Deck 8: Music and Ritual

Question 1

In churches in Ethiopia,chants may be accompanied by small metal idiophones called:

A)marigeta.
B)debtara.
C)sistra.
D)zema.
E)iyá.

Answer 1

C

Question 2

The Ethiopian Sunday School song Kasamay waradat (He Descended from Heaven)is in:

A)A B form.
B)A B A form.
C)verse-refrain form.
D)strophic form.
E)call-and-response style.

Answer 2

D

Question 3

Which of the following terms does NOT refer to public acts of worship?

A)Trope
B)Ritual
C)Liturgy
D)Liturgical order
E)Sacred service

Answer 3

A

Question 4

The Qoma-style version of Yome fesseha kone includes the vocal embellishment of one syllable with several pitches,called a:

A)melisma.
B)falsetto.
C)cadence.
D)brdung.
E)dewel.

Question 5

The Mahakala ritual chant in the Listening Guide is an example of what type of vocal performance?

A)Overtone singing
B)Biphonic singing
C)The Tantra voice
D)The mdzo voice
E)All of the above

Question 6

From a Tibetan perspective,the concept of beat,or brdung:

A)corresponds to the Western concept of a steady pulse.
B)is similar to the Western concept of duple meter.
C)refers to one strike on any percussion instrument.
D)is a series of accelerating,unequal pulses.
E)consists of a single cymbal strike.

Question 7

Life-cycle rituals like weddings enact a change in a person's state that consists of:

A)one lengthy transitional stage.
B)two stages,called initiation and conclusion.
C)two stages,called initiation and transition.
D)three stages,called separation,transition,and initiation.
E)three stages,called separation,transition,and incorporation.

Question 8

In the Mahakala ritual chant in the Listening Guide,the Tibetan Buddhist monks perform sustained sections of chant called:

A)dbyangs.
B)brdung.
C)rol mo.
D)dewel.
E)kebaro.

Question 9

Cabildos aided the development of Santería because:

A)they generated a profit for the cult by selling icons to tourists.
B)they enabled African slaves in Cuba to worship their gods and perform their music.
C)they were exempted from restrictive regulations imposed by the Cuban government.
D)they created archives of Santería texts that were preserved into the twentieth century.
E)None of the above

Question 10

Which of the following statements about how music relates to the ritual stages in a jazz funeral is NOT true?

A)The music clearly marks the different ritual stages.
B)The snare drum roll marks the initiation stage.
C)The slow hymn played during the procession to the cemetery marks the separation stage.
D)The music's absence during interment marks the transition stage.
E)The celebratory music played during the procession from the cemetery marks the incorporation stage.

Question 11

Singers of Santería chant are valued for all of the following qualities EXCEPT:

A)the beauty of their voices.
B)their ability to be heard over the drums.
C)their ability to engage listeners.
D)their power of communication with the orishas.
E)their success in creating communitas.

Question 12

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 other demonic forces.
C)to achieve spiritual enlightenment through meditation.
D)to develop a richer understanding of the afterlife.
E)None of the above

Question 13

The Mahakala ritual is dedicated to:

A)a sixth-century saint.
B)an animal spirit related to the yak.
C)a saint representing virility and thunder.
D)a wrathful force worshipped as a protector.
E)None of the above

Question 14

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.
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.

Question 15

In Santería,orishas are associated with particular:

A)chants.
B)plants.
C)drum rhythms.
D)dance movements.
E)All of the above

Question 16

In the Mahakala ritual chant in the Listening Guide,the Tibetan Buddhist monks' chanting is accompanied by a:

A)kebaro.
B)mdzo.
C)rol mo.
D)debtara.
E)marigeta.

Question 17

To visualize and unite with a deity,Tibetan Buddhist monks chant a ritual meditation text called a:

A)mdzo.
B)rol mo.
C)mandala.
D)sadhana.
E)brdung.

Question 18

Since the late sixteenth century,Ethiopian Christian chant has been notated using symbols called:

A)sistra.
B)kebaro.
C)debtara.
D)marigeta.
E)melekket.

Question 19

The Santería chant Changó uses all of the following musical elements EXCEPT:

A)call-and-response between leader and chorus.
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.

Question 20

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:

A)melisma.
B)falsetto.
C)cadence.
D)brdung.
E)dewel.

