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Chapter 05: Music and Memory
MULTIPLE CHOICE
1.Which of the following types of music is often written and composed to transmit specific memories of people, places, and events?
| a. | The hymn | d. | The pizmon |
| b. | The corrido | e. | The spiritual |
| c. | The muwashshah | ||
ANS: B DIF: Easy REF: 206 TOP: The Corrido | North America
MSC: Conceptual
2.Which of the following statements about the phonograph era is NOT true?
| a. | It lasted from 1888 to 1940. |
| b. | It produced technology for recording and playing wax cylinders and 78-rpm discs. |
| c. | It fed an ethnic recordings market. |
| d. | It primarily affected North America and Europe. |
| e. | It enabled immigrants to bring recordings, as well as memories, of music to their new homelands. |
ANS: D DIF: Medium REF: 205 TOP: Memory
MSC: Conceptual
3.A ballad, such as the Mexican corrido, usually does NOT:
| a. | tell a story. |
| b. | use strophic form. |
| c. | have an elaborate melody. |
| d. | transmit detailed memories in the lyrics. |
| e. | convey a historical narrative. |
ANS: C DIF: Medium REF: 206 TOP: The Corrido | North America
MSC: Applied
4.What musical aspect of a corrido helps the singer recall its long, detailed texts?
| a. | Rhythm | d. | Timbre |
| b. | Texture | e. | Melody |
| c. | Harmony | ||
ANS: E DIF: Medium REF: 206 TOP: The Corrido | North America
MSC: Conceptual
5.Which of the following corridos exemplifies the transformation of the corrido genre in response to changing political, social, and cultural conditions?
| a. | The victim corrido | d. | The Ballad of Osama bin Laden |
| b. | The revolutionary corrido | e. | All of the above |
| c. | The narco-corrido | ||
ANS: E DIF: Easy REF: 207–210 TOP: The Corrido | North America
MSC: Conceptual
6.Which of the following is NOT a reason why the melody of the corrido Gregorio Cortez makes it easy to perform the long lyrics?
| a. | It is highly repetitive. |
| b. | It uses a very narrow range. |
| c. | It uses mainly conjunct motion. |
| d. | It is supported by complex harmonies. |
| e. | It is set to the lyrics in mostly syllabic text setting. |
ANS: D DIF: Easy REF: 208 TOP: The Corrido | North America
MSC: Applied
7.The New Orleans jazz band developed from all of the following types of bands EXCEPT:
| a. | jug bands. | d. | dance bands. |
| b. | tonk bands. | e. | society bands. |
| c. | brass bands. | ||
ANS:ADIF:HardREF:213
TOP: The Jazz Funeral | North America MSC: Conceptual
8.Which of the following types of music is NOT typically performed in the first half of a jazz funeral?
| a. | Hymns | d. | Lively marches |
| b. | Dirges | e. | Slow or medium-tempo marches |
| c. | Spirituals | ||
ANS:DDIF:EasyREF:212–214
TOP: The Jazz Funeral | North America MSC: Applied
9.Which of the following is a sacred song used for worship?
| a. | A dirge | d. | A lament |
| b. | A hymn | e. | A muwashshah |
| c. | A layali | ||
ANS:BDIF:EasyREF:212
TOP: The Jazz Funeral | North America MSC: Factual
10.Which instrument plays an important role in signaling transitional moments in a jazz funeral?
| a. | The snare drum | d. | The sousaphone |
| b. | The tambourine | e. | All of the above |
| c. | The saxophone | ||
ANS:ADIF:MediumREF:213–214
TOP: The Jazz Funeral | North America MSC: Factual
11.When the Saints Go Marching In begins with a drum passage called a:
| a. | call. | d. | half cadence. |
| b. | double time. | e. | marching cadence. |
| c. | half time. | ||
ANS:EDIF:MediumREF:215
TOP: The Jazz Funeral | North America MSC: Applied
12.Which of the following statements about the process of creating a song by setting a new text to an existing melody is true?
