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Test Bank1 for Principles & Labs for Fitness & Wellness 12e
Chapter 8 – Muscular Flexibility
Chapter Learning Objectives
True/False
1 F 1. Too much flexibility is a risk factor for falls and subsequent injury among older
adults.
2 T 2. Flexibility is joint specific and varies from one individual to the next.
4 T 5. The Modified Sit-and-Reach Test accounts for arm versus leg length differences.
6 F 9. The intensity of a flexibility stretch should exceed the point of mild discomfort.
8 T 10. The most common reason for chronic low-back pain is a lack of physical activity.
8-1
Multiple Choice
1 b 11. The range of motion at a joint or group of joints that can be achieved without
causing injury is known as:
a. stretching.
b. flexibility.
c. elongation.
d. elasticity.
1 b 12. When joints are regularly moved through their entire range of motion:
a. flexibility decreases.
b. flexibility increases.
c. muscles shorten.
d. ligaments shorten.
1 a 14. Poor posture and subsequent aches and pains that lead to limited and painful
joint movement can be caused by:
a. a decline in flexibility.
b. an increase in coordination.
c. lack of adipose tissues.
d. too-strong muscles.
1 d 15. Approximately _____ percent of all low-back problems in the United States stem
from improper alignment of the vertebral column and pelvic girdle, a direct
result of inflexible and weak muscles.
a. 20
b. 40
c. 60
d. 80
8-2
2 a 18. Temporary lengthening of soft tissue is called:
a. elastic elongation.
b. plastic elongation.
c. plastic flexibility.
d. plastic stretching.
3 b 25. Flexibility exercises have been prescribed successfully to treat all of the
following EXCEPT:
a. stress.
b. subluxation.
c. knots in muscles.
d. dysmenorrhea.
3 c 26. Taking part in a regular stretching program offers all of the following benefits
EXCEPT that it:
a. promotes proper and graceful body movement.
b. prevents low-back and other spinal column problems.
c. increases muscular strength and endurance.
d. improves and maintains good postural alignment.
8-3
4 d 27. The Modified Sit-and-Reach Test:
a. modifies the test results for those with longer arms as
compared to legs.
b. underestimates flexibility for those with longer arms as
compared to legs.
c. underestimates flexibility for those with shorter legs as
compared to arms.
d. considers arm and leg lengths in determining the flexibility
measurement.
4 c 28. Which of the following tests measures the flexibility of the hamstring muscle
and, to a lesser extent, the lower back muscles?
a. Total Body Rotation
b. Shoulder Rotation
c. Sit-and-Reach
d. Repetition Maximum
4 a 29. All other factors being equal, an individual with longer arms or shorter legs, or
both, receives a better rating from the _____ Test.
a. original Sit-and-Reach
b. Modified Sit-and-Reach
c. Total Body Rotation
d. Shoulder Rotation
4 c 30. The reason that the Front-to-Rear Splits Test and the Bridge-Up Test are not
included to determine one's flexibility profile is that:
a. they do not consider an individual with long arms and/or
shorter legs, or both.
b. everyday movements, such as reaching, bending, and turning,
are not important.
c. they do not represent actions that most people encounter in
their daily life.
d. they only measure the hamstring muscles and the lower back
muscles.
4 b 31. The Modified Sit-and-Reach Test, the Total Body Rotation Test, and the
Shoulder Rotation Test are used to determine:
a. the ideal level of flexibility.
b. one's flexibility profile.
c. one's gymnastic potential.
d. one's athletic potential.
5 c 32. A 20-year-old woman with a 17-inch Modified Sit-and-Reach Test result has the
percentile rank of about _____ (use the provided Table 8.1).
a. 60
b. 70
c. 80
d. 90
8-4
5 b 33. An 18-year-old woman who meets the high physical fitness standards must
score a minimum of _____ inches in the Modified Sit-and-Reach Test (use the
provided Table 8.1).
a. 16.0
b. 16.5
c. 15.8
d. 16.2
5 c 34. An 18-year-old man who meets the high physical fitness standards must score
a minimum of _____ inches in the Total Body Left Rotation Test (use the
provided Table 8.2).
a. 19.8
b. 19.9
c. 20.9
d. 21.3
8-5
5 a 35. A 20-year-old man with a 17-inch Total Body Left Rotation Test result has the
percentile rank of _____ (use the provided Table 8.2).
a. 40
b. 50
c. 60
d. 70
5 d 36. A 20-year-old woman with a 17-inch Shoulder Rotation Test result has the
percentile rank of about _____ (use the provided Table 8.3).
a. 40
b. 50
c. 60
d. 70
5 d 37. After months of stretch exercises, Jane, an 18-year-old college student, finally
reached the high physical fitness standards. She must have, at most, _____
inches of measurement in the Shoulder Rotation Test (use the provided Table
8.3).
a. 19.2
b. 18.7
c. 17.2
d. 16.1
8-6
8 a 38. The leading causes of chronic back problems include:
a. faulty posture and weak muscles.
b. good posture and strong muscles.
c. low body weight and body fat.
d. strong abdominal/pelvic muscles.
