Question 1

The Mahakala ritual chant in the Listening Guide is an example of what type of vocal performance?

Accepted Answer

A) Overtone singing 
B) Biphonic singing 
C) The Tantra voice 
D) The mdzo voice 
E) All of the above 
A) Overtone singing 
B) Biphonic singing 
C) The Tantra voice 
D) The mdzo voice 
E) All of the above

Question 2

The Qoma-style version of Yome fesseha kone includes the vocal embellishment of one syllable with several pitches,called a:

Accepted Answer

A) melisma. 
B) falsetto. 
C) cadence. 
D) brdung. 
E) dewel. 
A) melisma. 
B) falsetto. 
C) cadence. 
D) brdung. 
E) dewel.

Question 3

What are some of the different ways that music and movement can be used in religious ritual to achieve a state of transcendence? Support your answer by discussing several Listening Guide examples from the chapter.

Accepted Answer

Music and movement are integral componen

Question 4

The central complex of prayers and ceremonies in Roman Catholic worship is called the ________.

Accepted Answer

The answer of The central complex of prayers and ceremonies...

Question 5

One of the goals of Santería worship is to consult the orishas and obtain their help with the problems of daily life.

Accepted Answer

A) True 
 B)False

Question 6

Match each item to the correct description below.
-A worshipper of orishas

Accepted Answer

A) iyá 
B) santero 
C) marigeta 
D) rekrek 
E) sadhana 
A) iyá 
B) santero 
C) marigeta 
D) rekrek 
E) sadhana

Question 7

The motions of the cymbals in the Mahakala ritual symbolically represent a mandala.

Accepted Answer

A) True 
 B)False

Question 8

The creation of zema,or Ethiopian Christian chant,is attributed to Saint Yared,who is said to have composed the chants under divine inspiration.

Accepted Answer

A) True 
 B)False

Question 9

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

Accepted Answer

A) dbyangs. 
B) brdung. 
C) rol mo. 
D) dewel. 
E) kebaro. 
A) dbyangs. 
B) brdung. 
C) rol mo. 
D) dewel. 
E) kebaro.

Question 10

Match each item to the correct description below.
-The primary ritual for the performance of Ethiopian Christian chant

Accepted Answer

A) debtara 
B) mantra 
C) toque 
D) Mahlet 
E) zema 
A) debtara 
B) mantra 
C) toque 
D) Mahlet 
E) zema

Question 11

The Santería chant Changó uses all of the following musical elements EXCEPT:

Accepted Answer

A) call-and-response between leader and chorus. 
B) a polyrhythmic texture. 
C) a chant based on a pentatonic scale. 
D) a moderate triple meter. 
E) interaction of the iyá,itótele,and okónkolo drums. 
A) call-and-response between leader and chorus. 
B) a polyrhythmic texture. 
C) a chant based on a pentatonic scale. 
D) a moderate triple meter. 
E) interaction of the iyá,itótele,and okónkolo drums.

Question 12

In Santería,orishas are associated with particular:

Accepted Answer

A) chants. 
B) plants. 
C) drum rhythms. 
D) dance movements. 
E) All of the above 
A) chants. 
B) plants. 
C) drum rhythms. 
D) dance movements. 
E) All of the above

Question 13

Match each item to the correct description below.
-A Tibetan Buddhist ritual meditation text

Accepted Answer

A) iyá 
B) santero 
C) marigeta 
D) rekrek 
E) sadhana 
A) iyá 
B) santero 
C) marigeta 
D) rekrek 
E) sadhana

Question 14

Santería developed as an Afro-Cuban religion by blending Nigerian language and practices with aspects of Catholicism.

Accepted Answer

A) True 
 B)False

Question 15

Cabildos aided the development of Santería because:

Accepted Answer

A) they generated a profit for the cult by selling icons to tourists. 
B) they enabled African slaves in Cuba to worship their gods and perform their music. 
C) they were exempted from restrictive regulations imposed by the Cuban government. 
D) they created archives of Santería texts that were preserved into the twentieth century. 
E) None of the above 
A) they generated a profit for the cult by selling icons to tourists. 
B) they enabled African slaves in Cuba to worship their gods and perform their music. 
C) they were exempted from restrictive regulations imposed by the Cuban government. 
D) they created archives of Santería texts that were preserved into the twentieth century. 
E) None of the above

Question 16

From a Tibetan perspective,the concept of beat,or brdung:

Accepted Answer

A) corresponds to the Western concept of a steady pulse. 
B) is similar to the Western concept of duple meter. 
C) refers to one strike on any percussion instrument. 
D) is a series of accelerating,unequal pulses. 
E) consists of a single cymbal strike. 
A) corresponds to the Western concept of a steady pulse. 
B) is similar to the Western concept of duple meter. 
C) refers to one strike on any percussion instrument. 
D) is a series of accelerating,unequal pulses. 
E) consists of a single cymbal strike.

