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Music and World Cultures > final exam > Flashcards

final exam Flashcards

1
Q

In the sixteenth century, theorists of music and architecture in humanists circles exchanged ideas

A

true

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2
Q

Architectural spaces and musical features can be experienced as creating similar emotions

A

true

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3
Q

Who composed Poeme elctronique

A

Edgard Varese

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4
Q

Who was one of the Philips Company’s first choices for composer for the World’s Fair exhibit

A

Benjamin Britten

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5
Q

In the early, 1450s, Leon Battista Alberti claimed that vaulted ceilings were unsuitable for public buildings because of the excessive reverberation and recommended instead a beamed, flat wooden ceiling to improve the sound

A

true

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6
Q

The style in which a building is designed and constructed, especially with regard to a specific period, place, or culture

A

architecture

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7
Q

the properties or qualities of a room or building that determine how sound is transmitted in it

A

acoustics

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8
Q

the process by which a material, structure, or object takes in sound energy when sound waves are encountered

A

sound absorption

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9
Q

the repetition of a sound resulting from reflection of the sound waves

A

sound reflection

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10
Q

a wave of compression and rarefaction, by which sound is propagated in an elastic medium such as air

A

sound wave

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11
Q

Music and architecture share experiential qualities

A

true

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12
Q

increasingly large and colorful, with sounds interwoven and details only partly discernible

A

Romantic period

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13
Q

conductors develop tricks for how to make musicians sound better in different kinds of acoustic spaces, like stretching out the lengths of notes to stimulate the effects of reverberation

A

True

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14
Q

The performance spaces that dominated Europe and North America since the Renaissance have shaped, but were not shaped by, the styles of music that prevailed through different periods in modern history

A

false

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15
Q

When was the Philips Pavilion constructed

A

1958

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16
Q

Conducting style sometimes develops baed on the acoustics of a conductor’s home hall

A

true

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17
Q

Howard and Morretti’s study focused on

A

Renaissance Venice

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18
Q

Music can alter our environments through vibrations, and those vibrations can give us a diverse range of feelings

A

true

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19
Q

Performers, and especially soloists, need to think about the sound of their particular instrument in a given space

A

true

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20
Q

Howard and Morretti’s study is one of the first to connect historically informed performance with architectural history

A

True

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21
Q

For Which cathedral’s dedication did the Guillaume Dufay compose Nuper Rosarum flores?

A

Santa Maria del Flore in Florence

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22
Q

variety, some reflecting earlier styles and others largely unprecedented

A

Twentieth Century music

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23
Q

Performers should strive to use the exact same performance techniques at all times regardless of the venue in which they perfrom

A

false

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24
Q

When was the word “acoustics” first used?

A

eighteenth century

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25
Q

Early ceremonial books about liturgy in Renaissance Venice include al possible information needed for recreating performances accurately, including details participants would have memorized at that time

A

false

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26
Q

Howard and Moretti’s project goal

A

reunite the aural and visual dimensions of worship and ritual in Renaissance Venice

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27
Q

basic shape of a typical opera house seating plan

A

horseshoe

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28
Q

What is the glue that Joyner argues binds music and architecture together

A

duration

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29
Q

The complex shape of the Philips Pavilion was created by pouring concrete into molds

A

False

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30
Q

divided or split choir

A

“Coro spezzato”

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31
Q

Who was involved with designing the architecture of the Philips Pavilion

A

Le Corbusier and Iannis Xenakis

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32
Q

good acoustic space for Baroque space

A

dry smaller rectangular rooms or small theaters

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33
Q

good acoustic space for Classical music

A

somewhat larger rooms with bigger sound and medium reverberation

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34
Q

good acoustic space for Romantic music

A

fullness of tone and low definition, with long reverberation time

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35
Q

good acoustic space for Twentieth-century music

A

able to accommodate a variety of styles

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36
Q

Every concert hall and opera house has identical acoustics

A

false

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37
Q

The essence of a building or space can be captured without interacting with it as long as one understands its formal complexity, historical relevance, or conceptual rigor

A

False

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38
Q

Nuper rosarum flores

A

Guillaume Dufay

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39
Q

Poeme elcetronique

A

Edgard Varese

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40
Q

Symphony No. 94 (“Surpries”), movement 2

A

Joseph Haydn

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41
Q

Prelude to Act 1, from Parsifal

A

Richard Wagner

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42
Q

The propagations of sound was a concern of ancient Greek writers such as Aristoxenes and Aristotles

A

True

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43
Q

A pianist depends more on their performance techniques than on the hall to create the desired effects

A

True

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44
Q

Which composer designed his own opera house to achieve the perfect acoustical environment for his compositional style

A

Richard Wagner

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45
Q

In recent decades, in the search for greater authenticity in performance, early music enthusiasts have tried to reconstruct Renaissance and Baroque festivities in Venice using scholarly editions and period instruments

46
Q

characteristics that make up a good concert hall

A

ability to hear very soft or quiet passages, reverberation times sufficient for crescendos to very loud climaxes, clarity of melody and individual instrument families, richness or fullness of sound

47
Q

a choir secluded behind the high altar

A

retrochoir

48
Q

During the Renaissance, what was considered a crucial factor for acoustics

A

type of ceiling

49
Q

Who said “I call architecture ‘petrified music;”

A

Johann Wolfgang von Goethe

50
Q

synthesis of independent ideas into a single unit, with fullness, depth, and some calrity

