MUS 250 Exam 4
Cabildos aided the development of San-
tería because:
a. they generated a profit for the cult by
selling icons to tourists.
b. they enabled African slaves in Cuba
b. they enabled African slaves in Cuba to worship their gods and perform their
to worship their gods and perform their music.
music. c. they were exempted from restrictive
regulations imposed by the Cuban gov-
ernment.
d. they created archives of Santería texts
that were preserved into the twentieth
century.
e. None of the above
The goal of Santería worship is:
a. to establish a relationship with orishas
and seek their help.
b. to scare away evil spirits, jinn, and
a. to establish a relationship with orishas
other demonic forces.
and seek their help.
c. to achieve spiritual enlightenment
through meditation.
d. to develop a richer understanding of
the afterlife.
e. None of the above
In Santería, orishas are associated with
particular:
a. chants.
e. All of the above
b. plants.
c. drum rhythms.
d. dance movements.
e. All of the above
Singers of Santería chant are valued for
all of the following qualities EXCEPT:
a. the beauty of their voices.
, MUS 250 Exam 4
b. their ability to be heard over the drums.
c. their ability to engage listeners.
a. the beauty of their voices. d. their power of communication with the
orishas.
e. their success in creating communitas.
The Santería chant Changó uses all of
the following musical elements EXCEPT:
a. call-and-response between leader and
chorus.
d. a moderate triple meter.
b. a polyrhythmic texture.
c. a chant based on a pentatonic scale.
d. a moderate triple meter.
e. interaction of the iyá, itótele, and
okónkolo drums.
For centuries, members of the Ethiopian
Christian church were called to worship
by the:
a. ringing of metal bells called chango.
b. striking of stone slabs called dewel. b. striking of stone slabs called dewel.
c. blowing of a rhinoceros horn called the
itgbo.
d. clashing of metal strips called chimta.
e. blowing of a long trumpet called a
rag-dung.
Since the late sixteenth century, Ethiopi-
an Christian chant has been notated us-
ing symbols called:
e. melekket. a. sistra.
b. kebaro.
c. debtara.
d. marigeta.
e. melekket.
c. sistra.
, MUS 250 Exam 4
In churches in Ethiopia, chants may be
accompanied by small metal idiophones
called:
a. marigeta.
b. debtara.
c. sistra.
d. zema.
e. iyá.
In the first version of Yome fesseha kone
in the Listening Guide, the melodic figure
that provides resolution at the end of the
chant is called a:
c. cadence.
a. melisma.
b. falsetto.
c. cadence.
d. brdung.
e. dewel.
The Qoma-style version of Yome fesseha
kone includes the vocal embellishment of
one syllable with several pitches, called
a:
a. melisma.
a. melisma.
b. falsetto.
c. cadence.
d. brdung.
e. dewel.
The Ethiopian Sunday School song
Kasamay waradat (He Descended from
Heaven) is in:
d. strophic form. a. A B form.
b. A B A form.
c. verse-refrain form.
d. strophic form.
e. call-and-response style.
True
, MUS 250 Exam 4
Santería developed as an Afro-Cuban
religion by blending Nigerian language
and practices with aspects of Catholi-
cism.
True
False
One of the goals of Santería worship is to
consult the orishas and obtain their help
with the problems of daily life.
True
True
False
In Santería rituals, batá drums are
played to ward off the orishas.
False
True
False
Some Santería chants may criticize or
joke with the orisha.
True
True
False
Santería texts have been passed on in
the diaspora primarily through written
transmission.
False
True
False
The creation of zema, or Ethiopian Chris-
tian chant, is attributed to Saint Yared,
who is said to have composed the chants
True under divine inspiration.
True
False
True
Cabildos aided the development of San-
tería because:
a. they generated a profit for the cult by
selling icons to tourists.
b. they enabled African slaves in Cuba
b. they enabled African slaves in Cuba to worship their gods and perform their
to worship their gods and perform their music.
music. c. they were exempted from restrictive
regulations imposed by the Cuban gov-
ernment.
d. they created archives of Santería texts
that were preserved into the twentieth
century.
e. None of the above
The goal of Santería worship is:
a. to establish a relationship with orishas
and seek their help.
b. to scare away evil spirits, jinn, and
a. to establish a relationship with orishas
other demonic forces.
and seek their help.
c. to achieve spiritual enlightenment
through meditation.
d. to develop a richer understanding of
the afterlife.
e. None of the above
In Santería, orishas are associated with
particular:
a. chants.
e. All of the above
b. plants.
c. drum rhythms.
d. dance movements.
e. All of the above
Singers of Santería chant are valued for
all of the following qualities EXCEPT:
a. the beauty of their voices.
, MUS 250 Exam 4
b. their ability to be heard over the drums.
c. their ability to engage listeners.
a. the beauty of their voices. d. their power of communication with the
orishas.
e. their success in creating communitas.
The Santería chant Changó uses all of
the following musical elements EXCEPT:
a. call-and-response between leader and
chorus.
d. a moderate triple meter.
b. a polyrhythmic texture.
c. a chant based on a pentatonic scale.
d. a moderate triple meter.
e. interaction of the iyá, itótele, and
okónkolo drums.
For centuries, members of the Ethiopian
Christian church were called to worship
by the:
a. ringing of metal bells called chango.
b. striking of stone slabs called dewel. b. striking of stone slabs called dewel.
c. blowing of a rhinoceros horn called the
itgbo.
d. clashing of metal strips called chimta.
e. blowing of a long trumpet called a
rag-dung.
Since the late sixteenth century, Ethiopi-
an Christian chant has been notated us-
ing symbols called:
e. melekket. a. sistra.
b. kebaro.
c. debtara.
d. marigeta.
e. melekket.
c. sistra.
, MUS 250 Exam 4
In churches in Ethiopia, chants may be
accompanied by small metal idiophones
called:
a. marigeta.
b. debtara.
c. sistra.
d. zema.
e. iyá.
In the first version of Yome fesseha kone
in the Listening Guide, the melodic figure
that provides resolution at the end of the
chant is called a:
c. cadence.
a. melisma.
b. falsetto.
c. cadence.
d. brdung.
e. dewel.
The Qoma-style version of Yome fesseha
kone includes the vocal embellishment of
one syllable with several pitches, called
a:
a. melisma.
a. melisma.
b. falsetto.
c. cadence.
d. brdung.
e. dewel.
The Ethiopian Sunday School song
Kasamay waradat (He Descended from
Heaven) is in:
d. strophic form. a. A B form.
b. A B A form.
c. verse-refrain form.
d. strophic form.
e. call-and-response style.
True
, MUS 250 Exam 4
Santería developed as an Afro-Cuban
religion by blending Nigerian language
and practices with aspects of Catholi-
cism.
True
False
One of the goals of Santería worship is to
consult the orishas and obtain their help
with the problems of daily life.
True
True
False
In Santería rituals, batá drums are
played to ward off the orishas.
False
True
False
Some Santería chants may criticize or
joke with the orisha.
True
True
False
Santería texts have been passed on in
the diaspora primarily through written
transmission.
False
True
False
The creation of zema, or Ethiopian Chris-
tian chant, is attributed to Saint Yared,
who is said to have composed the chants
True under divine inspiration.
True
False
True
