Music And Society. The Mega Quiz

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Quizzes Created: 2 | Total Attempts: 437
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Music And Society. The Mega Quiz - Quiz

. Learn interesting facts and trivia about the long relationship music with our past and present societies, through this engaging and attractive mega quiz about Music and Society.


Questions and Answers
  • 1. 

    What is (are) the musical genre(s) practised by Kostas Papadakis?

    • A.

      Rembetika

    • B.

      Traditional Cretese music

    • C.

      Any music written for the instrument bouzouki

    • D.

      What Americans of Greek origin considered authentic Greek music

    • E.

      Answers a, b, d, and f are right

    • F.

      Though he played bouzouki in certain years, he was a violinist

    Correct Answer
    E. Answers a, b, d, and f are right
    Explanation
    Kostas Papadakis practiced multiple musical genres including Rembetika, Traditional Cretese music, and any music written for the instrument bouzouki. These genres were considered authentic Greek music by Americans of Greek origin. Additionally, it is mentioned that he played bouzouki in certain years but was primarily a violinist. Therefore, the correct answer is that answers a, b, d, and f are right.

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  • 2. 

    What was the social status of Ludwig van Beethoven? 

    • A.

      He was a landowner and an amateur musician

    • B.

      He was an employee of certain aristocratic families in Vienna

    • C.

      He was an independent musician, though he lived also thank to the patronage of Viennese patrician families

    • D.

      He was an independent musician who lived only off the money that he generated through the concerts that he organised and the royalties of his publications

    Correct Answer
    C. He was an independent musician, though he lived also thank to the patronage of Viennese patrician families
    Explanation
    Ludwig van Beethoven was an independent musician who relied on the support and patronage of Viennese patrician families to sustain his livelihood. While he was able to generate income through his concerts and publications, the financial assistance provided by these wealthy families played a significant role in his life. This patronage allowed Beethoven the freedom to focus on his music and pursue his artistic vision without the burden of financial concerns.

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  • 3. 

    Which definition does best fit aristocratic opera (Italy, 17th century)? 

    • A.

      It depends on the patronage of a given ruler

    • B.

      It is by nature exceptional and unique (not to be reproduced or staged over and over)

    • C.

      It celebrates an important official event

    • D.

      It is reserved to a selected audience, each of whose member had been invited by the ruler

    • E.

      None of these definitions is correct

    • F.

      All of these definitions are correct, with the exception of e

    Correct Answer
    F. All of these definitions are correct, with the exception of e
    Explanation
    Aristocratic opera in 17th century Italy can be best described by all of the given definitions except for e. It depended on the patronage of a ruler, was exceptional and unique, celebrated important official events, and was reserved for a selected audience who were invited by the ruler. Therefore, all of these definitions accurately describe aristocratic opera during that time period.

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  • 4. 

    Which definition does best fit commercial opera (Italy, 17th-18th century)?

    • A.

      The main goal of those involved in its production was to make money

    • B.

      It was by nature serial and to be staged over and over

    • C.

      It did not celebrate anything

    • D.

      Anybody who could afford to pay the ticket could attend the performances

    • E.

      It was sung only by castrati

    • F.

      All of the previous definitions are correct, with the sole exception of e

    • G.

      None of these definitions is correct

    Correct Answer
    F. All of the previous definitions are correct, with the sole exception of e
    Explanation
    Commercial opera in Italy during the 17th-18th century had the main goal of making money, making it a profitable venture for those involved in its production. It was also designed to be staged repeatedly, indicating its serial nature. It did not necessarily celebrate anything in particular, and anyone who could afford to pay for a ticket could attend the performances. However, it was not exclusively sung by castrati, which is the only exception among the given definitions. Therefore, all of the previous definitions are correct, except for the statement that it was sung only by castrati.

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  • 5. 

    What is a music scene?

    • A.

      A specific site (city, neighbourhood, venue, etc.) were a specific kind of music is performed

    • B.

      A cluster of music groups sharing the same characteristics in the same years, sometimes in exactly the same place(s)

    • C.

      The context in which clusters of producers, musicians, and fans collectively share their common musical tastes and collectively distinguish themselves from others

    • D.

      Is synonymous with stage

    • E.

      None of the definitions is correct

    Correct Answer
    C. The context in which clusters of producers, musicians, and fans collectively share their common musical tastes and collectively distinguish themselves from others
    Explanation
    A music scene refers to the context in which clusters of producers, musicians, and fans collectively share their common musical tastes and collectively distinguish themselves from others. It is not limited to a specific site or venue, but rather encompasses a broader community of individuals who share similar characteristics and interests in music during a specific time period. This definition highlights the social and cultural aspects of a music scene, emphasizing the collective identity and shared experiences within a particular music community.

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  • 6. 

    What is the right definition/description of blues? 

    • A.

      An Afro-American music

    • B.

      It is based on texts of sadness, exploitation, misery set to a specific music

    • C.

      It is based on a mixture of minor and major scales

    • D.

      It is based on 12 bar musical phrases

    • E.

      All the definitions are correct

    Correct Answer
    E. All the definitions are correct
    Explanation
    The correct answer is that all the definitions are correct. The blues is an Afro-American music genre that is characterized by texts of sadness, exploitation, and misery set to a specific music. It is based on a mixture of minor and major scales, and typically follows a 12 bar musical phrase structure. Therefore, all the given definitions accurately describe different aspects of blues music.

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  • 7. 

    What does characterise punk music? 

    • A.

      It is fast and plaid high volume

    • B.

      It is based on elementary chords and rhythms – though it has become more and more complex over the years

    • C.

      It is a protest music

    • D.

