Music and World Cultures Final Exam

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

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

Who composed Poeme elctronique

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

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

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

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

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

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

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

Music and architecture share experiential qualities

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

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

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

When was the Philips Pavilion constructed

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

Howard and Morretti’s study focused on

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

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

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

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

variety, some reflecting earlier styles and others largely unprecedented

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

When was the word “acoustics” first used?

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 timefalse

Howard and Moretti's project goal

basic shape of a typical opera house seating plan

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

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

divided or split choir

Who was involved with designing the architecture of the Philips Pavilion

good acoustic space for Baroque space

good acoustic space for Classical music

good acoustic space for Romantic music

good acoustic space for Twentieth-century music

Every concert hall and opera house has identical acoustics

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

Nuper rosarum flores

Poeme elcetronique

Symphony No. 94 ("Surpries"), movement 2

Prelude to Act 1, from Parsifal

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

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

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

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

characteristics that make up a good concert hall

a choir secluded behind the high altar

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

Who said "I call architecture 'petrified music;"

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

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

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

architecture, composition, conductor, and performers

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

contrapuntal, with clarity and brightness

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

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

ritual phrase or formula

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

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

A vocal slide used in Ethiopian Christian chant

A worshipper of orishas

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

The head musician in the Ethiopian church

A Tibetan Buddhist ritual meditation text

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

Ethiopian Christian chant

Which type of ritual is the bar mitzvah

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

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

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

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

An Ethiopian church musician

The primary ritual for the performance of Ethiopian Christian chant

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

A Santeria rhythmic pattern

Ethiopian Christian chant

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

Handwritten copy of Five Books of Moses used in Jewish rituals

Feelings of social union and togetherness generated by rituals

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

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

A song book of Tibetan dbyang

instrumental ensemble accompanying Buddhist chant; the cymbals in religious practies

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

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

colloquial term for biphonic vocal style in Tibetan buddhist chant

Ceremony in honor of Tibetan Buddhist deity Mahalaka

Circular symbol in Buddhism representing the universe

beat in Tibetan Buddhist musical practice

An Afro-cuban religious and musical practice

Mutual aid societies established by slaves in Cuba

Saint, in the Santeria traidtion

initiated priest of the orishas in Santeria

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

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

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

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

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

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

The music of the Ethiopian Christian liturgy.

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

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

Ethiopian double-headed conical membranophone

Resonant stone slabs struck to call Ethiopian Christians to prayer

A group of celebratory Ethiopian Christian chants

Ethiopian term for monophonic chant or plainchant

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

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

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

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

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