A) Ethnomusicology B) Organology C) Sociology D) Harmonics
A) String B) Percussion C) Woodwind D) Brass
A) Percussion B) Brass C) String D) Woodwind
A) Brass B) Woodwind C) Percussion D) Keyboard
A) Trumpet B) Piano C) Harmonica D) Flute
A) Guitar B) Violin C) Trombone D) Harmonica
A) Trumpet B) Clarinet C) French horn D) Trombone
A) Tuning fork B) Maracas C) Triangle 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) 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) Curt Sachs B) Sebastian Virdung C) Martin Agricola D) Michael Praetorius
A) It focused on modern Western instruments. B) It was the first to classify African instruments in Europe. C) It is a major source of knowledge about Renaissance musical instruments. D) It introduced the Hornbostel-Sachs classification system.
A) They invented new classification systems for instruments. B) They wrote extensive treatises on musical theory. C) They focused solely on European instrument development. D) They returned with instruments from different cultures, expanding collections.
A) 1975 B) 1985 C) 2000 D) 1990
A) The simplicity and universality of classification. B) The irrelevance of cultural perspectives. C) The accuracy of European classifications. D) The complexity due to socially influenced or structured ideas or belief systems.
A) Mykola Lysenko B) Leon Theremin C) Bob Moog D) Igor Matsiyevsky
A) Bart Hopkin B) Victor-Charles Mahillon C) Harry Partch D) Erich von Hornbostel
A) Five categories based on state-of-matter. B) Four chronological periods: early instruments, antiquity, the middle ages, and the modern occident. C) Two categories: traditional and modern. D) Three main types of sound production.
A) Oxford B) London C) New York D) Melbourne
A) Adolf Chybinski B) Hnat Khotkevych C) Volodymyr Kushpet D) Filaret Kolessa
A) Harry Partch B) Ivor Darreg C) Erich von Hornbostel D) Leo Fender
A) Curt Sachs B) Harry Partch C) Bob Moog D) Victor-Charles Mahillon
A) Curt Sachs and Erich von Hornbostel B) Sebastian Virdung and Martin Agricola C) Andre Schaeffner and Curt Sachs D) Michael Praetorius and Sebastian Virdung
A) Electrophones B) Aerophones C) Chordophones D) Percussion
A) On the size and shape of instruments. B) On the cultural origin of instruments. C) On the state-of-matter of the sound-producing mechanism. D) On historical periods and regions.
A) Ivor Darreg B) Curt Sachs C) Andre Schaeffner D) Leo Fender
A) The Gesellschaft der Freunde alter Musikinstrumente B) None of the above C) The American Musical Instrument Society D) The Galpin Society
A) Victor-Charles Mahillon B) William Waterhouse C) Anthony Baines D) Curt Sachs
A) Adolf Chybinski B) Klyment Kvitka C) Filaret Kolessa D) Volodymyr Kushpet
A) Solid, liquid, gas, and electrophones. B) Strings, percussion, woodwind, and brass. C) Idiophones, membranophones, chordophones, and aerophones. D) Early instruments, antiquity, middle ages, modern occident.
A) Volodymyr Kushpet B) Adolf Chybinski C) Igor Matsiyevsky D) Hnat Khotkevych
A) Mykola Lysenko B) Volodymyr Kushpet C) Filaret Kolessa D) Klyment Kvitka
A) Harry Partch B) Bart Hopkin C) William Waterhouse D) Igor Matsiyevsky
A) Bart Hopkin B) Ivor Darreg C) Leo Fender D) Erich von Hornbostel |