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