| a. | It results in a song called a contrafactum. |
| b. | It helps ensure that the new words can be easily remembered. |
| c. | It is used in many musical traditions. |
| d. | It is a songwriting technique that has a long history. |
| e. | All of the above are true. |
ANS:EDIF:MediumREF:217
TOP: The Syrian Jewish Pizmon | Middle East MSC: Conceptual
13.In Arab music, a category of melodies that share pitch content, range, and ornaments is called a:
| a. | layali. | d. | darabukkah. |
| b. | maqam. | e. | muwashshah. |
| c. | pizmon. | ||
ANS:BDIF:EasyREF:217
TOP: The Syrian Jewish Pizmon | Middle East MSC: Factual
14.Maqam nahawand was especially memorable and attractive to Arab immigrants to the New World because it:
| a. | sounds similar to the major scale of Western music. |
| b. | sounds similar to the minor scale of Western music. |
| c. | sounds completely different from Western music. |
| d. | was strongly associated with longing and nostalgia for the homeland. |
| e. | was strongly associated with concepts of pride and honor. |
ANS:BDIF:MediumREF:218–219
TOP: The Syrian Jewish Pizmon | Middle East MSC: Conceptual
15.Attah El Kabbir (You, God, Are Mighty) demonstrates the use of:
| a. | polyphonic texture. | d. | an introductory layali. |
| b. | triple meter. | e. | maqam ajam. |
| c. | strophic form. | ||
ANS:DDIF:MediumREF:218–221
TOP: The Syrian Jewish Pizmon | Middle East MSC: Applied
16.In Arab vocal music, a layali is typically:
| a. | lengthy. | d. | sung to vocables. |
| b. | improvised. | e. | sung after a muwashshah. |
| c. | in duple meter. | ||
ANS:BDIF:HardREF:219–220
TOP: The Syrian Jewish Pizmon | Middle East MSC: Applied
17.Pizmonim with Hebrew texts are typically performed in all of the following settings EXCEPT:
| a. | prayer services. |
| b. | social gatherings. |
| c. | celebrations of life-cycle occasions. |
| d. | an afternoon Sebet. |
| e. | an evening haflah. |
ANS:EDIF:HardREF:219–224
TOP: The Syrian Jewish Pizmon | Middle East MSC: Applied
18.The drum commonly used in the Arab Middle East is called the:
| a. | ‘ud. | d. | rebab. |
| b. | qanun. | e. | nay. |
| c. | darabukkah. | ||
ANS:CDIF:HardREF:223 | 230
TOP: The Syrian Jewish Pizmon | Middle East MSC: Factual
19.The pizmon Mifalot Elohim (The Works of God) uses:
| a. | triple meter and a brisk tempo. |
| b. | A B A form, called ternary form. |
| c. | the melody of a popular Italian song, Santa Lucia. |
| d. | a newly composed melody written by Moses Ashear. |
| e. | maqam ajam, which sounds like the Western minor scale. |
ANS:ADIF:MediumREF:224–225
TOP: The Syrian Jewish Pizmon | Middle East MSC: Applied
20.Pizmonim have been sung to the melody of a(n):
| a. | school song. | d. | Arab muwashshah. |
| b. | Christmas song. | e. | All of the above |
| c. | popular Italian song. | ||
ANS:EDIF:EasyREF:219 | 224–225
TOP: The Syrian Jewish Pizmon | Middle East MSC: Applied
TRUE/FALSE
1.Music enhances memory because it helps us recall aspects of our life experience.
ANS: T DIF: Easy REF: 203 TOP: Memory
MSC: Conceptual
2.Each subsequent hearing of a piece of music, like Auld Lang Syne, adds new layers of associations that alter our musical memory over time.
ANS: T DIF: Medium REF: 204 TOP: Memory
MSC: Applied
3.The ethnic recordings market emerged in the late twentieth century along with digital recording technology.
ANS: F DIF: Medium REF: 205 TOP: Memory
MSC: Factual
4.The corrido emerged in the first half of the twentieth century as a song genre shaped by conflict between Mexicans and Anglo-Americans in the Mexico/US border region.
ANS: F DIF: Medium REF: 206 TOP: The Corrido | North America
MSC: Factual
5.After the popularity of hero corridos declined in the early twentieth century, a new type of corrido called the victim corrido became popular.
ANS: T DIF: Medium REF: 207 TOP: The Corrido | North America
MSC: Factual
6.Music performed in a jazz funeral is typically used to transmit detailed memories about the deceased person.
ANS:FDIF:EasyREF:206 | 211–212
TOP: The Jazz Funeral | North America MSC: Conceptual
7.The jazz funeral emerged from the nineteenth-century New Orleans custom of funeral societies sponsoring funerals, which included music by a brass band.
ANS:TDIF:MediumREF:212
TOP: The Jazz Funeral | North America MSC: Conceptual
8.Before the burial at the cemetery, the band in a jazz funeral plays upbeat songs to set the initial tone of celebration.
ANS:FDIF:MediumREF:212
TOP: The Jazz Funeral | North America MSC: Conceptual
9.In Jewish religious tradition, setting a sacred Hebrew text to a non-Jewish melody is believed to bring out the melody’s “holy spark.”
