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| the distinctive sound of a voice or instrument |
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| the process whereby immigrant groups gradually adopt the characteristics of the host society |
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| the way a musical piece is organized in terms of overall structure: the way major sections of the piece relate to each other |
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| the way music is organized and grouped in time; the way the beat is organized |
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| a short, melodic fragment that is repeated enough to become recognizable |
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| a scholar of music in culture and of world music |
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| the volume of the music, and any changes in volume, whether sudden or gradual |
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| sounds which are considered harsh or unstable, which provide musical tension |
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| the way sounds are combined to form chords and how they progress from one to the next; also, two or more pitches sounding at the same time |
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| the layers of musical sound in a piece of music and how they relate to each other |
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| a series of single musical tones that add up to a recognizable musical whole or idea |
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| native to a culture of region |
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| the passing down of music by word of mouth (or ear) from one generation to the next |
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| protestant religious music usually associated more with rural, folk roots than with urban, European traditions |
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| hymnbooks consisting of musical settings of psalms, sometimes with words only and somtimes with hymn tunes and words |
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| a musical form in which the same music is used for eah stanza of a ballad, song, or hymn |
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| an oscillating variation in pitch that enhances a tone, providing richness and warmth to the timbre |
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| a style of music which expresses harship and uses a repetitive 12-bar structure |
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| a method of teaching note-reading by using different shaped note-heads |
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| music of unknown origin and enjoyed by the general population |
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| schools originally established to improve the state of hymn singing in colonial America by teaching note-reading |
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| a term from musical notation which indicates the music should use a flexible pulse, with variation in the tempo |
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| a four-part hymn with a short, middle section in which each voice enters with the same melody but at a different time |
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| a style of black popular music that originally featured a boogie-woogie style of piano accompaniment, but later referred to a wide spectrum of black popular music |
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| the practice of congregational singing in which a leader sings one line at a time and the congregation sings it back |
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| in vocal music, the practice of singing one syllable of text to many different notes |
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T/F
American folk music, as it has evolved to the present day, is almost entirely derived from European traditions, with little influence from non-European traditions. |
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T/F
In regard to American folk music, the term “folk music” can refer to the style of the music, even if the music was newly composed and did not go through the “folk process”. |
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T/F
Tone-bending is an important characteristic of blues. |
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T/F
Since it first became popularized, blues has had relatively little influence on subsequent musical styles. |
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T/F
The so-called urban folk revival occurred in the United States in the late 1940s, right after the end of World War II. |
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T/F
The first book of religious music published in the colonies was The Bay Psalm Book of 1640. |
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T/F
In the colonies, “lining out” was used for hymn singing because most people in the congregations were not able to read musical notation to learn the hymns. |
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T/F
The style of black gospel music in America has been influenced by blues and jazz, among other things. |
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T/F
The latter half of the nineteenth-century saw a merging of the white and black styles of gospel music. |
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T/F
Contemporary Christian music incorporates elements from pop, rock, and rhythm and blues. |
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| Matching the person associated with: tradional black gospel |
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| Matching the person associated with: 19th-century hymn composer |
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| Matching the person associated with: contemporary Christian |
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| Huttie “Leadbelly” Ledbetter |
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| Matching the person associated with: traditional blues |
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| Matching the person associated with: urban folk revival |
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| Matching the person associated with: urban blues |
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| a type of western popular music performed on piano and played in small-town saloons |
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| short melodic and rhythmic embellishments which serve as background to the melody |
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| the soloist in jazz and rock and roll |
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| a style of black, popular music designed to be more popular among both black and white audiences than other styles had been previously |
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| the process of making up the music as you go along, significant especially in jazz |
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| a type of 19th-century variety show that featured white performers in blackface doing songs, dances, and comical acts |
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| a standardized section of a jazz tune, consisting of 32 bars in 4 8-measure phrases |