      It is experimental music

    • E.

      It has no strong political connotations

    • F.

      It is a music based on the idea of rejection: of conventions, of rock and roll conventions, of social rules, of the system as a whole

    • G.

      Answers a, b, c, f are correct

    • H.

      Answers a, b, d, and e are correct

    Correct Answer
    G. Answers a, b, c, f are correct
    Explanation
    Punk music is characterized by being fast and played at high volume, based on elementary chords and rhythms (though it has become more complex over time), and serving as a form of protest. It is also a music based on the idea of rejection, rejecting conventions, rock and roll conventions, social rules, and the system as a whole.

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  • 8. 

    What is (are) the main characteristic(s) of the Israeli genre called Musiqa Mizrachit?

    • A.

      It is sung and plaid by musicians of Yemenite origin

    • B.

      It is the music of the lower classes, often of Mediterranean and Middle Eastern origins

    • C.

      The singers sing with a nasal quality of the voice

    • D.

      It is based on standard Western popular music forms coupled with different Arabic, Greek, and Turkish musical elements

    • E.

      The harmony is static, with wide spread use of Arabic cyclic rhythmic patterns

    • F.

      An abundant use of vocal trilling

    • G.

      All the answers are correct

    • H.

      Though answers a and b are partially right, the correct answers are c, d, e, f

    Correct Answer
    H. Though answers a and b are partially right, the correct answers are c, d, e, f
    Explanation
    The correct answer is c, d, e, f. This means that the main characteristics of the Israeli genre called Musiqa Mizrachit include singers singing with a nasal quality of the voice, being based on standard Western popular music forms coupled with different Arabic, Greek, and Turkish musical elements, having static harmony with a wide spread use of Arabic cyclic rhythmic patterns, and an abundant use of vocal trilling. Answers a and b are only partially correct, so they are not the main characteristics of Musiqa Mizrachit.

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  • 9. 

    What does the word diva mean? 

    • A.

      It comes from the latin divus (feminine, diva)– that is, divine

    • B.

      It is a different name for prima donnas (first women) of a given vocal musical ensemble, mostly in opera

    • C.

      It denotes capricious, unpredictable, voluble behaviour

    • D.

      All the answers are correct

    Correct Answer
    D. All the answers are correct
    Explanation
    The word "diva" has multiple meanings. It originates from the Latin word "divus" which means divine, suggesting that a diva is someone with exceptional talent or qualities. Additionally, it is used as a term to refer to the leading female singers in opera, who are often seen as prima donnas or first women of a vocal ensemble. Lastly, "diva" can also describe someone who displays capricious and unpredictable behavior. Therefore, all the given answers are correct as they represent different aspects of the word "diva".

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  • 10. 

    Who and what is a demiurge? 

    • A.

      A creator

    • B.

      Someone who creates out of nothing

    • C.

      Someone who leads others to create together something, while those who do take part in the creation, are largely unaware of the ultimate goal of the demiurge

    • D.

      Though a and b are correct, answer c is the most comprehensive and correct of all

    Correct Answer
    D. Though a and b are correct, answer c is the most comprehensive and correct of all
    Explanation
    The question asks for the definition of a demiurge. Option a states that a demiurge is a creator, which is partially correct. Option b states that a demiurge is someone who creates out of nothing, which is also partially correct. However, option c states that a demiurge is someone who leads others to create together something, while those who take part in the creation are largely unaware of the ultimate goal of the demiurge. This option encompasses both the act of creation and the aspect of leading others, making it the most comprehensive and correct answer.

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  • 11. 

    “Serious Music”. What did this term mean at the time of Beethoven? 

    • A.

      Any music other than opera

    • B.

      Instrumental as well as vocal music performed in aristocratic venues and circles

    • C.

      Music that is written in a complex way, so that only connoisseurs can truly relate to it

    • D.

      Music that is not made just to entertain the audience, but rather to compel the listeners to tune in to its complex structure

    • E.

      In Haydn’s words (Eroica documentary movie), music whose intent was “to strike a balance between the intellect and the soul”. Beethoven however took a path more oriented towards exploring, expressing, enquiring the soul

    • F.

      None of the above answers is correct

    • G.

      Answers c, d, e are correct

    • H.

      All the answers are correct

    Correct Answer
    G. Answers c, d, e are correct
  • 12. 

    Rebetiko (Greece), Arabeske (Turkey), Mizrahit (Israel). Why were these music genres rejected by the establishment in their respective countries? Is there any common factor behind these rejections? 

    • A.

      Because they did not conform to social norms

    • B.

      Rebetiko’s texts were dimmed unfit to be heard, its music too Oriental and coarse; Arabeske had music either too Oriental, or too pop, and the texts were too much focused on personal defeats and resignation; Mizrahit was considered vulgar, too Oriental, not refined, an not contributing to the building of a new, indigenous Israeli culture

    • C.

      Answer b is correct but there is no mention of a common factor, that exists, and it is the fact that all three countries considered themselves for many years countries in the process of turning into real, new/old nations. Popular cultural therefore, music included, had to conform to specific aesthetic norms and cultural values

    • D.

      None of the above answers is correct, each of these phenomena must be judged on its own

    • E.

      All the answers are correct, with the exception of answer d

    Correct Answer
    E. All the answers are correct, with the exception of answer d
    Explanation
    The correct answer is that all the answers are correct, with the exception of answer d. This means that all three music genres were indeed rejected by the establishment in their respective countries for different reasons, and there is a common factor behind these rejections. The common factor is that all three countries considered themselves in the process of turning into new/old nations, and therefore popular culture, including music, had to conform to specific aesthetic norms and cultural values.

