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