Music 306 - Introduction to Jazz » Spring 2022 » CH 01-06 Review Quiz
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Question #1
The quality of sound that allows listeners to distinguish between a violin and a trumpet is referred to as:
A.
timbre
B.
harmony
C.
pitch
D.
rhythm
E.
melody
Question #2
A device inserted into the bell of a brass instrument to distort the sounds coming out is called
A.
larynx
B.
key
C.
valve
D.
mouthpiece
E.
mute
Question #3
Which brass instrument moves its slide to create a glissando?
A.
tuba
B.
banjo
C.
clarinet
D.
trumpet
E.
trombone
Question #4
Which part of the drum set consists of two cymbals controlled by a foot pedal?
A.
high-hat
B.
splash cymbal
C.
ride cymbal
D.
tam-tam
E.
crash cymbal
Question #5
The relative speed of a performance’s steady “pulse rhythm” is commonly referred to as the piece’s
A.
tempo
B.
meter
C.
harmony
D.
rhythm
E.
dynamics
Question #6
In jazz ensembles, bassists most often use _________ technique, plucking the strings with their fingers.
A.
portamento
B.
arco
C.
legato
D.
staccato
E.
pizzacato
Question #7
Jazz concepts of form are derived from African music, where improvisation happens within:
A.
B.
a precisely measured amount of clock time
C.
a carefully notated concert performance
D.
a rhythmic cycle
E.
only the rarest or ritual practices
F.
a harmonic sequence
Question #8
Which best describes the form of a twelve-bar blues chorus?
A.
four phrases of three measures each
B.
six two-measure phrases
C.
an eight-measure phrase followed by a four-measure phrase
D.
two six-measure phrases
E.
three phrases of four measures each
Question #9
What is the most common thirty-two-bar song form used by jazz musicians?
A.
ABAC
B.
ABAB
C.
AABA
D.
ABCD
E.
AAAA
Question #10
Which rhythm section instrument plays the foundational role of sounding the root of each chord and keeping time with a continuous stream of notes?
A.
trumpet
B.
drums
C.
clarinet
D.
bass
E.
baritone saxophone
Question #11
Harmonic improvisation requires a performer to _____________.
A.
Abandon familiar musical elements in order to create something new.
B.
Ignore the contributions and suggestions of the accompanists.
C.
Create new melodies that fit over the tune’s chord progression.
D.
Embellish a composed melody.
E.
Improvise using only a single scale.
Question #12
In jazz, a repeating rhythmic and harmonic cycle is called a __________.
A.
bridge
B.
turn
C.
verse
D.
chorus
Question #13
_______ _________ is the generalized name for the harmonic sequence underlying George Gershwin’s composition “I Got Rhythm.”
A.
Bird Blues
B.
Standard Blues
C.
Rhythm Changes
D.
Rhythm Chorus
E.
Popular Song
Question #14
W. C. Handy’s initial appreciation of the blues was based on its:
A.
connection to African traditions
B.
artistic merit
C.
high-class status
D.
virtuosity
E.
commercial appeal
Question #15
In “polishing” the rural blues that he heard in Mississippi, W. C. Handy did which of the following?
A.
All of the answers are true
B.
He rehearsed it with his ensemble.
C.
He composed his own lyrics.
D.
He notated the music.
E.
He published sheet music.
Question #16
The specific combinations of musical characteristics at the heart of jazz style—including polyrhythm, blue notes, timbre variation, and call and response—are the products of which cultural group?
A.
English
B.
Nigerian
C.
Cuban
D.
African American
E.
South African
Question #17
Which best describes the poetic form of blues lyrics?
A.
two-line couplet with first line repeated
B.
two-line stanza
C.
ten-line stanza
D.
four-line stanza
E.
two-line couplet with second line repeated
Question #18
Which instrument was most important in accompanying country blues?
A.
guitar
B.
drums
C.
trumpet
D.
saxophone
E.
piano
Question #19
All of the following are true of “race records” EXCEPT:
A.
They did not sell many copies.
B.
They were recordings of black music for black listeners.
C.
Singers did not receive copyright royalty, just a modest performer’s fee.
D.
Singers were pressured by executives to record only the blues.
E.
Many of the original recordings have been preserved.
Question #20
In her fourteen-year recording career, Bessie Smith recorded approximately how many songs?
