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Understanding Quiz C

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Question 1 of 14

1. Question
Select all the instruments part of the brass family.
- trumpet
- trombone
- tuba
- clarinet
- saxophone
- cymbals
- cello
- synthesizer
Question 2 of 14

2. Question
Select all the instruments which are part of the woodwind family.
- tuba
- clarinet
- saxophone
- cymbals
- flute
- violin
- stand-up bass
- piano
Question 3 of 14

3. Question
Select all the instruments which are part of the string family.
- guitar
- violin
- recorder
- trombone
- cymbals
- banjo
- drum
- pipe organ
Question 4 of 14

4. Question
A common building block in American popular music song structure is a “verse” – defined as:
- Telling a story or setting forward a scenario; music repeats the same each time, but with different text or lyrics each time.
- Giving a response to the story or scenario; often an emotional or action response; music AND lyrics are repeated the same every time.
- Often beginning a song, most often instrumental, this sets the "emotional feel" and musical style of the song.
- Not appearing in every song, but when it does, it appears about 2/3rds of the way through; only appears once, unique music AND lyrics, most often shifting temporarily to a new "key".
- Last building block of a song provides an "exit"; less creative exit solutions involve a gradual fading out during multiple repetitions of music.
Question 5 of 14

5. Question
A common building block in American popular music song structure is a “chorus” – defined as:
- Telling a story or setting forward a scenario; music repeats the same each time, but with different text or lyrics each time.
- Giving a response to the story or scenario; often an emotional or action response; music AND lyrics are repeated the same every time.
- Often beginning a song, most often instrumental, this sets the "emotional feel" and musical style of the song.
- Not appearing in every song, but when it does, it appears about 2/3rds of the way through; only appears once, unique music AND lyrics, most often shifting temporarily to a new "key".
- Last building block of a song provides an "exit"; less creative exit solutions involve a gradual fading out during multiple repetitions of music.
Question 6 of 14

6. Question
A common building block in American popular music song structure is a “bridge” – defined as:
- Telling a story or setting forward a scenario; music repeats the same each time, but with different text or lyrics each time.
- Giving a response to the story or scenario; often an emotional or action response; music AND lyrics are repeated the same every time.
- Often beginning a song, most often instrumental, this sets the "emotional feel" and musical style of the song.
- Not appearing in every song, but when it does, it appears about 2/3rds of the way through; only appears once, unique music AND lyrics, most often shifting temporarily to a new "key".
- Last building block of a song provides an "exit"; less creative exit solutions involve a gradual fading out during multiple repetitions of music.
Question 7 of 14

7. Question
A common building block in American popular music song structure is an “introduction” – defined as:
- Telling a story or setting forward a scenario; music repeats the same each time, but with different text or lyrics each time.
- Giving a response to the story or scenario; often an emotional or action response; music AND lyrics are repeated the same every time.
- Often beginning a song, most often instrumental, this sets the "emotional feel" and musical style of the song.
- Not appearing in every song, but when it does, it appears about 2/3rds of the way through; only appears once, unique music AND lyrics, most often shifting temporarily to a new "key".
- Last building block of a song provides an "exit"; less creative exit solutions involve a gradual fading out during multiple repetitions of music.
Question 8 of 14

8. Question
A common building block in American popular music song structure is a “tag” – defined as:
- Telling a story or setting forward a scenario; music repeats the same each time, but with different text or lyrics each time.
- Giving a response to the story or scenario; often an emotional or action response; music AND lyrics are repeated the same every time.
- Often beginning a song, most often instrumental, this sets the "emotional feel" and musical style of the song.
- Not appearing in every song, but when it does, it appears about 2/3rds of the way through; only appears once, unique music AND lyrics, most often shifting temporarily to a new "key".
- Last building block of a song provides an "exit"; less creative exit solutions involve a gradual fading out during multiple repetitions of music.
Question 9 of 14