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  • 13. 

    Why did Kostas Papadakis switch between different genres in his musical career? Why is his case considered “exemplar” in our course? 

    • A.

      He had to move quite often because of external circumstances and personal choices. In each new place he had to adapt himself and his music to the current tastes of the place. His case is exemplar because he shows two important things: that popular music has individual protagonists and not only collective ones; and that also in this framework (ethnic musics), a musician is always conditioned by his social and cultural environment

    • B.

      His case is just as different from Beethoven’s as one can possibly imagine. This is why he is one of our course’s subjects, and he has been examined alongside Beethoven’s genius. As to his musical changes, they were born out of curiosity

    • C.

      He was a creative genius not less than Beethoven. As to his switching between different genres, it was due to his eclectic attitude and curiosity, which further proves his musical genius

    • D.

      Whatever Papadakis did, changes and switches included, was the norm among rebetiko and Cretese musicians. That is why we considered his case exemplar

    Correct Answer
    A. He had to move quite often because of external circumstances and personal choices. In each new place he had to adapt himself and his music to the current tastes of the place. His case is exemplar because he shows two important things: that popular music has individual protagonists and not only collective ones; and that also in this framework (ethnic musics), a musician is always conditioned by his social and cultural environment
    Explanation
    Kostas Papadakis switched between different genres in his musical career because he had to move frequently due to external circumstances and personal choices. Each time he moved to a new place, he had to adapt his music to the current tastes of that place. This makes his case "exemplar" in our course because it demonstrates two important aspects of popular music: the presence of individual protagonists and the influence of social and cultural environments on musicians, even within the framework of ethnic musics.

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  • 14. 

    “Enchantment” is a term that recurs frequently whenever someone describes the performance of a gifted singer in 18th century Italian opera. In the same period sorceresses, magicians, and scenic appearances that looked the product of wizardry abounded in those operas. Why? Is there any common factor behind all this? 

    • A.

      Enchantment produced by singing and wonder caused by the scenography were both indispensable ingredients to the success of any given opera

    • B.

      Arias were enchanting because during their performance time stood still. Their performance was mostly given on the fore-stage, because they had little to do with the plot. They were a pure expression of an abstract feeling produced by the most moving of all instruments, the human voice. The scenography and its machinery also were the source of major wonder

    • C.

      Though answers a and b are absolutely right, they do not address the common factor, i.e., the need of the society to see itself as an enchanted world, whereby everything is exceptional. From this point of view, opera wasn’t, but a very effective mirror of a desire turned into self-image

    • D.

      Answers a and b are correct. There isn’t any common factor unifying the two features, that both contributed to make any opera performance special

    • E.

      None of the above answers is correct

    Correct Answer
    C. Though answers a and b are absolutely right, they do not address the common factor, i.e., the need of the society to see itself as an enchanted world, whereby everything is exceptional. From this point of view, opera wasn’t, but a very effective mirror of a desire turned into self-image
    Explanation
    The correct answer explains that while both the enchantment produced by singing and the wonder caused by the scenography were important for the success of opera performances, the common factor behind them was the society's desire to see itself as an enchanted world. Opera served as a mirror of this desire, allowing people to experience an exceptional and magical world through the performances. Answers a and b are correct in addressing the individual factors, but they do not address this underlying common factor.

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  • 15. 

    The quest for authenticity seems to play a major role in many issues that we have touched upon. Where have we met “authenticity” as a key factor in the general orientation of a given society, audience, music system towards music? And why? 

    • A.

      Authenticity was a key factor in the decision made by the direction of the Greek public radio in the 1970s to ban Costas Papadakis because he plaid the violin, an instrument considered foreign to the authentic Cretan musical tradition, even though it features prominently in music performances on the island since more than 4 centuries

    • B.

      Authenticity is a key factor in musical tourism in Chicago. People want to experience the real, authentic Chicago blues and jazz. Venues for this two different kinds of music are supposed to have specific characteristics

    • C.

      Answers a and b are correct. Authenticity is often the key word for taking a specific phenomenon that took place in a given place at a given time, and make it an immutable point of reference. This notion of authenticity is exclusive and tends to ignore the complexity of real, ongoing phenomena. Authenticity is also sometimes synonymous with true. The truth it refers to is a construct

    • D.

      All the above answers are not correct

    • E.

      Authenticity was the key word in the fight waged by Haydn’s followers against Beethoven. They claimed that his music was lacking authentic feeling

    • F.

      Authenticity is what characterises the life and art of Maria Callas and Britney Spears in the eyes of their followers

    Correct Answer
    C. Answers a and b are correct. Authenticity is often the key word for taking a specific phenomenon that took place in a given place at a given time, and make it an immutable point of reference. This notion of authenticity is exclusive and tends to ignore the complexity of real, ongoing phenomena. Authenticity is also sometimes synonymous with true. The truth it refers to is a construct
    Explanation
    The correct answer is that both answers a and b are correct. The explanation provided states that authenticity is often used as a key word to establish a specific phenomenon as an unchanging reference point. This notion of authenticity is exclusive and disregards the complexity of ongoing phenomena. It also suggests that authenticity can be synonymous with truth, but this truth is a construct. This explanation provides a comprehensive understanding of the role of authenticity in society, music systems, and audience orientation.

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  • 16. 

    What are the main differences between British and American anarcho- punk independent labels? What do they stem from? 

    • A.

      There are no differences at all. British and USA punk labels distribute bands that musically and politically are mutually interchangeable.

    • B.

