Worlds of Music An Introduction to the Music Of the World’s Peoples 6th Edition by Jeff Todd Titon – Test Bank


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Sample Questions Posted Below






Content Quiz


1. ​The muzyka Podhala genres

  a. ​have different functions (e.g., dancing, listening).
  b. ​have the same function—music for singing.
  c. ​avoid ostinatos and repetition.
  d. ​allow little room for improvisation.




2. ​A series or sequence of dance tunes from the Tarta Mountains is known as

  a. ​riffing on saljive pjesme.
  b. ​Yiddish klezmer.
  c. ​reggae fusion.
  d. ​a góralski suite.




3. ​One of Krzysztof’s first successful recordings was a fusion of

  a. ganga singing and a rock beat.
  b. ​American Jazz and Bulgarian folk music.
  c. ​reggae and muyzka Podhala.
  d. ​Yiddish and Christian hymns.




4. ​How does Worlds of Music define “fusion’?

  a. ​a combination of native religious and local music
  b. ​musical purity–no international or outside influence
  c. ​deliberate combining of local and distant musics
  d. ​intense rhythmic interaction and contact




5. ​Which of the following is a feature of Riffing on Music from the “Southern Slavs”?

  a. ​singing by girlfriends who grew up together
  b. ​close polyphony over a rock beat
  c. ​no connection to rural folk musicians
  d. ​combinations of muzyka Podhala and Bulgarian Jazz




6. ​Which of the following is an important theme from ethnomusicology?

  a. ​You need only listen to understand a people’s music.
  b. ​Finding an isolated, pure music-culture.
  c. ​You need to know the context of a people’s music.
  d. ​The homogeneous sound of all European music.




7. ​Politically Europe may be conceived of mostly as

  a. ​a series of fiefdoms.
  b. ​democratic nation-states
  c. ​a monolithic empire.
  d. ​ruled autocratically by kings.




8. ​Which of the following is not a typical characteristic of European music?

  a. ​pulses repeating in groups of twos or threes
  b. ​melodies based on dozens of different scales
  c. ​unique concept of harmony and harmonic rhythm
  d. ​complex rhythmic and formal structures




9. ​Concerning the Górale (or “mountaineer“).

  a. ​They are an ethnic group from the Tarta region of Poland.
  b. ​They create others’ understanding of them through their muzyka Podhala.
  c. ​All of the given answers.
  d. ​Their music is linked to other European and even world-beat music.




10. ​Which of the following is true about the nuta and genres in muzyyka Podhala?

  a. ​Improvisation and variation have little to do with either nuta or genre.
  b. ​The melodic idea of a nuta can be played in various genres.
  c. ​Neither nuta nor genre can be found in the Góralski dance suite.
  d. ​A nuta melody is unchanging and assigned to one specific genre.




11. ​Which of the following is true of the Góralski dance suite?

  a. ​Different genres accompany a single couple as they dance.
  b. ​Genres accompany complicated female line-dancing.
  c. ​All of the given choices are true at different places in the suite.
  d. ​The góralski structure excludes social meaning of the event.




12. ​Which of the following is a significant aspect of the musical career of Krzystof Tebunia-Tuka?

  a. ​He didn’t become famous until he formed a local reggae band.
  b. ​He decided to focus only on reggae music because it paid so well.
  c. ​He thoughtfully combines traditional górale music with other musical genres.
  d. ​His father prohibited him from performing with the family’s band.




13. ​Since the 1970s ethnomusicologists have come to believe their goal should be to

  a. ​understand all influences that affect a music culture.
  b. ​ignore the unique qualities of the muzyka Podhala music-culture.
  c. ​study the exotic music that is still being played around the world.
  d. ​find music that is unaffected by outside sources.




14. ​With “fusion” and “world-beat” music

  a. ​local musicians just want to imitate Western popular music.
  b. ​“fusion” means imitation.
  c. ​local musicians are often staking out local identity in a global context.
  d. ​local music loses its real meaning.




15. ​Which of the following is true about the music and people of Europe?

  a. ​When studying how global sources affect local music, local context is unimportant.
  b. ​Ethnomusicologists are starting to discover the “single way of being European.”
  c. ​Musicians make choices related to their locale, religion, and ideologies as they see fit.
  d. ​Practices in local traditions have been unaffected by religion and political forces.




Listening Quiz


16. ​The timbre in this selection reflects

  a. ​one female singing alone throughout the entire selection.
  b. ​two singers start a phrase, followed by lead singer.
  c. ​a lead singer beginning then joined by two other singers.
  d. ​a large female choir with more than two singers on a part.




17. ​In this selection, the basy plays

  a. ​the main melody.
  b. ​different notes on each beat.
  c. ​a constantly changing part.
  d. ​a repeating pattern (ostinato).




18. ​One of the characteristics that unifies the music in this selection is the

  a. ​repeating harmonic/rhythmic pattern
  b. ​female ganga singing
  c. ​asymmetrical (additive meter)
  d. ​triple meter used throughout




19. ​Which of the following instrument(s) in the example is/are not usually associated with traditional góralski dance music heard in this selection?

  a. basy
  b. ​violin
  c. ​whistle & vocal call
  d. ​drums




20. ​What is the form of the music?

  a. ||: AAB :||
  b. ||: AB :||
  c. ​ A A’ A”
  d. ||: ABC :||




21. ​The violin and singer in this selection

  a. ​play a stream of changing melodies.
  b. ​play a verse melodic idea (nuta) followed by a refrain.
  c. ​keep repeating the same melodic idea (nuta).
  d. ​play dissonant polyphony.