9. Question
The formula for determining the “tempo” or the speed of the music is:
- Count beats in a minute and multiply by 4
- Count beats in 15 seconds and multiply by 6
- Count beats in 10 seconds and multiply by 6
- Count beats in 2 minutes and divide by 5
- Count beats in 10 seconds and multiply by 4
Question 10 of 14

10. Question
The “tempo” or speed of the music is measured in ______.
- bpm
- cps
- cpm
- mps
- pmb
Question 11 of 14

11. Question
A xylophone is considered a “non-pitched” instrument.
- False
- True
Question 12 of 14

12. Question
A gong is part of the brass family of instruments.
- False
- True
Question 13 of 14

13. Question
A saxophone is a member of the woodwind family.
- True
- False
Question 14 of 14

14. Question
Speeding up or slowing down the speed of a piece of music is called “changing the _____”.
- tempo
- structure
- instrumentation
- measures
- beats

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Study Units

Understanding Music

An Overview

Ch. 1: Understanding Pitch

Ch. 2: Understanding Musical Pulse

Ch. 3: Understanding Volume

Ch. 4: Understanding Tone

Ch. 5: Understanding Melody

Ch. 6: Understanding Harmony

Ch. 7: Understanding Rhythm

Ch. 8: Understanding Bass

Ch. 9: Understanding Countermelody

Ch. 10: Understanding Structure

Ch. 11: Understanding Instrumentation

Ch. 12: Understanding Tempo

19th Century Music

An Overview

Ch. 1: 19^th Century: Pre-Foster

Ch. 2: Folk Music by the People

Ch. 3: Popular Music in its Infancy

Ch. 4: Stephen Foster – “Father of American Popular Music”

Ch. 5: The Importance of Stephen Foster

Ch. 6: Scott Joplin – “King of Ragtime”

Ch. 7: The Player Piano – Automated Music

Ch. 8: John Philip Sousa – “The March King”

Ch. 9: John Philip Sousa – Recording Artist and Activist

20th Century Folk Music

An Overview

Ch. 1: John Lomax – Recording American Roots Music

Ch. 2: Woody Guthrie – “Father of Modern American Folk Music”

Ch. 3: Leadbelly & Pete Seeger: End of the First Wave

Ch. 4: The Kingston Trio – Beginning of the Second Wave

Ch. 5: Joan Baez – “First Lady of Folk Music”

Ch. 6: Peter, Paul & Mary – Balancing the Message

Ch. 7: Robert Zimmerman – The Beginning of an American Icon

Ch. 8: Dylan in New York City

Ch. 9: Dylan after Newport

Ch. 10: The Importance of Dylan

Ch. 11: Folk Music in the 21^st Century

Country & Western

An Overview

Ch. 1: The Roots of Country

Ch. 2: Bristol Beginnings

Ch. 3: The Grand Ole Opry

Ch. 4: Cowboys and the Movies

Ch. 5: Western Swing

Ch. 6: Bluegrass: Hillbilly on Caffeine

Ch. 7: Honky-tonk: Merging Two into One

Ch. 8: The Nashville Sound: Country-Pop

Ch. 9: Rockabilly – Country meets R&B

Ch. 10: Country Feminists Find Their Voice

Ch. 11: The Bakersfield Sound

Ch. 12: Austin “Outlaw” Country

Ch. 13: Neo-Traditionalists at the end of the 20^th Century

Ch. 14: Mainstreaming Country in the ‘90s

Ch. 15: Redesigning Country in the 21^st Century

Jazz

An Overview

Ch. 1: What is Jazz?

Ch. 2: Before It Was Jazz

Ch. 3: Jazz is Born!

Ch. 4: Early Jazz Musicians

Ch. 5: Louis Armstrong

Ch. 6: Chicago and Harlem – Hub of 1920s Jazz

Ch. 7: Big Band – Jazz Swing!

