How does the music of East Asia differ from that of Western cultures?

East Asia, the scale is based off of the first note.

East Asian music only makes use of five types of instruments.

East Asian scales are based on mathematical formulas, in which the distance between notes is
In general, East Asian music is based on a pentatonic scale.

II. Multiple Choice:

1. Where could one learn Western music around the first two decades of the 20th century in
Japan?

a. bandoya

b. conservatories

c. department store troupes

d. primary schools

e. all of the above

2. What brought much of the Chinese culture to Japan?

a. Buddhism

b. Christianity

c. explorers

d. war

e. none of the above

3. The largest ensemble in all of Japanese traditional music is:

a. bandoya

b. gagaku

c. kabuki

d. no

e. none of the above

4. The mode of banshiki that is used exclusively for funeral ceremonies of the imperial family is:

a. a symbol of the darkness and fecundity of the womb

b. associated with the color black

c. associated with the direction north

d. associated with winter

e. all of the above

5. The Japanese traditional system for transmission of knowledge between master and disciple
is:

a. gaikyoku
b. honkyoku

c. iemoto seido

d. sensei

e. none of the above

6. In kabuki theater, women’s roles were played by:

a. either female or male specialists

b. female specialists

c. male specialists

d. younger aged specialists

e. all of the above

7. In the early 1940’s, the military in Japan provided ear training for children because:

a. children needed to discriminate various attack planes

b. music was used to detract from the horror of war

c. the military believed that cultural activities in children cold instill hope to end the war

d. the military needed to train young band musicians

e. none of the above

8. Enka songs:

a. are generally slow to medium speed

b. can be traced largely to 1930s theme songs

c. comprised the earliest repertory of karaoke

d. express despairing sadness and self-sacrificing sentiment

e. all of the above

9. Karaoke was born in Japan in the:

a. 1950s

b. 1960s

c. 1970s

d. 1980s

e. 1990s

Kabuki has its origins in 17th century feudal Japan. What shogunate ruled Japan when kabuki
debuted?

Kabuki was created during the Meiji Restoration rather than during a shogunate

Kamakura Shogunate

Tokugawa Shogunate

Ashikaga Shogunate
2. Though considered a traditional form of Japanese art, modern Kabuki has one major
distinguishing feature which is in direct contrast the first Kabuki performances. What is this
feature?

Original kabuki had no singing and was simply dancing

Original kabuki had very simple costumes and now the costumes are extremely elaborate

Original kabuki could only legally be performed in Edo and now can be performed anywhere

Original performers were all women and now kabuki is only performed by men.

3. Due to its suggestive nature, Kabuki with all female casts was immediately popular. What
was often an additional feature offered to audiences in early Kabuki?

Performers doubled as waitresses for audiences

Male audience members were allowed to interact with kabuki performers

Performers would strip naked if paid enough

Women performers were available as prostitutes

4. In 1629, onna-kabuki, which was performed by all female casts, was banned due to eroticism
and prostitution. For a short period of time, wakusha-kabuki took its place. What was the
difference between onna-kabuki and wakusha-kabuki?

Onna-kabuki was all female cast, while wakusha-kabuki was cast with all young boys

Wakusha-kabuki was a mix of a male and female cast

Onna-kabuki was a female cast that allowed prostitution, while wakusha-kabuki was an all
female cast that outlawed prostitution

Wakusha-kabuki forbade ribald performances

5. With the banning of onna-Kabuki in 1629, wakashu-kabuki, which was performed by younger
boys, became available but was quickly banned. Why was wakashu-kabuki banned?

Younger boys were rarely available for wakusha-kabuki performances due to having to work on
farms and as merchants

The Shogunate looked down upon any sort of stage performance after the banning of onna-
kabuki

Fans preferred kabuki with female actors

Like onna-kabuki, the performers in wakashu-kabuki were available for prostitution

6. Another popular feature of kabuki is called keren. What are keren?

Stagecraft tricks, such as trapdoors and costume changes

A fruity sake that is served at the beginning of the second act.

Provided meals to be eaten while watching the performance

Plot devices that allow actors to incorporate audience members in the play.

