Problem: A music genre is a conventional category that identifies some pieces of music as belonging to a shared tradition or set of conventions. It is to be distinguished from "musical form" and "musical style", although in practice these terms are sometimes used interchangeably. Recently, academics have argued that categorizing music by genre is inaccurate and outdated.

Music can be divided into different genres in many different ways. The artistic nature of music means that these classifications are often subjective and controversial, and some genres may overlap. There are even varying academic definitions of the term "genre "itself. In his book "Form in Tonal Music", Douglass M. Green distinguishes between genre and form. He lists madrigal, motet, canzona, ricercar, and dance as examples of genres from the Renaissance period. To further clarify the meaning of "genre", Green writes, "Beethoven's Op. 61 and Mendelssohn's Op. 64 are identical in genre both are violin concertos but different in form. However, Mozart's Rondo for Piano, K. 511, and the "Agnus Dei" from his Mass, K. 317 are quite different in genre but happen to be similar in form." Some, like Peter van der Merwe, treat the terms "genre" and "style" as the same, saying that "genre" should be defined as pieces of music that share a certain style or "basic musical language." Others, such as Allan F. Moore, state that "genre" and "style" are two separate terms, and that secondary characteristics such as subject matter can also differentiate between genres. A music genre or subgenre may also be defined by the musical techniques, the style, the cultural context, and the content and spirit of the themes. Geographical origin is sometimes used to identify a music genre, though a single geographical category will often include a wide variety of subgenres. Timothy Laurie argues that since the early 1980s, "genre has graduated from being a subset of popular music studies to being an almost ubiquitous framework for constituting and evaluating musical research objects".
1. What is music often divided into?
2. Are these objective categorizations?
3. Is there distinct boundaries between all genres?
4. What did Green publish?
5. How many categories of Renassiance music did he list?
6. Is dance one of those?
7. Did he argue that genre and form were essentially the same?
8. Which pieces did he argue with the same genre but had different forms?
9. Which works were examples of the exact opposite of that?
10. What genre would The Beethoven and Mendelssohn pieces be listed as?
11. Do van der Merwe and Moore argue the same point?
12. Which one of them thinks genre and style are the same?
13. How does he define it?
14. Is musical technique one way define a genre?
15. What is another?
16. Is geographical origin ever used?
17. What is one issue with that?
18. Who said that the term has graduated from being a subset of popular music studies?
19. What type of framework has it become in his opinion?
20. What do recent academics think about this type of categorization?
Answer: 1. different genres
2. no
3. no
4. "Form in Tonal Music"
5. Five
6. yes
7. no
8. Beethoven's Op. 61 and Mendelssohn's Op. 64
9. Mozart's Rondo for Piano, K. 511, and the "Agnus Dei" from his Mass, K. 317
10. concertos
11. no
12. Peter van der Merwe
13. as pieces of music that share a certain style
14. yes
15. the style
16. yes
17. a single geographical category will often include a wide variety of subgenres
18. Timothy Laurie
19. for constituting and evaluating musical research objects
20. that it is inaccurate and outdated

Problem: CHAPTER XI IN COMMAND OF A GALLEY

William Neave, the governor of the prison, looked astonished indeed when, upon his opening the door, the grand master and the bailiff of the English langue, with the twelve knights behind them, entered. He had been puzzled when, four days before, he had received an order from the grand master that Ahmet, a servitor in the auberge of the English langue, should be permitted to pass the night in his house, with authority to move freely and without question, at any hour, in the courtyard of the gaol, and to depart at any hour, secretly and without observation, by the private gate. Still more had he been surprised when he received the message that the grand master would pay him a secret visit at eleven o'clock at night.

"Let no word be spoken until we are in your apartments," D'Aubusson said in a low voice, as he entered. "But first lead four of these knights and post them so that none can enter the gaol from the house. If there are more than four doors or windows on that side, you must post a larger number. It is imperative that there shall be no communication whatever between your servants and the gaol."

As soon as this was done, the rest of the party were taken to the governor's rooms.

"I can now explain to you all," the grand master said, "the reason of our presence here. I have learned that at twelve tonight there will be a general rising of the slaves in this prison, and that, aided by treachery, they will free themselves from their fetters, overpower and slay such of the guards in their rooms as have not been bribed, throw open the gates, make their way down to the port, burn all the shipping there, and make off in the six galleys manned by them, having first overpowered the sentries in the three forts commanding the entrance, and spiked the guns."
1. who got a message that he would be visited by the grand master?
2. where did he work?
3. was he the governor there?
4. what he shocked when he opened his door?
5. how many days before that did he receive an order?
6. when was the grand master suppose to visit him?
7. what is his name?
8. did he tell neave to post four knights?
9. who was given authority to move around as they wished?
10. was he the bailiff?
11. what gate was he suppose to use?
12. who was going to start a riot in the prison?
13. were some of the guards bribed?
14. what would they burn at the port?
15. how would they leave?
16. were they going get by the sentries?
Answer:
1. William Neave
2. at the prison
3. yes
4. the grand master and the bailiff of the English langue, with the twelve knights behind them
5. four
6. eleven o'clock at night
7. D'Aubusson
8. yes
9. Ahmet
10. yes
11. the private gate
12. the slaves in this prison
13. no
14. all the shipping there
15. and make off in the six galleys manned by the shipping port
16. yes