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The basic format of the Final Exam is simlar to
that of the Midterm; there are listening questions,
which ask you to identify and describe musical
examples we have discussed in class; factual
questions in multiple choice, true false and
matching formats; and an essay question
LISTENING QUESTIONS
The Listening portion of the Final Exam will
work just like on the midterm exam. This portion
will NOT be open book, but will use the same
multiple choice format as the midterm.
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Eight Examples will be chosen from this
list of possibilties.
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CD 2:9
Melody for Mahakala
(Tibetan Chant)
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CD 3: 3
Mifalot Elohim (The Works
of God) pizman
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CD 2: 10
Chango
(Santeria)
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CD 3: 6
Concerto for Flute and
Orchestra
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CD 2: 15
Lent
(Ethiojazz)
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CD 3: 9
Allons a Lafayette (Lets
Go to Lafayette)
Cajun
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CD 2: 16
Aaoo Nachiye (Come Let's
Dance) bhangra
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CD 3: 14 The
New South African National
Anthem
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CD 2: 18 La
Cumparsita (tango
song)
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CD 3: 15
Get Up, Stand Up
reggae
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CD:2: 19
Adios Nonino (new
tango)
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CD 3: 20
Ellis March (Hawaiian
Steel Guitar March)
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CD 2: 20
Gregorio Cortez
(Mexican-American
)
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CD 3: 21
Tango
Rememberances
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CD 3: 1
Attah Al Kibbir (You, God,
Are Mighty)
pizman
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CD 3: 23
Windhorse
Riders
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There will be four questions about each
example; the first question will ask you
identify the piece by choosing from a list
of four possibilities from this list. The
other three will focus on the sound,
setting and significance of the example,
as discussed in the Listening Guide in the
text, in other text discussion and in
lecture.
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FACTUAL QUESTIONS
For this exam it will be most useful to use
these questions as the basis for your study. All
exam questions(multiple choice, true false,
matching) will be made from these
questions.
Chapter 5 Music of Worship and Belief
Compare the changes that have taken place in the
musical rituals of Tibetan Monks, members of
Santeria and members of the Ethiopian Christian
Church when each came to North America. Base your
comparison by answering these questions for each
group:
Did significant numbers of new participants join
in the rituals? If so, how did the new participants
change the rituals?
Did the purpose of the rituals change? If so,
how and why? Did the content of the rituals change?
If so, how and why? Did the setting of the rituals
change? If so how and why?
Chapter 6 Music and Dance
Compare the evolution of bhangra, polka
and tango by answering these questions
about each type of dance.
Where did the dance originate? Who were the
dancers? What were its original settings?What were
its original functions?
How did its setting--place of
performance--change when it migrated to North
America?What new functions did the dance serve when
it came to North America?
Chapter 7 Music and Memory
Compare the role of music in the corrido
tradition in Mexcian culture, in the tradition of
music played going to and from the cemetary in New
Orleans funeral and in the Syrian Jewish
pizman tradition.
What was the role of word to the music in each
setting? Were wrods sung, or just instruments
playing the music?
What was the subject of the words? Were they
written for any special occasion?
What were the sources of the music? Was it
written to go with the words?
What kind of memory did the music seek to
preserve?
Chapter 8 Music and Identiy
Compare the musical experience of a Persian
musician and an American classical composer when
each listens to the Reza Vali Concerto for Flute
and Orchestra. What difference does background
make in what we hear?
What is karaoke? Where did it originate? How
does karaoke relate to music and identity?
What are the origins of Cajun music? of Creole
music? What musical characteristics--instruments,
style, language, function--do these musics share?
What are the most important distinguishing
features?
How has each contributed to preserving the
identity of its creators and partipants?
Chapter 9 Music and Politics
What musical and cultural traditions are
represented in the text and music of the New South
African National Anthem? How does this anthem seek
to unify the conflicting worlds of black liberation
and apartheid?
What were the original roots of reggae? What
were the political and social goals of reggae
music? What muscial means does reggae use to reach
its audience? How musically successful has reggae
become? Has it remained committed to its original
social goals?
Describe the role of the flag song in the Native
American pow wow. How does the Flag Song make an
explicit political statement about Native Americans
in American culture? How does the pow wow create a
setting for new meanings for traditional Native
American rituals?
Chapter 10 Music in the Real World
How has technology impacted the sound, settings
and significance of music in the last 50 years
(since the advent of hi-fi records and tape
recording)? Focus on the effects of making and
distributing recordings, the creation of new
instruments, and the new kinds of musical fusions
technology makes possible.
ESSAY QUESTION
Choose three musical traditions we have
discussed this semester and are included in the
text. Compare the impact that technology has had on
the sound, the setting and the significance of that
tradition in the last half century.
As before, prepare this question before you come
to class. If you choose, you can write it up and
turn it in with your exam; or you may choose to
write your answer in class. You will not be
penalized for writing your answer in class--I will
evalute your answer taking into account the time
you had to write it.
If you have questions, e-mail me at wj1707@aol.com
and I will get back to you
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