7. One of the most popular keren in kabuki is the stagecraft trick known as hayagawari. What is
this trick?

A quick costume change while onstage

A number of special effects using water

Using strings to have an actor fly over the audience

The use of trapdoors to transport characters across the stage

8. Another very popular keren is known as yatai kuzushi. As a rule, yatai kuzushi can generally
only be used once during a kabuki performance. Why is this?

Shinto laws only allow yatai kuzushi to be performed once a day

It is the death of the main character

It is the rapid destruction of part of the set

It is an elaborate curtain call

9. A kabuki set has a feature known as a hanamichi, which means "flower path." This is a
projection of the stage into the audience. What is the purpose of a hanamichi?

It is the entrance way used by the audience to find their seats.

Waiters and waitresses walk along the hanamichi to provide food and sake to the audience.

It is a walkway through which dramatic entrances and exits are performed.

It is lined with flowers to affect the beauty of the set.

10. Finally, if you want to see a kabuki play, where would you have to be in order to attend one?

Japan, as true kabuki is only performed in the country.

Anywhere, as kabuki theater groups tour the world.

Honshu, as it is the only Japanese island kabuki is legally performed on.

Asia, because although kabuki companies tour, they do not tour outside of Asia.
hich of the following is NOT true of Asian theatre?

:a. It is never just “spoken;” it is danced, chanted, mimed, and very often sung.

b. It is more visual and sensual than literary or intellectual.

c. In traditional Asian culture, reading a play—as an activity separate from seeing it in

performance—isconsidered an odd pastime.

d. Its plots are built on escalating incidents, stunning reversals, crescendoing climaxes, and
elaborateclosures.

Which of the following is true of theatre in Asia?:

a. There was no theatre.

b. It contains many diverse traditions.

c. It primarily imitates and reshapes Western forms.

d. It supplied Western theatre with all its early dramas.The puppet theatre of Japan is known
asSelect one:a. Sanskritb. Wakic. kalidasad. bunraku.

1. __________ is the generic term for mainly percussion-based ensembles of Bali, Java, and
other islands of Indonesia.

a. Gamelan

b. Gangsa

c. Banjar

d. Beleganjur

2. Balinese Hinduism is a blend of Hinduism and

a. Islam

b. Buddhism

c. indigenous spiritual beliefs

d. B and C, but not A

3. The indigenous peoples of Bali who do not practice Hinduism are known as the __________,
meaning “original Balinese.”

a. Agama Tirta

b. Bali Aga

c. Bahasa Indonesia

d. Wayang Kulit
4. Central Javanese court gamelan and Balinese gamelan gong kebyar are similar because

a. they share a basis in cyclic musical forms

b. they have related types of instruments

c. they sound almost identical

d. A and B, but not C

5. The “shimmering” quality of the instruments in gamelan gong kebyar is due to

a. cyclic musical forms

b. rapid-fire melodies

c. paired tuning of instruments

d. interlocking drum patterns

6. The kilitan telu interlocking rhythms in Balinese gamelan are described in the chapter as
being symbolic of

a. unity in diversity

b. Balinese cultural values of communal interdependence

c. the Balinese three-part conception of the universe

d. the religion of Holy Water

7. The Balinese dance-drama Kecak

a. enacts scenes from a Hindu epic called the Ramayana

b. employs a gamelan suara “voice gamelan”

c. uses no music instruments (other than voices)

d. all of the above

8. The root foundation of beleganjur music is a gong cycle

a. of eight beats called gilak

b. of 16 beats called ketawang

c. of male and female beats called ombak

d. all of the above

9. The function of the gamelan beleganjur in cremation rituals is

a. to intimidate and drive away evil spirits

b. to show off tradition and innovation in composition

c. to win a competition

d. all of the above

10. In the Balinese caste system, 90 percent of Balinese belong to the ___________ caste.

a. priestly

b. warrior

c. merchant

d. commoner

11. The word banjar refers to

a. the Balinese cremation ceremony

b. the soul of the deceased

c. a Balinese neighborhood organization

d. sacred verses sung by men and women

12. Which instruments “direct” gamelan ensembles by signaling changes in tempo and cueing
new musical sections?

a. gongs

b. drums

c. cymbals

d. metallophones

13. In cremation ceremonies, beleganjur music is used as a “weapon”

a. to intimidate and drive away evil spirits such as bhutas and leyaks

b. to scatter street dogs that customarily interfere with the procession

c. to keep people from rival, neighboring banjars out of the procession

d. all of the above

14. Whenever a Balinese funeral procession reaches a crossroad

a. the cremation tower is carried straight through without being turned

b. the beleganjur music increases in volume and intensity

c. an angel gets his wings

d. soft and gentle music is played

15. The contest musical style called kreasi beleganjur become popular in

a. ancient times

b. the late 19th century

c. the 1930s

d. the mid-1980s

16. The main goal of a group competing in a beleganjur contest (lomba beleganjur) is

a. to serve the religious function of the event

b. to impress the judges and audience by eliminating all traces of conventional, traditional
beleganjur musical style