A.
50
B.
250
C.
200
D.
150
E.
100
Question #21
On Bessie Smith’s “Reckless Blues,” which household item does Louis Armstrong use to modify the timbre of his trumpet?
A.
bucket
B.
sponge
C.
dishrag
D.
mop
E.
plunger
Question #22
Which is NOT true of blackface minstrelsy?
A.
In the mid-nineteenth century it was the most popular form of theater in the country.
B.
It was originally performed by white performers in heavy black makeup.
C.
It generated negative racial stereotypes.
D.
It was only performed in the American South.
E.
Its music used African-derived instruments including the banjo.
Question #23
When James Reese Europe’s Hellfighters performed in ballrooms for social dances, what type of instrumentation did they use?
A.
string ensemble
B.
small jazz combo
C.
large military-style band
D.
piano with banjo accompaniment
E.
symphonic orchestra
Question #24
What does it mean to “rag” a piece of music?
A.
to improvise a march
B.
to dance to it
C.
to perform it poorly
D.
to subject it to a process of rhythmic complication
E.
to extend a short piece by repeating sections
Question #25
How did Scott Joplin make most of the money to support his compositional career?
A.
through record sales
B.
by licensing his music for use in films
C.
by playing concerts
D.
by conducting a brass band
E.
through publishing royalties
Question #26
Why is Wilbur Sweatman’s “Down Home Rag” significant?
A.
It’s one of the fastest recorded performances of syncopated music.
B.
It’s an early example of ragtime drumming.
C.
It provides crucial evidence for the transition between ragtime and jazz.
D.
It avoids blue notes and other blues inflections.
E.
All of the answers are true
Question #27
New Orleans jazz primarily featured which of the following musical textures?
A.
polyphonic—collective improvisation
B.
homophonic—solo plus accompaniment
C.
monophonic—solo playing
D.
E.
monophonic - solo plus accompaniment
F.
fully composed melodies and countermelodies
Question #28
Who led the Onward Brass Band, a group that blended Creole sophistication with improvisational artistry?
A.
Joe Oliver
B.
Barney Bigard
C.
Freddie Keppard
D.
Manuel Perez
E.
Buddy Bolden
Question #29
Which aspect of Buddy Bolden’s playing did contemporary observers note most often?
A.
his ability to play two trumpets at once
B.
the fast passages in his playing
C.
his variations on march themes
D.
the loudness of his playing
E.
the understatement of his playing
Question #30
Which instruments are included in the front line of a New Orleans jazz band?
A.
trumpet, clarinet, trombone
B.
piano, tuba, drums
C.
trombone, tuba, banjo
D.
clarinet, flute, saxophone
Question #31
Which is the trumpet or cornet’s role in the New Orleans jazz band?
A.
play a countermelody in a register higher than the trumpet or cornet’s line
B.
present the melody with improvised variations
C.
play a decorated bass line that includes glissandos
D.
present a steady stream of notes maintaining the dominant pulse of the tune
E.
arpeggiate the underlying harmony of the tune
Question #32
The most distinctive feature of New Orleans jazz is:
A.
harmonic improvisation
B.
use of blue notes
C.
solo improvisation
D.
collective improvisation
E.
frequent syncopations
Question #33
All of the following factors were causes of the Great Migration EXCEPT:
A.
a work shortage initiated by American entry into World War I
B.
an increasing reliance on agricultural labor
C.
widespread segregation in the American south
D.
fear generated by unequal protection under the law
E.
few opportunities for black Americans to own land
Question #34
Why are Jelly Roll Morton’s 1923 recording sessions with the New Orleans Rhythm Kings significant?
A.
They are the first significant racially integrated jazz recording sessions.
B.
They took place in Los Angeles.
C.
They are the first live recordings made in a jazz club.
D.
They took place in New Orleans.
E.
They took place in Chicago.
Question #35
What was unusual about the front line of King Oliver’s Creole Jazz Band?
A.
It featured two trombones.
B.
The clarinet lines were performed by the group’s pianist.
C.
It included violin.
D.
It featured two clarinets.
E.
It featured two cornets.
Question #36
Sidney Bechet is responsible for establishing this instrument as a jazz instrument:
A.
piano
B.
bass
C.
clarinet
D.
banjo
E.
saxophone
Question #37
Which borough of New York has been the focus of American jazz culture since the 1920s?