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| a song that has sustained popularity though decades and generations, transcending changing styles and tastes |
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| the form of popular music that resulted from the influence of hillbilly singers on rock and roll |
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| the occurence of musical emphasis in unexpected places, usually on what are normally the weaker parts of the beat |
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| a style of country music that became popular in the southwest and featured a larger instrumental ensemble like the one used in swing jazz |
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| the syncopated chords and melodic figures played by jazz pianist while accompanying a solo improvisation |
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| a style of piano music of the first 2 decades of the 20th century which served as a formative element in the creation of jazz and is characterized by melodic syncopation and a stride bass |
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| an early 20th-century varity show of unrelated acts by singers, dancers, comedians, and more |
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| a piano jazz style popular from the late 1920s through the present, characterized by a left-hand ostinato figure and based on the standard 12-bar blues chord progression |
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| a period (therefore, a style) of popular songwriting in the early 20th century in which popular songs were written using the piano and sheet music was produced |
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| a jazz bass line played on each beat, frequently with some embellishment and emphasizing the main tones of the underlying chord |
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| a style of popular song derived from rural, southern folk tradition which served as one of the root elements of modern country music |
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| jazz arrangements that are worked out in rehearsal and played that way in performance by memeory, without improvisation |
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| Sgt. Pepper’s Lonely Hearts Club Band |
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| the Beatles album which marked a new popularity of rock and roll in 1967 |
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T/F
The earliest types of jazz were first cultivated in New Orleans. |
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T/F
The feel of “swing” does NOT involve syncopation. |
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T/F
The “rhythm section” in a jazz ensemble includes the piano, bass, and drums in most types of jazz music. |
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T/F
One of the roots of jazz is brass band marches and dances. |
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T/F
The most successful and well-known New Orleans jazz musician was Duke Ellington. |
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T/F
One of the reasons the stride and boogie woogie piano styles became popular was because of the economic realities of the Depression. |
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T/F
There are two basic types of swing, sweet sing and hot swing. |
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T/F
The most significant big band jazz leader was Ornette Coleman. |
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T/F
Bebop is often complex, intense and very fast. |
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T/F
Part of the reason modern jazz styles developed was due to an attempt to make the music more accessible to audiences than bebop had been. |
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T/F
Popular music is defined as such because of its musical complexity. |
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T/F
Stephen Foster was a famous ragtime painist. |
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T/F
Tin Pan Alley is the name of a style of popular song, the street in New York where the songs were composed and the whole sheet music publishing industry of the time. |
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T/F
Radio broadcasts were NOT a significant avenue for the marketing of popular songs beginning in the 1920s. |
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T/F
Hillbilly music was popular in its day partly because it reflected a yearning for an imagined simpler life of the past. |
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T/F
Bluegrass was pioneered by Chuck Berry. |
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T/F
The “Nashville sound” refers, in part, to the innovations that took place in country music as a response to the popularity of rock and roll. |
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T/F
In general, contemporary country music shares little with modern pop or rock styles. |
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T/F
The Motown style was NOT a significant influence on the history of rock and roll. |
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T/F
The “British Invasion” refers to the quickly spreading popularity of British rock groups and their music in the mid-sixties in the United States. |
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T/F
Rap is only one of the hip-hop arts, which includes street poetry, graffiti and break dancing. |
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| Matching the person associated with: New Orleans jazz |
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| Matching the person associated with: swing |
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| Matching the person associated with: swing |
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| Matching the person associated with: bebop |
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| Matching the person associated with: bebop |
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| Matching the person associated with: bebop |
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| Matching the person associated with: cool jazz |
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| Matching the person associated with: 19th-century popular songs |
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| Matching the person associated with: Tin Pan Alley |
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| Matching the person associated with: bluegrass |
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| Matching the person associated with: hillbilly |
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| Matching the person associated with: country |
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| Matching the person associated with: funk (soul) |
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| Matching the person associated with: 1950s rock and roll |
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| Matching the person associated with: 1960s rock and roll |
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| Matching the person associated with: hip hop |
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| a popular dance and entertainment music of Latin America that has characteristics of rhythm and blues, jazz, and rock |
