Listening Assignment

1. Malkari dance

The instruments (I-E-2) heard in this recording are best described as

a) membranophones

b) idiophones

2. Ceremonial chant

The rhythmic organization (II-B) of the drumming here can be described as

a) monorhythm

b) syncopation

3. Women’s wungka song

In this song the singer utilizes a melodic range (II-C-1) best described as

a) wide

b) narrow

4. Didjeridu solo

The melodic shape (II-C-2) of this piece is

a) descending

b) arc-shaped

c) flat

5. Djadbangari dance song

The polyphonic texture (II-E-3) can best be described as

a) melody with drone

b) parallel motion

6. “Back to Culture”

The meter (II-A-1) of this piece is

a) duple (in two or four)

b) triple (in three)

7. Morotiri Nei

A formal technique (III-B) used here is

a) an ostinato

b) a descending cadence

8. Himene Tatou

The phrase structure (III-A) consists of

a) regular phrases

b) irregular phrase lengths

A formal technique (III-B) used here is

a) a chord progression

c) an ostinato

9. Koluba songs while making sago

The first song is accompanied by a whistling technique (III-B) best described as

a) an ostinato

b) a cadence

10. Koluba songs while cutting trees

Some of the singers here use a vocal technique (I-E-1) that can be identified as

a) vibrato

b) yodel

11. Songs: gisalo, koluba and heyalo

The vocal timbre (I-E-1) can best be described as

a) tense/strained

b) relaxed/loose

12. Ceremonial drumming

The instrumental tone (I-E-2) is

a) membranophones

b) idiophones and membranophones

13. Koluba song ceremony

The texture (II-E) of these singers is

a) Monophonic (singing in unison)

b) Heterophonic (slight differences)

14. Bubaran Kembang Pacar

The instrumental tone (I-E-2) of these instruments can be described as

a) idiophones

b) idiophones and chordophones

c) idiophones and membranophones

15. Ladrang Wilujeng

The performance style (II-C-6) of these singers can best be described as

a) staccato/clipped/short tones

b) legato/smooth

16. and 17. Playon Lasem 1 and 2

The instrumental tone (I-E-2) is

a) idiophones of distinct pitch

b) idiophones of indistinct pitch

c) distinct and indistinct pitch idiophones

18. Tabuh Gari

The texture (II-E) can be described as

a) Monophony/unaccompanied melody

b) Polyphony/stratification

19. Gamelan Gong Suling

The rhythmic organization (II-B) of the drums throughout this piece is highly

a) monorhythmic

b) syncopated/off the beat

20. Gamelan Jegog

The Loudness (I-B) can be described as

a) loud

b) soft

c) dynamic/changes in loudness

21. Kecak

The vocal production (I-E-1) of most of these singers can best be described as

a) tense/strained

b) relaxed/loose

The performance structure (III-C) of this piece can best be described as

a) solo-chorus/call and response

b) hocket or interlocking

22. Kroncong

The instrumental tone (I-E-2) consists of

a) idiophones, membranophones

and chordophones

b) membranophones and aerophones

c) chordophones and aerophones

23. Begadang II

The singer uses a vocal technique (I-E-1) at the end of his vocal phrases that can be identified as

a) vibrato

b) yodel

The phrase structure (III-A) consists of

a) regular phrases

b) irregular phrase lengths

24. Indonesia Maharddhika

Compared to the previous Selection 23, the melodic range (II-C-1) of the voices and instruments in these excerpts is relatively

a) wide/an octave or more

b) narrow/less than an octave

25. Perah spirit song

The instrumental tone (I-E-2) of these bamboo idiophones consists of

a) distinct pitches (specific notes)

b) indistinct pitches (low/high)

The performance structure (III-C) can best be described as

a) solo-chorus/call and response

c) hocket or interlocking

26. Healing ceremony

The meter (II-A) of these bamboo tubes is

a) metrical

c) non-metrical

27. Pi-phat ensemble

Two groups of instruments here are utilizing a performance structure (III-C) best described as

a) antiphony

b) hocket or interlocking

28. Thai Dam khap repartee singing

The songs sung by these two singers use a phrase structure (III-A) best described as

a) regular/symmetrical phrases

b) irregular phrases

29. Bamboo jew’s harp

The instrumental tone (I-E-2) here is

a) idiophone

b) aerophone

30. Courtship flute

The phrase structure (III-A) consists of

a) regular/symmetrical phrases

b) irregular phrases

31. Monochord solo

The melodic inflection (II-C-4) of this music is

a) ornamented

b) unornamented

32. Vong Co (Thinking of Past Love)

The vocal technique (I-E-1) used here is

a) vibrato

b) vibrato with yodel

33. Khene solo

The meter (II-A) of this piece in the beginning is

a) metrical (has an even, steady pulse)

b) irregular, difficult to determine

34. Folk song of the north

The phrase structure (III-A) consists of

a) regular/symmetrical phrases

b) irregular phrases

35: Burmese kyo classical song

The harp in this selection is (I-E-2)

a) a plucked chordophone

b) a bowed chordophone

c) a struck/hammered chordophone

36: Than Yoe (simple melody)

The melodic shape/contour (II-C-2) of the piano in the introduction of this piece can be best described as

a) ascending

b) descending

The melodic shape/contour (II-C-2) of the piano throughout the entire piece is best described as

a) ascending

b) descending

c) irregular/no obvious contour