Multiple Choice
Identify the
choice that best completes the statement or answers the question.
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1.
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Reggae is a distinctive regional popular music style which evolved from:
a. | Jamaican ska, mento and reggaeton | b. | Jamaican mento, reggaeton and
rock’n’roll | c. | Jamaican ska and mento, and
rock’n’roll | d. | Jamaican ska and jazz, and
rock’n’roll |
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2.
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Jamaican ska featured:
a. | faster tempos than reggae, a dance beat, walking bass and off-beat
chords | b. | faster tempos than reggae, a dance beat, descending bass and off-beat
chords | c. | faster tempos than reggae, a dance beat, walking bass and sustained
chords | d. | slower tempos than reggae, a dance beat, walking bass and off-beat
chords |
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3.
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Ska became popular in Jamaica from 1962 thanks to:
a. | Bob Marley and Desmond Dekker | b. | Jimmy Cliff and Desmond
Dekker | c. | Bob Marley and Peter Tosh | d. | Jimmy Cliff and Peter
Tosh |
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4.
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Jamaican reggae featured off-beat chords called:
a. | strokes | b. | bangs | c. | hits | d. | rolls |
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5.
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Reggae bass lines tend to be:
a. | angular, descend from the tonic note and outline the passing
notes | b. | angular, emphasise the tonic note and walk around the chord | c. | angular, emphasise
the tonic note and jump octaves in a random manner | d. | angular, emphasise the tonic note and outline
the chord |
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6.
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The distinctive reggae rim shot and bass drum hits on beat three is
called:
a. | one drops | b. | three drops | c. | bomb
drops | d. | bang drops |
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7.
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Reggae became popular in Jamaica with:
a. | Rastas and street gangs called rude boys | b. | Rastas and urban
poor who loved to dance | c. | Rastas and politicians | d. | Rastas and street
gangs called maroons |
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8.
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Rastafarian beliefs included:
a. | nonconformity, peaceful rebellion, veganism and wearing of
dreadlocks | b. | nonconformity, peaceful rebellion, vegetarianism and wearing of
dreadlocks | c. | nonconformity, violent rebellion, veganism and wearing of
dreadlocks | d. | nonconformity, violent rebellion, vegetarianism and wearing of
dreadlocks |
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9.
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The Australian band ‘No Fixed Address’ had a landmark reggae song
called:
a. | Surviving on the Wrong Side | b. | Surviving on the Wrong Side of the
Road | c. | Wrong Side of the Road | d. | We Have
Survived |
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10.
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Off-shoots of reggae include:
a. | dub, dancehall, ragamuffin, reggaeton and disco | b. | dub, dancehall,
ragamuffin, reggaeton and post-punk | c. | dub, dancehall, ragamuffin, reggaeton and white
reggae | d. | dub, dancehall, rap, reggaeton and white reggae |
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11.
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The early 1980s marked a period of transition in popular music because:
a. | punk, funk and disco had limited appeal and reggae had taken over as the main
style | b. | audiences were getting older and craved a return to music of the 1960s and
1970s | c. | punk, funk and disco had limited mainstream appeal and new styles had not yet
emerged | d. | audiences were getting older and growing tired of reggae and white
reggae |
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12.
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The term ‘Second British Invasion’ refers to:
a. | the return of British bands from the 1960s to dominate the charts from 1983
on | b. | a new wave of British bands who dominated world charts from
1983–87 | c. | a new wave of British bands who dominated world charts from
1983–94 | d. | a new wave of British bands who dominated the charts with a style known as
Britpop |
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13.
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Characteristics of the Second British Invasion included:
a. | strong melodies in minor keys, synthesised backing, rock beats and catchy
riffs | b. | strong melodies in major keys, synthesised backing, disco beats and catchy
riffs | c. | strong melodies in minor keys, synthesised backing, disco beats and catchy
riffs | d. | strong melodies in major keys, synthesised backing, rock beats and catchy
riffs |
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14.
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One aspect of the Second British Invasion were the new romantics who:
a. | dressed in effeminate clothing, wore make-up and sang ethereal songs with guitar
backings | b. | dressed in effeminate clothing, wore make-up and sang punk songs with synth
backings | c. | dressed in punk clothing, shunned make-up and sang ethereal songs with synth
backings | d. | dressed in effeminate clothing, wore make-up and sang ethereal songs with synth
backings |
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15.
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One of the first Australian bands to exploit the value of MTV was:
a. | Men At Work with their song ‘Down Under’ | b. | Cold Chisel with
their song ‘Khe Sanh’ | c. | Hunters and Collectors with their song
‘Throw Your Arms Around Me’ | d. | John Farnham with his song ‘You’re
the Voice’ |
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16.
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John Farnham’s ‘You’re the Voice’ was noted for:
a. | Farnham’s powerful voice, synthesised backing and lack of
powerchords | b. | Farnham’s powerful voice, acoustic backing and use of
powerchords | c. | Farnham’s powerful voice, synthesised backing and use of
powerchords | d. | Farnham’s powerful voice, acoustic backing and lack of
powerchords |
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17.
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The Second British Invasion petered out because:
a. | the British bands ran out of new musical ideas | b. | overexposure on MTV,
forced imagery and the commercial synthesised sound | c. | overexposure on MTV, and the rise of new
disco-inspired commercial songs | d. | the British bands turned to newer styles such
as rap and house |
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18.
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Britpop featured:
a. | longer songs with catchy riffs and few solos sung with British
accents | b. | longer songs with catchy riffs and long solos sung with British
accents | c. | shorter songs with catchy riffs and few solos sung with British
accents | d. | shorter songs with catchy riffs and long solos sung with British
accents |
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19.
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The Britpop battle between Oasis and Blur was:
a. | the result of a dispute over who wrote the most British sounding
songs | b. | the result of a dispute over the release date of two of their
songs | c. | the result of a dispute over a clash of concert dates | d. | the result of a
dispute over who stole the others ideas for a song |
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20.
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The 1980s saw the CD replace the record as the technology of choice
because:
a. | CDs were easier to store than vinyl records | b. | CDs did not suffer
the same wear and tear as vinyl records | c. | CDs were cheaper than vinyl
records | d. | CDs were easier to produce than vinyl records |
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