A

Classical period

51
Q

The Philips Pavilion with the Poeme electronique was the first electronic spatial environment to combine architecture, film, light, and music

52
Q

Architects for the Renaissance cathedrals in Venice had close ties to and friendships with musicians

53
Q

architecture, composition, conductor, and performers

A

Factors contributing to the perfect concert hall

54
Q

Xenakis was the first respected architect to consider the relationship between architecture and music

55
Q

contrapuntal, with clarity and brightness

A

Baroque music

56
Q

an afro-cuban religion derived from the Yoruba religions and combined with aspects of Catholicism

57
Q

What factor has made the greatest impact on the musical content of Santeria rituals in more recent decades

A

It began to be played in new performance settings, where practitioners opened traditionally secret rituals to the public

58
Q

ritual phrase or formula

59
Q

In the Mahakala ritual chant in the Listening Guide, the Tibetan Buddhist monks perform sustained sections of chant called

60
Q

Tibetan Buddhist monks chant with accompaniment provided by the sadhana, an ensemble comprised of horns, cymbals, and drums

61
Q

A vocal slide used in Ethiopian Christian chant

62
Q

A worshipper of orishas

63
Q

The largest and lowest-pitched of the three bata drums used in Santeria music

64
Q

The head musician in the Ethiopian church

65
Q

A Tibetan Buddhist ritual meditation text

66
Q

Which of the following terms does not refer to public acts of worship

67
Q

Ethiopian Christian chant

68
Q

Which type of ritual is the bar mitzvah

A

a rite of passage

69
Q

How has Ethiopian Christian Orthodox musical practice changed in its diaspora communities

A

Familiar chants are shortened and modified and performed in concerts

70
Q

What event led to the establishment of the Ethiopian Christian Orthodox Church outside of Ethiopia

A

the Ethiopian revolution in the 1970s

71
Q

What word refers to the most important signs in Ethiopian church musical notation, each of which consists of a Ge-ez alphabet character and represents a specific short melody

72
Q

how did members of Santeria hide their rituals after the Cuban government banned their religious practices

A

They joined each Santeria deity to a specific Catholic saint so that rituals associated with the deities were disguised

73
Q

An Ethiopian church musician

74
Q

The primary ritual for the performance of Ethiopian Christian chant

75
Q

A ritual phrase or formula that is recited in Tibetan Buddhist chant

76
Q

A Santeria rhythmic pattern

77
Q

Ethiopian Christian chant

78
Q

An established set of rites or the observance of such a set of rites

79
Q

Handwritten copy of Five Books of Moses used in Jewish rituals

A

Torah scroll

80
Q

Feelings of social union and togetherness generated by rituals

A

communitas

81
Q

Central complex of prayers and ceremonies in Catholic and Eastern Orthodox Christian worship

82
Q

A type of biphonic Tibetan chant characterized by sustained notes in a low-register and audible harmonics

83
Q

A song book of Tibetan dbyang

A

dbyang-yig

84
Q

instrumental ensemble accompanying Buddhist chant; the cymbals in religious practies

85
Q

A singing technique of inner Asian origin in which two tones, are made audible

A

biphonic singing

86
Q

Biphonic voice style used in Tibetan Buddhist rituals, associated with Tantric belief and philosophy

A

tantra voice

87
Q

colloquial term for biphonic vocal style in Tibetan buddhist chant

A

mdzo voice

88
Q

Ceremony in honor of Tibetan Buddhist deity Mahalaka

A

Mahalaka ritual

89
Q

Circular symbol in Buddhism representing the universe

90
Q

beat in Tibetan Buddhist musical practice

91
Q

An Afro-cuban religious and musical practice

92
Q

Mutual aid societies established by slaves in Cuba

93
Q

Saint, in the Santeria traidtion

A

orishas (santos)

94
Q

initiated priest of the orishas in Santeria

95
Q

Double-headed membranophones usually played in sets of three in Santeria ceremonies

A

bata drums

96
Q

The largest and deepest of the double-headed membranophones in the bata ensembles

97
Q

The middle-sized double-headed membranophone in the bata ensemble

98
Q

The smallest of the double-headed membranophones in the bata ensemble

99
Q

The rhythmic patterns played by the bata drum in Santeria ceremonies and by the berimbau in capoeira

100
Q

A “turn,” referring to a change in toque during Santeria perofrmance

A

viro (vuelta)

101
Q

The music of the Ethiopian Christian liturgy.

A

Ethiopian Christian chant

102
Q

Chant book containing repertory performed in Ethiopian Christian rituals as well as the performance of these chants

103
Q

Performance of the hymnary on annual Ethiopian Christian holidays accompanied by instruments and dance

104
Q

Ethiopian double-headed conical membranophone

105
Q

Resonant stone slabs struck to call Ethiopian Christians to prayer

106
Q

A group of celebratory Ethiopian Christian chants

107
Q

Ethiopian term for monophonic chant or plainchant

108
Q

The vocal slides characteristic of Ge-ez mode in Ethiopian Christian chant

109
Q

Vocal embellishment with three or more pitches performed on one textual syllable

110
Q

A melodic or harmonic figure, typically at the end of a phrase or piece that creates a sense of repose or resolution

111
Q

A performance practice that features alternation between two or more groups of singers or players

A

antiphonal style

112
Q

A repertory of Ethiopian Christian hymns first composed in the 1960s with texts in the vernacular language, Amharic,

A

Sunday School Songs

Music and World Cultures (8 decks)

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