22. ​The texture of the music in this selection—how the melody is being treated—is mostly

  a. ​monophonic
  b. ​polyphonic
  c. ​homophonic
  d. ​heterophonic




23. ​The music in this selection is based on

  a. muzyka Podhala.
  b. ​riffing on ganga.
  c. ​Yiddish klezmer.
  d. ​Bulgarian folk music.




24. ​The recording’s timbre reflects the

  a. ​use of jazz instruments (clarinet, saxophone, drums).
  b. ​use of folk instruments (violin, whistle, basy).
  c. ​electric bass guitar and drums as solo instruments.
  d. ​use of a traditional Górale string ensemble.




25. ​The meter of this selection is

  a. ​asymmetrical or additive.
  b. ​duple.
  c. ​triple.
  d. ​The music has no meter.




26. ​The music in this selection probably is

  a. ​only listened to.
  b. ​an example of pop fusion.
  c. ​part of a dance suite.
  d. ​accompanying ganga.




27. This example comes from which of the following?

  a. ​Yiddish klezmer
  b. ​Bulgarian jazz
  c. muzyka Podhala
  d. ​world-beat fusion




28. ​The music of this selection was inspired by

  a. ​Polish traditional music.
  b. ​Sarajevo ganga singing.
  c. ​chanting the Koran.
  d. ​Bulgarian wedding music.




29. ​The meter of the music in this selection is

  a. ​triple (3 beats/measure).
  b. ​The music is unmetered.
  c. ​quadruple (4 beats per measure).
  d. ​asymmetric (2 1 2 3 in each measure).




30. ​This example comes from which of the following traditions/styles?

  a. ​world-beat fusion
  b. muzyka Podhala
  c. ​Bulgarian jazz
  d. ​Yiddish klezmer




​Short Answer Quiz


31. Describe the muzyka podhala and reggae fusion.

ANSWER:   Answers will vary.

  • This fusion started as a studio mix of muzyka Podhala (by the Trebunie-Tuki family string band) and reggae (by The Twinkle Brothers)
  • The continuous reggae beat (“dub”) is heard throughout the recording along with the sound from time to time of a Górale kapela (string band) playing a traditional góralski dance tune or song.
  • The text is a loose translation of the original Górale text and concerns a universal Robin Hood-like symbol of freedom and justice.
  • Like many world-beat fusions, this project allowed Polish Górale to make statements about their local identity on a world stage.


32. Define and exemplify with the Tarta wedding possession the themes of (A) cultural diversity of Europe, (B) cultural context, and (C) music and identity.

ANSWER:   Answers will vary.

  • There is great diversity of cultural practices found in Europe: e.g., musical practices essential to wedding rituals vary greatly throughout Europe.
  • Cultural context is essential for understanding the function and meaning of musical sounds: Only when we can place the musical sounds of this CD track into their particular cultural context can we understand that the music is “wedding music.”
  • Music is an essential way in which people realize their identities, both personal and collective: The music with its polyphonic singing and violins playing duple-metered, homophonic music in a string band sounds “European.”


33. Explain how the continuum concept can be applied to the pasterska, wierchowa, and ozwodna genres from muzyka Podhala.

ANSWER:   Answers will vary.

  • The distinctions among the three genres–pasterska, wierchowa, and ozwadna–can be thought of as existing a continuum moving from the Pasterska, which is typically unmetered, for listening, and performed vocally, to the
  • Wierchowa, which can be unmetered or metered, for listening or dancing, and performed vocally and/or instrumentally, to the
  • Ozwodna, which is metered, for dancing and performed instrumentally.


34. What are the significant musical features of the world-beat fusion of the ganga recorded by university students in the United States (“Žuta Baba”)? Define “fusion” as applied to music.

ANSWER:   Answers will vary.

  • Dissonant (to many American listeners) polyphonic singing by a group of female students from an American University.
  • The musical phrases end in pitches descending downward (glissando); the singing is loud and direct.
  • This regional song originally from a traditional Bosnian village is “fused” with a strong rock-beat background played on electric guitar, bass, and a drum set (typical rock band). “Fusion” in this context means combining different elements from different musical styles “through intense contact and interaction.”


35. Discuss the influence of religious institutions on musics in Europe.

ANSWER:   Answers will vary.

  • The three largest religions in Europe historically are Christianity, Judaism, and Islam. All include music (or musical sounds) in their worship that influence community soundscapes (i.e. the Call to Prayer in Muslim communities; congregational singing in Protestant churches).
  • Customs and traditions shared by people of different faiths spread with them as they moved around Europe.
  • Religions developed systems of writing, and sometimes encouraged musical literacy.
  • Klezmorim ensembles of itinerant musicians in Ashkenazic Jewish communities developed a musical style that was often widely appreciated.
  • Religious holidays often included special musical traditions.



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