      Answer a is correct, under certain respects. The differences lie in the fact that independent British labels tend to bankrupt, Americans not. It stems from the fact the Brits live in a society marked by strong class differences, where social solidarity within one’s social class is more important than anything else. The Americans live in a culture that puts strong emphasis on personal responsibility, stressing the need to survive by yourself at any cost

    • C.

      The main differences across the Atlantic Ocean lie in the musical and political differences between British and American bands. Whereas British band are much more political and outspoken, their music being much less refined and actually coarse than that of American bands, the USA groups focus more on the musical quality of their performances

    • D.

      All the answers are partially right. None however is satisfactory enough

    Correct Answer
    D. All the answers are partially right. None however is satisfactory enough
  • 17. 

    Canterbury School. Was it a musical school? Was it a sub genre? Was it a music scene? Is there any real common factor that might link all the musicians and groups that fell into this labelling? 

    • A.

      It was a musical school, characterised by a soft and mellow sound and many experimentations. It was not a music scene

    • B.

      It was a virtual music scene, invented/created by the press

    • C.

      Though it was a virtual music scene, the bands labelled as Canterbury School were actually made by people who grew up in the Canterbury area in England

    • D.

      The bands had little in common, but they were all experimental in nature, they all blended pop and rock elements with folk, jazz, electronic music. Most of their pieces were quite long and defied the LP format

    • E.

      The media and the market are in constant need of labelling phenomena. Labelling means also marketing. Hence the sometimes artificial creation of countless sub-genres, such as the Canterbury School

    • F.

      All the previous answers are correct

    • G.

      All the previous answers are correct, with the exception of a and f

    Correct Answer
    G. All the previous answers are correct, with the exception of a and f
    Explanation
    The given answer states that all of the previous answers are correct, except for options a and f. This means that the Canterbury School was indeed a musical school, characterized by a soft and mellow sound and experimental music. It was not a music scene, but rather a label used by the media and market to categorize a group of musicians and bands that shared certain characteristics. These bands were all experimental in nature, blending various genres such as pop, rock, folk, jazz, and electronic music. Their compositions were often long and did not conform to the typical LP format.

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  • 18. 

    Simulacrum (plural, Simulacra). What is it? Why do we call divas Simulacra? What is the interaction between and audience and a simulacrum? Do the media play any role into it? 

    • A.

      Simulacrum is an image of the sacred. As if it’s the sacred being. Divas are divine by definition, of this world and not of this world. They bring the audience into a different dimension. The audience adores a simulacrum. It is the medium to a transcendent dimension. The press allows the audience to share the simulacrum, to devour pieces of it by plunging into his/her private dimension

    • B.

      Simulacrum is an interesting and brilliant metaphor of the diva-like being and experience. Yet, the two dimensions do not share anything. The press provides the audience gossip about divas

    • C.

      The whole question is absolutely out of place

    • D.

      Answers a and b are both somehow correct, but only in part

    • E.

      The question is not out of place, and yet the answer are not correct at all. All of them

    Correct Answer
    A. Simulacrum is an image of the sacred. As if it’s the sacred being. Divas are divine by definition, of this world and not of this world. They bring the audience into a different dimension. The audience adores a simulacrum. It is the medium to a transcendent dimension. The press allows the audience to share the simulacrum, to devour pieces of it by plunging into his/her private dimension
    Explanation
    The correct answer explains that a simulacrum is an image of the sacred and divas are considered simulacra because they are seen as divine beings who bring the audience into a different dimension. The audience adores the simulacrum and sees it as a medium to a transcendent dimension. The press plays a role in allowing the audience to share the simulacrum by providing gossip and information about the divas.

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  • 19. 

    What are the reasons why Phillip Vannini in his article considers Britney Spears such an important phenomenon? 

    • A.

      Because she is an image to a sound that has become a commodity

    • B.

      Because of her sexual ambiguity – virgin and sexy, innocent and lascivious , so common and middle class and yet diva like

    • C.

      Because she successfully placed herself at the intersection of fashion and music

    • D.

      Because she it the perfect example of how the mass media and the entertainment industry converge in creating a series of illusions that are in turn functional to the making of a brand and therefore of a commodity

    • E.

      Because she is the most typical example of a person made into an image, and the image becomes the commodity

    • F.

      Because she is a star with no talent

    • G.

      All the above answers are correct, with the exception of answer f

    Correct Answer
    G. All the above answers are correct, with the exception of answer f
    Explanation
    The correct answer is that all of the above answers are correct, except for answer f. This means that Phillip Vannini considers Britney Spears an important phenomenon for multiple reasons, including her representation of a sound turned commodity, her sexual ambiguity, her positioning at the intersection of fashion and music, and her embodiment of the illusions created by the mass media and entertainment industry. However, the statement that she is a star with no talent is not considered a reason for her importance.

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  • 20. 

    What kind of communication did von Karajan establish with the orchestra that he conducted? What does he want to communicate to the audience in his movies? Why is it relevant to our course? 

    • A.

      Herbert von Karajan does not make any effort to establish an eye-to-eye communication with the players. He seems to be wanting to keep a distance

    • B.

      He is very kind and respectful towards the orchestra members

    • C.

      Though extremely courteous on a formal level, von Karajan treats the musicians like necessary appendixes who must carry on his orders

    • D.

      Answers a and c are correct

    • E.

      Though correct, answers a and c do not address the fact that von Karajan through the films about his rehearsals wants to communicate how much he is in control of even the most minute of all details, and how every performance isn’t but the perfect implementation of his will and vision

    • F.

      Though correct, answers a and c do not explain the very simple fact that von Karajan wants just to show how he works

    • G.

