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1 |  |  The texture of "The Cuckoo's Hornpipe" (disk 3, track 6) would best be described as |
|  | A) | monophonic |
|  | B) | polyphonic |
|  | C) | harmonized |
|  | D) | multiple-melody |
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2 |  |  The relationship between the panpipes in the opening of "Ratita" (disk 2, track 6) would best be described as |
|  | A) | unison |
|  | B) | drone |
|  | C) | interlocking |
|  | D) | call and response |
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3 |  |  The texture of disk 1, track 28, "Wave" is best described as |
|  | A) | monophonic |
|  | B) | polyphonic |
|  | C) | melody accompanied by drone |
|  | D) | none of the above |
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4 |  |  The texture of "Amazing Grace" (1-16) would best be described as |
|  | A) | monophonic |
|  | B) | call-and-response |
|  | C) | melody accompanied by drone |
|  | D) | none of the above |
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5 |  |  What textural elements are NOT heard in disk 2, track 4, "Elephant Hunting Song"? |
|  | A) | ostinato |
|  | B) | repetition |
|  | C) | interlocking |
|  | D) | monophony |
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6 |  |  The texture created by the horn section (saxophones, trombones, trumpets) in disk 2, track 9, "Oye Como Va" would best be described as |
|  | A) | layered ostinatos |
|  | B) | call-and-response |
|  | C) | a single melody with chordal accompaniment |
|  | D) | interlocking parts to create a single melody |
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7 |  |  In this example (disk 1, track 32, "Pan Pipes of Buma") |
|  | A) | the structure is based on a 12-bar blues form |
|  | B) | there is no repetition in any of the parts |
|  | C) | ostinatos are heard in some parts |
|  | D) | the form is defined by a series of contrasting formal sections (verses, choruses, etc.) |
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8 |  |  "High Water Everywhere" (disk 1, track 17) would be best described as having a |
|  | A) | polyphonic texture |
|  | B) | cyclic form |
|  | C) | 12-bar blues form |
|  | D) | all of the above |
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