Multiple Choice
Identify the
choice that best completes the statement or answers the question.
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1.
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Country music had its origins in:
a. | slave work songs | b. | European folk music | c. | European classical
music | d. | New Orleans marching bands |
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2.
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1940s western swing differed from early country because:
a. | it used blues progressions, drums and amplified instruments | b. | it used blues
progressions, drums and acoustic instruments | c. | it used blues progressions, amplified
instruments and distortion | d. | it used blues progressions, drums and
distortion |
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3.
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Early US country singers included:
a. | Jimmy Rogers, Hank Williams Sr, Dolly Parton and Gram Parsons | b. | Jimmy Rogers, Hank
Williams Sr, Bill Monroe and Dolly Parton | c. | Jimmy Rogers, Hank Williams Sr, Bob Wills and
Bill Monroe | d. | Jimmy Rogers, Hank Williams Sr, Bob Wills and Gram
Parsons |
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4.
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Country music featured:
a. | storyline lyrics, crooning vocal style, two-beat feel and simple
harmonies | b. | teenage lyrics, nasal vocal style, two-beat feel and simple
harmonies | c. | teenage lyrics, crooning vocal style, two-beat feel and simple
harmonies | d. | storyline lyrics, nasal vocal style, two-beat feel and simple
harmonies |
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5.
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Country rock was pioneered by:
a. | Gram Parsons and the Byrds | b. | Gram Parsons and the Eagles | c. | Gram Parsons and the
Allman Brothers | d. | Gram Parsons and Creedence Clearwater Revival |
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6.
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Southern rock differed from country rock in that:
a. | it was more aggressive, fused blues, gospel and disco and southern
lyrics | b. | it was more aggressive, fused blues, gospel and soul and teenage
lyrics | c. | it was more aggressive, fused blues, gospel and soul and southern
lyrics | d. | it was less aggressive, fused blues, gospel and soul and southern
lyrics |
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7.
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The two-beat feel comprises:
a. | tonic bass on beat one, dominant bass on beat three and chords on beats two and
four | b. | tonic bass on beat one, tonic bass on beat three and chords on beats two and
four | c. | tonic bass on beat one and chords on beats two, three and four | d. | dominant bass on
beat one, tonic bass on beat three and chords on beats two and four |
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8.
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Johnny Cash’s song ‘Folsom Prison Blues’ is distinctive
because:
a. | it combines prison and outlaw blues in a 12-bar blues progression | b. | it combines train
and prison blues in an 11-bar blues progression | c. | it combines train and prison blues in a 12-bar
blues progression | d. | it combines prison and outlaw blues in an
11-bar blues progression |
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9.
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Early Australian country was lead by:
a. | Tex Morton, Smoky Dawson, Slim Dusty and John Minson | b. | Tex Morton, Smoky
Dawson, Slim Dusty and Keith Urban | c. | Tex Morton, Smoky Dawson, Slim Dusty and Adam
Brand | d. | Tex Morton, Smoky Dawson, Slim Dusty and Reg Lindsay |
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10.
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Tensions exist within Australian country as to:
a. | whether American artists should sing about Australian themes with Australian
accents | b. | whether American artists should sing about Australian themes with American
accents | c. | whether Australian artists should sing about Australian themes with American
accents | d. | whether Australian artists should sing about Australian themes with Australian
accents |
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11.
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Three distinctive progressive rock styles include:
a. | blues-based, classical-influenced and experimental electronic
songs | b. | orchestral backing, blues-based and experimental electronic songs | c. | orchestral backing,
classical-influenced and experimental electronic songs | d. | orchestral backing, classical-influenced and
psychedelic songs |
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12.
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Progressive rock was inspired by:
a. | the Beatles’ ‘Sgt Pepper’s Lonely Hearts Club Band’ and
‘Firebird Suite’ albums | b. | the Beatles’ ‘Sgt Pepper’s
Lonely Hearts Club Band’ and ‘Days of Future Past’ albums | c. | the Beatles’
‘Sgt Pepper’s Lonely Hearts Club Band’ and ‘Dark Side of the Moon’
albums | d. | the Beatles’ ‘Sgt Pepper’s Lonely Hearts Club Band’ and
‘Abbey Road’ albums |
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13.
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The technique of musique concrete involves:
a. | sampling of natural and industrial sounds to create a musical
collage | b. | recording of natural and industrial sounds to create a musical
collage | c. | recording of synthesised and industrial sounds to create a musical
collage | d. | recording of natural and synthesised sounds to create a musical
collage |
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14.
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General characteristics of progressive rock include:
a. | poetic, cryptic lyrics, wide chord vocabulary and unusual time
signatures | b. | poetic, teenage lyrics, wide chord vocabulary and unusual time
signatures | c. | poetic, rebellious lyrics, wide chord vocabulary and unusual time
signatures | d. | poetic, multi-tracked lyrics, wide chord vocabulary and unusual time
signatures |
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15.
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Pink Floyd’s song ‘Money’ is in:
a. | a 3 + 4 7/4 time grouping | b. | a 4 + 3 7/4 time grouping | c. | a straight 7/4 time
grouping | d. | a 5 + 2 7/4 time grouping |
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16.
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Progressive rock borrowed forms from classical music including:
a. | rondo form, sonata form and AABA form | b. | rondo form, sonata form and ritornellos
form | c. | rondo form, sonata form and binary song form | d. | rondo form, sonata
form and multi-movement suites |
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17.
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Silverchair’s song ‘Luv Your Life’ featured a Cmaj7 chord
which comprises:
a. | the notes C, E, Gb and B | b. | the notes C, E, G and Bb | c. | the notes C, Eb, G
and B | d. | the notes C, E, G and B |
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18.
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Progressive rock was largely a European style because:
a. | it drew upon European classical, folk and rhythm & blues
styles | b. | it drew upon European classical, folk and jazz traditions | c. | it drew upon
European rhythm & blues and country styles | d. | it drew upon European classical, rhythm &
blues and country styles |
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19.
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Interest in progressive rock declined from 1976 because:
a. | teenagers didn’t understand the vague lyrics and endless technical
virtuosity | b. | teenagers found the music too aggressive | c. | teenagers
didn’t understand the need to include orchestral backings | d. | teenagers
didn’t understand what concept albums were |
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20.
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Critics often dismissed progressive rock as:
a. | pretentious, too synthesised and too commercial | b. | pretentious, lacking
the fire or rebelliousness of rock and pointless | c. | pretentious, overly commercial and lacking in
fire | d. | pretentious, lacking a dance beat and too synthesised |
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