      Answer f is simplistic. Answer e is correct and almost complete. Von Karajan is the epitome of the conductor as the role model of a leader in an authoritarian society (Adorno)

    • H.

      None of the answer is either correct or complete

    Correct Answer
    G. Answer f is simplistic. Answer e is correct and almost complete. Von Karajan is the epitome of the conductor as the role model of a leader in an authoritarian society (Adorno)
    Explanation
    The correct answer states that answer f is simplistic and answer e is correct and almost complete. It further explains that von Karajan wants to communicate through his films about his rehearsals how much he is in control of even the smallest details and how every performance is the perfect implementation of his will and vision. Additionally, it mentions that von Karajan is seen as the epitome of a conductor as a role model of a leader in an authoritarian society, according to Adorno. This explanation provides a comprehensive understanding of von Karajan's communication style and his intentions in his films, linking it to the course topic.

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  • 21. 

    Chicago blues, Chicago jazz, punk music, Canterbury school. Do all these phenomena have anything in common? 

    • A.

      Not at all. They are such different music genres, that they hardly share anything

    • B.

      Though extremely different one from another, all these phenomena have been investigated during the course as music scenes

    • C.

      One can say that blues laid the foundations of both jazz and rock, and therefore, indirectly, of punk and Canterbury school music as well

    • D.

      Chicago blues and Chicago jazz are linked by way of sharing a common origin place, the other two phenomena are both from UK

    Correct Answer
    B. Though extremely different one from another, all these phenomena have been investigated during the course as music scenes
    Explanation
    The correct answer suggests that all of these phenomena have been investigated during the course as music scenes. This means that despite their differences in genre, they share a commonality in being studied or analyzed within the context of music scenes.

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  • 22. 

    During the course, have we dealt with any music genre with strong and explicit political connotations? 

    • A.

      Among the music genres that we have been dealing with, punk rock is the only one that was characterised by strong political intentions since its onset

    • B.

      Rebetiko, Musiqa Mizrahit, Punk rock all have strong political connotations

    • C.

      We examined the social implications of each genre, but none of them was explicitly political

    • D.

      Though only indirectly, Italian opera is perhaps the genre with the strongest political connotations

    Correct Answer
    A. Among the music genres that we have been dealing with, punk rock is the only one that was characterised by strong political intentions since its onset
    Explanation
    Punk rock is the correct answer because it is the only music genre mentioned that was characterized by strong political intentions since its onset. The other genres mentioned may have social implications or indirect political connotations, but punk rock stands out as being explicitly political.

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  • 23. 

    What is the right definition of Rebetiko? 

    • A.

      A Greek popular music genre

    • B.

      Greek music genre where the bouzouki features in a prominent way

    • C.

      Greek popular music that originated on the Asian shore of the Aegean sea (Smirna or Izmir)

    • D.

      Greek popular music that thrived in sea cities with a port (Istanbul, Smirna, Piraeus)

    • E.

      Music made mostly by Greek refugees from Asia Minor that were forced to migrate to Greek mainland in the 1920s

    • F.

      It is made by songs with a very sad connotation that tell stories of tragic love and exploitation

    • G.

      Though made by ethnic Greeks, Rebetiko has very strong Turkish features

    • H.

      All of the above

    • I.

      None of the above

    Correct Answer
    H. All of the above
    Explanation
    Rebetiko is a Greek popular music genre that originated on the Asian shore of the Aegean Sea, particularly in Smyrna or Izmir. It is characterized by the prominent use of the bouzouki and was popular in sea cities with a port such as Istanbul, Smyrna, and Piraeus. Rebetiko is primarily made by songs with a very sad connotation that tell stories of tragic love and exploitation. Although made by ethnic Greeks, Rebetiko also incorporates strong Turkish features. Therefore, the correct answer is "All of the above."

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  • 24. 

    Why did Beethoven write symphonies? 

    • A.

      Because symphonies were considered the loftiest of all musical expressions

    • B.

      Because the performance of symphonies always attracted large numbers of music lovers and connoisseurs

    • C.

      Because symphonies were by nature destined to large audiences and therefore could make Beethoven’s new and original music ideas known to many

    • D.

      All of the above

    • E.

      None of the above

    Correct Answer
    D. All of the above
    Explanation
    Beethoven wrote symphonies because they were considered the loftiest of all musical expressions, the performance of symphonies always attracted large numbers of music lovers and connoisseurs, and symphonies were by nature destined to large audiences and therefore could make Beethoven’s new and original music ideas known to many.

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  • 25. 

    What are the main differences between aristocratic opera, and commercial opera? 

    • A.

      There are actually no relevant differences between the two

    • B.

      Commercial opera was open to anybody who could pay the ticket, aristocratic opera was by invitation only

    • C.

      Aristocratic opera was made to mark some event connected to the life of the ruler, and was intended to be a one time, exceptional event; commercial opera did not mark anything and was serial

    • D.

      Answers b and c are correct

    Correct Answer
    D. Answers b and c are correct
    Explanation
    Aristocratic opera and commercial opera have several main differences. Commercial opera was accessible to anyone who could afford a ticket, while aristocratic opera was exclusive and by invitation only. Additionally, aristocratic opera was created to commemorate important events in the ruler's life and was intended to be a unique and exceptional performance. On the other hand, commercial opera did not have any specific significance and was often performed as a series of productions. Therefore, both answers b and c are correct in highlighting the distinctions between aristocratic and commercial opera.

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  • 26. 

    Who was Maria Callas, and why did the course deal with her career and figure? 

    • A.

      Maria Callas was an American singer and an authentic diva: that is why we dealt with her

    • B.