c. to impress the judges and audience by adhering strictly to the conventions of classic,
traditional beleganjur music

d. to impress the judges and audience by balancing tradition and innovation within the context of
a virtuosic performance medium

17. Choreographed sequences in kreasi beleganjur compositions are called _________.

a. gilak

b. gerak

c. gangsa

d. gong ageng

18. Kreasi beleganjur places a high value on

a. compositional originality

b. showmanship
c. varied textures

d. all of the above

19. The kreasi beleganjur composer I Ketut Suandita is well known for

a. his innovative approach to beleganjur composition

b. winning Bali’s most prestigious beleganjur competition in three consecutive years

c. composing works that are creative but do not lose sight of beleganjur’s traditional roots

d. all of the above

20. The first well-known Western composer to become fascinated with gamelan music was

a. Claude Debussy

b. John Cage

c. Lou Harrison

d. Benjamin Britten

21. I Wayan Balawan is famous for his skills as

a. a Balinese gambuh dancer

b. a kreasi beleganjur composer

c. a Balinese kendang drummer and gamelan director

d. an electric guitarist

22. The piece “B.A.Ph.Pet”

a. was composed by I Ketut Suandita for a beleganjur contest

b. is a humorous children’s piece for solo piano composed by Claude Debussy

c. features a hip-hop DJ performing as the scratch turntable soloist in a context that also uses
Balinese gamelan and other instruments

d. was premiered on the same concert as John Cage’s 4’33”

Listening

1. “Jaya Semara” (Disk 2, track 12) is an example of

a. gamelan jegog

b. gamelan beleganjur

c. gamelan gong kebyar

d. gamelan suara

Answer: c

2. “Jaya Semara” (Disk 2, track 12) differs from Javanese gamelan because of its

a. cyclic musical form

b. types of instruments (bronze gongs and metallophones.

c. shimmering timbre and rapid-fire melody

d. multipart textures in which higher pitched instruments play at faster rhythmic rates than the
lower-pitched instruments

Answer: c

3. A term used in Bali to describe interlocking patterns such as the ones heard in “Kecak” (disk
2, track 13) is

a. kecak

b. kebyar

c. kreasi

d. kilitan telu

Answer: d

4. “Kecak” (disk 2, track 13) is

a. a theatrical enactment of the Balinese origin myth

b. taken from a funeral procession

c. an excerpt of people singing sacred verses (kidung)

d. a theatrical enactment of an episode from the Ramayana

Answer: d
5. The music heard in “Beleganjur” (disk 2, track 11)

a. is rooted in battles of good versus evil

b. features a gong cycle

c. features kilitan telu

d. all of the above

Answer: d

6. The performance on disk 2, track 14, Beleganjur in cremation procession, features

a. innovative composition and virtuosity

b. music designed to frighten away evil spirits

c. choreographed gerak movements

d. all of the above

Answer: b

7. The function of “Wira Ghorava Cakti ‘95” (disk 2, track 16) is to

a. impress judges

b. show compositional originality

c. embolden the spirit of the deceased

d. A and B only

Answer: d

III. MULTIPLE CHOICE. Choose and encircle the letter of the correct answer.

1. What is a Wayang Kulit made out of?

a. Leather b. Paper c. Clay d. Plastic

2. Where are Wayang Kulit made and performed?

a. U.S.A. b. Indonesia c. China d . England3.

Where is the story of Rama and Sita originally from?

a. Korea b. Iran c. China d. India

4. One of the oldest traditions of storytelling in the world.

a. peking opera b. kabuki c. wayang kulit d. wayang golek

5. Known as the puppeteer.

a. galang b. dalang c. balang d. talang