This chapter will take a close look at the musics of which four Latin American countries? Which two languages will be represented in the songs to be studied? Who speaks the Quichua (or, Quechua) language? What basic instrumentations and styles will be represented in the recorded selections for the chapter? The nine recorded pieces to be presented with the chapter “speak eloquently to their own
cultures’ _____________.” What is the central theme in several of the examples?
What will be an ideal response?
• Chile, Bolivia, Ecuador, and Peru
• Spanish and Quichua (or, Quechua)
• Quichua (or, Quechua) is "an indigenous tongue of the Andes, spoken by some 6 to 8 million people in Bolivia, Peru, Ecuador, and Argentina."
• Solo harpist, solo singer (bereaved mother), duos and ensembles; traditional and contemporary styles
• Means for expressing profound grief, to their political concerns, to their "social" forms of music-making (Andean panpipe playing), to their histories and ecologies, or, in one case, to the composer's autobiography
• "Praise and esteem for one's beloved"
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The Ishtar Gate is from
a. Paris. b. Babylon. c. Akkad. d. Persepolis.
One of the influences on the musical theatre which was imported from Europe was a style of
light, romantic stories set in exotic locations, such as Gilbert and Sullivan’s H.M.S. Pinafore and Pirates of Penzance (a sample of which was performed in class). This style is called:
a. vaudeville b. minstrel shows c. musical comedy d. operetta e. burlesque