      Maria Callas was an important opera singer. Though not gifted with an outstanding voice, she had impressive dramatic skills and an unforgettable presence on the stage. We dealt with her because her performances on European and American scenes marked a return towards appreciating opera as musical drama

    • C.

      Maria Callas was the first opera singer who, consciously or not, created a glamorous image of herself, thus becoming the main focus of attention for gossip oriented media

    • D.

      We dealt with her because of the short cut that resulted from the overlapping of the tragic characters that she plaid on stage, and her tragic life

    • E.

      None of the above answers is correct

    • F.

      All the above answers are correct, with the sole exception of e

    Correct Answer
    F. All the above answers are correct, with the sole exception of e
  • 27. 

    When Kostas Papadakis, in the last part of his career, went back to Crete, his music was rejected by the musical establishment in Greece. Why? 

    • A.

      Because he plaid traditional Cretan music where violin and strophic forms inherited by Italian repertoires feature prominently, and the Greek musical establishment was looking for pure, uncontaminated Greek musical expressions

    • B.

      Because he plaid rebetiko, a genre that the establishment in the 1970s still considered too Turkish and vulgar

    • C.

      That he was rejected, it is not true at all. He was welcome with open arms

    • D.

      Because throughout his long artistic life he had travelled to far too many places and had absorbed far too many different Greek musical styles

    • E.

      None of the answers is correct

    Correct Answer
    A. Because he plaid traditional Cretan music where violin and strophic forms inherited by Italian repertoires feature prominently, and the Greek musical establishment was looking for pure, uncontaminated Greek musical expressions
    Explanation
    The correct answer is that Kostas Papadakis' music was rejected because he played traditional Cretan music that incorporated elements from Italian repertoires, such as the use of the violin and strophic forms. The Greek musical establishment, however, was seeking music that was purely Greek and free from outside influences. Therefore, his music did not meet their criteria and was rejected.

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  • 28. 

    “The context in which clusters of producers, musicians, and fans collectively share their common musical tastes and collectively distinguish themselves from others”. This is the right definition of what exactly? 

    • A.

      Of the punk rock movement

    • B.

      Of any given trend in rock music

    • C.

      Of music scenes

    • D.

      Of the Canterbury school

    • E.

      It applies equally well to each and all of the above alternatives

    • F.

      None of the answers is correct

    Correct Answer
    C. Of music scenes
    Explanation
    The given definition accurately describes the concept of music scenes, where groups of producers, musicians, and fans come together to share their common musical tastes and differentiate themselves from others. This definition encompasses various music scenes, including the punk rock movement, trends in rock music, and the Canterbury school. Therefore, the answer "Of music scenes" is correct.

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  • 29. 

    Who were the castrati singers and in which historical period did they exist? 

    • A.

      Emasculated singers whose peculiar and impressive voice qualities were largely sought after in the late 17th and throughout the 18th century

    • B.

      A very weird definition for a particular soprano range. They dominated 19th century opera

    • C.

      The real divas of the 18th century

    • D.

      The most famous and virtuoso singers in 18th century opera

    • E.

      Answers a, c, d are correct

    • F.

      None of the above

    Correct Answer
    E. Answers a, c, d are correct
    Explanation
    The correct answer is a, c, d. The castrati singers were emasculated singers who possessed unique and impressive vocal qualities that were highly sought after during the late 17th and throughout the 18th century. They were considered the real divas of the 18th century and were renowned as the most famous and virtuoso singers in 18th century opera.

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  • 30. 

    Which kind of opera was born in 17th century Venice? 

    • A.

      Aristocratic

    • B.

      Dramatic

    • C.

      Comic

    • D.

      Commercial

    • E.

      Farce

    • F.

      Venice just happened to be the place where most operas were produced on that time. No particular genre was born there

    Correct Answer
    D. Commercial
  • 31. 

    Fable-like illusion, Enchantment. Have we ever met these dimensions during our course, and where? 

    • A.

      The bands of the so-called Canterbury School often set to music texts whose content revolved around these themes

    • B.

      Illusion and Enchantment were two major characteristics of 17th and 18th century Italian opera

    • C.

      Illusion and enchantment have mostly to do with the illusional/delusional dimension that divas create and inhabit

    • D.

      Answers b and c are both correct

    • E.

      We never met any of these dimensions

    • F.

      Punk rock is the antithesis of such dimensions. We met them there, but as negatives that punk rock dispelled

    Correct Answer
    D. Answers b and c are both correct
    Explanation
    The correct answer is b and c are both correct. This is because both statements b and c mention illusion and enchantment as major characteristics in different contexts. Statement b states that illusion and enchantment were major characteristics of 17th and 18th century Italian opera, while statement c suggests that illusion and enchantment are associated with the illusional/delusional dimension that divas create and inhabit. Therefore, both statements are correct in highlighting the presence of illusion and enchantment in different settings.

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  • 32. 

    Britney Spears, Maria Callas. What was in these two cases the different role and weight of image construction, branding, and music? 

    • A.

      There are some striking similarities among the two cases. Both Callas and Spears used the media to create an image of themselves that turned into a branding. All this was meant to further enhance their respective supremacies in their respective music field

    • B.

      Maria Callas tried (successfully) to create a glamorous image of herself. This image was meant by her, among other things, to further enhance her status as a diva. All this backfired against her for many reasons. Britney Spears picks up music pieces that conform to her image, and uses the music she performs to strengthen herself as a brand

    • C.

      Both answers are correct

    • D.