A.
Staten Island
B.
C.
The Bronx
D.
Manhattan
E.
Brooklyn
F.
Queens
Question #38
Which of the following parts of America’s entertainment infrastructure formed in late-nineteenth-century New York?
A.
book publishers
B.
grand theaters
C.
All of the answers are true.
D.
radio networks
E.
record labels
Question #39
What effect did technological advances in radio and recording have on the jazz community?
A.
It had no effect, since home audio systems were prohibitively expensive.
B.
It decentralized the jazz infrastructure across the country.
C.
It led audiences to stay home and obsessively listen to specific broadcasts and recordings.
D.
It forced performers to improve their technique.
E.
It drew audiences away from jazz and to sophisticated classical performances.
Question #40
How did Prohibition affect the jazz community?
A.
It caused musicians to migrate away from larger cities.
B.
It encouraged musicians to avoid alcohol.
C.
It provided abundant (dangerous) work opportunities for jazz musicians in illegal speakeasies.
D.
All of the answers are true.
E.
It caused many jazz musicians to become full-time composers.
Question #41
What was Paul Whiteman’s goal with his “An Experiment in Modern Music” concert of 1924?
A.
to show that white musicians could perform raucous improvisations
B.
to demonstrate that only New Orleans jazz was the authentic jazz
C.
to show that Louis Armstrong was the “King of Jazz”
D.
to argue that the blues was the soul of jazz
E.
to reveal that jazz elements could form the foundation of highbrow art music
Question #42
Which describes the racial dynamics of Fletcher Henderson’s engagement at the Roseland Ballroom:
A.
integrated ensembles playing for integrated audiences
B.
integrated ensembles playing for white audiences
C.
white ensembles playing for white audiences
D.
white ensembles playing for black audiences
E.
black ensembles playing for white audiences
Question #43
Which Manhattan neighborhood was referred to as “the greatest Negro city in the world”?
A.
Washington Heights
B.
Upper West Side
C.
Times Square
D.
Greenwich Village
E.
Harlem
Question #44
“Stride” refers to which aspect of a pianist’s performance?
A.
regular left-hand alternation between bass notes and chords
B.
constant left-hand tremolo
C.
fast right-hand arpeggios
D.
two-handed block chords
E.
slow-moving “walking” accompaniments
Question #45
All of the following are aspects of Louis Armstrong’s legacy EXCEPT:
A.
influenced popular and country performers with his phrasing and spontaneity
B.
became the most influential composer in the jazz community
C.
transformed the social music of New Orleans into an art
D.
only major figure of Western music to influence the music of his era equally as an instrumentalist and as a vocalist
E.
influenced symphonic trumpet players with his vibrato
Question #46
In what way did Louis Armstrong help to shape our understanding of the role of improvisation within jazz practice?
A.
established the development of technique as an end in itself
B.
carefully composed a large body of passages and played them the same every time
C.
established collective improvisation as the main kind of jazz improvisation
D.
wrote an influential series of guides to improvisation
E.
established jazz as music that prizes individual expression through solo improvisation
Question #47
In 1922, Joe Oliver sent Louis Armstrong a message inviting him to join Oliver’s band in which northern city?
A.
New York
B.
Detroit
C.
Chicago
D.
New Orleans
Question #48
Which of the following describes Earl Hines’s approach to rhythm?
A.
using tremolo to give the sense of no rhythmic movement
B.
steady, on-the-beat background chords
C.
propulsive boogie-woogie patterns
D.
slow-moving regular rhythms
E.
an idiosyncratic style that played constant games with the rhythmic pulse
Question #49
Which is NOT true of the Austin High Gang?
A.
They created the Chicago style, which featured aggressive rhythms, expansive solos, and polyphonic theme statements.
B.
They were a group of white jazz musicians born mostly between 1904 and 1909 and active in Chicago.
C.
Their ranks included only horn players
D.
They were named after a Chicago high school some of them attended.
E.
Their music was a rebellion against white middle class culture.
Question #50
In whose big band did Coleman Hawkins play for eleven years?
A.
Bix Beiderbecke
B.
Louis Armstrong
C.
Fletcher Henderson
D.
Duke Ellington
E.
Paul Whiteman
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