4 a 39. The posture evaluation chart of Lab 8B rates parts of the body:
a. including the trunk.
b. on a scale of 1 to 10.
c. using a protractor.
d. using a position tester.
6 c 42. Exercise done with slow, short, and sustained movement is referred to as:
a. ballistic stretching.
b. dynamic stretching.
c. controlled ballistic stretching.
d. slow-sustained stretching.
8-7
6 b 43. Controlled ballistic stretching:
a. involves rapid, bouncy movements.
b. is quite effective in developing flexibility.
c. often overstretches ligaments and tendons.
d. causes more pain than other methods.
6 d 44. Exercises in which the muscles are lengthened gradually through a joint's
complete range of motion are referred to as:
a. ballistic stretching.
b. dynamic stretching.
c. controlled ballistic stretching.
d. slow-sustained stretching.
8-8
6 b 51. After 6 to 8 weeks of flexibility development, current flexibility levels can be
maintained with as few as _____ flexibility session(s) each week.
a. 1
b. 2
c. 3
d. 4
7 a 53. Which of the following exercises causes excessive strain on the spine and may
harm disks?
a. Double-Leg Lift
b. Knee to Chest
c. Hurdler Stretch
d. Donkey Kicks
7 d 54. Which of the following exercises causes excessive strain on the back, shoulders,
and neck?
a. Double-Leg Lift
b. Knee to Chest
c. Hurdler Stretch
d. Donkey Kicks
8-9
8 b 59. A major contributor to back pain is _____, which causes back muscles to
shorten, stiffen, and become weaker.
a. too much walking
b. excessive sitting
c. low body weight
d. physical activity
8 c 60. One exercise that can be prescribed for backache syndrome is:
a. weight lifting.
b. running.
c. walking.
d. cycling.
6 d 62. Muscles and ligaments in the pelvic region can be stretched by performing the:
a. Triceps Stretch.
b. Adductor Stretch.
c. Quad Stretch.
d. Side Stretch.
6 d 65. Which of the following exercises stretches the gluteal and abdominal flexor
muscles?
b. Arm Circles
a. Chest Stretch
c. Hip Flexor Stretch
d. Supine Bridge
8-10
d. result in muscle contraction.
LO# Question
Answer: Plastic elongation is the permanent lengthening of soft tissue. Even though joint
capsules, ligaments, and tendons are basically nonelastic, they can undergo plastic elongation.
This permanent lengthening, accompanied by increased range of motion, is best attained
through slow-sustained stretching exercises. Elastic elongation is the temporary lengthening of
soft tissue. Muscle tissue has elastic properties and responds to stretching exercises by
undergoing elastic or temporary lengthening. Elastic elongation increases extensibility, the
ability to stretch the muscles.
4 69. Discuss why the Modified Sit-and-Reach Test is superior to the original Sit-and-
Reach Test.
Answer: The original Sit-and-Reach Test does not take length of arms and legs into
consideration. All other factors being equal, an individual with longer arms or shorter legs, or
both, receives a better rating because of the structural advantage. The Modified Sit-and-Reach
Test takes length of arms and legs into consideration and reflects the true score.
6 70. Discuss whether ballistic stretching is a good choice for a flexibility-training program.
Answer: Controlled ballistic stretching is adequate and not injurious for most flexibility training
programs. There may also be circumstances in which, after initial warm-up, that more vigorous
ballistic movements (calisthenics) would be specific to training objectives. The purpose of
training is of central importance in determining the effectiveness and drawbacks of any
preparatory and exercise training technique. Ballistic stretching should not be used if slow-
sustained (static) stretching or PNF flexibility training is a better choice.
7 71. What flexibility exercises would be good alternatives to the Swan Stretch and
Straight-Leg Sit-Ups?
Answer: The Back Extension Stretch is recommended instead of the Swan Stretch for
abdominal flexibility. The Chest Stretch and the Single-Knee-to-Chest Stretch are
recommended instead of Straight-Leg Sit-Ups for chest, shoulder, lower back, hamstring, and
lumbar spine flexibility.