      None of the answers is correct, it is impossible to compare the two of them

    Correct Answer
    C. Both answers are correct
    Explanation
    The given correct answer states that both answers are correct. This implies that both Maria Callas and Britney Spears used image construction, branding, and music to enhance their respective positions in the music industry. Maria Callas created a glamorous image to establish herself as a diva, but it backfired against her. On the other hand, Britney Spears selects music that aligns with her image and uses her performances to strengthen her brand. Therefore, both artists utilized image construction, branding, and music to further their careers.

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  • 33. 

    What are the main features of the punk music scene? How could we explain the relations between the different main traits of such a scene? 

    • A.

      High volume performances, concerts that are events for a defined group

    • B.

      Very low musical quality, or, better, musical quality has no importance

    • C.

      A strong anti system ideology, that is directed against the rock system as well

    • D.

      An ideology of rejection, of not being included or counted in any way

    • E.

      An open dress code, that contemplates however a number of distinctive traits/features

    • F.

      The building of alternative, self managed channels and nets

    • G.

      Each of the above answers presents one of the main features of punk scene(s)

    Correct Answer
    G. Each of the above answers presents one of the main features of punk scene(s)
    Explanation
    The given answer states that each of the above answers presents one of the main features of the punk music scene. This means that all the traits mentioned in the question, such as high volume performances, low musical quality, anti-system ideology, rejection, open dress code, and self-managed channels, are considered as main features of the punk music scene. In other words, these traits collectively define the punk music scene and are integral to its identity.

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  • 34. 

    Why did the Austrian conductor Herbert von Karajan decide to include his rehearsals with the orchestra in some of his movies? 

    • A.

      To begin with, one must say that it was a bizarre choice. One of the basic tenets of performance arts is NOT to show what is behind any specific work/ performance

    • B.

      In spite of what is written in answer a, von Karajan wanted to show the audience the tremendous mastership of the orchestra that he wields

    • C.

      There is a further reason to be added to what is written in answer b (and a, of course): by showing how he works behind the scenes, von Karajan wanted to show the audience that the marvellous outcome of his performances depended solely on him

    • D.

      One must also take into consideration that, while showing how he works on even the most minute of all details, von Karajan never reveals in full his vision of the piece to be performed

    • E.

      The reason is much simpler than what is written in the above answers: von Karajan was intent at creating a kind of cult of his own personality, and the rehearsals videos were instrumental in that

    • F.

      All the above answers are correct, except e

    • G.

      All the above answers are correct, except f

    Correct Answer
    F. All the above answers are correct, except e
    Explanation
    The correct answer is that all the above answers are correct, except for e. This means that all the reasons mentioned in answers a, b, c, and d are valid explanations for why Herbert von Karajan decided to include his rehearsals with the orchestra in some of his movies. These reasons include showcasing the orchestra's mastery, emphasizing his own role in the performances, maintaining some secrecy about his artistic vision, and creating a cult of his own personality.

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  • 35. 

    What is a demiurge? Have we met at least one example of a demiurge? 

    • A.

      Demiurge is a mythical figure that attracts and lures the attentions of his/her fans, up to making them accessories to his/her cult: i.e., a rock star

    • B.

      A demiurge is a creator. From this point of view, all the major figures we encountered or dealt with during the course, are demiurges. Beethoven, Papadakis, Maria Callas, Britney Spears, Italian opera’s castrati, Herbert von Karajan, etc.

    • C.

      A typical demiurge is the bell caster in Andreij Tarkovskij’s movie Andreij Rublev

    • D.

      A demiurge is a manipulator of the masses. From this point of view, one may safely say that the entertainment business and the mass media aren’t, but a giant demiurge

    • E.

      Though the original Greek word meant something different, today the demiurge is someone who creates something out of almost nothing. The connotation is that of a man/woman of vision, who is capable to directing others towards achieving a bigger than life goal

    • F.

      A great film or theatre director, an exceptional orchestra conductor, some visual artists who work on large scale projects: all these are typical demiurges in the modern sense of the world

    • G.

      A combination of correct yet partial answers e, f, and c – in this precise order: this is the right answer to the question

    • H.

      None of the answers is correct

    Correct Answer
    G. A combination of correct yet partial answers e, f, and c – in this precise order: this is the right answer to the question
    Explanation
    The correct answer to the question is a combination of answers e, f, and c. This means that a demiurge is someone who creates something out of almost nothing, directing others towards achieving a bigger than life goal. In the modern sense, a demiurge can be a great film or theatre director, an exceptional orchestra conductor, or visual artists working on large scale projects. This answer acknowledges that the original Greek meaning of the word may be different, but in today's context, a demiurge is seen as a visionary and manipulator of the masses.

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  • 36. 

    We met the “quest for authenticity” while dealing with Chicago blues music scene. What were the people in search of authenticity in that music scene exactly looking for? 

    • A.

      Performances of the kind of jazz and blues music, respectively, that made Chicago famous in the world

    • B.

      A kind of travel in time, back to the years when distinctive music styles were born in Chicago

    • C.

      An all-encompassing experience that goes beyond pure listening, but includes also the “atmosphere” of bygone years

    • D.

      A thrilling musical and extra musical experience

    • E.

      The “musical tourists” who go to Chicago looking for jazz and blues make themselves believe that the same atmosphere that characterised the years when that kind of blues and jazz were played, is still hanging there around and that the music performances that they will hear will be as alive and connected to their own time and society as they were in bygone years

    • F.

      All the above answers are correct

    • G.

      None of the above provides a satisfactory enough answer, even if we combine more than options together

    Correct Answer
    F. All the above answers are correct
    Explanation
    The people in search of authenticity in the Chicago blues music scene were looking for performances of the kind of jazz and blues music that made Chicago famous in the world, a kind of travel in time back to the years when distinctive music styles were born in Chicago, an all-encompassing experience that includes the "atmosphere" of bygone years, and a thrilling musical and extra musical experience. They believed that the same atmosphere that characterized the years when that kind of blues and jazz were played is still present in Chicago and that the music performances they would hear would be as alive and connected to their own time and society as they were in the past.