Question 17

The ritual process can lead participants to feel like they have merged intensely with a broader community,an experience that anthropologists call ________.

Accepted Answer

The answer of The ritual process can lead participants to...

Question 18

Transcendence is almost always achieved in rituals through the help of loud drumming and singing.

Accepted Answer

A) True 
 B)False

Question 19

How have diaspora Ethiopians creatively addressed challenges to their Christian faith and religious practices in North America?

Accepted Answer

Diaspora Ethiopians in North America hav

Question 20

In Santería rituals,batá drums are played to ward off the orishas.

Accepted Answer

A) True 
 B)False

The Mahakala ritual chant in the Listening Guide is an example of what type of vocal performance?

The Qoma-style version of Yome fesseha kone includes the vocal embellishment of one syllable with several pitches,called a:

What are some of the different ways that music and movement can be used in religious ritual to achieve a state of transcendence? Support your answer by discussing several Listening Guide examples from the chapter.

The central complex of prayers and ceremonies in Roman Catholic worship is called the ________.

One of the goals of Santería worship is to consult the orishas and obtain their help with the problems of daily life.

Match each item to the correct description below. -A worshipper of orishas

The motions of the cymbals in the Mahakala ritual symbolically represent a mandala.

The creation of zema,or Ethiopian Christian chant,is attributed to Saint Yared,who is said to have composed the chants under divine inspiration.

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

Match each item to the correct description below. -The primary ritual for the performance of Ethiopian Christian chant

The Santería chant Changó uses all of the following musical elements EXCEPT:

In Santería,orishas are associated with particular:

Match each item to the correct description below. -A Tibetan Buddhist ritual meditation text

Santería developed as an Afro-Cuban religion by blending Nigerian language and practices with aspects of Catholicism.

Cabildos aided the development of Santería because:

From a Tibetan perspective,the concept of beat,or brdung:

The ritual process can lead participants to feel like they have merged intensely with a broader community,an experience that anthropologists call ________.

Transcendence is almost always achieved in rituals through the help of loud drumming and singing.

How have diaspora Ethiopians creatively addressed challenges to their Christian faith and religious practices in North America?

In Santería rituals,batá drums are played to ward off the orishas.

Sound: The Materials of Music

Setting: The Study of Local Musics

Significance: Musics Meaning in Everyday Life

Music and Migration

Music and Memory

Music,mobility,and the Global Marketplace

Music and Dance

Music and Politics

Music and Identity

Epilogue

Introduction: What Is a Soundscape

Filters

Exam 8: Music and Ritual

The Mahakala ritual chant in the Listening Guide is an example of what type of vocal performance?

The Qoma-style version of Yome fesseha kone includes the vocal embellishment of one syllable with several pitches,called a:

What are some of the different ways that music and movement can be used in religious ritual to achieve a state of transcendence? Support your answer by discussing several Listening Guide examples from the chapter.

The central complex of prayers and ceremonies in Roman Catholic worship is called the ________.

One of the goals of Santería worship is to consult the orishas and obtain their help with the problems of daily life.

Match each item to the correct description below. -A worshipper of orishas

The motions of the cymbals in the Mahakala ritual symbolically represent a mandala.

The creation of zema,or Ethiopian Christian chant,is attributed to Saint Yared,who is said to have composed the chants under divine inspiration.

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

Match each item to the correct description below. -The primary ritual for the performance of Ethiopian Christian chant

The Santería chant Changó uses all of the following musical elements EXCEPT:

In Santería,orishas are associated with particular:

Match each item to the correct description below. -A Tibetan Buddhist ritual meditation text

Santería developed as an Afro-Cuban religion by blending Nigerian language and practices with aspects of Catholicism.

Cabildos aided the development of Santería because:

From a Tibetan perspective,the concept of beat,or brdung:

The ritual process can lead participants to feel like they have merged intensely with a broader community,an experience that anthropologists call ________.

Transcendence is almost always achieved in rituals through the help of loud drumming and singing.

How have diaspora Ethiopians creatively addressed challenges to their Christian faith and religious practices in North America?

In Santería rituals,batá drums are played to ward off the orishas.

Sound: The Materials of Music

Setting: The Study of Local Musics

Significance: Musics Meaning in Everyday Life

Music and Migration

Music and Memory

Music,mobility,and the Global Marketplace

Music and Dance

Music and Politics

Music and Identity

Epilogue

Introduction: What Is a Soundscape

Filters