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Homework answers / question archive / MUSIC 009 - Final Exam  Question 1) Female impersonators in Japanese kabuki drama

MUSIC 009 - Final Exam  Question 1) Female impersonators in Japanese kabuki drama


MUSIC 009 - Final Exam 

Question 1)

Female impersonators in Japanese kabuki drama.


Question 2


The instrumental ensemble in noh drama, which consists of a flute and three drums.



Question 3


Rasta chant, which was a major influence on mainstream genres that came to dominate the musical scene in Jamaica.



Question 4


The accenting of rhythms that would not normally be accented in Western art music.



Question 5


The term that describes levels of density in Javanese gamelan music.



Question 6


Over-amplified mobile disco popular in Jamaica during the 1950s and 1960s. 


Question 7


The 'skeleton' or nuclear melody in a Javanese musical piece.



Question 8


The walkway that extends from the kabuki stage through the audience to the back of the theater.



Question 9


The South African policy of segregation, which allowed the white minority to secure their power over the black majority by regarding black South Africans as second-class citizens.



Question 10


Traditionally European musical dance set frequently performed by creole ensembles.



Question 11


The general term for traditional Japanese music.



Question 12


An Indonesian "orchestra" or musical ensemble.



Question 13


The blending of diverse elements into a unified mixture.



Question 14


General Indonesian term for their tuning systems.



Question 15


A song, which had overt Christian lyrics, sung by slaves who had been converted to Christianity.



Question 16


Official displays of power.




Question 17


The big dance in noh drama in which the shite reveals his new essence after his spiritual transformation.



Question 18


Japanese puppet theater.



Question 19


The Japanese aesthetic ideal, which is found in both small- and large-scale forms and applied at all levels of musical form, including musical phrase, composition, and performance. It is often translated as "introduction, development, and conclusion."



Question 20


Short patterns or forms which form the basis of learning in much of Japanese culture.



Question 21


The lyrical type of music found in Japanese music, which can stand on its own, separate from a play.



Question 22


The central dancing arena at a powwow. 

Question 23


Match the following kabuki ensembles with their descriptions

The off-stage ensemble that creates sound effects for performance


The onstage ensemble comprised of a group of shamisens and singers as well as the traditional hayashi ensemble.


The onstage ensemble that consists of a narrator accompanied by a shamisen in kabuki theater.




Question 24


Match the sections of Japanese music with their definitions.

The section of a Japanese piece, which according to Japanese aesthetics is typically characterized by a slow exposition in free rhythm


The section of a Japanese piece, which translates literally as “breaking apart.” According to Japanese aesthetics, this is typically a more rhythmic section in which the tempo builds and becomes steady


The section of a Japanese piece, which translates literally as “rushing.” According to Japanese aesthetics, this is a faster, intense drive toward the end in which the tempo reaches its peak, then suddenly slows down at the end of the piece or performance


Question 25

Match the following Jamaican musical genres with their definitions.

An indigenous Jamaican folk song and dance style whose roots are primarily African and European, though it has a distinctly Jamaican sound


The Jamaican genre that was very closely connected with Rastafarianism and the “Back to Africa” movement


This genre had a much slower, more relaxed tempo, which allowed singers/songwriters to express themselves


The Jamaican genre that was a hybrid of mento, American R&B, doo-wop, and jazz



Question 26


Match the following Indonesian instruments with their descriptions.

The largest of the kettle gongs


Largest gong in gamelan


Thin metal bars suspended over tube resonators


Thick, curved metal bars that rest on a wooden resonating box



Question 27


Match the following Native American culture groups with their musical characteristics.

A very relaxed, lower-pitched vocal style


Complex rhythms and some use of polyphony. Melodies tend to have a larger range than many other culture groups

 A narrow vocal range and limited musical variation; Songs involving phrases repeated in pairs (e.g., AA BB CC, etc.) 

A more relaxed vocal style and songs performed in call-and-response, resulting occasionally in some polyphony



Question 28


A typical example of incomplete repetition is:



Question 29


Native American vocables are commonly believed to be:



Question 30


What decade was considered the "Golden Age" of mento?