Ch. 8: Big Band Musicians and Singers

Ch. 9: Jump Blues and Bop

Ch. 10: Cool Jazz

Ch. 11: Hard Bop

Ch. 12: Free Jazz – Breaking the Rules

Ch. 13: Fusion – The Jazz-Rock-Funk Experience

Ch. 14: Third Stream and World Jazz

Ch. 15: New Age & Smooth Jazz

Ch. 16: Summary – Jazz Lives!

Blues

An Overview

Ch. 1: Blues – The Granddaddy of American Popular Music

Ch. 2: Where Did the Blues Come From?

Ch. 3: What Are the Blues?

Ch. 4: How to Build the Blues

Ch. 5: Classic Blues – The Early Years

Ch. 6: Delta Blues – Authentic Beginnings

Ch. 7: Blues in the City – Migration and Power

Ch. 8: Blues in Britain – Redefining the Masters

Ch. 9: Contemporary Blues – Maturity and Respect

Ch. 10: The Relevancy of the Blues Today

Rock ‘n’ Roll (1950s) (Only first two decades listed)

Ch. 1: Timelines, Cultures & Technology

Ch. 2: Pre-Rock Influences

Ch. 3: Rock is Born!

Ch. 4: Rock is Named

Ch. 5: Doo-Wop

Ch. 6: Independent Record Labels

Ch. 7: Technology Shapes Rock ‘n’ Roll

Ch. 8: The Plan to Mainstream Rock ‘n’ Roll

Ch. 9: Payola – Rock ‘n’ Roll’s First Scandal

Rock ‘n’ Roll (1960s)

Ch. 1: Crafting Sound in the Studio/Producers and Hit Songs

Ch. 2: West Coast Sound: Beach, Surf, and Teens

Ch. 3: The British Invasion: Two Prongs – Pop & Blues

Ch. 4: Motown and the Development of a Black Pop-Rock Sound

Ch. 5: Soul Music: Gospel and R&B in the Deep South

Ch. 6: The Sounds of Bubble Gum Pop-Rock

Ch. 7: The Arrival of Folk-Rock

Ch. 8: Psychedelic Rock ‘n’ Roll

Ch. 9: Early Guitar Gods of Rock

Ch. 10: Rock Festivals: The Rise and Fall of Music, Peace, and Love

Ch. 11: Anti-Woodstock and Shock Rock Movements

Rap & Hip-Hop

Ch. 1: Technological Breakthroughs

Ch. 2: Electronic Dance Music

Ch. 3: Hip-Hop & Rap – An Introduction

Ch. 4: The Beginnings of Rap

Ch. 5: Old School Rap – Up From the Streets

Ch. 6: Rap’s Golden Age

Ch. 7: East Coast – Political Rap

Ch. 8: West Coast – Gangsta Rap

Ch. 9: The Fragmentation of Rap – Pop, Party & More

Ch. 10: Further Fragmentation – Different Directions

Ch. 11: The Importance of Rap

Musical Theatre

Ch. 1: Musical Stage Productions in America before the 1800s

Ch. 2: Minstrel Shows and Melodramas

Ch. 3: Stage Presentations in the Late 19^th Century

Ch. 4: Early 20^th Century: Revues and Operettas

Ch. 5: The Arrival of the Modern American Musical

Ch. 6: Great Partnerships in Book-Musicals

Ch. 7: Musical Theatre Composers in the mid-Century

Ch. 8: Fresh Voices on the Stage in the 1960s

Ch. 9: Two Dominant Forces at the End of the Century

Ch. 10: New Voices at the End of the Century

Ch. 11: New Voices, New Sounds in the New Century

Ch. 12: Musical Theatre Glossary

Ch. 13: Is it “Theatre” or “Theater”?

Study Units also have “Playdecks” – containing hundreds of chronologically organized audio examples of music in the study units, and “Study Qs” for unit chapters.

Understanding Quiz C

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