Briefly “recap” the musical examples presented in this chapter. What are some of the general features that WOM suggests the examples share in common?
What will be an ideal response?
• the Nueva Canción song of Victor Jara, performed by the ensemble Inti Illimani
• Bolivian zampoña-ensemble playing a k'antu
• the Ecuadorian Quichua sanjuán, "Muyu muyari, warmigu"
• "Galo" Maigua's sanjuán, his intended autobiographical "Ilumán tiyu"
• the African-Ecuadorian version of a sanjuán performed by Chota River Valley musicians
• the Peruvian wayno performed by Chaskinakuy, which shows the globalization of the Andean ensemble phenomenon
• refined solo harp music by the "son of a renowned central Ecuadorian harpist [who] ultimately followed in his father's footsteps . . ."
• an example of the Afro-Peruvian landó genre that captures the local coastal caña life and culture
• WOM suggests all of the examples "speak to strongly felt political concerns; are deep-rooted musical forms of expression; and detailed and attentive attempts, from afar, to capture the overall character of an Andean song-dance type; and the dedicated efforts to recreate local musical style."
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Baroque painting is characterized by:
a. strong lighting. b. asymmetrical compositions. c. powerful effects of movement. d. dramatic subject matter. e. all of these.
Which statement is not true of this excerpt?
a. It contains many repeated notes. b. Its rhythm is steady and clear. c. It has a tender, sensitive quality. d. It sounds very “French.”
Never found in Elizabethan theater:
a. all-male cast b. female performers c. dialogue in verse d. audience drawn from more than one social class e. actors alone on stage but talking anyway
How did the advent of home video change the American film industry? Trace the evolution of home video from the 1970s up through 2000. In what ways did the studios-who in 1976 regarded home video as a competitor-exploit these changes to their advantage?
What will be an ideal response?