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| the melodic patterns used in classical Indian music which convey the mood and form the basis for melodic improvisation |
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| the process by which one culture assimilates or adapts to the characteristics or practices of another |
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| a type of traditional Irish dance music which uses a meter that groups the beats into 2s and 4s |
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| in some native music, sung sounds wich have no meaning but are intended only as musical sounds |
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| a popular Mexican folk music ensemble that includes a harp, violins, guitars, and trumpets |
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| an instrumental music genre of the imperial courts of Japan |
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| the most familiar and most used language of the people of a nation, region or sub-group |
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| a type of traditional Irish dance music which uses a meter that groups the beats in 3s |
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| a popular music of Brazilian origin that is rhythmically related to samba but with complex harmonies and improvised jazz-like sections |
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| a popular Mexican-based dance music originating in southern Texas |
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| an Indonesian orchestra composed of various sized drums, metal xylophones and gongs |
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| a scale using only 5 notes |
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| a type of traditional Jewish (Yiddish) music which uses a small combo of instruments including clarinet, accordion, and fiddle |
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| popular music from Africa which combines traditional elements with Western pop and rock |
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| the basic rhythmic patterns used in classical Indian music, involving cycles of counts |
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| natives of Central and South America having mixed Indian and Spanish ancestry |
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| producing a sliding of the pitch sound either vocally or instrumentally |
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| a popular dance and entertainment music of the Cajun culture of Louisiana |
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| a synthesis of rock, rhythm and blues, and Caribbean styles which originated in Jamiaca |
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T/F
So called “world music” could be said to exist within the Americas and even within the United States. |
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T/F
When considering rhythm, melody, and harmony, the element of music which quite often has a lesser role to play in world music (as compared to Western music) is RHYTHM. |
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T/F
Music of indigenous cultures tends to be more functional and participatory rather than for the entertainment of a passive audience. |
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T/F
Native American songs are usually sung in a low-pitched voice and include vocal hormonization. |
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T/F
Because of immigration, America has a rich variety of “ethnic” music which serves cultural communities of all kinds. |
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T/F
Reggae became popular in the 1970s, but has since declined greatly in popularity. |
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T/F
Salsa has little musical relationship to jazz. |
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T/F
The ranchera is a type of song used by mariachi ensembles. |
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| T/F Zydeco uses a washboard as a rhythm instrument. |
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T/F
The harmonica is a typical instrument used in native South American music. |
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T/F
The traditional music of Asia, Africa, and the middle East has little significance for today’s modern, American society. |
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T/F
The raga, or set of melodic ideas or patterns, is central to the construction of a good piece of classical Asian-Indian music. |
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| The traditional music of Japan is played with freedom and improvisation, making each performance different from the last. |
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T/F
Typically, traditional music of sub-Saharan Africa involves a wide range of different instruments, even though most of them are in the percussion family. |
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T/F
The Indonesian gamelan is an ancient tradition. |
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T/F
Klezmer comes from the Yiddish-speaking Jewish immigrants in the US. |
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T/F
Celtic music has become so commercially successful, that Irish traditional musicians have rejected the label in favor of a nod to their local community. |
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Identify the instrument as an A)Aerophone, C) chordophone, I) idiophone, or M) membranophone.
DRUM |
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Identify the instrument as an A)Aerophone, C) chordophone, I) idiophone, or M) membranophone.
FLUTE |
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Identify the instrument as an A)Aerophone, C) chordophone, I) idiophone, or M) membranophone.
PANPIPES |
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Identify the instrument as an A)Aerophone, C) chordophone, I) idiophone, or M) membranophone.
ACCORDION |
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Identify the instrument as an A)Aerophone, C) chordophone, I) idiophone, or M) membranophone.
FIDDLE |
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Identify the instrument as an A)Aerophone, C) chordophone, I) idiophone, or M) membranophone.
GUITARRON |
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Identify the instrument as an A)Aerophone, C) chordophone, I) idiophone, or M) membranophone.
WASHBOARD |
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Identify the instrument as an A)Aerophone, C) chordophone, I) idiophone, or M) membranophone.
SITAR |
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Identify the instrument as an A)Aerophone, C) chordophone, I) idiophone, or M) membranophone.
KOTO |
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Identify the instrument as an A)Aerophone, C) chordophone, I) idiophone, or M) membranophone.
SHAKUHACHI |
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Identify the instrument as an A)Aerophone, C) chordophone, I) idiophone, or M) membranophone.
GONG |
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Identify the instrument as an A)Aerophone, C) chordophone, I) idiophone, or M) membranophone.