Question 21

The creation of zema,or Ethiopian Christian chant,is attributed to Saint Yared,who is said to have composed the chants under divine inspiration.

Question 22

Parades,sporting events,and concerts share several formal characteristics with rituals.

Question 23

Music often obscures the different stages in a rite of passage.

Question 24

Yome fesseha kone is one of the angergari,or "excitement," chants sung in the Ethiopian church.

Question 25

The ritual process can lead participants to feel like they have merged intensely with a broader community,an experience that anthropologists call ________.

Question 26

The central complex of prayers and ceremonies in Roman Catholic worship is called the ________.

Question 27

The texts and melodies of Ethiopian Christian chants have been passed on through the centuries because they were preserved in the dbyangs-yig songbooks.

Question 28

Tibetan Buddhist monks chant with accompaniment provided by the sadhana,an ensemble comprised of horns,cymbals,and drums.

Question 29

One of the goals of Santería worship is to consult the orishas and obtain their help with the problems of daily life.

Question 30

A diagram used in Buddhism and Hinduism to map various levels of reality,from the cosmic to the personal,is called a ________.

Question 31

Transcendence is almost always achieved in rituals through the help of loud drumming and singing.

Question 32

The large,two-headed drum that provides the rhythmic patterns for liturgical dance in the Ethiopian church is called the ________.

Question 33

Followers of Santería worship African deities combined with Catholic saints called ________ or santos.

Question 34

In Santería rituals,batá drums are played to ward off the orishas.

Question 35

Ethiopian Christian chant is sung with instrumental accompaniment and dancing.

Question 36

Some Santería chants may criticize or joke with the orisha.

Question 37

Santería developed as an Afro-Cuban religion by blending Nigerian language and practices with aspects of Catholicism.

Question 38

Santería texts have been passed on in the diaspora primarily through written transmission.

Question 39

The motions of the cymbals in the Mahakala ritual symbolically represent a mandala.

Question 40

From the Tibetan Buddhist perspective,a brdung,or beat,consists of accelerating,unequal pulses created by the cymbals.

Question 41

Match each item to the correct description below.
a.debtara
b.mantra
c.toque
d.Mahlet
e.zema
The primary ritual for the performance of Ethiopian Christian chant

Question 42

The Qoma-style performance of Yome fesseha kone includes the use of ________,or male singing in a high register.

Question 43

Match each item to the correct description below.
a.debtara
b.mantra
c.toque
d.Mahlet
e.zema
An Ethiopian church musician

Question 44

How have diaspora Ethiopians creatively addressed challenges to their Christian faith and religious practices in North America?

Question 45

What are some of the different ways that music and movement can be used in religious ritual to achieve a state of transcendence? Support your answer by discussing several Listening Guide examples from the chapter.

Question 46

Match each item to the correct description below.
a.debtara
b.mantra
c.toque
d.Mahlet
e.zema
A ritual phrase or formula that is recited in Tibetan Buddhist chant

Question 47

MATCHING
Match each item to the correct description below.
a.iyá
b.santero
c.marigeta
d.rekrek
e.sadhana
The largest and lowest-pitched of the three batá drums used in Santería music

Question 48

MATCHING
Match each item to the correct description below.
a.iyá
b.santero
c.marigeta
d.rekrek
e.sadhana
A worshipper of orishas

Question 49

MATCHING
Match each item to the correct description below.
a.iyá
b.santero
c.marigeta
d.rekrek
e.sadhana
A vocal slide used in Ethiopian Christian chant

Question 50

In the late twentieth century,music in the Ethiopian church expanded through the development of congregational hymns,called ________ ________ ________,that were frequently sung by children and women.

Question 51

MATCHING
Match each item to the correct description below.
a.iyá
b.santero
c.marigeta
d.rekrek
e.sadhana
The head musician in the Ethiopian church

Question 52

Match each item to the correct description below.
a.debtara
b.mantra
c.toque
d.Mahlet
e.zema
A Santería rhythmic pattern

Question 53

Match each item to the correct description below.
a.debtara
b.mantra
c.toque
d.Mahlet
e.zema
Ethiopian Christian chant

Question 54

How has Ethiopian Christian music changed in response to developments in Ethiopia and in the diaspora in the late twentieth century?

Question 55

MATCHING
Match each item to the correct description below.
a.iyá
b.santero
c.marigeta
d.rekrek
e.sadhana
A Tibetan Buddhist ritual meditation text