|Name: _________________________||Period: ___________________|
This test consists of 5 multiple choice questions, 5 short answer questions, and 10 short essay questions.
Multiple Choice Questions
1. Who was the first president of the London Baroque Society?
(a) Peter Ustinov.
(b) Dr. Karl Oskar.
(c) George Martin.
(d) Oscar Preuss.
2. According to George Martin in Chapter 4, why is a human voice more interesting than a synthesizer?
(a) The human voice touches one's soul.
(b) The human voice enunciates words better.
(c) The human voice includes variations in pitch and tone.
(d) The human voice is male or female.
3. Who first contacted George Martin in 1962 about a new group called the Beatles, as described in Chapter 7?
(a) Dr. Karl Haas.
(b) Brian Epstein.
(c) Judy Lockhart-Smith.
(d) Sid Coleman.
4. Who woke George Martin in the middle of the night, at the beginning of Chapter 1?
(a) Brian Epstein.
(b) Mal Evans.
(c) Neil Aspinall.
(d) Paul McCartney.
5. George Martin guesses he was how old when his family got a piano?
Short Answer Questions
1. As explained by George Martin in Chapter 2, how is orchestration different from composition?
2. What, according to George Martin, is the real wonder of music and orchestration?
3. As explained in Chapter 4, what is the normal range of hearing for humans?
4. Early in the Beatles' saga, who was the assistant to Neil Aspinall?
5. While in the Fleet Air Arm, George Martin was invited to appear on which BBC program?
Short Essay Questions
1. How did George Martin come to record "At the Drop of a Hat" with Donald Swann and Michael Flanders, and what was unusual about the recording method he used?
2. For the film, "The Family Way", what sort of tune did George Martin ask Paul McCartney to write, and what strategy did he employ when Paul McCartney was slow to comply?
3. What difficulties were presented by John Lennon's request that George Martin fuse together two unique versions of "Strawberry Fields Forever"?
4. How does George Martin compare multi-track recording to a four-layer cake, as described in Chapter 8?
5. What sites did George Martin consider for AIR's second studio, a residential complex, and where was it ultimately constructed?
6. How is a click track used in scoring a film?
7. Relate one anecdote from George Martin's early career at Parlophone, as described in Chapter 3.
8. In the song, "Being for the Benefit of Mr. Kite", how did George Martin achieve his complex hurdy-gurdy effect?
9. Why did the Beatles stand up George Martin in 1964, as described in Chapter 1?
10. Why, according to George Martin in Chapter 2, is pop music not a step down from classical?
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