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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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