Briefly outline the cultural setting of the Ecuadorian Quichua who created the sanjuán heard in recorded selection CD 3:3 (“Muyu muyari warmigu”/“Vuelve, querida mujer”). In your answer, include where they live, what they share in common, and the importance of chaki ñanes.
What will be an ideal response?
• The Ecuadorian Quichua who created the sanjuán of CD 3:3 live in small clusters of houses (comunas) on the slopes of Mt. Cotacachi, one of several volcanoes in the Ecuadorian Andes. "These comunas lie outside the town of Cotachachi, in Imbabura Province."
• The Quichua are a traditional people that share a common language, agricultural life style, and similar material culture (houses, style of dress, diet, and so on).
• Having few motorized vehicles, roads, or telephones to get to places and for communication, most of the Quichua rely on walking. "For all Quichua, the way around the slopes on chaki ñanes (a network of footpaths) is second nature."
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A song in which the music is repeated for each stanza of text is called:
A) through composed B) ballad C) strophic D) hymnal
Which statement accurately describes an important change in between the initial theme in "Enigma" Variations and the "Nimrod" variation?
a. Mode altered from minor to major. b. All of these choices. c. Meter changed from triple to quadruple. d. Variation presents the theme in inversion.
The building that typifies the classical Greek world's concern for mathematics and artistic order is the
a. Golden Section. b. Louvre. c. Parthenon. d. Sistine Chapel.
With the proper inspiration, could a white playwright write a play about the black experience?
A. Yes; there is no limit to what the playwright can create. B. No; playwrights should only write about what they know first hand. C. Yes, as long as the white playwright has done extensive research. D. It is a matter of opinion; therefore, this question cannot be effectively answered with a yes or a no response.