ANS:TDIF:HardREF:217
TOP: The Syrian Jewish Pizmon | Middle East MSC: Conceptual
10.Most pizmonim borrow their tunes from Jewish songs.
ANS:FDIF:EasyREF:217
TOP: The Syrian Jewish Pizmon | Middle East MSC: Factual
11.Pizmonim are performed unaccompanied at a Sebet because Jewish law prohibits playing instruments on the Sabbath.
ANS:TDIF:HardREF:222
TOP: The Syrian Jewish Pizmon | Middle East MSC: Conceptual
SHORT ANSWER
1.The Mexican ________ is a type of song that is designed to convey memories of particular places, people, and events.
ANS:
Corrido
DIF: Easy REF: 206 TOP: The Corrido | North America
MSC: Conceptual
2.The corrido Gregorio Cortez is an example of a ________ corrido, which portrays larger-than-life figures.
ANS:
Hero
DIF: Easy REF: 207 TOP: The Corrido | North America
MSC: Factual
3.The classic New Orleans ________ ________ was typically comprised of five to fourteen wind, string, and percussion instruments playing music suited to outdoor performance.
ANS:
Jazz band
DIF: Easy REF: 213 TOP: The Jazz Funeral | North America
MSC: Factual
4.During the street procession from the cemetery in a jazz funeral, onlookers join the ________ ________, which follows behind the band and mourners.
ANS:
Second line
DIF: Easy REF: 212 TOP: The Jazz Funeral | North America
MSC: Factual
5.A two-headed drum with snares stretched across the bottom is called a ________ ________.
ANS:
Snare drum
DIF: Easy REF: 215 TOP: The Jazz Funeral | North America
MSC: Factual
6.A song that is created by writing new lyrics to a preexisting melody is called a ________.
ANS:
Contrafactum
DIF: Medium REF: 217 TOP: The Syrian Jewish Pizmon | Middle East
MSC: Factual
7.In Arab music, a mode or scale is called a ________.
ANS:
Maqam
DIF: Easy REF: 217 TOP: The Syrian Jewish Pizmon | Middle East
MSC: Factual
8.A maqam is a basic scale divided into two sections of four pitches each, called ________.
ANS:
Tetrachords
DIF: Hard REF: 218 TOP: The Syrian Jewish Pizmon | Middle East
MSC: Factual
9.Attah El Kabbir (You, God, Are Mighty) is a ________, which is a hymn with a Hebrew text set to a preexisting melody.
ANS:
Pizmon
DIF: Easy REF: 216 | 220 TOP: The Syrian Jewish Pizmon | Middle East
MSC: Applied
10.If hearing the sounds of an orchestra caused you to see blue and green colors or smell sweet aromas, you would be experiencing ________.
ANS:
Synesthesia
DIF: Hard REF: 234 TOP: The Syrian Jewish Pizmon | Middle East
MSC: Applied
MATCHING
Match each item to the correct description below.
| a. | dirge |
| b. | narco-corrido |
| c. | mode |
| d. | tetrachord |
| e. | hymn |
1.A sacred song used for worship
2.Four pitches that make up one section of a scale
3.A Mexican ballad about powerful drug lords
4.An instrumental lament played at a slow tempo
5.A category of melody distinguished by its pitch content
1.ANS:E
2.ANS:D
3.ANS:B
4.ANS:A
5.ANS:C
Match each item to the correct description below.
| a. | layali |
| b. | pizmon |
| c. | muwashshah |
| d. | haflah |
| e. | contrafactum |
6.A hymn with a Hebrew text set to a melody borrowed from a non-Jewish source
7.An evening party, such as an anniversary celebration, in the Syrian Jewish community
8.A song created by writing a new text to a preexisting melody
9.An improvised vocal introduction that establishes a maqam
10.An Arab song form composed in three parts (A B A)
6.ANS:B
7.ANS:D
8.ANS:E
9.ANS:A
10.ANS:C
ESSAY
1.Using several corridos mentioned in this chapter as examples, explain how music can transmit detailed memories of people, places, and events.
ANS:
Answers will vary.
2.How does a jazz funeral use several different types or genres of music to commemorate the deceased person in both a solemn and celebratory way?
ANS:
Answers will vary.
3.How does the pizmon Ramach Evarai (Let My Whole Being Testify) demonstrate music’s ability to convey various significances and memories for a family, a religious community, and a larger Middle Eastern community?
ANS:
Answers will vary.
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