memories of particular places, people, and events.

 

ANS:

Corrido

 

DIF:    Easy               REF:   206                TOP:   The Corrido | North America

MSC:  Conceptual

 

2. The corrido Gregorio Cortez is an example of a ________ corrido, which portrays larger-than-life figures.

 

ANS:

Hero

 

DIF:    Easy               REF:   207                TOP:   The Corrido | North America

MSC:  Factual

 

3. The classic New Orleans ________ ________ was typically comprised of five to fourteen wind, string, and percussion instruments playing music suited to outdoor performance.

 

ANS:

Jazz band

 

DIF:    Easy               REF:   213                TOP:   The Jazz Funeral | North America

MSC:  Factual

 

4. During the street procession from the cemetery in a jazz funeral, onlookers join the ________ ________, which follows behind the band and mourners.

 

ANS:

Second line

 

DIF:    Easy               REF:   212                TOP:   The Jazz Funeral | North America

MSC:  Factual

 

5. A two-headed drum with snares stretched across the bottom is called a ________ ________.

 

ANS:

Snare drum

 

DIF:    Easy               REF:   215                TOP:   The Jazz Funeral | North America

MSC:  Factual

 

6. A song that is created by writing new lyrics to a preexisting melody is called a ________.

 

ANS:

Contrafactum

 

DIF:    Medium         REF:   217                TOP:   The Syrian Jewish Pizmon | Middle East

MSC:  Factual

 

7. In Arab music, a mode or scale is called a ________.

 

ANS:

Maqam

 

DIF:    Easy               REF:   217                TOP:   The Syrian Jewish Pizmon | Middle East

MSC:  Factual

 

8. A maqam is a basic scale divided into two sections of four pitches each, called ________.

 

ANS:

Tetrachords

 

DIF:    Hard               REF:   218                TOP:   The Syrian Jewish Pizmon | Middle East

MSC:  Factual

 

9. Attah El Kabbir (You, God, Are Mighty) is a ________, which is a hymn with a Hebrew text set to a preexisting melody.

 

ANS:

Pizmon

 

DIF:    Easy               REF:   216 | 220        TOP:   The Syrian Jewish Pizmon | Middle East

MSC:  Applied

 

10. If hearing the sounds of an orchestra caused you to see blue and green colors or smell sweet aromas, you would be experiencing ________.

 

ANS:

Synesthesia

 

DIF:    Hard               REF:   234                TOP:   The Syrian Jewish Pizmon | Middle East

MSC:  Applied

 

MATCHING

 

Match each item to the correct description below.

a.	dirge
b.	narco-corrido
c.	mode
d.	tetrachord
e.	hymn

 

 

1. A sacred song used for worship

 

2. Four pitches that make up one section of a scale

 

3. A Mexican ballad about powerful drug lords

 

4. An instrumental lament played at a slow tempo

 

5. A category of melody distinguished by its pitch content

 

1. ANS:  E

 

2. ANS:  D

 

3. ANS:  B

 

4. ANS:  A

 

5. ANS:  C

 

Match each item to the correct description below.

a.	layali
b.	pizmon
c.	muwashshah
d.	haflah
e.	contrafactum

 

 

6. A hymn with a Hebrew text set to a melody borrowed from a non-Jewish source

 

7. An evening party, such as an anniversary celebration, in the Syrian Jewish community

 

8. A song created by writing a new text to a preexisting melody

 

9. An improvised vocal introduction that establishes a maqam

 

10. An Arab song form composed in three parts (A B A)

 

6. ANS:  B

 

7. ANS:  D

 

8. ANS:  E

 

9. ANS:  A

 

10. ANS:  C

 

ESSAY

 

1. Using several corridos mentioned in this chapter as examples, explain how music can transmit detailed memories of people, places, and events.

 

ANS:

Answers will vary.

 

2. How does a jazz funeral use several different types or genres of music to commemorate the deceased person in both a solemn and celebratory way?

 

ANS:

Answers will vary.

 

3. How does the pizmon Ramach Evarai (Let My Whole Being Testify) demonstrate music’s ability to convey various significances and memories for a family, a religious community, and a larger Middle Eastern community?

 

ANS:

Answers will vary.