European countries began adopting anthems in the mid-19th century, which marked a period of growing:

The shared experience of singing or hearing the anthem binds people together.

“The Star-Spangled Banner” is an example of a new text fitted to an old melody.

The lyrics of “The Star-Spangled Banner” were written by Francis Scott Key in 1814.

Francis Scott Key began writing the poem for the American National Anthem on board the British flagship HMS Tonnant and published it a few days later under the title:

Francis Scott Key knew that American forces had lost the battle when he saw the British flag flying over the buttresses.

“The Star-Spangled Banner” is an example of a:

The tune to which Francis Scott Key’s “Defence of Fort M’Henry” is sung was originally known as:

“The Anacreontic Song” was the official song of the Anacreontic Society, a group of aristocrats who gathered to discuss art and literature.

Which of the following are true about “The Star-Spangled Banner,”?

The leading criticism of “The Star-Spangled Banner” was that it was too difficult to sing because:

A standardized version of “The Star-Spangled Banner” was published in 1917.

August Heinrich Hoffmann von Fallersleben wrote the text of “The Song of the Germans” in 1841 in order to call for:

The tune of the current German national anthem, composed by Joseph Haydn, was first known as “God Save Emperor Francis.”

When Germany was unified in 1871, the new nation adopted the Prussian national anthem, which used the same tune as “God Save the Queen.”

“The Song of the Germans” became the German anthem in 1918 following:

Following WWII, the government of East Germany commissioned a new anthem, “Risen from the Ruins,” while West Germany ceased to use an anthem altogether.

Since WWII, only the third verse of West Germany’s “The Song of the Germans” has been used in official contexts due to the fact that:

Unlike Whitney Houston’s performance of “The Star-Spangled Banner,” Namika’s rendition of “The Song of the Germans” includes the audience signing along, likely because:

In the 19th century, English became an important language in South Africa due to the:

South Africa has eleven official languages, including nine indigenous African languages, which posed difficulties for the creation or selection of a national anthem.

When South Africa gained independence in 1931, the political parties that came to power represented the interests all people, regardless of race.

In 1948, the National Party was elected to power and instituted apartheid (white supremacist segregation) in South Africa.

Apartheid included all of the following elements except

In 1957, the National Party adopted a new anthem, “The Call of South Africa.”

Black South Africans favored a Xhosa-language Methodist hymn entitled “Lord Bless Africa.”

In 1992, a referendum brought apartheid to an end, and African National Party leader Nelson Mandela became President.

In 1997, Mandela commissioned a new national anthem that:

The text of “The Hope,” the national anthem of Israel, was written in 1878 by Naphtali Herz Imber.

“The Hope” expresses yearning for a return to

When Israel was founded in 1948, “The Hope” was immediately adopted as the:

The music of “The Hope” was adapted from a tune that Samuel Cohen had heard sung in

The 16th-century Italian song “La Mantovana” was the original source of the tune that Cohen adapted for “The Hope” and the tune had been paired with many texts in many European languages.

Smetana wrote “The Moldau” in order to:

Liszt became the leading virtuoso of his era on which instrument.

Liszt made his debut in Vienna in 1822, and in 1832 he heard the violin virtuoso Niccolò Paganini, after which he:

In 1832, Liszt gave up public performance and went into seclusion to refine his technique.

Liszt appeared onstage with two pianos because:

Liszt had a following that consisted primarily of:

At his recitals, Liszt performed:

Liszt wrote subtle and restrained music for himself to perform, such as the nineteen Hungarian Rhapsodies, which are reminiscent of his childhood in Vienna.

Béla Bartók (1881-1945) lived most of his life in Hungary, where Liszt was considered a national hero.

During Bartók’s life, Hungarian nationalists sought independence from the Austro-Hungarian Empire.

Bartók shared Liszt’s interest in Hungarian folk music, but not his view of which group of people’s musical tradition should represent folk music.

Bartók considered folk music to be the music of the rural peasantry.

Bartok was one of many ethnomusicologists to make sound recordings and write down folk melodies using staff notation.

Bartók incorporated folk melodies into his own compositions.

Antonín Dvořák (1841-1904) is often cited as the originator of:

Dvořák was a Russian composer brought over to the United States to direct the National Conservatory of Music.

Dvořák suggested that American composers draw inspiration from:

By the 1890s, American composers had already developed a unique voice, but they were regarded as less culturally significant than their European counterparts.

Spirituals constitute a body of orally-transmitted religious folk music with roots in enslaved communities.

Harry Burleigh was a student at the National Conservatory of Music and often sang this song at Dvořák’s request:

Antonín Dvořák’s Symphony No. 9 “From the New World” premiered in 1893 and bore his impressions of the United States.

Movement I of Dvořák’s Symphony No. 9 includes a theme based on “Swing Low, Sweet Chariot.” The theme returns in later movements, making this a:

Not every American composer accepted Dvořák’s approach to representation of American identity in formal art music. This composer offered an alternative vision for the “American” symphony:

Amy Beach (1867–1944) was the first woman to have a work performed by Boston’s Handel and Haydn Society.

Beach gave her debut performance with the Boston Symphony at age _____.

Beach may have become one of the leading virtuosos of her time, but stopped performing to focus on composition because her husband believed men should support their wives.

Beach’s Gaelic Symphony reflected her belief that American concert music would more likely be influenced by old songs of the English, Scotch, or Irish.

Trinidad and Tobago was first claimed as a Spanish colony in 1498, after which the indigenous population was wiped out.

English is the official language in Trinidad and Tobago due to the fact that the British assumed military control in 1797.

The development of _____ music in Trinidad and Tobago was connected to the celebration of Carnival:

In Trinidad and Tobago, Carnival is celebrated on the Monday and Tuesday before Lent and is a legacy of the islands’ Catholic heritage.

Tamboo bamboo involves pounding hollow bamboo sticks on the ground to create complex rhythmic patterns for dancing.

Tamboo bamboo was developed after the British banned drums in 1834, but the practice itself was banned a century later as part of an ongoing attempt to quell Carnival festivities.

Discarded oil barrels became the material of choice for Steelband musicians.

The steelpan is a versatile instrument, but it is not capable of:

At the Trinidad Music Festival, steelband ensembles perform European concert repertoire.