Answer: The syndrome is the result of weak abdominal and gluteal muscles, along with
tightening of the erector spinal muscles. This creates the unnatural forward tilt of the pelvis.
Accumulation of abdominal fat further aggravates the condition.
8 73. According to the National Institutes of Health (NIH), a physician should be consulted
if you have back pain plus what other conditions?
8-11
Answer. According to the National Institutes of Health (NIH), most back pain goes away on its
own in a few weeks. A physician should be consulted if a person has back pain and numbness
in the legs, trouble with urination, leg weakness, fever, unintentional weight loss, or persistent
severe pain (even at rest).
Essay
LO# Question
Answer: Adequate flexibility allows an individual to participate in all daily work and
recreational activities with fluidity and without pain. Proper flexibility increases the enjoyment
of all activities by freeing the rotation of joints and by reducing the limiting factors of joint
range of motion. For any movement, the risk for injury is reduced when flexibility is increased.
Coupled with effective strength training, flexibility training balances the functions of antagonist
muscle groups, improving the function of both groups. Adequate flexibility also optimizes
posture, which is the foundation for safe and effective movement and is aesthetically pleasing.
Answer: Answers will vary. Muscular flexibility relates primarily to genetic factors, physical
activity, joint structure (shape of bones), joint cartilage, ligaments, tendons, muscles, skin,
tissue injury, adipose tissue, and muscle temperature.
Answer: Good range of motion is critical in older life. Because of decreased flexibility, older
adults lose mobility and may be unable to perform simple daily tasks such as bending forward
or turning. Many older adults cannot turn their head or rotate their trunk to look over their
shoulder but, rather, must step around 90° to 180° to see behind them. Adequate flexibility is
also important in driving. Individuals who lose range of motion with age are unable to look over
their shoulder to switch lanes or to parallel-park, which increases the risk for automobile
accidents. Physical activity and exercise can be hampered severely by lack of good range of
motion. Lack of flexibility also may be a cause of falls and subsequent injury in older adults. A
simple stretching program can alleviate or prevent this problem and help people return to an
exercise program.
8-12
8 78. How should severe backache syndrome (pain at rest) be treated?
Answer: Consult a physician to rule out any disc damage. Leg support with pillows may be
prescribed for sleeping. Muscle relaxants or anti-inflammatory medications may also be
prescribed for pain relief. Then, the condition is treated as normal, with strengthening,
stretching, and total body exercises.
8-13
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favorably received. Boieldieu was not yet ripe for operatic
composition, but at least these works furthered his career in that
they obtained him the privilege of free entrance to other operatic
performances, and thus his experience and taste were gradually
expanded.
The partial success fired his heart sufficiently for him to leave
Rouen and seek Paris for the second time. This time he carried with
him thirty francs, an operatic score, and an abundance of self-
confidence. He was now nineteen years old. His reception was the
chilling one usually accorded to young composers in Paris, and very
soon he began to feel the nippings of hunger, which put the thoughts
of public success out of his head for the nonce, and drove him to
teaching piano. He however had the good fortune to make the
acquaintance of the celebrated tenor Garat, and this gentleman
became interested in him, and finally sang some of his chansons in
public and in fashionable drawing-rooms. These little songs soon
found favor, and Boieldieu became gradually known through them.
M. Cochet, the publisher, paid him twelve francs each for these
productions, a figure which seems ridiculous until one remembers
that Schubert sometimes accepted a franc or two for some of his
immortal lieder. Some of these early works of Boieldieu are still in
the musical repertoire, and are occasionally heard in concerts, as for
example, “O toi que j’aime,” and “Menestrel,” and they served at the
time to spread the social success of the composer. Finally Boieldieu
made the acquaintance of Fiévée, the novelist, who wrote for him a
short libretto in one act, “La Dot de Suzette,” and this opera, after
many intrigues and jealousies, achieved performance and success,
thanks to a bright libretto, sparkling melodies, and the excellent
performance of Madame St. Aubin.
Boieldieu’s prospects now changed with Aladdin-like suddenness,
for his next opera, “La Famille Suisse,” was performed at the Theatre
Feydeau for thirty nights in alternation with Cherubini’s “Medee,”
and thus early began that connection with the great Italian maestro,
at that time the best musician in France, which was to be so fruitful
of good results to the new favorite. In 1798 Boieldieu turned for a
while from operatic work, and composed a number of piano sonatas,
piano and harp duets, and a piano concerto. Although these
exercised no permanent influence on the art, they obtained for him
the appointment of professor of piano at the Paris Conservatoire, two
years later. In this position, however he was not very successful; he
was too much wrapped up in composition to make a good teacher.