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  • 37. 

    Why did the German philosopher and sociologist Theodor W. Adorno write that the orchestra conductor might have very well been picked up as a model role by authoritarian regimes characterised by a strong ideology? 

    • A.

      Because orchestra players are totally dependent on him during the performance, as much as a totalitarian society should be totally dependent on the leader to move towards anything and act as a consistent, harmonious collective

    • B.

      Because in an orchestra there is a peculiar interaction between the conductor and the musicians. The conductor could not do anything without the musicians and their skill and expertise, while the musicians could not produce any consistent sound, least perform anything beautiful, without the guidance of the conductor

    • C.

      Because the conductor, like the leader in an authoritarian society, is the only one who can envision a common goal and knows how to direct anybody towards achieving that goal

    • D.

      Because a music conductor like von Karajan has a precise vision of where to go and how: he knows how to excite the musicians and make them feel how noble and high and unique and special is what they are doing at the moment they are doing it, yet withholding any precise information from them, while at the same time giving very precise instructions as to specific technical details with extreme mastery

    • E.

      All the above answers combined together give at least a satisfactory answer to the question

    • F.

      The answer is simple: an orchestra conductor is much more nice to market, than a military leader

    • G.

      Because art in general and music art in particular is about something much more elevated, uplifting, inspiring, and lofty than just military victory

    • H.

      One must add answers g and f to answer e to provide a right though still partial answer

    Correct Answer
    H. One must add answers g and f to answer e to provide a right though still partial answer
  • 38. 

    What did Italian society look for in an opera in the 17th and 18th centuries? What was the interaction between singers and their audience? 

    • A.

      Mainly, entertainment

    • B.

      To be more precise, an all encompassing form of entertainment, that could also let people mingle, chat, entertain themselves also beyond what was proposed on stage

    • C.

      Besides what is written in answer b, Italian society in an opera looked for amazement, enchantment, wonder

    • D.

      Answer c is right, but one must also add that the society was looking at itself in the opera. Opera was a mirror, and had to give back to the audience an enchanted, fabulous image of themselves and their social surrounding

    • E.

      The audience was looking mainly for a kind of religious trance that might result from attending to an opera performance

    • F.

      The society of that time was looking for ways to vent its dissatisfaction with the political and social system, and it found them in opera

    • G.

      All the answers are correct

    • H.

      None of the answers is correct

    Correct Answer
    D. Answer c is right, but one must also add that the society was looking at itself in the opera. Opera was a mirror, and had to give back to the audience an enchanted, fabulous image of themselves and their social surrounding
    Explanation
    In the 17th and 18th centuries, Italian society looked for amazement, enchantment, and wonder in an opera. However, it is important to note that opera also served as a mirror for society. It had to reflect an enchanted and fabulous image of the audience and their social surroundings. Therefore, answer c is correct as it acknowledges the societal aspect of opera and its role in reflecting the audience's self-image.

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  • 39. 

    What were the main differences between Beethoven’s music and that of his contemporaries and predecessors in Vienna? What were the reasons that made his music different? 

    • A.

      If by “contemporaries and predecessors” one means F. J. Haydn, W. A. Mozart, F. Schubert, the music of Beethoven is different from theirs as a matter of individual style, as much as The Rolling Stones are different from The Who, but one can safely place them in the same category

    • B.

      If, on the other hand, by “contemporaries and predecessors” one means composers who are mostly unknown today and who focused on producing a kind of circus-like amazing and amusing performances, then the music of Beethoven is different in that it is highly individual: it presents previously unheard of formal and harmonic solutions; it is inspired by philosophy and poetry; it is serious, compelling, deep

    • C.

      While both answers are correct, the reasons that made Beethoven highly original lie in many factors: his undoubtable genius and strong personality; the higher accessibility to music by larger groups and classes; the growing influence exerted by pre-Romantic ideologies with their strong emphasis on individual expression and the need to dig deep into the human soul; in the light of all this, the necessity for aristocrats to distinguish themselves from the bourgeoisie by cultivating an even more serious, refined, difficult, compelling kind of music, which Beethoven was both able and willing to supply

    • D.

      None of the answers is even remotely satisfactory

    Correct Answer
    C. While both answers are correct, the reasons that made Beethoven highly original lie in many factors: his undoubtable genius and strong personality; the higher accessibility to music by larger groups and classes; the growing influence exerted by pre-Romantic ideologies with their strong emphasis on individual expression and the need to dig deep into the human soul; in the light of all this, the necessity for aristocrats to distinguish themselves from the bourgeoisie by cultivating an even more serious, refined, difficult, compelling kind of music, which Beethoven was both able and willing to supply
    Explanation
    The correct answer explains that Beethoven's music was different from his contemporaries and predecessors due to several factors. These include Beethoven's undeniable genius and strong personality, the increased accessibility of music to larger groups and classes, the growing influence of pre-Romantic ideologies that emphasized individual expression and delving into the human soul, and the necessity for aristocrats to distinguish themselves from the bourgeoisie by cultivating a more serious, refined, difficult, and compelling kind of music, which Beethoven was able and willing to provide.

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Our quizzes are rigorously reviewed, monitored and continuously updated by our expert board to maintain accuracy, relevance, and timeliness.

  • Current Version
  • Mar 22, 2023
    Quiz Edited by
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    Quiz Created by
    Eyalyeruham

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