A) Sociology B) Harmonics C) Organology D) Ethnomusicology
A) Percussion B) Brass C) Woodwind D) String
A) Brass B) Percussion C) String D) Woodwind
A) Brass B) Woodwind C) Keyboard D) Percussion
A) Piano B) Trumpet C) Flute D) Harmonica
A) Guitar B) Violin C) Trombone D) Harmonica
A) Trombone B) Clarinet C) French horn D) Trumpet
A) Maracas B) Banjo C) Triangle D) Tuning fork
A) The term was derived from early English musicology. B) It was coined in the 19th century by Curt Sachs. C) It originates from Latin terms related to musical theory. D) It comes from Ancient Greek words meaning 'instrument' and 'the study of'.
A) No ancient cultures documented their musical instruments. B) Only Greek and Roman cultures provided detailed documents. C) A number of ancient cultures left such documents. D) Documents were exclusively from the Middle East.
A) Martin Agricola B) Sebastian Virdung C) Curt Sachs D) Michael Praetorius
A) It introduced the Hornbostel-Sachs classification system. B) It was the first to classify African instruments in Europe. C) It focused on modern Western instruments. D) It is a major source of knowledge about Renaissance musical instruments.
A) They focused solely on European instrument development. B) They returned with instruments from different cultures, expanding collections. C) They wrote extensive treatises on musical theory. D) They invented new classification systems for instruments.
A) 1990 B) 1985 C) 2000 D) 1975
A) The irrelevance of cultural perspectives. B) The simplicity and universality of classification. C) The complexity due to socially influenced or structured ideas or belief systems. D) The accuracy of European classifications.
A) Igor Matsiyevsky B) Bob Moog C) Leon Theremin D) Mykola Lysenko
A) Bart Hopkin B) Victor-Charles Mahillon C) Harry Partch D) Erich von Hornbostel
A) Four chronological periods: early instruments, antiquity, the middle ages, and the modern occident. B) Five categories based on state-of-matter. C) Two categories: traditional and modern. D) Three main types of sound production.
A) Oxford B) Melbourne C) New York D) London
A) Filaret Kolessa B) Volodymyr Kushpet C) Adolf Chybinski D) Hnat Khotkevych
A) Harry Partch B) Ivor Darreg C) Erich von Hornbostel D) Leo Fender
A) Harry Partch B) Curt Sachs C) Victor-Charles Mahillon D) Bob Moog
A) Curt Sachs and Erich von Hornbostel B) Michael Praetorius and Sebastian Virdung C) Andre Schaeffner and Curt Sachs D) Sebastian Virdung and Martin Agricola
A) Aerophones B) Electrophones C) Percussion D) Chordophones
A) On the cultural origin of instruments. B) On historical periods and regions. C) On the state-of-matter of the sound-producing mechanism. D) On the size and shape of instruments.
A) Ivor Darreg B) Andre Schaeffner C) Curt Sachs D) Leo Fender
A) The American Musical Instrument Society B) None of the above C) The Galpin Society D) The Gesellschaft der Freunde alter Musikinstrumente
A) Curt Sachs B) Anthony Baines C) Victor-Charles Mahillon D) William Waterhouse
A) Filaret Kolessa B) Volodymyr Kushpet C) Adolf Chybinski D) Klyment Kvitka
A) Early instruments, antiquity, middle ages, modern occident. B) Strings, percussion, woodwind, and brass. C) Idiophones, membranophones, chordophones, and aerophones. D) Solid, liquid, gas, and electrophones.
A) Adolf Chybinski B) Igor Matsiyevsky C) Hnat Khotkevych D) Volodymyr Kushpet
A) Filaret Kolessa B) Klyment Kvitka C) Volodymyr Kushpet D) Mykola Lysenko
A) Igor Matsiyevsky B) William Waterhouse C) Harry Partch D) Bart Hopkin
A) Leo Fender B) Ivor Darreg C) Erich von Hornbostel D) Bart Hopkin |