Question 31


The group that truly defined the isicathamiya sound was Solomon Linda and the Evening Birds, who came into the spotlight in the 1930s.



Question 32


The last major clash between Native Americans and Euro-Americans, resulting in a huge massacre of approximately 300 Sioux in 1890, is now referred to as:



Question 33


Who were the members of the Wailers?




Question 34


The primary difference between reggae and rocksteady is that reggae has a smooth, relaxed sound and rocksteady has a more rhythmic funk sound driven by the rhythm section.



Question 35


Kabuki has changed drastically in its form and essence since the 18th century.



Question 36


Who founded the WOMAD festival?




Question 37


How many culture areas are the Native American people generally grouped into?



Question 38


When was Ladysmith Black Mambazo formed?



Question 39


Noh drama has as its goal personal enlightenment through self-understanding.



Question 40


When the Dutch took over Java, they stripped the Javanese courts of their power as well as their role of maintaining classical Javanese culture and traditions.



Question 41


Bando Tamasaburo V has done all of the following except:



Question 42


When did Rastafari originate?



Question 43


Music is used in religious rituals to transform ordinary experience.



Question 44


The veena is different from the sitar in that it has no sympathetic strings and that the frets are not raised and movable. Also it is held across the lap as opposed to being held like a guitar (as the sitar is).



Question 45


Both the mridangam and the tabla have spots of vegetable paste in the center of at least one of their drumheads.



Question 46


In cultures throughout the world, music reinforces boundaries between social groups, who view their music as an emblem of their identity.



Question 47


The double-headed drum that gives bhangra its characteristic sound.



Question 48


Music is used in religious rituals to transform ordinary experience.



Question 49


Not normally perceived as separate pitches but combine to make up the timbre of the instrument.



Question 50


The Iranian term for music, which includes composed, instrumental music with a strong sense of pulse.



Question 51


A melody or part of a melody that is characterized by an excessive number of small intervals.



Question 52


The Hindustani instrument that is perhaps the most famous Indian instrument worldwide, made famous through Western musicians’ interest, such as the Beatles.



Question 53


The main location where Sufism is practiced in the general region of West Asia which includes Afghanistan and Pakistan.



Question 54


The Iranian term for recitation, which includes more acceptable forms of musical sound, including Qur’anic recitation.



Question 55


In both Hindustani and Karnatak music there are always three layers of musical activity: a melodic soloist, an accompanying drummer, and a drone instrument.



Question 56


Large sheets of paper that were used to publish songs were called ____________.



Question 57


Narrative folk songs that are traditionally sung in the third person.



Question 58


Also known as tone color, this describes what makes sounds sound different from one another:



Question 59


The organization of elements in a musical work. It can be expressed by letter diagrams, in which each letter designates a different section or contrasting section, such as AABA or AABB.




Question 60


The activities that go into making music and into the way the music is heard and received by listeners. This is the “Who? When? Where? and How? in the five "W's."



Question 61


This instrument is used in Karnatak music and is lute shaped with a hollowed-out resonator and a second resonator (made from a gourd) attached to the other end of the instrument.



Question 62


The Indian term for meter, or rhythmic mode.



Question 63


Musicianship in a culture is often hereditary. If you are not born into a music al culture, you cannot become proficient in that musical culture



Question 64


In some cultures, music does not change, even in order to satisfy social needs.



Question 65


Tertiary form describes a piece of music as having two melodic phrases, each of which are repeated, so that the letter diagram is AABB (or written musically |: A :|: B :|



Question 66


Accompaniment or subsidiary lines of music that are different from a melody.



Question 67


Which of the following songs is sometimes referred to as the Cajun national anthem?



Question 68


What song became the unofficial anthem for Chinese student protesters killed by armed Chinese forces during the Tiananmen Square protests in 1989?



Question 69


Juju music is the popular music genre of which country?


Question 70


Which calypso song performed by Lord Invader expressed socio-political viewpoints against the influence of the American soldiers in Trinidad?



Question 71


Which of the following instruments is NOT typically used in klezmer performance?



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