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| 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 |
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| 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 |
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| 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) | society |
| | B) | social institution |
| | C) | nation |
| | D) | nation-state |
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| 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 |
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| 5 | |
A people defined by shared identification with a "homeland" where they themselves do not reside represent a |
| | A) | diaspora |
| | B) | society |
| | C) | culture |
| | D) | nation-state |
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| 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 community |
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| 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 |
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| 8 | |
When music causes individuals to become "possessed" by spirits this is called |
| | A) | transubstantiation |
| | B) | musical syncretism |
| | C) | identity |
| | D) | ritual |
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| 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 |
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| 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 |
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| 11 | |
To compose in the moment of performance is called |
| | A) | composition |
| | B) | interpretation |
| | C) | improvisation |
| | D) | arranging |
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| 12 | |
To plan the design of a musical work prior to its performance is called |
| | A) | composition |
| | B) | interpretation |
| | C) | improvisation |
| | D) | arranging |
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| 13 | |
All societies are built around aggregates of intersecting |
| | A) | cultures |
| | B) | nation-states |
| | C) | social institutions |
| | D) | all of the above |
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| 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 |
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| 15 | |
_____________ draws on musicology, anthropology, and other disciplines in order to study the world's musics. |
| | A) | Fieldwork |
| | B) | Ethnomusicology |
| | C) | Culture |
| | D) | Globalization |
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| 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 |
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| 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 |
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| 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 |
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| 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 |
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| 20 | |
Ethnomusicologists are interested in understanding music as _____________. |
| | A) | a musicultural phenomenon |
| | B) | a composition |
| | C) | a dance |
| | D) | fieldwork |
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| 21 | |
When royal courts or churches support musicians or musical institutions it is called |
| | A) | commodity |
| | B) | identity |
| | C) | globalization |
| | D) | patronage |
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