Test Bank For Creative Approach To Music Fundamentals 11Th Edition by Duckworth Isbn 0840029985 9780840029980 Full Chapter PDF
Test Bank For Creative Approach To Music Fundamentals 11Th Edition by Duckworth Isbn 0840029985 9780840029980 Full Chapter PDF
Test Bank For Creative Approach To Music Fundamentals 11Th Edition by Duckworth Isbn 0840029985 9780840029980 Full Chapter PDF
MULTIPLE CHOICE
a. C#
b. D#
c. D
d. F
e. G
ANS: B PTS: 1
2. What is the letter name of the note one half step above the note marked with an "x"?
a. Ab
b. A
c. C
d. Bbb
e. B
ANS: E PTS: 1
3. The notes in this image depict:
a. Cb
b. B
c. C
d. F
e. G
ANS: C PTS: 1
5. What is the letter name of the note one half step above the note marked with an "x"?
a. E
b. E#
c. F
d. D
e. Db
ANS: A PTS: 1
8. What is the letter name of the note one half step below the note marked with an "x"?
a. D
b. D#
c. Eb
d. E
e. Db
ANS: E PTS: 1
10. What is the letter name of the note one whole step above the note marked with an "x"?
a. C
b. Bb
c. B
d. D
e. C#
ANS: D PTS: 1
11. What is a possible letter name of the note marked with an "x"?
a. A
b. C
c. Ab
d. Bb
e. B
ANS: C PTS: 1
12. What is the letter name of the note one whole step below the note marked with an "x"?
a. B
b. C
c. G
d. F
e. Ab
ANS: C PTS: 1
13. What is a possible letter name of the note marked with an "x"?
a. Db
b. D
c. C
d. B
e. Eb
ANS: A PTS: 1
15. What is the letter name of the note one half step below the note marked with an "x"?
a. A
b. B
c. C
d. Bb
e. D
ANS: D PTS: 1
16. What is a possible letter name of the note marked with an "x"?
a. Ab
b. Gb
c. B#
d. Bb
e. C
ANS: D PTS: 1
17. What is the letter name of the note one whole step below the note marked with an "x"?
a. F#
b. E
c. G
d. F
e. Eb
ANS: E PTS: 1
18. What is a possible letter name of the note marked with an "x"?
a. G
b. F
c. C
d. A
e. B
ANS: A PTS: 1
20. What is the letter name of the note one half step above the note marked with an "x"?
a. A
b. Ab
c. G#
d. G
e. Gb
ANS: A PTS: 1
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ones next, material and economic ones perhaps least. But in all
cases change or innovation is due to a shift of values that are
broader than the single phenomenon in question, and that are held
to impulsively instead of reasonably. That is why all social creations
—institutions, beliefs, codes, styles, speech forms—prove on
impartial analysis to be full of inconsistencies and irrationalities. They
have sprung not from weighed or reasoned choices but from
impulsive desires and emotionally colored habits.
The foregoing discussion may be summarized as follows.
Linguistic phenomena and processes are on the whole more deeply
unconscious than cultural ones, without however differing in
principle. In both language and culture, content is more readily
imparted and assimilated than form and enters farther into
consciousness. Organization or structure in both cases takes place
according to unconscious patterns, such as grammatical categories,
social standards, political or economic points of view, religious or
intellectual assumptions. These patterns attain recognition only in a
late stage of sophistication, and even then continue to alter and to be
influential without conscious control. The number of such linguistic
and social patterns being limited, they tend to be approximately
repeated without historic connection. Partially similar combinations of
such patterns sometimes recur, producing languages or cultures of
similar type. But established patterns, and still more their
combinations, replace each other with difficulty. Their spread
therefore takes place through the integral substitution of one
language or culture for another, rather than by piecemeal absorption.
This is in contrast to the specific elements of which language and
culture consist—individual words, mechanical devices, institutional
symbols, particular religious ideas or actions, and the like. These
elements absorb and diffuse readily. They are therefore imitated
more often than they are reinvented. But linguistic and cultural
patterns or structures growing up spontaneously may possess more
general resemblance than historic connection.
65. Fossils of the body and of the mind.—66. Stone and metals.—67. The
Old and the New Stone Ages.—68. The Eolithic Age.—69. The
Palæolithic Age: duration, climate, animals.—70. Subdivisions of the
Palæolithic.—71. Human racial types in the Palæolithic.—72.
Palæolithic flint implements.—73. Other materials: bone and horn.—
74. Dress.—75. Harpoons and weapons.—76. Wooden implements.
—77. Fire.—78. Houses.—79. Religion.—80. Palæolithic art.—81.
Summary of advance in the Palæolithic.