BAGPIPES |
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| dramatic stage production in which the story is sung with orchestral accompaniment. |
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| compositional technique of conveying in the music, moods, emotions, images and meanings in a sung text. |
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| sung, monophonic and freely rhythmic chant of european, medieval, christian monks and nuns. Named for Pope Gregory I who organized the church liturgy and chant repertoire in the late 6th century. |
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| Renaissance, secular polyphonic work for a-cappella voices which often used a romantic or suggestive text. |
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| an arrangment used in certain pieces at St. Marks cathedral in which two separate choirs or instrumental ensembles performed from opposite ends of the church. |
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| Roman Catholic worship service; a musical setting of certain parts of that service. |
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| keyboard and bass instrument part of the accompaniment to singing common in Baroque music; it provided a harmonic basis for recitative. |
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| a four-part, homophonic setting of a church hymn used as the final movement of a Baroque, Lutheran canatata. It was sung by the choir and the congregation together. |
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| a vocal solo in opera, canatatas and oratorois in which the text is sung, but declaimed in a sung-speech manner, in free rhythm with minimal accompaniment. |
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| a form used on art songs in which each stanza of text uses the same music, just like a church hymn. |
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| Baroque instrumental genre in which the music alternated between an orchestra and a small group of one to three soloists. |
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| an important orchestral genre from the classical period onward, usually a piece in four movements. |
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| a 3-part structure that composers in the classical period commonly used for the first movement of a symphony, concerto, or string quartet. |
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| instrumental form in which a stated theme is followed by a series of variations on that theme. |
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| Any music which is supposed to depict or suggest a story, poem, or scene. |
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| a large section of a piece which sounds fairly complete but which is actually part of the while piece. |
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| the final section of the first movement of a classical concerto in which the soloist performs unaccompanied by the orchestra it often includes virtuosic displays by the soloists. |
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| a program-attic one-movement work for symphony orchestra with contrasting moods. |
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| the german word for songs; it refers to the german art songs that were composed in the romantic period. |
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| T/F Johann Sebastian Bach wrote mostly music for church, while George Frederick Handel wrote mostly for concert and operatic venues. |
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| T/F Mozart wrote many successful operas but never used recitative in them. |
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| T/F City governments became another source of employment fro musicians in the Baroque period. |
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| T/F program-attic music was very common and popular in the romantic period. |
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| T/F one of the most commonly used instruments during the Baroque was the harpsichord. |
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| T/F the music of Beethoven was fixed firmly in the classical period, and he had little to due with advancing musical composition into the next phase of its development. |
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| T/F the name Gregorian chant refers to the fact that Pope Gregory I organized and codified the christian chant repertoire in the sixth century. |
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| T/F In the romantic period art songs like those written by Schubert were written for use in the home not the concert stage. |
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| T/F of Hayden, Mozart, and Beethoven it was Hayden who became a free lance composer who never worked under the direct patronage of the church or a noblemen. |
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| T/F the mass was not a significant source for musical composition during the renaissance. |
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| T/F Frederic Chopin wrote almost exclusively piano music. |
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| T/F the symphony became an established genre in the renaissance period. |
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| T/F the renaissance was very much about an intense renewed interest in the philosophy. politics, and the arts of the ancient greeks. |
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| T/F Verdi, Puccini, and Wagner were all famous romantic opera composers. |
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| T/F there is no surviving written evidence of music or musical practices from the medieval period. |
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| early renaissance composer wrote one of first known operas. |
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| german romantic composer who wrote symphonies piano music and choral music he did not believe in program music. |
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| Flemish high renaissance composer. |
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| classical composer who worked for the Duke of Esterhazy in Vienna for most of his professional life. |
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| english Baroque composer wrote opera. |
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| late renaissance wrote antiphonal music for St. Marks cathedral in Venice. |
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| classical viennese composer child prodigy who wrote operas symphonies chamber music as well as church music. |
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| german late Baroque composer organist wrote cantatas for the Lutheran church regarded as one of the greatest composers of all time. |
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| Viennese composer whose music formed a stylistic bridge between the classical and romantic periods. became one of the first successful free lance composers. |
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| late renaissance wrote antiphonal music for St. Marks cathedral in Venice. |
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| russian romantic composer who wrote ballets, symphonies, and concertos. he was not a nationalist. |
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| late Baroque composer who lived in London. wrote operas oratorios and instrumental music. |
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| wrote monumental romantic operas using Norse and German mythology as the literary subject. |
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