The musical historian Fétis, who was his pupil, confirms this
estimate; but the post at the Conservatoire led to a close
acquaintance with Cherubini, by which Boieldieu began to remedy
his lack of knowledge of counterpoint and fugal work. Although Fétis
denies that Boieldieu was ever the pupil of Cherubini, there is every
reason to believe that this was the case, even if a regular stipend was
not paid for the tuition. The very fact that in 1799 the two worked in
collaboration on “La Prisonnière” might tend to show that Boieldieu
was anxious to attain something of Cherubini’s musical learning, and
his submission of many later operas to the judgment of this master
proves that he was willing to be guided by him.
About this time Boieldieu produced two operas that carried his
fame beyond his native country; these were the Polish “Benjowski”
and the very tuneful “Caliph of Bagdad,” both of which will receive
further mention in the analytical portion of this article. A little later
there appeared a more advanced work,—“Ma Tante Aurore.” The
success was now so well established that all Parisian managers
sought for works from the gifted pen, and opera followed opera.
From a lithograph.
One of the most unique and interesting figures in the French musical
world of the close of the eighteenth century is Etienne Nicolas
Méhul. Sprung from comparative obscurity, he mounted to a world-
wide fame. Starting out in life with the scantiest educational
advantages, he reached a high degree of elegant culture. Living in a
most dissolute period, he retained through life an irreproachable
character. The son of a cook in a regimental barracks, he was
tendered the position of chapelmaster by the great Napoleon.
Méhul was born at Givet, in the Ardennes, June 22, 1763. Like
many other great composers, he was of low degree, had but few
opportunities for study at the start, and struggled hard to gain his
musical footing. His talent displayed itself at an early age and he
himself never had a doubt as to his ultimate vocation in life, though
his naturally religious disposition had predetermined his parents to
send him to a monastery. At ten years of age he played in the
Franciscan Church at Givet, such qualifications as he may have had
being the result of his studies with a blind organist. Shortly after this
time, Wilhelm Hauser, a distinguished German organist, arrived at
the neighboring convent of La Val Dieu, whither the boy repaired to
pursue his studies. He was fortunate enough to attract the favorable
attention of the Abbé Lissoir, under whose auspices he studied for
three years with Hauser. He made such rapid progress that he soon
equalled his master and was appointed deputy organist at the
convent. It is altogether probable that he would have been his
successor had not good fortune attended him again. His playing
attracted the notice of an officer of the garrison, who was a musical
amateur, and it needed but little solicitation to induce the boy to go
to Paris. He arrived at the capital in his sixteenth year and placed
himself under the tuition of Edelmann, a Strasburg composer of
eminence, who some years afterward deserted music for politics and
perished ultimately upon the same scaffold to which he had
consigned many a victim. With Edelmann he studied both the piano
and composition, supporting himself meanwhile by giving lessons
and writing sonatas and minor compositions for that instrument.
The genius of his good fortune did not desert him in these days of
stress. It was shortly after his arrival in Paris that Gluck’s “Iphigénia
en Tauride” was placed in rehearsal. The popular interest in the
performance had been heightened by the feud which had raged so
bitterly between the Gluck and Piccini factions. Méhul caught the
infection and, being without the money to purchase a ticket, he
smuggled himself into the theatre the day before, intending to
remain in concealment until the next eventful evening. He was
discovered, however, by one of the inspectors, and as the latter was
on the point of ejecting him, Gluck’s attention was drawn to him. He
made some inquiries, and upon learning the facts in the case gave the
young man a ticket. It was the turning-point in his career and
decided the direction he should take; for Gluck followed up the
chance acquaintance, took a decided interest in Méhul, gave him the
benefit of his experience and advice and instructed him in the
dramatic qualities of music. The young composer already had
produced a cantata at the Concert Spirituel, written upon the subject
of Rousseau’s Sacred Ode, and was ambitious to become known as a
composer of church music, for the religious element was always
strong in him; but Gluck changed all this and set his feet in the path
of the opera, which he was destined to follow to the end of his life.
MÉHUL.
Méhul made his parting bow to the public with the opera of “La
Journée aux Aventures,” which was produced in 1817 with
considerable success. The same year closed his earthly labors. He
had been in ill health for some time, and shortly after the production
of his last opera he went, upon the advice of friends, to the south of
France, where he had a residence, hoping thereby to regain his
strength. His ailment, consumption, however, had so weakened his
constitution that the change was fruitless. Moreover, he was
homesick for Paris. In writing to a friend he mournfully says: “I have
broken up all my habits. I am deprived of all my old friends, I am
alone at the end of the world, surrounded by people whose language
I can scarcely understand—and all this sacrifice to obtain a little
more sun. The air which best agrees with me is that which I breathe
among you.” He returned to Paris, warmly welcomed by his friends
and the public. He made one, and only one more visit to the opera.
