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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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