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11-1
Part XI
1. Nonwestern music is most often transmitted through which means?
D. From recordings.
2. Singers in the Middle East and North Africa cultivate a vocal timbre that _______.
D. is guttural and raspy
3. The most important way of making music in most nonwestern cultures is by ______.
A. playing native instruments
4. Musical instruments whose sound generator is a stretched skin or other membrane are classified as _______.
A. aerophones
5. Chordophones are instruments whose sound generator is a _______.
A. stretched skin
11-2
Copyright © 2017 McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent
of McGraw-Hill Education.
B. stretched string
C. column of air
D. drum
6. Musical instruments whose sound generator is a column of air are classified as _______.
D. membranophones
7. Musical instruments whose own material is the sound generator are classified as _______.
A. aerophones
8. The choice of musical instruments in nonwestern cultures frequently depends on what?
A. The musical style of a culture
9. Which of the following statements is not true?
A. In some parts of the world, including India and the middle east, improvisation is a highly disciplined art that requires years of
training.
11-3
Copyright © 2017 McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent
of McGraw-Hill Education.
Topic: Nonwestern music
Feedback: Nonwestern music does not usually use the familiar Western major and minor scales. Most often, the music uses
scales that have five, six, or seven tones. Nonwestern melodies commonly use intervals smaller or larger than those standard in
the west. Microtones—intervals smaller than the Western half step— are frequent in the music of India and the near east.
10. Nonwestern musical scales often contain ________ tones.
A. five
11. Music that has a texture in which all parts perform the same basic melody, but in versions that differ in ornamentation or
rhythm, is called ______.
D. polyphonic
12. Most of the music of sub-Saharan Africa features what characteristic?
A. A wide variety of instrumental ensembles
13. A performance style in which the phrases of a soloist are repeatedly answered by those of a chorus is known as _______.
A. yodeling
14. What is the mbira?
A. An hourglass-shaped drum
11-4
Copyright © 2017 McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent
of McGraw-Hill Education.
B. An African form of string instrument
C. A form of xylophone used in orchestras
D. A melodic idiophone with tongues of metal or bamboo attached to a sounding board
15. Which of the following statements is not true with regard to sub-Saharan Africa?
A. Many African languages are "tone languages," in which the meaning of a word is determined by the relative pitch at which it
is spoken.
16. Drums in sub-Saharan Africa _______.
A. come in a wide variety of sizes, shapes, and forms
17. Drums in sub-Saharan Africa are often considered _______.
A. symbolical of power and royalty
18. A type of music of the Akan-speaking peoples of Ghana is known as ______.
A. sansa
11-5
Copyright © 2017 McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent
of McGraw-Hill Education.
C. ompeh
D. ogyamba
19. In the song "Ompeh" there are _______ references to death.
A. two
20. In the song "Ompeh" the performers combine __________ of the languages spoken in Ghana.
D. all
21. Which of the following is not characteristic of Indian music?
A. Melodies are highly embellished.
22. A pattern of notes used in Indian music to create melody is called _______.
A. sitar
11-6
Copyright © 2017 McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent
of McGraw-Hill Education.
Learning Objective: Describe the art of the raga
Topic: Classical Indian music
Feedback: In Indian classical music, melody is created within a melodic framework called raga—a pattern of notes. A particular
raga is defined partly by the number of its tones and the pattern of its intervals.
23. A repeated cycle of beats, or rhythmic pattern, in Indian music is called _______.
A. sitar
24. The ________ is a long-necked lute with movable frets, seven strings, and nine to thirteen sympathetic strings, popular in
north India.
D. tala
25. The _______ is a pair of single-headed drums played by one performer, popular in north India.
A. tambura
26. Which of the following statements is not true?
11-7
Copyright © 2017 McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent
of McGraw-Hill Education.
Feedback: Improvisation is, in fact, very important in many nonwestern musical cultures. Performers usually base their
improvisations on traditional melodic phrases and rhythmic patterns. In some parts of the world, including India and the Middle
East, improvisation is a highly disciplined art that requires years of training.
27. Which of the following statements is not true with regard to sub-Saharan Africa?
D. Music is usually performed outdoors.
28. The __________ is a long-necked lute with four metal strings used in Indian music to provide a continuous drone.
A. sitar
29. Which of the following statements is not true?
A. Indian music is based on the human voice—so much so that the pitch range of all Indian music is restricted to less than 4
octaves.
30. The _______ is a fretted long-necked plucked instrument with four melody and three drone strings, popular in south India.
A. sitar
31. Traditional Japanese classical music includes _______.
A. works for orchestra, chamber ensemble, and soloists
32. The _______ is a Japanese instrument with thirteen strings stretched over a hollow sounding board.
A. samisen
33. Most masterpieces of traditional koto music were composed _______.
A. between 650 and 750
34. Which of the following statements is not true?
A. The importance of the koto in traditional Japanese music is comparable to that of the piano in Western music.
35. To what does kengyo refer?
A. A family of famous koto performers and composers
11-9
Copyright © 2017 McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent
of McGraw-Hill Education.
Learning Objective: Recall how koto music is preserved and taught
Topic: Koto music
Feedback: Kengyo was the highest title given to a professional koto player; it meant "master of koto."
36. What is the shamisen?
D. An instrument with thirteen strings stretched over a hollow sound board
37. Ravi Shankar was a master of which instrument?
A. Koto
38. In the 1960s Ravi Shankar taught members of which group?
A. The Rolling Stones
11-10
Copyright © 2017 McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent
of McGraw-Hill Education.
Learning Objective: Name and describe idiophones in sub-Saharan African music 2
Learning Objective: Name and describe the traditional instruments of Indian classical music 5
Learning Objective: Name some natural raw materials used to construct nonwestern instruments 2
Learning Objective: Recall how koto music is preserved and taught 2
Learning Objective: Recall the history and traditions of the classical music of India 2
Learning Objective: Recall the origins of the koto in Japan 1
Topic: Classical Indian music 12
Topic: Instrument families 5
Topic: Koto music 6
Topic: Music in sub-Saharan Africa 9
Topic: Nonwestern music 5
Topic: Texture 1