He was soon stricken down in his last illness and died Oct. 18, 1817,
in his fifty-fourth year, universally lamented both in France and
Germany, for, like his pupil Hérold, he was as much of a favorite in
the latter country as in the former. In fact neither of these composers
was appreciated to the full extent of his ability in France, at least
until after death, a neglect which was not confined to them, however:
Berlioz shared the same fate. More than one French composer
indeed has made his greatest success in Germany. Tributes of respect
and admiration were shown to his memory in both countries. His
funeral was attended by a great concourse of persons, and the pupils
of the Conservatory with which he had been identified so many
years, covered his grave with flowers. On the day of his interment
memorial services were held in many places in Germany and France
at which public addresses were made. Méhul married a daughter of
Dr. Gastoldi, but having no children adopted his nephew, M.
Daussoigne, a young musician of excellent promise. His posthumous
opera, “Valentine de Milan,” was finished by the nephew and was
performed in 1822, upon which occasion the composer’s bust was
publicly crowned. The popular success, indeed, which he achieved as
a composer, was unquestionably expedited by his high character as a
man. His uprightness and natural tenderness had commended him
to all the pupils of the Conservatory, and his strong affections did the
same service for him with his friends. His generosity and
benevolence were proverbial. The utter absence of jealousy in his
disposition especially commended him to musicians. He had a
particular abhorrence of intrigue and of those small rivalries which
were abundant at that time, and which sometimes developed into
great wars, as has already been hinted at in the reference to the
famous struggle between the factions of Gluck and Piccini, which not
only enrolled musicians, composers and opera-goers in opposing
ranks, but even brought courtiers, the nobility and members of the
royal family into fierce antagonism. In the midst of all this small
turbulence Méhul had carried himself with even poise, working for
the best interest of his art and always true to its canons, though he
made many tentative innovations when fortune frowned upon him.
At a time of more than ordinary dissipation and immorality, he
maintained the highest moral principles and a sterling manhood. It
was but natural, therefore, that such a man should have been
mourned sincerely, and it may have added to public admiration that
he had reached his high distinction by his own efforts, rising from
rude and obscure beginnings to the summit of European fame.
Méhul was the legitimate successor of Gluck. It was that
composer’s “Iphigénie,” as we have seen, that first caught his fancy,
fired his ambition and directed his attention to dramatic
composition. It was owing to Gluck himself, who at once recognized
the ability of the young musician, that his feet were set in the right
path, and it was to his advice and instruction—the instruction of a
friend rather than of a teacher—that he owed his discovery and
appreciation of the dramatic quality of music. Other composers,
among them Cherubini, had a certain influence upon him, but Gluck
was the all in all of his system, the source of his inspiration and the
dominant element of his methods of treatment. He clung to dramatic
truth with as much tenacity as did the great author of “Orpheus” and
the “Iphigénias” and strove with the same earnestness to make his
music a close and perspicuous illustration of the text, and to keep it
elevated in style. Meanwhile his own nature was assisting him. Style
and character are closely related, and Méhul’s music is a reflection of
his own personal traits, namely, refinement of sentiment,
seriousness and earnestness of presence, strong religious tendencies
as shown in the opera—or shall we not call it oratorio—of “Joseph,”
and nobility of character as shown in all his dramatic work. His style
is always elevated, though at times he made the effort to unite light
and graceful melodies of the effervescent and short-lived sort which
find so much favor on the French stage. He was not successful in
these, however. He was more at home in passion and pathos, in
strong, broad motives, rich harmony and ingenious and elaborate
accompaniments. In a word, his standards, like those of Gluck, in
whose steps he followed so closely, were classical and of the highest
romantic type. At times he was daring and ingenious in his
innovations, as in “Ariodant,” where four horns and three ’cellos
carry on an animated conversation; in “Phrosine et Mélidore,” where
four horns have a full part in the score; and in “Uthal,” where the
violas are substituted for the violins, as already has been mentioned.
These, however, were only experiments, though they serve to show
his originality of conception as well as his curious scholarship—a
scholarship all the more remarkable when the poverty of his early
training is considered. And yet he did more than almost any other of
his contemporaries to elevate the Opera Comique, and has come
down in musical history as one of the principal founders of the
modern French School.