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