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